GIVING THANKS: For Giving Tuesday, the nonprofit Dress for Success has rounded up some designer and apparel companies like Bruno Magli, Altuzarra and Project Gravitas to promote its worldwide work.
Committed to helping women reach economic independence, the group has created the #DFSPowerPiece social media campaign and microsite to encourage donations. In addition to the aforementioned three brands, Christian Dior Makeup, Peruvian Connection, Rent the Runway, Sorel and Wander Beauty are involved in this year’s effort. Each is selling an item for the initiative where some of the proceeds will benefit Dress For Success. Magli’s selection is the Gala sued pump, Altuzarra’s pick is the Pencil Skirt and Christian Dior Makeup’s choice is the Ultra Rouge 999 Lipstick.
In years past, the group marked the annual post-Thanksgiving event as “Giving Shoesday,” where people were encouraged to donate shoes to the organization. Chied executive officer Joi Gordon said that this is the first time the group is working with multiple brands that will have dedicated items to help ring up sales for Dress For Success. Some of the participating brands are regular donors to DFS.
“This will obviously be driven by not only the brands, but also our database and social media. We’re excited
Meek Mill‘s recent probation violation case that landed the Philadelphia star two to four years in jail this week has taken a new turn. According to Meek’s attorney, Joe Tacopina, that the judge in the case, Genece Brinkley, has some manner of weird obsession with the MMGrapper and allegedly asked him to drop his management contract with Roc Nation to join the camp of the judge’s associate.
Billboard: What were your initial thoughts after Judge Brinkley revealed Meek’s sentencing on Monday?
Tacopina: It was an enormously grave mischaracter of justice. A really despicable version of what the justice system is supposed to be. There’s three people in the court room besides the defendant: The prosecutors, the district attorney — who’s in charge of enforcing laws and handing out punishments — [and] the probation officer who’s in charge with enforcing people who are on probation making sure that they apply with the law and when they don’t, recommending punishment.
Then, there’s a judge that’s supposed to be a fair, neutral arbitrator and oversee. Both the probation officer and the district attorney recommended no incarceration for these violations. No incarceration. But this judge excoriated both of them, challenged their credibility and overrode both law enforcement agencies recommendations and went from zero to two to four years, which shows that she clearly had a personal vendetta against this guy [Mill].
But when you look at all the other facts, like a judge crossing the line of professionalism and traditional conduct, [who] will make the request that Meek Mill re-record a famous Philadelphia pop band, Boyz II Men’s song “On Bended Knee,” where he concludes with a tribute to her and mentions her by name in the song. And he, of course, was laughing and thought it was a joke, she said, “I’m serious.” He refused to do that.
So, that, right there, was a totally an inappropriate request. When she requests he leaves his current management Roc Nation — which is one of the most important management companies in the world — and goes back to a local Philadelphia guy who has a spotted past because she had a personal relationship with him as manager, again, she’s doing something that a judge would never be doing, having a personal interest.
If true, could this help lessen the sentence levied upon Meek Mill, especially since prosecution in the case didn’t intend to pursue the matter with this manner of ferocity?
Read more of this bizarre turn of events by following this link.
Spa’ing at home used to mean slicing up a cucumber, slipping on a robe, and turning up the Yanni. Now you can step up your pampering ritual with products created at some of the most luxurious spa destinations worldwide—from a French alpine chalet to a breathtaking Parisian grotto. (Wind-flute music totally optional.) The latest from allure.com MillionaireMatch.com – the best dating site for sexy, successful singles!
★★★★★“It explodes into the most exhilarating, pulse pounding, breath taking, heart breaking, scandalizing, scary as Hell, no holds barred love that completely shatters and leaves you unnerved for days. That, is this book. It is THAT amazing!” ~ZombieMommi Shay Baynes brought her nightmares to life to fulfill her dreams of becoming published. Now, everyone else is paying the price with their blood. Her hit comic Sanguine Specter, based on the horrific murders from her nightmares, hits it big. Finally able to feel something other than numbness, Shay's riding high on her success when it all comes crashing down with the bodies of the murder victims. The INK series is the perfect blend of supernatural horror, paranormal haunting romance and supernatural suspense. Embark on this wild ride of twisted dark urban fantasy. Watch as a 22 year old Shay transforms from someone who needs help, into a strong confident woman with more power than anyone ever imagined. UtopYA 2015 Nominee for: Best Supernatural Villain – The Specter from INK: Series Best Supernatural Series of the Year INK: Series **This book contains adult language and situations** The INK Series – in the suggested reading order INK: Fine Lines (Book 1) INK: Vanishing Point (Book 2) INK: Abstraction (Book 3) INK: Darken (Book 4) INK: Bold Strokes (Book 5) Coming early 2016 INK: Sketches (Book 0) – the prequel can be read any time after INK: Fine Lines
Angry Nerd is hungry for some new material. Instead of force-feeding us cinematic souvlaki with CGI blowouts of Greek-inspired story lines, maybe it’s time to look beyond the Peloponnesian lore. And no, Brett Ratner, we will not be entertained with your upcoming Hercules starring Dwayne “The Rock” Johnson. WIRED Videos – The Scene
Tyler Hubbard wed Hayley Stommel during a ceremony in Sun Valley, Idaho on Wednesday. According to People, the date came on the two-year anniversary of their first kiss. “There’s something about being able to call Hayley my wife and say that it’s official!” Hubbard told the mag. “Marriage is forever and we’re just so happy to share our love forever.” RTT – Music Webcam Performers Wanted – Earn $ 100,000 per year!
“My son Miles is a musician and a DJ,” she told People magazine. “And sometimes when his band performs they all wear dresses, and he has long hair.”
Sarandon went on to note that Miles’ willingness to break stereotypes had her full support. “I think the more crayons you have in your box to color outside the lines, the more exciting it is,” she said.
