SHOWSTOPPER: Dita Von Teese will be joining the cast of designer Jean Paul Gaultier’s “Fashion Freak Show,” WWD has learned.
The burlesque star, who already makes a video appearance in the fashion designer’s show at the Folies Bergère cabaret in Paris, will be gracing the cabaret’s stage during a weeklong residency from Jan. 22 to 27 for seven performances.
“Dita Von Teese is the most Parisian of all Americans,” Gaultier told WWD. “I have every admiration for her as she has raised burlesque to the rank of a chic, glamorous and popular art. It is an honor to welcome her to the ‘Fashion Freak Show.’”
It’s not the first time Von Teese has teamed with the couturier. The artist, a friend of Gaultier’s, previously walked in some of the designer’s couture shows.
“It’s an absolute dream to be a part of Jean Paul Gaultier’s show at the Folies Bergère,” said Von Teese in a statement. “Mr. Gaultier has always celebrated diversity on his runways in a genuine and authentic way. His celebratory show captures the essence of who he is as a creator of distinctive and rare beauty.”
The all-singing, all-dancing, costume-filled show at the Folies Bergère opened last September and tells the story of
© ℗ © 2008 Brilliance Audio
PARIS — LVMH Moet Hennessy Louis Vuitton is applying its formidable finances and management might to revive the dormant Jean Patou fashion house, WWD has learned.
Sidney Toledano, chairman and chief executive officer of LVMH Fashion Group, is spearheading the project and has already selected and signed on a designer to lead it: Guillaume Henry.
Last March, Henry exited Nina Ricci and he is said to be passionate about the legacy of Patou, a French designer who brought modernity and buzz to fashion in the Twenties — and innovated in business with fragrances, logos and sport clothes.
LVMH is now in the throes of building teams around Henry with a view to launching the first collection of ready-to-wear and accessories in the second half of 2019.
It is understood the group views Patou as something of a niche, rarified name — and not its next megabrand. Consequently, LVMH will likely start with a single boutique, most likely in Paris, along with e-commerce and select wholesale partners.
The relaunch suggests the world’s largest luxury group is anticipating an easing of the streetwear craze, and a swing of the fashion pendulum back to sophisticated chic.
Afternoon Dress in Crepe De Chine by Jean Patou, 1926.
Toledano confirmed hiring Henry exclusively to
Wyclef Jean and the arc of his career has been largely associated with New Jersey by way of his fame with The Fugees. However, the Haitian-born producer and global artist first arrived in America and settled in the planet of Brooklyn with the borough awarding him a key to the city over the weekend.
Jean was nine years when his family came to New York from his native Haiti and while New Jersey is where he came to form The Fugees alongside Lauryn Hill and Pras Michel to worldwide acclaim.
At the Wingate Summer Concert Series, Brooklyn Borough President Eric L. Adams handed Jean the award for his contributions to music and beyond. Also in attendance were his wife, Claudinette Jean, and their daughter, Angelina.
“I accept this key for the forgotten. If you can make it in Brooklyn. You can make it anywhere,” said Wyclef Jean to the masses.
The timing couldn’t be better for the multi-talented star as he’s gearing up for the release of his upcoming mixtape, Wyclef Goes Back To School and doing a tour stop next month at New York’s Sony Hall.
Wyclef Jean’s mixtape drops on Sept. 6, and his tour stops on the same day in New York City.
Photo: Angelo Boyke
Ever since Tru Life came home two years ago the streets been waiting for him to get back on the rap grind and rep the often forgotten 6th Borough (Lower East Side). Today (June 8), the former Roc-A-Fella artist comes through with a Future assisted visual to “Baddie” where he incorporates some southern spices into his New York-flavored flow while some young women provide some seductive company.
Jazzy Amra meanwhile throws a throwback party and gets Wyclef Jean and Riley to man some live instruments in the visuals to “You Got Me (Remix).”
Check out the rest of today’s drops including work from Damar Jackson and Gucci Mane, Rich The Kid, and more.
TRU LIFE & FUTURE – “BADDIE”
JAZZY AMRA FT. WYCLEF JEAN & RILEY – “YOU GOT ME (REMIX)”
DAMAR JACKSON & GUCCI MANE – “RETAWDED”
RICH THE KID – “BRING IT BACK”
KREAM TECH FT. TORY LANEZ – “WINNING”
LIL BABY – “FIRST CLASS”
RALO – “WE CAN’T STOP SH*T”
No pizza was involved.
GayVN Award winner Jean Franko up close and personal. Watch a ‘reality’ flip-flop with Brazilian star Rocky, take a close look at Jean Franko`s private life (his Barcelona apartment and his real-life lover), sample his best scenes, each bookended by an exclusive, tell-all interview and a juicy photo-shoot. A tribute to Jean`s masculine all-Latin good looks, massive 9-inch cock and magnetic sexuality.
A tribute to Jean`s masculine all-Latin good looks, massive 9-inch cock and magnetic sexuality.
Scene Number: 4
Studio Name: Lucas Kazan Productions
© © 2016 Elysium Bandini Studios. All Rights Reserved.
Remember Marty’s jean jacket from “Back to the Future”? Well Levi’s Commuter Trucker Jacket with Jacquard by Google is better. We got a glimpse into what might happen when we start connecting our clothes to the internet.
