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A woman’s ‘Catfish’ turned out to be exactly who she thought she was — but they still didn’t have a happy ending.
Designer Stacey Bendet is all about emotional clothing. It’s what drives her design process, which has undertones of female empowerment. It also drove a new direction in the look book shoot to mirror videos she’s made recently that bring her clothes to life. She shot against a black backdrop to allow the clothes to really pop. Her theme for the season, after all, was a blend of pop art, Twiggy and the swinging Sixties, but brought into modern day with her signature thread of eclectic confidence.
The mixed prints here were the most striking, and ranged from a rainbow of snake prints on an accordion pleat dress to a wicked mash-up of florals, animal prints, mod checks and stripes in an easy wrap gown. She extracted the florals to create a burnout fabric, which she pieced together into a flowy colorful dress. She highlighted colorblocking elsewhere with a great tailored plaid trench and matching miniskirt.
The collection maintained an energetic tone that worked for a number occasions. A lightweight black-and-white plaid coat for day, sexy snakeskin burnout separates and saturated monochromatic looks for the office, or a patchwork denim jacket that read “love more” and “game changer” to keep it cool while
Check out this new update from OnlyOpaques featuring the delicious brunette vixen Lindsey Strutt posing in an Alice In Wonderland costume. She is wearing white pantyhose under her tiny dress that barely can hold in her gigantic breasts. She slowly strips out of her costume and her teal with black lace bra to reveal her amazing breasts!
You can see more of this cute coed and her pantyhose covered legs at OnlyOpaques. There you can see the complete photo set of her teasing out of her costume and showing off her nylon covered legs. This is her fourth appearance at OnlyOpaques. You can also see her dressed as a very distracting secretary and in an very revealing schoolgirl uniform!
Alice + Olivia by Stacey Bendet is unveiling a capsule collection featuring the artwork of Keith Haring.
Past Alice + Olivia collaborations include Domingo Zapata, Jean-Michel Basquiat and Donald Robertson. The collection will be available today.
When Bendet was designing the resort 2019 collection, colors such as canary, cherry and cobalt were featured heavily, reminding her of Haring’s work, the company said. His signature, vibrant, fun palette of primary colors embodied Bendet’s creative spirit, which inspired the capsule collection of ready-to-wear and accessories featuring Haring’s trademark dancing figures and prints in patchwork collages.
“I have always been a fan of Keith Haring’s work — the colors and graphics,” Bendet said. “He was also one of the first artists to advance social causes, and I think at this time in our world, it’s especially important to support artists who have made a difference.”
Haring, whose work responded to urban street culture of the Eighties, died in 1990 at the age of 31. He was inspired by the graffiti artists whose marks covered the city’s subway cars.
The Keith Haring x Alice + Olivia capsule collection includes a dancing figures print on a leather jacket, reversible bomber, cardigan, T-shirts, ballgown skirts, a clutch and booties, and a
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[[tmz:video id=”0_vaf9sy9g”]] Alice Marie Johnson was so inspired by Kim Kardashian West’s efforts to spring her from a life prison sentence that she wants to help Kim do the same for others. We spoke with the 63-year-old great grandmother, and she told…
Kim Kardashian West will come face-to-face with the woman she helped to free from prison … TMZ has learned. Alice Marie Johnson had her life sentence commuted on Wednesday by President Trump after spending 22 years behind bars. Kim championed Alice’s…
Today, at Only Tease there’s the blonde cutie, Lauren Hurley in a Alice In Wonderland costume. I think you’ll agree that the story in this video is far more interesting then the original. Lauren makes this fairytale very sexy, doing a sexy strip tease out of the blue and white costume. Underneath she’s wearinga pink bra with matching pink cotton panties. And I’m sure if I didn’t mention her white pantyhose, more than a few of you would be upset with me!
Download and enjoy the full-length movie of this busty blonde in an Alice In Wonderland costume at Only Tease. Without exception, every day Only Tease adds new photo and video galleries of beautiful babes in sexy outfits. As you can see, they cover the wide spectrum of sexy clothing from naughty costumes, erotic uniforms and of course just sensual lingerie!
Time for me to run, I’ve suddenly realized I have a lot of things to do before I leave on Friday and it’s time to get busy!
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A+O LAUNCHES DENIM BRAND: On Thursday, Alice + Olivia by Stacey Bendet will roll out a new denim brand called AO.LA.