The “Thelma and Louise” star has been a longtime supporter of The Trevor Project, a lesbian, gay, bisexual and transgender (LGBT) youth advocacy organization, and said motherhood has motivated her ongoing support.
“As a mother, I know how difficult it is to survive the teenage years intact and the socialization process — if you step out of line, it’s so difficult,” Sarandon, who is slated to play the lesbian grandmother of a transgender teen in the upcoming film, “Three Generations,” told the publication. “And there are so many kids these days who are questioning, gay or transgender, who have a very tough time and it could be very dangerous for them.”
“I think once all those ‘boxes’ are gone, it’s going to be so much more interesting and so much less energy spent on those ‘boxes,'” she said. “We can get down to the nitty-gritty of, really, what a person is.”
— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.
It’s Christian Grey’s birthday, and to celebrate, E. L. James has given him, and us, the gift of his inner monologue. Her latest book, Grey, out today, offers the events of Fifty Shades of Grey and the beginning of Fifty Shades Darker from the perspective of its mysterious leading man/master of pain.
Why does Christian find meek, ponytailed Anastasia Steele so utterly beguiling? Just what is he thinking each time he treats her to another earth-shattering, physiology-confounding orgasm? Why the deep familiarity with Tess of the d’Urbervilles, the very same book that Ana lives by? (#Soulmates!) Where does he buy his favorite floggers? What about those trusty carabiners? And what’s going through his head when he composes an email using SHOUTY CAPS??
You’ll have to pick up a copy of Grey to find out. But in the spirit of giving, we’re giving you ten nuggets from Christian’s subconscious that just might become your new Twitter bio. Because he’s really into technology (like a MacBook that can get online ANYWHERE, and cutting-edge BlackBerrys). And he may be “fifty shades of fucked up,” but nobody coins a phrase quite like our favorite musk-fragranced, food-obsessed, hard-bodied billionaire dom.
1. “I like to possess things, things that will rise in value, like first editions.”
2. “I do like to keep them guessing how I take my coffee.”
3. “Sometimes it’s just fucking great to be me.”
4. “Incurable romantic who only wears jeans.”
5. “My number one rule: Never fuck the staff.”
6. “Thank heavens for the NDA.”
7. “I do what I always do when I can’t sleep—I check my email.”
8. “It’s been a long time since I’ve seen pubic hair up close and personal.”
9. “I forgo the Cristal and the Dom Pérignon for a Bollinger.”
GOODNIGHT MOONSHINE’S “DARK SIDE OF THE RAINBOW” MASHES PINK FLOYD WITH THE WIZARD OF OZ
photo courtesy of Seth Cohen PR
The video of the song “Dark Side of the Rainbow” is a mashup of Pink Floyd’s “Time” from Dark Side of the Moon, and “Over The Rainbow” from The Wizard of Oz. Their aim is to pull back the curtain not only the urban legend of the Pink Floyd album but also to reveal the tension that often exists within a new marriage.
According to Eben Pariser…
“The whole thing emerged from the 90s phenomenon of syncing The Wizard of Oz movie to the Dark Side of the Moon album, and all the speculation that the coincidences were way too precise for Pink Floyd to not be in on it, especially since they were making movie soundtracks at the time. When I was 16 (after allegedly indulging in the stoner-sport of syncing the film to the album,) I spontaneously realized that ‘Time’ was in fact a perfect reharmonization of ‘Over The Rainbow’–but it took me 16 more years to find the right vehicle to record and perform the mashup, in my lovely wife Molly and our collaboration, Goodnight Moonshine.'”
According to Molly Ventor…
“We set out wanting to convince people that Pink Floyd intentionally synched the album to The Wizard of Oz. During the filming, we realized how closely the 2 sets of lyrics paralleled the different sides of a longstanding philosophical argument we’d been having; Venter believing that much in life is out of one’s control and that we must remain hopeful and optimistic, Pariser believing more in the power of individual will and action, and that missed opportunities are one’s own fault. Through the taping we recognized we were each trying to convince the other of our own life perspective. The video captures how painful that endeavor is. We’re a newlywed couple, letting you in on our life together through our music. All the good stuff, but also the dark stuff, challenging stuff–the stuff that often goes unsaid. No kitsch. And largely positive and healing through the revelation that we are at the core, just normal folks trying to make a marriage work. A positive loving relationship, and a deeply artistic and somewhat daring one.”
For more on : http://www.goodnightmoonshine.com
A Conversation with Billy Bob Thornton
Mike Ragogna: Billy, your group The Boxmasters has been working on its double CD Somewhere Down The Road for a while now. How does The Boxmasters hit you these days as opposed to when you were just starting out with the group?
Billy Bob Thornton: In the beginning, we didn’t really know how long it would last. It was kind of like a side project for my solo stuff. We thought we’d make that record and maybe another one and that would be it. It began as a sort of stylized thing. We were experimenting with a combination of British Invasion and hillbilly music and putting them together and wearing the suits in tribute to the sixties, which is the era we love. The first two or three records were almost like art projects. Like I said, they were very stylized. If you remember the first Boxmasters record, it had transitional music, so it never stopped. We put an extra CD of covers in each record as a bonus, songs we loved and that inspired and influenced us.
After those records were done and we parted ways with Vanguard Records, we thought we’d gone as far as we could. Then all of a sudden, we just started writing songs and playing the way we naturally sound as opposed to trying for a specific thing. On the first record, we were doing Mott The Hoople, The Beatles, The Byrds and singing it like David Allan Coe. Then JD and Brad and I started writing these songs and we just played them the way we naturally sound. As it turns out, the reason we made this new record a double is because we sound like two things. We have that moody sort of dark, atmospheric sound, and then we have this very late sixties LA country rock sound in the vein of The Byrds, Buffalo Springfield, Burrito Brothers, with some influence of Petty and people like that. We discovered that that’s who we really are. We’ve written probably two or three hundred songs that aren’t even on records; we’ve got five or six songs that have already been mastered that aren’t out. We’re just going to sell those records on the website because we’ve got so many. That sound on Somewhere Down The Road–on the first side especially–is kind of what those other songs sound like. We’ve kind of finally settled into that.