© ℗ 2011 Warner Classics, Warner Music UK Ltd
Glamour's 25th Women of the Year Awards featured a heart-stopping moment when six powerful former WOTYs took to the stage, illustrating the growing influence of women in industries and career fields where they were previously…
In the three short years since they launched the the denim-centric site Jean Stories, former Vogue editors Jane Bishop and Florence Kane have become fashion's foremost authority on all things denim. From the new jeans…
© © 2009 Twentieth Century Fox Home Entertainment LLC. All Rights Reserved.
TOKYO—Jean Paul Gaultier is about to bring some Parisian flair to Japan.
The French designer’s affordably-priced collection for Japanese retail giant Seven & i Holdings will hit the company’s Ito Yokado, Sogo and Seibu stores on Oct. 1. The lineup, which includes striped boatneck jersey tops and a trench coat in a coated fabric, will also be available through a new online portal that will allow customers to pick up their purchases from their local 7-Eleven convenience store.
The Gaultier launch is part of Seven & i Holdings’ broader push into private label clothing and collaborations with big-name designers. The company is launching a new fashion brand called Sept Premières and Gaultier’s designs will comprise a capsule collection within the range called Jean Paul Gaultier for Sept Premières for two seasons. The retailer plans to hire other designers to do future collections for the brand.
Sept. Premières is a French take on the “Seven Premium” brand. Seven & i uses the Seven Premium brand on a whole range of private label goods from rice balls and white bread to underwear and stockings.
“It’s a little more expensive than regular [convenience store] things, but very good,” said Mari Tsutsumi, director and executive officer of original
Nothing says Brittany like the buttery smell of crepes. Or the tart taste of artisanal cider, the ideal accompaniment to wash them down. Those treats circulated on trays ahead of Jean Paul Gaultier’s inventive Breton-inspired couture collection.
This show marked something of a return to form for Gaultier, who steered clear of kitsch and camp and focused more on his craft. Finding “the necessary time to find fresh ideas and to innovate” was among the reasons the designer cited for halting his ready-to-wear collections last year.
One could argue that the coastal region, whose famous striped sailor sweater, or marinière, is one of the Gaultier brand’s most obvious signposts, is not exactly the freshest idea out there. Yet folkloric embroideries, especially done in brilliant yellow gold, added verve to a range of handsome officer and pea coats, captain’s blazers and capri pants. Finally, here was some realistic and handsome daywear, the swirling and geometric embroideries jazzing up the tailleurs.
The cultural region has a rich costume history, and Gaultier incorporated its funeral garb, apron shapes, shawls and dramatic headdresses, known as “coiffes,” lace tubes as large as a roll of paper towels propped on the head. He also found yet more ways to
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Jean Grae’s “iSweaterGawd” features Quelle Chris and Tanya Morgan.
A review of the resort collections puts those who worked with denim most successfully in two camps: Those who treated it as the solid foundation for day looks, and those who took it to new and, if you’re Ralph Lauren, couture-level places. The purists—Pookie and Louisa Burch at Trademark, Derek Lam at 10 Crosby, and Julie de Libran at Sonia Rykiel, for example—proved the harmony between their cool, commercial separates and a five-pocket blue jean by designing pairs cropped, flared, and wide-legged (any fit but skinny, really) to play noble-slash-supporting roles to everything else. Makes sense, right? In fact, the need of denim to complete and casualize a collection properly was something that Creatures of the Wind’s Shane Gabier and Christopher Peters talked about while presenting their very first jean pieces—a wide-legged style, pea coat, and skirt. We were happy to see it.
The other, totally opposite yet equally compelling expression of denim in resort came from designers like Jonathan Anderson (J.W.Anderson), Karl Lagerfeld (Chanel), and Nicolas Ghesquière (Louis Vuitton), who delighted us with sexy, cutout slip dresses, striped boyfriends, and denim-as-swim (what else would you call Ghesquière’s retro trunks?). You don’t need a good memory to know that denim can be made into more than just bottoms (it was still only less than a year ago—spring 2015—that it blew our minds being skirts and dresses, too), and yet, with resort, it was like the newness would never end! Alberta Ferretti cut it like a lace, Adam Selman perforated it, and Sea’s Monica Paolini and Sean Monahan covered it with a white, bandana-like print. Kudos to Ralph Lauren, who kept it raw and showed it as a three-piece suit. And the accessories—the accessories! At Stella McCartney, 3.1 Phillip Lim, and Pierre Hardy shoes and bags were embroidered, frayed, and cinched. Was one way—as the foundation for a look or the fashion piece that determines it—better or more relevant than the other? No. And that, perhaps, is the best thing about being a denimhead today. Big flare—or flair—don’t care!
The post Jean Stories Presents the Best Denim from Resort 2016: Chanel, Victoria Beckham, and More appeared first on Vogue.
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A Conversation with Wyclef Jean
Mike Ragogna: Wyclef, how is the recoding coming on your next album Clefication going?
Wyclef Jean: Well, it’s going great. We’re definitely not finished yet, though. As musicians, we are constantly just writing music every day in the studio. Then once in a while we get an itch to put out a body of work. For me the itch came back after I ran for President of Haiti and went through the fire and came back home. I went to Stockholm and spent some time with Tim Bergling. We went into the studio in winter and we just started recording. It’s really just two producers and two writers, when you break it down to the genesis of what it is. We got in and in the course of like three days we wrote twenty songs. That was just the start of the process for the body of work that will turn out to be Clefication. The name really came from Avicii. Every time I’m in the studio they’re like, “Yo, give us a little more Clefication!” So Clefication is like the swag of Wyclef. It’s the human application to the music. I play all the instruments live in real time, and there’s a certain swag that I do to my voice, little things like Marley used to do. They call it the Clefication. I guess Clefication is the human music application.