AO.LA is a casual-focused sister brand that features a variety of denim styles, silk jacquard kimonos, knit tees, vintage style rocker tees and cropped jackets. The look is reminiscent of the Seventies, but punctuated by modern, edgy details. The collection, which launches with a resort line, will be sold at the 21 Alice + Olivia stores nationwide and its web site and 20 doors of Neiman Marcus and Bergdorf Goodman. The brand will have a separate section that launches Thursday on the Alice + Olivia web site.
AO.LA will be designed in New York and produced in Los Angeles. Retail prices are between $ 198 and $ 295 for denim, $ 135 and $ 150 for tees, and $ 330 and $ 495 for kimonos. The leather jacket retails for $ 1,095.
Among the denim styles are high-rise bell jeans; high-rise exposed button jeans; ankle skinny jeans; low-rise skinny jeans with studs, and embroidered boyfriend distressed jeans. T-shirts include those with pop iconography, such as Mickey Mouse, The Beatles and David Bowie, and jackets include a combination sweatshirt leather jacket.
The denim styles are named Good, Great, Beautiful, Perfect, Amazing
© © 1974 Warner Bros. All Rights Reserved.
© © 1974 Warner Bros. All Rights Reserved.
Alice Cooper made a surprise appearance during Motley Crue‘s pre-show appearance at the Hard Rock Caf in Stockholm. Cooper, who’s serving as the support act on the band’s Final Tour, helped out on four songs: “No More Mr. Nice Guy,” “Be My Lover,” “Lost in America” and “School’s Out.” The pre-show event came ahead of the band’s main gig at Stockholm’s Ericsson Globe venue.
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Kathryn Beaumont served as the model and inspiration for Alice from Disney’s ‘Alice In Wonderland’
Alice Cooper and Joe Perry are mourning the loss of ‘The Rock and Roll Chef’ Kerry Simon, who passed away at the age of 60 due to rare neurodegenerative disease multiple system atrophy. “He was just comfortable to be with and I think that’s something that rockers look for,” Cooper tells Billboard.
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Alice Cooper, Joe Perry, And Shep Gor… 2:35
Alice Cooper and Joe Perry have started a new supergroup, the Hollywood Vampires. Now their manager, show business legend Shep Gordon, wants the band to meet their new label rep, and they’re in for a shock.
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Keywords: Hollywood Vampires Alice Cooper Joe Perry Shep Gordon
© © 2010 Disney
The star of yesterday's Alice and Olivia SS16 presentation was certainly the girly, glamorous clothes, but playing an undeniably important supporting role were the custom, hand-made bronze crowns and arm cuffs created for the brand's…
Iconic Los Angeles punk rocker Alice Bag (real name Alicia Velasquez) has never stopped creating art and music since the demise of her seminal band The Bags in the early days of the 1980s. She recently created a Kickstarter page to raise $ 8,500. The goal was to finance the recording and release of a vinyl album of material she has wanted to pursue in the studio for many years. The Kickstarter campaign (LINK) commenced on August 24th and was scheduled to run for one month. She needed less than a week to reach her goal.
I caught up with this living legend in the days following the success of the campaign, with a few days left to raise more funds to afford more material to be recorded.
Mat Gleason for the Huffington Post: After many many years being known as Alice Bag you are finally releasing a solo album as Alice Bag – why now?
ALICE BAG: I was approached by Phanie Diaz the drummer for Girl in a Coma and FEA to produce some songs for FEA. I started scouting out studios to record the group and in the process I realized that I really wanted to record my own songs as well.
MGHP: Can you name every band you have been – is it just a highlight reel in your mind or has it become a blur?
ALICE BAG: I can probably name most of them but it would bore you!
MGHP: Why vinyl?
ALICE BAG: I am sentimentally attached to vinyl. I still have records from my teens, I’ve grown accustomed to the warmth and sometimes scratchy sound. I didn’t dream of making a CD or cassette tape, I always dreamed of vinyl.
MGHP: Can you describe what you want the sound of your new record to be? Will we hear The Bags in it?
ALICE BAG: The Bags’ distinct sound had a lot to do with what each person brought to the mix and as such that sound was unique to that lineup. If you want to know if there will be punk, then I say yes, let there be punk! There will also be other styles of music. For example, I’m recording a song that I originally wrote for Castration Squad and it has a goth-y feel. Another song feels like a weird marriage of rock and samba, weird in a good way. My record will have a good mix of screeching and strings.