MR: Do you feel like you guys reached this point creatively because of what’s going on in your personal lives? Maybe you’ve “matured” in some ways, if that’s the right word?
BT: I think that’s a good word for it. We have matured as songwriters, musicians, singers, everything. I think you can’t help doing something for so long that you’re just going to get better. We’ve gotten better over the years. I think we have more confidence. We know we can write songs and we know we can write songs that people can respond to as opposed to whatever weird stuff is in our head that we experiment with. I think we have definitely matured. I think recording is probably my favorite thing to do in music. We love playing live, that’s a great thing, but being in the recording studio is such a part of our souls and so natural to us. I love acting, I love doing movies and I love music, I love them all equally, but I think I only like the process of actually doing the stuff. I love the process of recording, I love the process of doing movies as an actor, I just don’t like all the other junk that’s involved with it. So maybe in the recording studio, you just feel exempt from everything when you’re in there. It’s like you’re hidden in a cave somewhere alone doing what you’re feeling in the moment. I guess that’s why we recorded so many songs; we just keep going. Even ones that aren’t intended to come out maybe. We get an idea for a song that probably isn’t commercially viable but we record it anyway because we want to.
MR: The process is more important than an end result. How is your creative expression different or the same in the fields of acting and music?
BT: They both really do feed my soul. Not only are they both very cathartic–I know that word is probably very overused but they truly are–but I just love the artistry of both. The thing is you get to experience what’s in your mind in different ways. It feels the same inside, it’s just as good both ways, but you get to experience your art in a different way. But to me, they’re really the same thing, just expressed in different ways. I never expected to become and actor of any stature. It just kind of happened. Because of that I always approach things this way: I’d rather have a hundred or two hundred really hardcore fans than millions of fans who just treat it like anything else and you get slagged off half the time and some of them are sort of interested or some hate it and some like it. It’s that end result thing you were talking about. I don’t do anything with that in mind. I never expect that we’re going to have a hit and I don’t particularly care if we do. It would be wonderful, but that’s not why we do it. That’s not why I do anything in movies either.
MR: You talked about fans who would really “get” what you put out. Can you identify what that kind of fan is, what your core fans love about The Boxmasters?
BT: Generally, our fans are people who like an eclectic mix of things. They’re people who aren’t diehard rock ‘n’ roll fans or die hard country fans, it’s kind of hard to identify our music and I think it’s kind of hard to identify our fans. We tend to have fans that are either forties and fifties and up or twenty year-olds. It’s sort of that middle range in there, people from thirty to forty, I don’t think we have as many of them for some reason. That could be because of whatever time they grew up in. I think maybe people in that age range were sort of spoon fed a particular fashion statement and things were put in boxes more when those people were growing up, whereas when I was growing up everything was very eclectic. I listened to Hank Williams and The Mothers Of Invention in the same day, and the radio would play James Taylor and Black Sabbath on the same station.
I think maybe the reason we have some younger fans is because that’s sort of starting to come back around. A lot of people are really down on music right now, but I see that even sometimes people of my generation are the ones trying to fit into a mold more and more. You see guys who were singing Vietnam protest songs and now they’re on the cover of a magazine doing a duet with a pop star so they can remain current. I’m finding that some of the guys in the younger bands are real fans of The Boxmasters because they themselves are looking for their thing like we were in the sixties. So when they hear something slightly off the beaten path they really dig it. I actually have hope for music right now. I really do. I didn’t before. Everybody knows the eighties was kind of a bizarre generation. The nineties had a little resurgence but then it kind of went away for a decade or so, but I think it’s really coming back. People are looking for different things. People are listening to certain metal bands as well as Mumford and Sons or the Old Crow Medicine Show, people like that. I think it’s on an upswing. Also young kids, say teenagers up until young twenties, are discovering The Beatles and Buffalo Springfield and Aerosmith and whoever it was along the way. There are plenty of twenty year olds who listen to Deep Purple and Zeppelin and The Who and everything like that.
MR: Since you’re a pretty solid music expert, doesn’t understanding what went into making classic, high-quality albums make the process a bit intimidating for you? Like how do you balance striving for that caliber while just expressing yourself and letting creativity flow?
BT: I think it’s two things. One is never forgetting history. Never forget that history of all the great classic albums over the years, letting them influence you and not being ashamed to say, “Yeah, absolutely, we were trying to be The Beatles” or The Stones or The Animals or whatever, that’s our desire. The bar was set very high for people of my generation. We all wanted to be The Beatles and we knew we were never going to be, that it was going to be impossible. You’re always reaching for an impossible goal, so you never get lazy about it. You’re always striving and you’re always desperate for acceptance and approval and everything. When the bar has been set that high you just never stop trying. At the same time, a good part of that is you have such great music and songwriting to draw from, you let it wash over you and influence you.
The second part is that you have to remain open to new things. We’re not trying to just copy old stuff that we love. We’re knot like that. We’re truly not the old guys chasing the kids out of the yard. We really do respect the evolution of music. I think you have to be open, resect the evolution of music and at the same time hold on to your history. You put those two things together and it’s very satisfying to you. Whether anybody is going to respond to it or not, that’s up to them. We have no control over it, but for us, if we accomplish those things, always striving to get better, always striving to be open to new possibilities and yet never letting our history die in our minds, the best of you comes out and you know at the end of the day that you’re not leaving any stone unturned. It’s very satisfying.