MR: Though you’re not finished recording the album, Afro Jack, DJ Khaled, Emeli Sandé and other popular musicians already appear on Clefication. How do you invite your guest cast to the project? Is it simply calling up your friends and saying, “I think you’re right for this?”
WJ: When I put albums together it’s like making an audio film. Every generation has a modern day story that they’re trying to tell. Within Clefication I’m trying to tell the story of life, love, happiness, ups, downs; it’s like a film script. I just look out there and think of people. DJ Khaled and I go way back, so I knew that for a certain sound that I’d need he and I would have to get together, based on our past experiences working together. I spent a lot of time in Amsterdam with Afro Jack, so I understand the movement of what he does and I always wondered, “What happens if you put a Wyclef acoustic guitar against an Afro Jack record?” Emeli Sandé is just hands down one of the greatest vocalists and writers of all time, in my personal opinion, so I’ve been dying to get together with her. I just felt that her ability to write and sing and transform is different.
MR: You’ve already given us a taste of the album with your performance of “Divine Sorrow” on the American Music Awards. What was it like coming back to debuting work in such a large “win-or-lose” kind of format?
WJ: I always think I’m very fortunate, but when I came into the music business one thing I learned from Quincy Jones is that the music game is like a marathon. The game doesn’t really start until now and this is what determines if you’re going to be around or not. The AMAs were cool for me because my daughter is nine, she doesn’t know who the Fugees are, she just went back to school and got to tell everybody her daddy was on the American Music Awards. I have to stay cool for my daughter, no matter what happens. Dads have always got to stay cool for their daughters. [laughs]
MR: You went to Europe for a couple of years to get a little creative inspiration, right?
WJ: Yes. It’s similar to when Marley went to England and hooked up with Chris Blackwell and started using a lot of that country stuff inside the reggae. Inspiration is all over the world. I think sometimes to get inspired you have to move around. I just wanted to go back and forth to Europe, there was a lot of things that I was listening to in my head that I wanted to convey. I spent a lot of time going back and forth.
MR: You joined Ash Pournouri in Sweden, right?
WJ: Yeah. The kind of swag that Ash Pournouri has reminds me of a Chris Blackwell, he’s just younger. His spunk for music, his passion for music is there. When I sat with Ash, who’s one of the executive producers of this new album, he was like, “Yo, you know the ‘Clef brand is the music brand. When you come to Europe I just want to put you in a room with a bunch of cool kids who are doing what you’re doing in Europe and are great friends of yours.” I definitely credit him to starting a process of what would carve out eventually to be a more focused body of work as opposed to just another record, you know what I mean? That’s how I hooked up with Avicii.
MR: And Clefication went to PRMD, the label that you and Ash and Avicii are on, right?
WJ: Yeah, the beautiful thing about Clefication is that it’s coming out on HEADS Music and PRMD. There’s two little independents, one is HEADS Music which I think is brilliant. They actually came and recruited me, which I love, because they have a lot of young acts that they wanted me to produce. I love the idea of the combination of what HEADS Music is doing. Their CEO is very brilliant, her name is Madeline Nelson. She came to recruit me for production. Ash came and was like, “Yo, let’s do an album,” but she came and was like, “Yo, I have all these acts, I need you to do what you did for Destiny’s Child and all of them.” I was like, “Wow, this is a great marriage.” So I did the deal with HEADS Music/PRMD Distribution 88, that’s Warner’s.
MR: You’ve produced, written songs, recorded, and even entered politics, especially by running for president of Haiti. Do all those pursuits come from the same place within? How do you fulfill yourself in each of those categories? Are they sometimes done at the expense of each other?
WJ: That’s a great question, it’s never really been asked like that. I definitely think it’s real hard. How do you go about poli-sci one day talking about world events and policy and trade and then the next day, you’re like “Divine Sorrow.” The thing is, in my subconscious mind, even if you go back to the Fugees days, I’ve always called our music “Policy Music.” We do stuff that makes people dance, but it always has a subtitle in the back of it. It’s definitely not an easy thing, juggling it all at the same time, but I just feel like you can’t just sing. When we listen to John Lennon or Bob Marley, it’s up to us to push the policies forward. For me, it’ll always be a mixture of both. When I saw the movies of Fela Kuti I identified with a lot of parts that were similar to how my life is; running for president, defying the system and how it comes at you like they’re going to take your throat out. For me, it’s all part of the same thing. I never want my legacy to be, “Oh, this is the guy who came from Haiti and just made people sing and dance.” I really don’t think that’s what people will remember in a thousand years. I think people will remember the work that was done.
MR: You always put so much into your personal projects and those you produce for other artists. Do you feel like it’s your mission to just kick everything up as far as you can every time?
WJ: Yeah! The genesis of what I do comes from me as a composer. As a composer or a maestro, when you stand in front of the orchestra, the job is to push them as far as they can go so that it’s the best thing that the audience has ever heard. I definitely crack the whip in the studio, but I have a certain psychosis of how I work with each artist.
MR: Let’s look at Haiti. What would you have done if you’d been elected president?