MGHP: So you started a kickstarter campaign to raise money – what was your goal and how quickly did you reach it?
ALICE BAG: My Kickstarter goal was $ 8,500, a very modest amount to record and press an album. I tried to keep it bare bones because with Kickstarter it’s all or nothing. If you don’t make your goal, you can’t collect on any of the pledges. I didn’t anticipate the tremendous amount of support I would get.
I did a 30 day Kickstarter and surpassed my goal in 6 days.
I had serious reservations about using a crowdsourcing website because I didn’t want to feel like a musical panhandler. I read Amanda Palmer’s The Art of Asking and it sort of helped me see crowdsourcing as closer to busking than panhandling because there is a premium exchange involved but I was still not convinced until I had a long conversation with my friend, Quetzal, who described the experience as community building.
People made large pledges and one dollar pledges. I did a two dollar Tuesday special. I really wanted to engage people in the process of creating something together. I eventually understood what both Quetzal and Amanda were talking about. As I started reading and responding to the emails people sent with their pledges, I realized that the process of asking, receiving, and thanking fosters a more intimate, one to one connection between artist and audience that doesn’t always happen at live shows and certainly doesn’t happen in the way people typically consume recorded music.
MGHP: I’m a fan of your art, You’ve had art up at my gallery and many other places, will your visual art grace your new album? Have you thought that far ahead?
ALICE BAG: Thank you! I wasn’t planning on making my own cover art and truthfully I haven’t thought that far ahead. I did put some of my paintings and sketches up as premiums and I was very happy to see them snapped up quickly. I’m definitely 100% focused on the music for the album at this point in the process.
MGHP: The Bags were featured in the film The Decline of Western Civilization, the most amazing punk documentary ever filmed, and yet, the Los Angeles punk scene was so dynamic back – were there any bands you wish now had been captured in it?
ALICE BAG: The Decline of Western Civilization introduced a lot of people to punk and it was hugely influential. I don’t think the film’s mission was ever to document the early L.A. Punk scene; if that had been the case I would have to call it an epic fail. I’ve been reading a lot of interviews from people involved with the film in different capacities since the DVD release of the documentary. It pisses me off to read unflattering comments about the early Hollywood scene, painting us as wannabes who were mimicking the English scene. I have to ask: where are the English Weirdos? Where are the English Screamers? The Go-Gos and The Slits couldn’t be more different but both of them were groundbreaking on different continents. Don’t try to minimize the importance of the early Hollywood scene by making false comparisons.
MGHP: Penelope Spheeris recently released her “Decline” trilogy in a boxed set – did you watch it or when was the last time you watched the Decline?
ALICE BAG: I’ve always had a tough time watching The Decline but that is mostly personal. My band was falling apart during that time and I think it shows. I went with some friends to see a double bill of The Decline and Desperate Teenage Love Dolls at a theater, maybe ten years ago. That was only the second time I’d seen the film and it was the first time I watched it all the way through. I walked out of the premiere…it was just too sad.
MGHP: Hardcore punk seemed to be a suburbanization of the original punk impulse, which was ethnically and politically diverse, had a strong female presence and was as queer as it was straight – was there a time when you felt the original punk scene you had known was dead and gone and do you lament what replaced it?
ALICE BAG: I think I felt that way around the time The Decline came out back in 1980 and if you’d asked me at that time, I would have said punk was dead. When our intimate little Hollywood punk scene ended I felt ready to walk away. I don’t blame it on hardcore. I think that people who are very creative are naturally restless and crave constant reinvention. I was uninspired by the sameness I was starting to see at our shows so I started pushing in different directions. I don’t lament what came after us, things are cyclical. It does bother me that people have been led to believe that punk is music created for and by white males. Punk’s diverse roots are bound to come to the surface, I will shout it from the roof tops!
MGHP: Before the 1980 election, many punk bands in Los Angeles were fixed against Ronald Reagan. Any anti-Trump sentiments heading into 2016 in your new material?