MR: These two CDs represent a fraction of the songs that you’ve recorded. So what was the assembly process like that led to this particular album?
BT: We were writing new songs to make an album, but when you’re writing songs, one day you may not feel a song that’s in that vein, so you write something else. It’s like, “Well, that doesn’t belong here. I love the song but it just doesn’t belong in this particular group of songs that we started.” So we took the maybe twenty or so songs that we had that were new and said, “Wow, we’ve only got five of these jangly, Byrds-like LA rock songs and we’ve got seven of these moody things. That doesn’t make one album.” So we went back into some of the songs we’d written before. I think the earliest ones on this record are from 2010. There were two or three of those that exactly fit what we were doing now. We had started writing this whole record of very sixties-like songs using a Farfisa Vox Continental Organ, and we said, “You know what? If that organ was a B3 instead those songs would totally fit this record.” So we had Teddy Andreadis, our keyboard player, just come over and replace the Farfisa with a B3 and suddenly they belonged on the album. Once we got those songs together, the label people, Mark and Tammy Collie who signed us to 101 Ranch Records, had certain favorites that were in the moodier side. We side, “Gosh, we don’t want to put out just a moody record right now because we want people to hear these pop rock songs. Let’s ask them if we can do a double album.” They were all for it. I guess, as they say, it was no skin off their nose. We ended up saying, “Well look, these are the songs we love; let’s just make two records.”
So we wrote new songs and collected ones from other recording sessions that just fit and ended up with the two records we really wanted. The other five or six records that we had finished we didn’t want to break up because they fit together too. There are songs from all of those records that could’ve gone on this, and as a matter of fact some songs where we were like, “I wish we could put this on here, it really fits,” but we didn’t want to break those records up. As a result, we ended up saying, “We’ll sell those on the website at a later time.” We do have a real nice cult following, people who really love us. There aren’t a lot of them, but they’re great. We thought, “What we’ll do is we’ll even maybe put out five song or six song EPs of songs we don’t have enough of that style to make a whole record.” Some of them are even in demo form. We thought it might be interesting every now and then to put on the website a five song EP of songs that aren’t even finished, so people can hear what it’s like before, say, the lead guitar’s on there, or there’s no background vocals or something like that. Then later on, we’ll finish those and put them up finished.
MR: To me, the title track, “Somewhere Down The Road,” is the centerpiece of the album. For you, are there a couple of other tracks that are really important for the project?
BT: There’s a song on the first side called “This Game Is Over” which is a particular favorite of ours. On the moody side there’s a song called “What Did You Do Today?” which I think is what they’re putting out on Americana radio mainly and a song called “Somewhere” that we’re really in love with. It’s a very different-sounding song. It’s got a very different chord progression and I sing it slightly differently. But you love all your songs and you hope other people will, but sometimes you might have a favorite song that nobody else responds to and then you have another song where you say, “Eh, that’s kind of a standard song,” and everybody’s crazy about it. You never know. But “This Game Is Over,” a song called “Getting Past The Lullaby,” which I think is a beautiful song. Anybody who loves their mother is going to love that song.
MR: What do you feel about The Boxmasters’ legacy? When you look at this body of your work as well as the unreleased albums, what are your observations?
BT: I truly believe that if we had been twenty-five or thirty years old in 1968 or 1973, we would have been a huge band. I think we probably make music the way we do and with the passion that we do for thirty or forty years from now and not for today. I feel that someday, we will be an appreciated band, so I kind of look at it that way. We do it for ourselves and we do it the way we feel. We don’t craft anything tailor-made to be a hit, but I do believe that someday when people hear the thousand songs that we have I think some music geek is going to say, “Hey, you know what? I think these guys are worth their salt.”
MR: Billy, what advice do you have for new artists?
BT: I would say first and foremost learn the history. It’s like for you, as a journalist and as a writer, someone who is a fan but also makes a living at it, if you didn’t know who Walter Cronkite was, or Edward R. Murrow or Mark Twain or Jim Morrison or Chuck Berry was, if you weren’t real familiar with them, then you don’t have the education that it takes to truly be an artist. I would tell them, “Don’t just look at what’s shiny and bright in front of you right now. Always learn your history.” Also, if you’re a singer or a guitar player or whatever it is, even if your intention is to become famous doing whatever’s popular, if you’re content to let someone else write the songs and you just be the artist, I would say still write anyway. Even if you don’t intend to put it out there, even if you don’t feel it’s good, I think writing is an exercise that just makes you better whether it’s ever going to be seen or heard by the public or not. And write it from your heart and do it the way you feel it. Don’t try to copy anybody. Even if your life is going to be about copying and becoming popular and doing the current thing, I think it’s still important to create what you naturally create. I think it makes you better as a human being and as an artist.
MR: Excellent. Now what’s your advice to yourself?
BT: I think probably the number one best piece of advice for myself, and it’s so hard to do, is to ignore the comments of the now millions and millions of critics. Now with social networks everyone has an opinion and if you rub them the wrong way there’s not anything you can do about what they’re going to say. There’s seriously nothing you can do. So in other words, if they’ve got a bee up their ass about you, let’s say you say something stupid in public and it gets on the news, what an ass you are, if you apologize publicly, which has become a popular thing–“I’ll apologize to everyone”–they’ll say, “Oh, he only did that to help his career.” If you don’t apologize, then you’re an asshole for not apologizing. In other words, I’m trying to learn that there’s not a thing I can do about the people that hate me on the internet. Nothing.
As an artist, you’re sensitive by nature, and probably a little unbalanced, so it gets to you more. I’m trying to learn how to not let my oversensitive nature overtake me and make me stick my head back in the cave and not want to put myself out there. You have to do it. There are a lot of people out there who suffer from this. A lot of people have made comments like this throughout history but I think Jonathan Swift said something like, “…if what a certain writer observes be true, that when a great genius appears in the world, the dunces are all in confederacy against him.” I think you just have to get used to the fact that you’re doing what you love and what you feel and you are at least doing it, so anybody who’s willing to stick their neck out–and I don’t care if it’s the silliest part on the silliest sitcom out there or the deepest Marlon Brando performance out there–both of those people have something in common. Both of them were willing to try.