WJ: Well, in Haiti, my first focus was, “What are our two greatest assets at the time?” One was human capital. The majority of the population is a youth population, which means that you could put them back to work. The other asset that I feel like we naturally have is the soil. The idea of importing and exporting was a situation I felt would work. Setting up agri-banks. We’re only an hour outside of Miami; anything that we wanted to grow we could grow in that climate. I think that between the soil and human capital we could have put a lot of people to work. Even when we talk about education, what’s up with the kid who’s like sixteen or seventeen years old who’s not in school or not interested in it? How are you going to get him engaged? He’s human capital. There are different schools you can set up that are not your traditional institutional school. Plumbing school, engineering school, trade schools. This is some of the stuff that I felt could help put situations in gear.
MR: Do you contribute to a few of causes behind the scenes?
WJ: Yeah, today, they still call me the kingmaker. They’re like, “We don’t understand it, man, you could be up here in two seconds and tell us what’s going to happen in Haiti before it even happens.” I’ll always be part of Haiti. I came from that country to America, but the thing about the American dream is you have to give a piece of that to someone.
MR: Do you find yourself sometimes having to choose between working on musical projects and working on social projects?
WJ: Yeah, definitely. I put my whole career on hold to go back to Haiti and help my country. That’s part of my absence. I didn’t leave because I was on the bottom of the charts and couldn’t write music, you know? I was like, “Okay, I just wrote the biggest pop song in history, now let me take a few years off and help the people.” It’s the same with Bono. It’s not an easy balance, but it’s something that’s in our consciousness. It’s something that’s natural to what I believe. Service is very important to me.
MR: How does it affect your creative process? Does it slow it down at all?
WJ: No, it’s still the same. The first single, “Divine Sorrow,” we partnered up with Bono, who’s a good friend, and we started to talk the whole single idea with the Red campaign after going to Africa and seeing the initiative. We decided that we would partner up with Red and the Global Fund and make one hundred percent of that first single go toward the Global Fund to raise awareness of HIV. It’s not just one cause, it will always be many causes. Okay, yeah, it’s Haiti, but in the same way if you look back at the Fugees, we were there at Rock The Vote, we were there at Concert For Tibetan Freedom. For me it’s the human aspect of us and the natural obligation. Each one teach one. If one falls, the other helps them rise. That’s not really within a music space or a social space, it’s within a mankind space, whether we’re talking about the falling of Rome or the rise of Africa or the rise of Europe, whether we’re talking about it through sports or music or books or philosophy, it’s all the same concept. Are you going to do more than just write that philosophy? Are you going to be Sigmund Freud? Are you going to give them something extra?
MR: When you look at Ferguson, SAE and beyond, what are your thoughts?
WJ: Well, I think there are a few things happening. I think the trust between communities and their law enforcement has been lost. Another thing that’s happening is, it’s not like it has not been here before, but with social media and people constantly having cameras now it’s quicker to get it to the forefront. When you’re like, “Man, what happened?” It’s because what you’re seeing now is being transmitted through the internet, but imagine when those cameras were not there. This is an issue. We can’t run from the idea of, “Do we still have a race problem?” The key is that the majority of us are not racists, but that little racist notch is trying to say, “That is America,” and we’re saying, “No, that is not America.” There are parts of America that has to be worked on. I was not surprised by what happened at the SAE fraternity, but it’s that someone caught that on tape. Those guys wouldn’t be saying that if they knew they were being recorded, but once again, for them to say it somebody had to instill that hatred in them. These are the things we have to fight against.
MR: There are many who feel socially-minded artists should just “shut up and sing.” Do you feel the atmosphere has gotten better for artists who promote causes these days?
WJ: Definitely. I think social media has really helped that. It has given people a voice, and lets us hear other voices aside from the radio. I think social media has made it a little easier to communicate and convey your message.
MR: Do you think you’ve educated or influenced some of the acts you’ve been involved with?
WJ: When you’re an actor you’re inside of the film and you sometimes don’t get a chance to look back and think about it. I think I’m just in that wave right now of moving forward and hoping people move with me.
MR: Wyclef, what advice do you have for new artists?
WJ: If you really want to do this, you have to watch the movie Whiplash. That’s a good movie minus the slapping in the face. Multiply that movie times one hundred thousand and that is the music business. That is the music business. If you decide you’re going to be inside of this music business, you have to be ready for the rise and for the fall. The only thing that’s going to keep you inside the music is originality, and you constantly have to be passionate about it. The first thing is the passion. If you have real passion and somebody says you suck, you’ve got to be more passionate to do better. If you don’t have real passion and somebody says you suck, you’re going to be ready to quit. Make sure that you’re ready for this arena if you want to be in the music business.
MR: Cool. You’re going to be performing at South By Southwest, right?
WJ: Yeah, I’m definitely going to be headlining Pandora hip hop night, I’m going to also be bringing some HEADS Music artists, it’s going to be very cool.
Transcribed by Galen Hawthorne
A Conversation with Bravo’s Kirk & Laura Knight
Mike Ragogna: Kirk and Laura, you are the ultimate power couple with combined success that borderlines obsession, starring in Bravo’s Newlyweds: The First Year. In order to make this merger work, what are some of your biggest compromises?
Kirk Knight: Our lives are extremely busy and we can easily get wrapped up in everything outside of the relationship. We make a conscious effort to make time for one another every day, without distractions. Compromise is one of the major components to a successful relationship. The key is to find balance in the relationship while not compromising yourself. Tall order for most people.