ALICE BAG:I haven’t written any songs about Trump, although the song “Little Hypocrite” was written for another Republican with similar views on immigration. I have a song about Monsanto called Poisoned Seed. When I was little, my parents took me to Disneyland and there was a ride called Adventure Thru Inner Space. Back in the 1960’s, Americans like me were taught to worship the science of the future. We were sold on the Jetsons’ vision of instant meals, created by technology. We had no idea that what started out as a good idea would give us insecticide-laden Frankenfoods and lead to a decline in seed diversity. You don’t need to be a farmer or a scientist to grasp that diversity in nature is a good thing because survival favors diversity.
In Conclusion… Classy enough to thank Kickstarter contributors individually on her FaceBook page but cool enough to shrug off naming all of her accomplishments on the edge of the underground music scene for parts of five decades, Alice Bag is more than survivor: She is a thriver. In a movement that championed self-destruction and took so many of its greats early on, Alice Bag remains the punk pioneer who keeps on keeping on.
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Hot Tip Alert!
At a party full of fiction writers this past weekend, a girl I met told me that she was fascinated by the friendship between the writers Elizabeth Hardwick and Mary McCarthy, author of the famous 1963 novel of post-college female friendship The Group.
I told her about an email I had just received, from another woman, an old friend of mine, who asked if I could think of any notable famous friendships. Patrick Stewart and Ian McKellen, I shot back. Donald Judd and Dan Flavin, two artists whose bond was so deep (though they eventually fell out) that Judd named his son Flavin for his friend.
Maybe, in retrospect, she was looking for women; thinking critically about female relationships seems to be in the air. “Of course,” the girl I’d just met replied. “We’re living in a post-Ferrante world.”
I knew exactly what she meant: You can’t have eyes and ears and an Instagram account without being aware of the gushing consensus that Italian writer Elena Ferrante’s novels have reinvigorated our reading of intense, complex, resilient female friendships. (“I was interested in recounting how a long friendship between two women could endure and survive in spite of good and bad feelings, dependence and rebellion, mutual support and betrayal,” the elusive Ferrante told Vogue’s Megan O’Grady about her protagonists Elena and Lila in a rare interview last August.)
I can only quote O’Grady when it comes to Ferrante, because shamefully, My Brilliant Friend, the first novel in her Neapolitan tetralogy, has sat on my bedside table for the past many months, perpetually skipped over in favor of other, more urgent reading. I’m sure I’ll eventually end up a convert, but cracking the book has begun to feel a bit like eating my vegetables.
My latest excuse has been Alice Hoffman’s The Marriage of Opposites, out today, and also featuring a lifelong sister-like friendship. Hoffman is the prolific Boston-based magical realist, whose stories fittingly play to the notion that love—both romantic and platonic—represents a mystical meeting of perfectly paired souls.
It’s been a long time since the publication of an Alice Hoffman novel shook my world. But there was a time when I devoured everything of hers I could find, books dripping with pathos and otherworldly possibility, perfect for humid, buggy summer nights when it was too hot to sleep. I loved them: Illumination Night, a charged tale of several socially isolated Martha’s Vineyard–dwellers that made me long for an island I hadn’t been to since I was a baby; Second Nature, an uncanny story about a single mother who rescues a man raised by wolves from an insane asylum, then falls in love with him.
Hoffman built worlds in which magical creatures lived quiet lives among us, signs and superstitions carried real meaning, human desires were powerful enough to effect the weather. Loneliness, and so many of her characters were lonely, made a person deep; but crushes—a childish word for attractions that Hoffman treated as epic, undeniable, life-altering physical states—were generally requited. Even the freaks were beautiful to someone, a message that landed hard with freakishly tall, hormonal, unlovable adolescent me. I was on the verge of being a teenager, finding it tough to relinquish a childhood love of dragons and Camelot, of Earthsea and Narnia; Alice Hoffman wrote for adults, she wrote about love and sex, but she also wrote about magic.
The novel of hers that I loved best, Practical Magic, was about all of those things, but mostly it was about sisters. I first encountered Practical Magic somewhere between its publication in 1995 (I was twelve) and the release of the Sandra Bullock, Nicole Kidman–starring movie adaptation in 1998, which I greeted with eager anticipation, then when it turned out to be hokey and unworthy, hated vociferously (the soundtrack, though, was excellent).