In that sense, you can’t separate anybody in the entertainment business, no matter if they’re a lightweight or real heavy. If you make a silly, syrupy pop record or you make some masterpiece like Dark Side Of The Moon, the one thing those two have in common is that they both put their necks out of the cave. They’re both willing to do something, so you end up being talked about by people who are not doing anything. We have to pay attention to the people who do, not the people who talk about the people who do. That’s the biggest lesson for me.
MR: Wow. So are you looking forward to the tour as a way to get your head fully back into music for a while?
BT: Yeah, I really am looking forward to it, especially since I’m going out with Brad and Teddy and J.D.. They’re my friends. I don’t have a lot of close friends, I have a lot of acquaintances, but I’m going to be out there on a bus with guys who are my friends and who I spend time with anyway. There’s a certain family camaraderie there. The only bad thing about touring is it’s not a good place for the kids, on the bus and everything. My daughter Bella is now ten. She’s going to be eleven in September and I’m going to miss her a lot. It’s thirty five days, but thirty five days when they’re ten is a big deal. That’s the hardest part of touring. On a movie, it’s different, we just got back from New Mexico and the family went with me because you’re in one spot. On this you just can’t do it. And we’re not spring chickens, either. It’s not like when we were younger. I used to rodeo and I could sleep in the front of a truck while some guy’s driving. It’s not like that anymore. We all try to take all of our vitamins and get ready to go.
Transcribed by Galen Hawthorne
A Conversation with The Boxmasters’ J.D. Andrew
Mike Ragogna: J.D.! You good?
JD Andrew: I’m good! I’m trying to shake the nerves of getting ready to go on tour. I haven’t had a tour where I left my kids for longer than four or five days, so that’s a little nerve wracking right now. Last time I didn’t have any kids when we went so I didn’t have to worry about it.
MR: What’s it like juggling your music duty and being a new dad?
J.D.: Most of the time it’s not too bad. Billy sold his house a couple of years ago, so we don’t have the studio in the house anymore, so we don’t work six days a week fifteen hours a day anymore. If I had the kids and we were still doing that schedule I would probably shoot myself. It’s a lot easier time now, we just go and record when we have some songs or have some time. It’s a lot more relaxing, especially when the kids don’t sleep at night.
MR: So this new album is a double CD, which is pretty ambitious. How did you approach this one? You recorded it progressively over the last few years, right?
J.D.: Mostly. This one was done mostly at Henson studios, some of it was done over at Billy’s house previously, but it started in about 2013 sometime. Brad and Billy wrote “This Game Is Over” and “Sometimes There’s A Reason.” I would call those two songs the touchstones for at least the first CD. They’re all original, both CDs. The first one is kind of more rock ‘n’ roll and jangly sixties country rock stuff and the second one is more of the moody singer-songwriter stuff, more like Billy’s Beautiful Door record, using his Warren Zevon influences and doing that sort of thing. I would say three quarters of this stuff was all done in the past two or three years. Some of it is from five years ago. When we initially met with 101 Ranch they were like, “Give us a record! We want to put it out.” We had so much back catalog material and records finished we initially started just picking songs from everything but we said, “We really want to keep these other records together and release those as they are at some point,” so we said, “Why don’t we just do a double record?” and the label went, “Sure, why not?” That was in some ways easier for us, to concentrate on two different sounds, the two different things that we do rather than figure out how to mix the two together.
MR: How has the band evolved sonically?
J.D.: The other projects were more hyper-stylized. We were really going for the combination of the early sixties/hillbilly/British invasion stuff. We made very definite guidelines on what were going to do, what we weren’t going to do, what equipment we would use, things like that. As we’ve evolved we’ve evolved into playing how we play naturally. It’s still got all of those sixties influences, it’s just a little more–I don’t even want to say “modern,” it’s just a little more relaxed in its stringency to those kinds of rules that we set before. It’s kind of jangly rock ‘n’ roll.
MR: So it’s like Boxmasters 2.0.?
J.D.: Yeah. Brad Davis is playing lead guitar on this stuff, we had another guy on those first couple of records. Not that they do a lot of things differently, it just is a version two. Brad Davis and Teddy Andreadis are now official Boxmaster members. We’re a four-piece as far as documentation goes. We’ve got six guys on the road. It’s just become more of a straight rock ‘n’ roll band at times with crazy moody psychedelic stuff in it.
MR: How are you going to perform this project on the road? And what have you learned from being on the road that you’re now applying to Boxmasters’ music?
J.D.: We’ve always kind of been a straight-ahead rock ‘n’ roll band on the road. We sound big, we play loud. Right now it’s two electric guitars, an organ, a bass player, a drummer, and Billy’s out front and we just try to fill it up, but this time we are doing some shows at smaller venues where we’re going to do a slightly more stripped-down version of ourselves where there’s some acoustic guitars and some stools, which we’ve never really done before. We’re going to play some of these songs where we get more moody and slow.
MR: J.D., what have you found Billy’s favorite environment for a Boxmasters show to be?
J.D.: Billy wants a big show. He wants a place where we can have a good light show. Basically the thing he doesn’t want to do in any place, no matter how big or small, is he doesn’t want to look like a bar band. We work really hard on putting these shows together and we want that to come across. There’s lighting and projections and fun stuff going on, we want a sound system that will actually play above the band so it sounds big. When he does these really moody songs, he sings in his low register and he’s got a very resonant voice, so sometimes you need a system to get it to come out. When you’re kind of whispering it’s hard to get it out to the people.