MR: What are some past habits, issues, possessions or lifestyle elements that either needed major compromise or to be jettisoned after the marriage?
KK: I am extremely analytical and my business has required me to make decisions quickly that I believe are right. When I make these decisions in business I am not seconded guessed, nor do I like to be. Sometimes that can bleed into my relationship, where I may be short and come across righteous. In a relationship, you really need to listen more to your spouse and come together as a team to develop the best decision for your marriage.
LK: Before dating Kirk, I was always independent as an adult. It took time for me to think in terms of we instead of I. Accepting that element of a relationship brought us closer together as a unified front.
MR: It’s pretty much a given that “reality” shows are not exactly that. To what degree are you okay with the cameras being in your faces, recording the daily joys and dramas? And doesn’t that affect the intimacy of your marriage, especially at a time when you need to explore more depth in your relationship?
KK: The cameras are filming for just over a year, but we also have a couple cam, which allows us to film moments that the film crew cannot. This really gives an added perspective to sharing with the public. When doing a reality show, you truly need to make the decision to share and open up your life for the public to see–this includes the good, the bad, and the ugly. We discussed doing the show in great detail before we agreed. Ultimately, we believe in our relationship and the foundation we have created. The cameras can affect your relationship if you are not prepared for the reality of filming a yearlong reality show. Laura and I do really well with the cameras being there, but we like excitement and are very much risk takers. The intimate moments may be interrupted at times, but for the most part we live our lives–it just happens to be in front of an entire film crew. We still have our private time or at least until our sex tape is released. The sex tape is being released in 2015.
MR: Might this television aspect actually be part of what contributed to the success of your marriage?
KK: We embrace adventure and where most people would get stressed, we shine. I think our relationship is successful because of who we are as individuals and most importantly who we are together. I believe each adventure we encounter will ultimately help us to grow and strengthen our relationship.
MR: What do you make of the show’s success?
KK: I can’t say enough about the show–it is intriguing and exciting. I was a fan before we did the show and I love watching the joys and challenges couples face when merging their lives. Filming for 12 months is not that typical for a reality show. This series really gets into our lives and shows our trials and tribulations. There will be a lot of people that can relate to what our first year brings. Many will be shocked and I believe all will be intrigued.
MR: Is there any major evolution in the way the show is being shot since the first season? Any huge surprises coming?
KK: We have some major decisions and roadblocks in front of us. I believe some of these issues will leave the viewers in tears, some will have them laughing out loud and others may just have them in shock. Through the good and the bad, we encounter a lot of relatable issues that couples across the country have either faced or will be faced with during their first year of marriage.
MR: What advice would you give to other reality show stars or newlyweds in general?
KK: Before making the decision to be on a reality show, you need to have a strong relationship and be comfortable with who you are as individuals and who you are as a couple. Communication is key and the largest part of communicating is truly listening and hearing what your partner is expressing.
MR: Any plans after the show wraps? Rumor has it you’re working on razzd.com right now plus an app to go along with it.
KK: Razzd.com is a website and mobile app (available in the app store) that allows people to argue regarding any topic or headline. This is how the site works… One person records a video explaining their side of an argument and challenges someone else, who in turn records a video with an opposing view. Then the videos go live for the public to comment and vote on who they believe is right. After 3 days, the person with the most votes is declared the winner.
After each episode, Laura and I will be “Razzing” each other on the main topics we have gone through on the show so the public will be able to vote on who they believe is right and wrong.
People love to be heard and want to voice their opinions. Everyone in this world, while in an argument, has said “if you ask anyone they will agree with me” – well now you can ask everyone. We have all wondered who is right and who is wrong and now we can finally find out. I want everyone to get their chance to share that. Razzd.com is more of a podium for people to express themselves, challenge each other and be entertained, while deciding who’s right and who’s wrong.
MR: Sorry to ask this, I mean no offense by it, but what happens if one of the couples don’t make it and want a separation or divorce? Is the show prepared for such obstacles?
KK: Having your lives exposed to national television for a year is going to capture the couples at their best and worst. This may ultimately add to a level of stress that may contribute to a relationship deteriorating. Problems are magnified and scrutinized to a much greater level when shown to a national audience. Couples may not survive and in such an event the viewers will witness their downfall. Every relationship has its trials and tribulations–some will survive and some will not.
A Conversation with Bar Rescue’s Jon Taffer
Mike Ragogna: Jon, you¹re the host of one of Spike’s most popular shows, Bar Rescue. Why do you think that is?
Jon Taffer: They enjoy the transformation and I hope the no bullsh*t attitude that it takes to get the transformation.
MR: What originally got you into mixology?
JT: You know I started attending bar in college and I have gotten a lot of customer contact and the energy of the bar. I can¹t tell you that I love mixology per se. I love the bar business. By which mixology is a large part but I love music just as much, I love neighborhood bars just as much.
MR: What are your personal favorite drinks and how do you doctor them for your personal taste?
JT: I am surrounded by the best mixologist in the world so I get to try to the greatest products and recipes. I tend to lean towards scotch, I tend to prefer “Godfather,” however I have an extensive bar at home and sometimes I’ll play around with juices and flavored vodkas and stuff myself and have some fun. And dare I say, yes, I have played with fluffed marshmallow vodka and liked it, there it is, I put it out there.
MR: You’ve helped elevate the success rate for several bars, thus the series title “Bar Rescue.” When and how did you see the need for such a position and what has your level of success been?