If the post-Ferrante world is concerned with the sisterhood of female friendship, Practical Magic is concerned with finding friendship with your sister. Sally and Gillian Owens are orphans, raised by two ancient, witchy aunts in a ramshackle Massachusetts house, in a gossipy town where it’s well-known that the Owens women are different. Their shared outcast childhood yields two very dissimilar adults, “Night and Day,” the aunts joke: Gillian is wild, beautiful, irresponsible, and footloose, quick to fall in love and just as quick to run away; Sally is dutiful, quiet, and rooted, the widowed mother of two baby girls by the time she’s in her mid-twenties. By their mid-thirties, the sisters are essentially estranged, until Gillian resurfaces unexpectedly, convinced she’s killed the bad man she most recently loved by administering the wrong dose of nightshade, an herb she hoped would knock him out before he could drink himself violent after dinner.
What do you do when your long lost little sister shows up on your suburban front step, anxiously chain smoking Lucky Strikes, with bruises up her arms, desert sand in her cowboy boots, and a dead man in the Oldsmobile that’s blocking your driveway? In the land of Alice Hoffman, you help her bury him in your backyard, underneath a wilting lilac bush that will suddenly spring back to life, bearing masses of heady flowers that remind everyone who passes by of desires they thought they’d long since stifled.
There are men in this book, too, other than the mean dead one under the lilacs: Gillian falls hard for an impossibly dreamy biology teacher named Ben Fry; Sally for Gary Hallet, the lovelorn investigator who comes to town from Tucson looking for Gillian’s drug-dealing ex. But it’s not romantic love that kept me coming back, summer after summer, to my hardcover with the Dante Gabriel Rossetti oil of a solitary woman holding a pomegranate on the jacket. It’s the story of those diametrically opposed sisters, of their uneasy reunion in adult life. I, too, have a sister. She’s both like me and completely not, and at the moment I first read Practical Magic, she was racing as stubbornly toward adulthood as I was intent on hanging back. I liked the idea that destinies forged in the same fire were linked forever, the notion that even after decades apart, a sister is, for better or worse, like a time machine back to childhood. What’s more magical than that?
“My two biggest regrets in my life are that I did not have a daughter, and I did not have a sister,” Hoffman, who is married with two sons, tells me by phone “For me to write about sisters and daughters is kind of a way to experience what it’s like to live it. Of course, when I’m done writing, I don’t have one . . .”
The Marriage of Opposites is an enveloping, beautifully wrought work of historical fiction that weaves together many strands: there’s a fictionalized portrait of the Impressionist artist Camille Pissarro as a young man in mid-nineteenth-century Paris, revolutionizing the world of art even as he remains financially dependent on his hidebound, conservative mother; the story of his early life as the black sheep son of Jewish merchants on the Dutch island of St. Thomas; the passionate romance of his parents, Frédéric and Rachel, whose forbidden love—he was her late husband’s nephew—is deemed incest by Jewish law; Rachel’s unhappy arranged first marriage to a much older man; her childhood with a disapproving vindictive mother and a progressive but secretive father.
Twenty five novels in (and those are just the ones for adults), in her early sixties, Hoffman is writer enough to pull this ambitious, multi-generational novel off. But peel back the layers and Marriage has all the hallmarks of her earlier work. St. Thomas is a world of magical potions and superstitions, in which a sachet of lavender has the power to lead a traveler back home and three blackbirds outside a bedroom window is a reliable predictor that the room’s inhabitant will soon die. As a girl, Rachel loves fairy tales, particularly a legend that haunts the book, a metaphor for Rachel’s own life, the story of a girl born a turtle to a human mother, raised by a turtle mother, and forever caught between ocean and land. Rachel grows up with Adelle, her family’s maid, like a mother to her, and side by side with Adelle’s daughter, Jestine. As Rachel’s life is shaped by the misogynistic laws of her tight-knit Jewish community, an experience that, over time, shapes her youthful rebelliousness into a chilly rigidity reminiscent of her own mother, Jestine’s lot is determined by the tragic limitations placed on a woman with dark skin in nineteenth-century St. Thomas. But throughout the many eras of this story, the two stay close, celebrating their birthdays as the twins they’re not, helping to birth and raise each other’s children, and finally taking their fates into their own hands, hand in hand (you’ll have to read the book to see what I mean).
“If we had been sisters,” says Rachel, “she would have been the pretty one. I would have been the one who was too smart for her own good, and too bossy.” The marriage in the book’s title refers to the union of Rachel and Frédéric, the marriage that created Camille, the artist who would become known as the father of Impressionism; look at it from another angle, and those opposites could be Rachel and Jestine.