MR: How about you? What are your favorite kinds of venues?
J.D.: My favorite places that we’ve played have been punk clubs. I like to sound like The Replacements live. Basically, “Let’s have a train wreck and have a lot of fun doing it!” At the same time, we want the songs to have starts and endings that actually start and end together and not just devolve into chaos. But I like them to all be faster than they probably should be, and louder and trashier. That’s just my personal preference. We’re a tight band, we’ve got really good players, it’s a lot of fun to play with the guys.
MR: Do you prefer recording or performing more?
J.D.: I have so much freedom in the recording process as far as how we sound. That’s what I do. That’s my initial hat that I think of. Playing live is fun, but then I have to worry about how fat I am and getting up in front of people and looking like a complete loser. That’s the part I worry about.
MR: When you’re recording are you considering having to play these songs live?
J.D.: No, we don’t tend to think about that at all. When we recorded most of these songs, it wasn’t until August or September of last year that we were really thinking of putting these together as a record. Anything we’ve recorded was just because we felt like recording it. Billy’s like, “As long as I can get in the studio every few weeks or once a month I’m fine. Otherwise, I lose my mind.” Everything is just recorded as we feel at the time. There’s no other outside influences like playing live or anything. The tempos are whatever is right for him to sing to and the rest of the instrumentation is mostly whatever our strengths are. I play the jangly stuff, Brad plays the fancy lead guitar stuff, Teddy does the keyboards and Billy’s the drummer, that’s it. Whatever fits whatever song is being done at that time is what we do.
MR: Do you have a couple of favorites on the project?
J.D.: I think every one of us would agree that “This Game Is Over” is one of our favorite songs, sonically, lyrically, vocally. It’s just really a great song. Another one of my favorites is “Somewhere Down The Road,” the last song and the title song of the record. That’s a song that was initially on another project we were kind of working out, kind of a concept record that we haven’t finished yet, so it just made sense that that song would go in this new batch. It’s one of the few songs that I actually remember writing. We wrote so many songs that I don’t remember the actual genesis of, but for some reason I remember when we wrote “Somewhere Down The Road” and how we did it. I’m trying to go down the list in my head. “Young Man’s Game” is my favorite one on the second side.
MR: I love that the concept of “sides” of a record has expanded into meaning two CDs.
J.D.: [laughs] Yeah.
MR: Which side would you listen to casually?
J.D.: I would probably drive to the first one and put the second one on at my house to do work. They’re just two different moods. The first one is much more of an exciting record for doing upbeat things and the other one’s a little more for doing introspective things.
MR: How has the writing experience evolved for you guys?
J.D.: We’ve done eight or ten songs since that record has been finished and we’re actually working more as a quartet on writing some of these songs. Most of the time, Billy will either have a chord or two that he’s plinked out on the guitar and maybe he has a lyric idea, he might have a whole lyric written. Some of the time, I have a whole track started or completely finished, other times I’ll just have some sort of riff idea. Really it comes from anything that gives us inspiration. It doesn’t take a lot, really, it’s just a couple of chords that make us perk up and go, “Hey, that’s something!” Then we’ll turn it into a song. Teddy brings all of his piano chords into the mix, so we’re trying to incorporate more of that along into what we do because it just gives it a little bit more different stuff. All that equals inspiration.
MR: Do you feel like the permanent addition of keyboard has shifted the focus of your approach?
J.D.: It’s not going to end up being a big sonic shift, it’s just anything that gives us an inspiration. Teddy can add a couple of different weird chords into things. That’s what we’re always going for, just evolving into more weird chords.
MR: Does Billy’s schedule as an actor ever conflict with the band’s schedule?
J.D.: He says, “Let’s tour in April” and that’s when we go. Any time we have something band-related that’s going on that’s important he just tells his film manager that this is what we’re going to do. It’s not a lucrative position for him, but a lot of times they can reschedule. We haven’t had to deal with that before, because he wasn’t making a lot of movie projects for quite a while, which gave us years of constant recording. This is the first time he might actually have a bunch of projects going on. We’ve all got stuff going on, Brad’s got his own studio in Texas, he’s got to take time to close the place down and postpone projects, and Teddy’s always on the road playing with someone. I hang out with my kids most of the time when I’m not working with Billy. It’s good.
MR: So this has evolved in a good way for you all, time-wise.
J.D.: Yeah, everybody has other things they do. It’s just a matter of, “Hey, are you available this time?” “Yeah, I am,” “Great, let’s get together and do something.” It’s not the other three of us sitting around and going, “Man, I can’t wait until we can tour again.” It’s whenever it’s good for all of us. We’re excited to make it all happen.
MR: J.D., what advice do you have for new artists?
JD: My advice is to not chase whatever trend is going on and try to sound like everyone else. Take the people you are inspired by and start digging into who inspired them, and then find out who inspired them. Get back to the root of the music that you love. It might surprise you as to what was the genesis for somebody else’s inspiration. I’m sure Billy will say this too–learn your history. There’s so much of it that’s being lost, we have to hold on to it and learn it and teach it to others. Use that history and use it to inspire you to make music that is personal to yourself and not just whatever the next hot thing is that’s going to get you on American Idol.
MR: Nice. Do you think that’s what people are taking away when they listen to a Boxmasters project?
J.D.: I hope so. They should know that it’s heavily influenced by the past. We’re trying to bring it to new audiences, especially with the older cover stuff. Bring it to new audiences who might say, “I really like that song by Webb Pierce, I want to go listen to more of that,” and then they go and find Del Reeves or Merle Haggard or The Boxtops or anybody like that. Find things that are inspiring and might lead them to new creative heights.
MR: Musically, is there anything out there that surprises you anymore?