JT: I know the level of success based on independent websites that track it. It’s about 80%. And when you consider that every person on Bar Rescue tells you they are weeks from closing, I am proud of that outlook. In fact, I challenge anybody to do it better. I never knew there was a need for this, I got into this because it was an entertaining television show. Once I started doing it, I realized, wow I am actually changing people’s lives. Then I realized there is a need to do it and I realized I had a need to do it, I was the right person to do this. I can actually get through to people and connect with people in a special way. This show has taught me that and now it is hard not to do that if the opportunity is given to me. The emails that I get from them, the phone calls that I get, notes that I get on how they bought a house, this and that, is very inspiring to me.
MR: I bet you’re not surprised by how popular the show is.
JT: I am surprised, I thought I’d do a pilot and go home, honestly. Then I thought I’d do season one and go home. Now, I’ve finished 85 episodes. Last week we were consistently one of the top cable shows in our time slot. And one looks at the ratings to see how successful we have been, and how long it’s lasted. What really surprises me is how often the episodes are watched and demographics of our audience. Which is almost 50% female.
MR: What are some of the techniques and suggestions that you offer? What’s the most common cause for a bar’s lack of success and is it easily reversible?
JT: You know I’ve said this before, it’s the only answer I have for this, and its “excuses.” People blame the economy, the president, the congress, their neighborhood, construction, the weather, they will come up with a hundred reasons why they failed today. Yet in that exact same situation somebody else is making money. So their excuse is bullsh*t. Accepting that excuse would make me a contributor to their bullshit so I don’t. Everybody who is failing, is failing because of themselves. Period. And it’s up to them to change it. Don’t blame it on anyone else, only blame it on yourself and that will change the course of anyone who is failing. If you own your failure, you’ll own your success.
MR: What’s been your best Cinderella story to date?
JT: A few come to mind. Spirits on Bourbon. Their sales are up over a million dollars a year.
The Barbershop Chair does over $ 50,000 a month. They sell 16,000 Resurrection cocktails every month. They had to buy a warehouse in Baton Rouge to store 80,000 mugs. Moon Runners. That was a family that was really in trouble. Now, the rest of the bar is doing great, family is doing great, they bought a house and they are opening a second location.
MR: You’ve been known to get up in people’s grills to emphasize points. From your perspective, what is it in your various approaches that makes the difference in a client’s success or failure?
JT: I have to get through, you know other people have said to them, the same things that I am saying. I am not the first person to tell them that the bar is dirty. So I use pride. I try to appeal to their pride. If that doesn’t work, I use fear. What’s going to happen when you lose your house? Where’s your family going to stay? If that doesn’t work, then it’s boot camp time. I beat the sh*t out of them till I get through candidly.
MR: How has Bar Rescue‘s affiliation with Spike benefited the series beyond demographics?
JT: First of all, I love working with Spike. They have given me the freedom to do the show with honesty and based on reality. Nothing is scripted. Nothing is preplanned. The trust that Spike has placed in me is special. As an end result, because of Spike’s trust in me, and their support of the show, we are able to provide the most authentic reality show on TV and I believe that is what drives our success.
MR: What advice do you have for those in the hard beverage industry?
JT: Look at me, I started as a bartender and had no formal college career. This is an industry that unfolds unbelievable opportunities to anyone, in any education level, with any background. If you really want it, I believe you can have it and I also believe that this is the greatest industry in America. I do.
MR: What¹s next up for you and the series?
JT: I am very excited about TafferTV and BarHQ. What is next for the series is that for every episode we try to raise the bar. You know, we have mixed up the format, we try to find bigger challenges, and bolder opportunities, and it’s working. The show has gotten more popular, more bars are submitting to be rescued, which has given us a bigger pool to choose from, which is allowing us to wind up with even more compelling episodes.
Entertainment – The Huffington Post
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The Connection Official Red Band Teaser 1 (2015) – Jean Dujardin Movie HD
A stylish, 70’s-period crime thriller inspired by true events, The Connection tells the story of real-life Marseilles magistrate Pierre Michel (Academy Award® Winner Jean Dujardin, The Artist, The Wolf Of Wall Street) and his relentless crusade to dismantle the most notorious drug smuggling operation in history: the French Connection.
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|Mary Jean wants nothing more than to please her boss Nick Manning so when he tosses her on his desk she knows she is in for a cock ride.|
|Click to See More Penthouse Pics of Mary Jean & Nick Manning|
Every disease needs a star. While I extend my sympathy to legendary disc jockey Casey Kasem and his family, it is with regret that I must welcome this week’s news that he has Lewy Body Dementia (LBD), because his diagnosis may finally bring LBD the attention it deserves. Perhaps Kasem will become synonymous with LBD in the way that baseball legend Lou Gehrig did with Amyotrophic Lateral Sclerosis (ALS), and singer Karen Carpenter did with anorexia and bulimia. Kasem may be the most recognizable face of LBD right now, but the first and enduring face of LBD for me will always be my mother, Mama Jean. In the way that alcoholics share their stories to help other alcoholics, I share Mama Jean’s story to help those who are coping with LBD. Out of the darkness of her LBD came one enduring gift for me.