I ask Hoffman if there was a historical basis for including Jestine in the story—she read extensively about Pissarro and his family in order to write this book—but unsurprisingly, the friendship was entirely invented. “Jestine was a complete figment of my imagination,” Hoffman tells me. “But it seemed to me that Rachel would be a woman who should have a best friend. The rest of the world might perceive her as aloof and cold, but there would be somebody she could turn to.”
I’m reminded of a passage in Practical Magic, which I just picked up again, for the thousandth time. “Never presume August is a safe or reliable time of year. It is the season of reversals,” Hoffman wrote. “Avoid men who call you Baby, and women who have no friends, and dogs that scratch at their bellies and refuse to lie down at your feet.” It’s August now, two decades since she published that book, but her advice resonates more than ever.
The post Sister, Sister: Reading Alice Hoffman Then and Now appeared first on Vogue.
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Alice Glass, the former singer of Crystal Castles, has spoken out against violence against women with her new solo single.
Bassist Dennis Dunaway is spilling secrets in his new memoir, ‘Snakes! Guillotines! Electric Chairs!: My Adventures in The Alice Cooper Group.’
Weezer and Alice In Chains are among a slate of new musicians whose songs will be included in the upcoming new video game Guitar Hero Live. Weezer’s “Buddy Holly” and AIC’s “Stone” are two of the latest songs to be added to the game. The game is set to be released this fall.
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© © 2006 Eagle Rock (US)
Artist Alice Lancaster is no stranger to the fruits of the digital age. Her cult favorite Instagram feed, which exists as an unfiltered gallery of her colorful, Fauvist-skewed paintings and self-portraits of her bowish pout, has earned her 11,000 followers and counting, landing her work with labels which have an equally dedicated following—her leather jacket collaboration with Veda, for one. Most recently her handle @ragingleisure caught the eye of the creative director of Calvin Klein Collection, Francisco Costa, whose resort 2016 show included looks inspired by Lancaster’s art.
The virtual union between Lancaster and Costa stemmed from a simple double-tap that occurred at the right time. “I had been following him [Costa] for a while and there was this moment where he posted an image from a runway show. I posted a bunch of hearts on it,” says Lancaster. “I think at the moment he was on his phone and saw the notification, and he quickly went over to my account and saw my work.”
A few weeks later, after Lancaster received a like from Costa on one of her black-and-white self portraits, as well as a follow-back, came an email request from Costa’s assistant to for a studio visit, and then an invitation to the fall 2015 show. “I was totally satisfied with him following me, and then having the studio visit, it was like it couldn’t get any better,” says Lancaster. “And then to be invited to his show, that had to be the best ever!” After she attended the show, Lancaster sent Costa a thank-you note with a drawing inside. He called back and asked her to make a large-scale drawing inspired by her original artwork, which eventually became the prints that were shown in the resort 2016 show. “When I first saw Alice’s Instagram, I was really inspired by how unapologetic she is about herself and her work. I love how she exudes this modern, erotic femininity in such a graphic way,” says Costa. “My collection this season is all about being bold and sexy, but in more of an urban way and the prints that were inspired by her work really helped this come to life.”
A photo posted by Alice Lancaster (@ragingleisure) on
As for the clothes, the white cashmere T-shirt dress and black leather jacket are the perfect canvas for Lancaster’s angular interpretations of the female anatomy. But these looks won’t simply sit on the artist’s Instagram—she’ll be bringing the easel to life in her closet, as translated by Costa’s designs. “I can’t wait to wear the white dress!” says Lancaster. “It is something I would totally wear on its own.”
The post How an Instagram “Like” from Artist Alice Lancaster Inspired Calvin Klein Collection’s 2016 Resort appeared first on Vogue.
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WESTWOOD’S WONDERLAND: Vivienne Westwood has teamed with Vintage Classics on a special gift edition of Lewis Carroll’s “Alice in Wonderland” to mark the tale’s 150th anniversary.
Westwood has created a cover that features her harlequin print and an image of Alice. She has also written the introduction to the book and added several pages about her views on capitalism, the environment, sustainable energy and activism to the new edition.
“Kids! Never become complacent,” Westwood wrote in her introduction. “The world we think we know reflects the way we are conditioned to see it. Maybe it’s not like that at all. Carroll is on your side. Always wonder. ‘Alice in Wonderland’ is timeless, but with my cover and endpapers, by adding the ‘climate map’ and the text, ‘end capitalism,’ I have helped fix it in the present moment.”