J.D.: I constantly feel like an idiot because there’s so much stuff that I haven’t heard. I hang out with Brad and Billy and Teddy and they are insane in their knowledge. It makes me feel like I don’t know anything. It makes me feel like I have to be constantly learning and looking into doing other things so I don’t feel like a complete idiot. These guys know so much history, it’s inspiring. Everyone really is influenced at their core level by other things. Brad grew up as a bluegrasser, Teddy grew up more of a rock ‘n’ roll, R&B kind of guy, Detroit via New Jersey. I’m also a little bit younger than those guys, I started learning a little bit later than them. Even though I was years behind my time I haven’t caught up. I’ve still got a lot to learn.
MR: What kind of a legacy do you want The Boxmasters to have?
J.D.: Basically I want people to listen to the music and read the lyrics and see that there’s a whole lot going on. Some of it’s poppy, bouncy, good time-sounding stuff but there’s really deep thoughts and stories and things going on that are a lot deeper than they might think. I want people to know, “Hey, that’s Billy singing,” he really is a great vocalist, a great storyteller, and all those crazy girl harmonies that you’re hearing in there, that’s him, too. I think I’m the boring underneath stuff that’s not the stuff you listen to and go, “Wow, that’s fantastic,” but he does all the high stuff that I can’t even reach anyway. There’s a lot going on in these records even if it just sounds like some guys bashing away. And it’s all played, there’s not machines going on. This is all how they used to make records in the old days. That’s what we do. We don’t use tracks live, we just play songs. That’s why we crash and burn at times.
Transcribed by Galen Hawthorne
LINES WEST’S “PERFECT PAIR” EXCLUSIVE
photo credit: Ryker Kallas
According to Brian Larney…
“Lately, John and I have been talking a lot about some of the great songs of the late 60s and 70s a la Badfinger or Paul McCartney. The sound of those records and the song craft on them is just mind blowing. In every song there’s a killer hook! I had the idea of “Perfect Pair” kicking around for a while and it seemed to just beg for an arrangement that reflected our enthusiasm for that sound.”
Lyrically, it’s really about a pedestal and a plea. I can remember a few times finding myself in one of those -the quintessential unrequited situations yet I remain an optimist. The song ends with ‘I can take you anywhere. We’re two of a perfect pair’…I guess I’m just hopeless.”
DOUG BURR’S “NEVER GONNA BE YOUNG AGAIN” EXCLUSIVE
photo courtesy Tell All Your Friends PR
According to Doug Burr…
“We wanted this one to be jangly, Buddy Holly sounding. The music is kind of at odds with the story on this one–which is nothing new in the folk music world of course, the idea of a soldier living through war. Musically it stands out a bit on the record, but the subject matter was spot-on, and that song had received such strong audience response when playing it live. I’d been including that one in some live shows, since about 2012. So it felt like it needed to be a part of this record.”
The “Blurred Lines” trial, which ended Tuesday with a copyright ruling from a federal jury in Los Angeles, involved big stars (Pharrell Williams and Robin Thicke), big money ($ 7.3 million) and big weirdness (during a deposition, Thicke apologized for calling an attorney “a dick”). But it may not lead to big… RollingStone.com: News
LOS ANGELES (AP) — A verdict saying Pharrell Williams and Robin Thicke copied Marvin Gaye's music to create their hit song "Blurred Lines" could ripple across the music industry, potentially changing how artists work and opening the door to new copyright claims. An eight-person jury determined Tuesday that Williams and Thicke copied elements of Gaye's 1977 hit "Got to Give It Up" and ordered the pair to pay nearly $ 7.4 million to the late R&B … News, reviews, interviews and more for top artists and albums – MSN Music
ADULT ENTERTAINMENT NEWS UPDATE:Gabby Love’s top pick! Click and enjoy!
(Reuters) – Recording stars Robin Thicke and Pharrell Williams will contest the $ 7.4 million jury verdict that found they plagiarized Motown soul great Marvin Gaye in creating their hit single “Blurred Lines,” the duo’s lawyer said on Wednesday.
A day after the judgment, attorney Howard King said Thicke and Williams remained adamant that “Blurred Lines” was an original song created solely by them, adding that jurors were apparently convinced otherwise by expert testimony which should have been inadmissible.
The U.S. District Court jury in Los Angeles sided with Gaye’s heirs on Tuesday in finding that parts of his 1977 hit “Got to Give it Up” were lifted by Thicke and Williams for their 2013 R&B chart-topper.
The jury awarded Gaye’s children $ 4 million in actual damages plus $ 3.4 million in profits that Thicke, 38, and Williams, 41, were found to have derived from their copyright infringement.
The case, which explored the sometimes fuzzy boundary between artistic inspiration and theft, marked one of the highest-profile musical plagiarism lawsuits since George Harrison’s rock ballad “My Sweet Lord” was found to have been copied from the Chiffons’ hit “He’s So Fine.”
Despite magazine interviews in which Thicke had admitted to drawing from the feel of “Got to Give it Up” when composing “Blurred Lines,” he and Williams have insisted they never copied from Gaye’s song itself.
“Based upon their own feelings that they created ‘Blurred Lines’ from their own hearts and souls and no one else, and based on feedback from other prominent songwriters, (Thicke and Williams) feel they owe it to the creative world to make sure this verdict does not stand,” King said.
King said he would seek a retrial if the judge denies a motion requesting the verdict be set aside. Otherwise, King said, Thicke and Williams would appeal the judgment.
King cited as grounds for contesting the verdict expert testimony given by a musicologist that he said compared “Blurred Lines” with “Got to Give it Up” based on elements of Gaye’s song that were absent from the original sheet music.
At the time of its copyright, only the written music could be registered as protected, not sound recordings. “Clearly the jury relied on what that expert said in reaching their conclusion,” King said.