Lewy what? Almost everybody has heard of Alzheimer’s, but few are aware of LBD, an equally devastating dementia that is progressive and fatal. (LBD is named for Friederich H. Lewy, who discovered in the early 1900s the abnormal protein deposits that disrupt brain function.) In Alzheimer’s patients, lapses in short-term memory are among the first symptoms, while LBD patients might encounter severe disruptions in attention and judgment, hallucinations, delusions and acute sleep interruptions. According to the Lewy Body Dementia Association, LBD “affects an estimated 1.3 million individuals and their families in the United States, but many doctors or other medical professionals still are not familiar with LBD.”
I sure as hell can tell you about that.
But first let me introduce you to Mama Jean. She was a star to me. With her raven mane professionally done to a tease, makeup always camera ready, she was the Elizabeth Taylor of the small Texas town where I grew up. Like a star, she was self-made. Her jungle-red fingernails clawed out a huge chunk of the financial pie as a stockbroker in the 1980s — no small feat in what was still a good ole boys’ club. When she overheard one broker bragging about how he poached clients, she stuck her head in his office and said, “I heard what you just said. Let me tell you something. If you ever do that to me, I’ll cut your balls off.” He never did. Her ascent was marked by a graduating succession of luxury cars: Mercury Marquis, Lincoln Town Car, and then a series of Cadillacs. She was always in the driver’s seat.
I felt this my whole life, but especially when she flew from Texas to where I live in New York City to rescue me, her then 38-year-old, redheaded baby son. I was suffering from alcoholism, the disease that Betty Ford pulled out of the gutter when she became the face of it.
Mama Jean took control. The night before she sent me to a rehab in Palm Springs not far from Betty Ford’s clinic, she stared me down. With gritted teeth and a red finger-nailed point she said, “Your drinking days are over.” If it’s possible to be scared sober, Mama Jean could do the job.
Two years later she drove her Cadillac through the wall of her bridge club. Lucky for her fellow bridge players, she was early so no one was hurt, including her. A year after that she drove the repaired Cadillac to the beauty salon. Not unusual, except she wasn’t wearing any pants. Her priorities were in order, but the execution was misfiring.
When she started having wild hallucinations and believing her worst nightmares were true, Earl, my dad, and Jeffrey, my brother, made a series of visits to doctors, none of whom ever mentioned Lewy Body Dementia as a possible cause. They never mentioned LBD, period. The first we heard of it was from a family friend whose husband had died of LBD.
Not long after that pant-less drive, Mama Jean’s mind exploded into a bad acid trip of wild hallucinations and delusions and she had to be hospitalized. The facility was comfortable and she was given some lovely pills to stabilize her, but no diagnosis came. Again, LBD was never even mentioned — and this was the geriatric unit of the facility. We got our answer when Jeffrey found a neurologist who specializes in memory disorder. Thanks to that family friend and not to any of the doctors we’d seen to date, we had LBD in the dark corner of our minds. Still, when the diagnosis came it was a punch in the stomach. In fact, Mama Jean punched the neurologist who diagnosed her. During the exam he tested her reflexes with a rubber-headed hammer hit to the knee and she hit him back, right in the gut.
“No patient’s ever done that to me before,” the stunned doctor said.
“You’ve never met Jean Brickhouse,” my father beamed with pride.
Mama Jean’s mind was already gone, but her reflexes — the ones that declared, “Don’t mess with me, I’m in charge,” — were still firing. It was the kind of moment — a brilliant spark of lucidity — that crystalizes the essence of a person after their mind has been hijacked.
Like her Cadillac and the bridge club wall, her disease and my disease collided the first time I saw her after she went haywire. It was my turn to come to her rescue; so I took the reverse flight — New York to Texas — she had taken almost three years prior when she put me into rehab. I was still struggling with booze and had relapsed a few times but never told her.
However hard I tried to prepare for the worst, I kept harboring fantasies that I would somehow master the code and bring her back. Jeffrey warned me that she might not know me. I nodded yes, but part of me didn’t believe that that was possible.
Did she know me? I can’t say. At one point she smiled and told me that with my pretty red hair I reminded her of… and then she trailed off. Everything she said that day lacked something she had never lacked: conviction.
When it was time to leave we stood in the hall and I hugged her goodbye. When I turned to walk away her hands clamped my forearm in a vice grip. It hurt. I turned and she stood staring at me, her teeth gritted. She was furious with me and about to let me have it. She kept one hand gripped on my arm and released the other to point her index finger at me in accusation. “You’ve been drinking.” She was having one of those LBD, worst-nightmares-are-true moments.
“No I haven’t.” I hadn’t. I had seven months sober and felt like I might finally reach one year.
“You better not be.”
“Remember, Mama? That’s all behind us. You took care of that. I have you to thank. You don’t have to worry anymore.”
She looked at me warily before she accepted what I said. “Okay, but promise me. Promise.”
“I promise.” I thought, If I can’t stay sober for myself, do it for her.
She stood there silently, her eyes fixed on me. For one last time — before LBD claimed her forever — she was in charge.
Mama Jean died five months later, just a week shy of my first year of sobriety. I’ve been sober ever since. For me the star of LBD is Mama Jean.
Jamie Brickhouse is the author of Dangerous When Wet, a darkly comic memoir about booze, sex and his mother Mama Jean to be published by St. Martin’s Press in spring 2015.
Entertainment – The Huffington Post
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Christian WILD caught his naughty step-daughter, Caprice Capone stealing his car keys and he’s mega pissed but his penis has other intentions! She slithers her hot co-ed body all over his lap and he palms her cheeky little booty while helping himself to licking her perky pierced boobs. She bends over and drops those cut-off shorts so Christian can movie his tongue in and out of her slit. Caprice sucks his weiner like her life depends on it. Then, she gives her step-dad the rusty trombone treatment, cleaning every square inch of his butthole with her dirty tongue. This babe completely falls to pieces when it’s time for Christian’s trademark screwing!