Carroll’s classic inspired Westwood’s fall-winter 2012 collection and she considers the tale one of her childhood favorites.
“It’s just such genius!” the designer told WWD during a Mad Hatter’s Tea party at her Conduit Street store in London. “It’s so brilliant. It is really subversive of official opinion and official attitudes to children. Our world is the world we make it.”
Westwood also read excerpts from the story to 20 children from various
How understanding Alice in wonderland can improve your abilities. See we all are Alice. We are on this journey, but in order for the journey to be played correctly we must know the rules.
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By J.F. Sargent Published: May 22nd, 2015
Richard Glatzer, co-director of film “Still Alice” starring Julianne Moore in her Oscar winning role, dies of ALS at age 63. Holly Rubenstein reports.
LOS ANGELES (AP) — Richard Glatzer, who co-wrote and directed the Alzheimer’s drama “Still Alice” alongside his husband, Wash Westmoreland, while battling ALS, died Tuesday in Los Angeles. He was 63.
Diagnosed in 2011 with ALS, also known as Lou Gehrig’s Disease, the pair took on the project of “Still Alice” in a very early stage of Glatzer’s disease. During the 23-day shoot, Glatzer communicated with one finger using a text-to-speech app on his iPad. By the time of the press tour for the film in late 2014, Glatzer was only able to communicate by typing on the device with his big toe.
Their film earned star Julianne Moore her first Oscar for her portrayal of an academic suffering from early onset Alzheimer’s. Unable to attend the ceremony, Glatzer watched Moore’s win Feb. 22 from a hospital, where he had been taken two days prior for respiratory problems. Westmoreland watched by his side.
“I am devastated. Rich was my soul mate, my collaborator, my best friend and my life,” Westmoreland said in a statement Wednesday. He added that he takes consolation in the fact that Glatzer saw “Still Alice” delivered to the world.
“Richard was a unique guy— opinionated, funny, caring, gregarious, generous, and so, so smart. A true artist and a brilliant man. I treasure every day of the short twenty years we had together,” he said. “I cannot believe he has gone. But in my heart and the hearts of those who loved him he will always be alive.”
A New York native, Glatzer started out his career in academia, earning a doctorate in English from the University of Virginia before turning his attentions entirely to film and television.
He met Westmoreland in 1995. The couple collaborated on four films as co-writers and directors, including the 2006 Sundance Grand Jury Prize and Audience winner “Quinceañera.”
Glatzer also worked on a number of television shows including “Road Rules,” ”Divorce Court” and “America’s Next Top Model.”
But it was “Still Alice” that seemed to be Glatzer’s crowning achievement.
“It’s ironic that in my deteriorated state I’d be able to make a film that was creatively everything I’d ever wished for,” Glatzer reflected to The Associated Press in late 2014 while promoting the film.
The parallels between Glatzer and their lead character’s degenerative diseases helped to inform the adaptation of author Lisa Genova’s best-seller.
“Many of the neurological appointments that Alice had in the book echoed appointments that Richard had had when they were testing to see if he’d had a stroke — like what’s today’s date, where are we, all that stuff. It was eerily similar,” Westmoreland said during the same interview.
“Rich is an incredibly strong person, and never let the disease get him down. He always wanted to keep life as normal as possible,” he added.
Moore was particularly moved by the similarities and how Glatzer’s condition made the story much more personal and emotional.
“It’s about the universality of our own experience and what we care about and that we all live and we all love and we all are going to go away some day. To look at that and to really examine that, but to also be present in it, is kind of an extraordinary thing to do. I think that’s what Wash and Rich are doing with this movie,” she said.
While the logistics of co-directing a film while suffering from ALS proved challenging, the entire production was committed to supporting Glatzer throughout.
“We had a little personal agreement that Richard has to be heard, even if it’s inconvenient, even if it’s longer to wait,” Westmoreland said.
Glatzer, who was in good spirits sitting next to Westmoreland, also weighed in.
“I felt very much heard by everyone, every day. And it’s so very important if you’re struggling with a disease like this to feel you still matter,” Glatzer said.
In addition to Westmoreland, Glatzer is survived by his daughter, Ruby Smith; his sister, Joan Kodner, and her husband, David; and his nieces and nephews.
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