Christian WILD caught his naughty step-daughter, Caprice Capone stealing his car keys and he’s mega pissed but his wang has other intentions! She slithers her hot co-ed body all over his lap and he palms her cheeky little booty while helping himself to licking her perky pierced tits. She bends over and drops those cut-off shorts so Christian can episode his tongue in and out of her pussy. Caprice sucks his cock like her life depends on it. Then, she gives her step-dad the rusty trombone treatment, cleaning every square inch of his butthole with her dirty tongue. This diva completely falls to pieces when it’s time for Christian’s trademark screwing!
Christian XXX caught his naughty step-daughter, Caprice Capone stealing his car keys and he’s mega pissed but his weiner has other intentions! She slithers her hot co-ed body all over his lap and he palms her cheeky little butt while helping himself to licking her perky pierced tits. She bends over and drops those cut-off shorts so Christian can vid his tongue in and out of her cunt. Caprice sucks his meatstick like her life depends on it. Then, she gives her step-dad the rusty trombone treatment, cleaning every square inch of his butthole with her dirty tongue. This babe completely falls to pieces when it’s time for Christian’s trademark screwing!
Christian XXX caught his naughty step-daughter, Caprice Capone stealing his car keys and he’s mega pissed but his dickhead has other intentions! She slithers her hot co-ed body all over his lap and he palms her cheeky little ass while helping himself to licking her perky pierced boobs. She bends over and drops those cut-off shorts so Christian can flick his tongue in and out of her pussy. Caprice sucks his manhood like her life depends on it. Then, she gives her step-dad the rusty trombone treatment, cleaning every square inch of his butthole with her dirty tongue. This babe completely falls to pieces when it’s time for Christian’s trademark screwing!
Christian PASSIONATE caught his naughty step-daughter, Caprice Capone stealing his car keys and he’s mega pissed but his meatstick has other intentions! She slithers her hot co-ed body all over his lap and he palms her cheeky little butt while helping himself to licking her perky pierced tits. She bends over and drops those cut-off shorts so Christian can movie his tongue in and out of her beaver. Caprice sucks his manhood like her life depends on it. Then, she gives her step-dad the rusty trombone treatment, cleaning every square inch of his butthole with her dirty tongue. This babe completely falls to pieces when it’s time for Christian’s trademark screwing!
Christian PASSIONATE caught his naughty step-daughter, Caprice Capone stealing his car keys and he’s mega pissed but his wang has other intentions! She slithers her hot co-ed body all over his lap and he palms her cheeky little booty while helping himself to licking her perky pierced tits. She bends over and drops those cut-off shorts so Christian can episode his tongue in and out of her slit. Caprice sucks his penis like her life depends on it. Then, she gives her step-dad the rusty trombone treatment, cleaning every square inch of his butthole with her dirty tongue. This diva completely falls to pieces when it’s time for Christian’s trademark screwing!
Christian WILD caught his naughty step-daughter, Caprice Capone stealing his car keys and he’s mega pissed but his shaft has other intentions! She slithers her hot co-ed body all over his lap and he palms her cheeky little rump while helping himself to licking her perky pierced tits. She bends over and drops those cut-off shorts so Christian can flick his tongue in and out of her muff. Caprice sucks his meatstick like her life depends on it. Then, she gives her step-dad the rusty trombone treatment, cleaning every square inch of his butthole with her dirty tongue. This babe completely falls to pieces when it’s time for Christian’s trademark screwing!
Christian HARDCORE caught his naughty step-daughter, Caprice Capone stealing his car keys and he’s mega pissed but his dickhead has other intentions! She slithers her hot co-ed body all over his lap and he palms her cheeky little backside while helping himself to licking her perky pierced boobs. She bends over and drops those cut-off shorts so Christian can vid his tongue in and out of her cunt. Caprice sucks his dick like her life depends on it. Then, she gives her step-dad the rusty trombone treatment, cleaning every square inch of his butthole with her dirty tongue. This babe completely falls to pieces when it’s time for Christian’s trademark screwing!
Christian HARDCORE caught his naughty step-daughter, Caprice Capone stealing his car keys and he’s mega pissed but his shaft has other intentions! She slithers her hot co-ed body all over his lap and he palms her cheeky little booty while helping himself to licking her perky pierced tits. She bends over and drops those cut-off shorts so Christian can episode his tongue in and out of her coochie. Caprice sucks his wang like her life depends on it. Then, she gives her step-dad the rusty trombone treatment, cleaning every square inch of his butthole with her dirty tongue. This babe completely falls to pieces when it’s time for Christian’s trademark screwing!
Christian HARD CORE caught his naughty step-daughter, Caprice Capone stealing his car keys and he’s mega pissed but his meatstick has other intentions! She slithers her hot co-ed body all over his lap and he palms her cheeky little butt while helping himself to licking her perky pierced boobs. She bends over and drops those cut-off shorts so Christian can vid his tongue in and out of her muff. Caprice sucks his dong like her life depends on it. Then, she gives her step-dad the rusty trombone treatment, cleaning every square inch of his butthole with her dirty tongue. This diva completely falls to pieces when it’s time for Christian’s trademark screwing!