The Gayes’ lawyer, Richard Busch, could not immediately be reached for comment. On Tuesday, he said they would seek a court injunction against further distribution of “Blurred Lines” based on the verdict.
Robin Thicke and Pharrell had their fun getting rich off of Marvin Gaye’s handiwork but now it’s time to pay the piper. In other words, fork over a good chunk of those incredulous profits they made from the ubiquitous single, “Blurred Lines.”
A jury of their peers has agreed that the Star Trek pair copied Gaye’s 1977 smash hit “Got to Give Up” and Variety is reporting that they’ll have to pay $ 7.3 million to the family for copyright infringement. “Blurred Lines” co-star Clifford Harris Jr., a.k.a. T.I. was also named in the lawsuit but it was specified if he would have to break off his reported $ 704,774 in earnings.
The eight-person jury ceased its full day of closed-door deliberations last Friday and resumed on Tuesday hearing to reach the verdict. The Gaye family was originally asking for $ 25 million in damages but they’re still happy with the outcome.
“Right now, I feel free,” Marvin Gaye’s daughter, Nona Gaye, said after the verdict was passed. “Free from … Pharrell Williams and Robin Thicke’s chains and what they tried to keep on us and the lies that were told.” Thicke and Williams made a reported $ 5,658,214 and $ 5,153,457, respectively but the money stream will end soon. Richard Busch, the Gaye family lawyer, is filing official paperwork next week to halt sales of “Blurred Lines.”
Released on March 26, 2013, “Blurred Lines” went on to become the top song of the year, selling more than seven million records in the United States alone.
3:30 PM PT — Pharrell’s rep says the song was “created from his heart, mind and soul and the song was not taken from anyone or anywhere else.” The rep adds they are reviewing the case and considering options. Smells like an appeal is in the works.Robin…
Now that Marvin Gaye’s family has won a copyright suit regarding the similarity of Robin Thicke, Pharrell Williams and T.I.’s “Blurred Lines” and the soul icon’s “Got to Give It Up,” their lawyer wants to stop the sales of that song.
LOS ANGELES (AP) — A jury's verdict that Pharrell Williams and Robin Thicke copied Marvin Gaye's music to create their hit song "Blurred Lines" won't just be felt by the singer's pocketbooks — it has the potential to change how musicians work and could open the door to new copyright claims.
For once, Corey and Ramone try mixing business with pleasure. Will their poultry-themed pick-up lines turn the chicken masters into chick magnets?
Find OWN on TV at http://www.oprah.com/FindOWN
Oprah Winfrey Network is the first and only network named for, and inspired by, a single iconic leader. Oprah Winfrey’s heart and creative instincts inform the brand — and the magnetism of the channel.
Winfrey provides leadership in programming and attracts superstar talent to join her in primetime, building a global community of like-minded viewers and leading that community to connect on social media and beyond. OWN is a singular destination on cable. Depth with edge. Heart. Star power. Connection. And endless possibilities.
Discover OWN TV:
Find OWN on you TV!: http://bit.ly/1wJ0ugI
Our Fantastic Lineup: http://bit.ly/1qMi2jE
Connect with OWN Online:
Visit the OWN WEBSITE: http://bit.ly/1qMi2jE
Like OWN on FACEBOOK: http://on.fb.me/1AXYujp
Follow OWN on TWITTER: http://bit.ly/1sJin8Y
Follow OWN on INSTAGRAM: http://bit.ly/LnqzMz
Follow OWN on PINTEREST: http://bit.ly/1u0CqR6
Fowl Pick-Up Lines: Can Poultry Be Sultry? | 2 Fat 2 Fly | Oprah Winfrey Network
http://www.youtube.com/user/OWN Uploads by OWN TV
Matt Bellamy jumped from Kate Hudson to her doppelganger — who starred in the “Blurred Lines” video — but we’ve learned he’s just friends with the leggy model/actress. Her name is Elle Evans – and you’d probably know her better with her…
Valentine’s Day is around the corner and we want to know which super hero you think has the worst or best pickup lines. Is it Batman, Spider-man, Captain America? Let us know in the comments, and let us know your worst and best pickup lines. Fore more Playboy: http://ply.by/CyOW1O
Subscribe to Playboy: http://ply.by/MSvkLK
Check out the Playboy Store: http://ply.by/We5Wrm
Playmate Instagrams: http://ply.by/rOnUZt
Tour the Mansion: http://ply.by/xoUEZd
Playboy’s Gamer Next Door: http://ply.by/ST3s0O
From The Mouths of Babes: http://ply.by/Y3eMQa
Instagram: http://ply.by/wLFAdb Uploads by Playboy YouTube
Discover the sexy women of Playboy at Playboy Plus today! Also discover the world of Playboy being featured at Adults Playland today and enjoy!
During the past 12 months, we were lucky enough to see a lot of amazing television, and we couldn’t let the year end without engaging in an annual tradition paying tribute to one of the things that TV does best — produce endlessly quotable pronouncements.
On Thursday, we kicked off the #BestTVLines2014 hashtag on Twitter, and fans of the small screen immediately joined in with thousands of hilarious, moving, dark, weird and funny contributions. If you have some time to kill, check out #BestTVLines2014 on Twitter for all the insanity. Below is a selection of a few of our favorite lines. Of course, if you have more to add, feel free to keep #BestTVLines2014 going strong into the new year!
A new Instagram account, @LoveYourLines, is beautifully celebrating women’s stretch marks.
The account was started by two East Coast moms, who asked to remain anonymous. The creators were inspired to feature the stretch marks and other lines on women’s bodies after a discussion about how their own bodies had changed after bearing children. They started the Instagram account, put out a call for submissions, and were stunned by the response they got in just one night.
At the time of writing, the creators had received over 70 submissions, both anonymous and identified, with captions detailing each woman’s relationship to her stretch marks. One poignant caption featured on the Instagram account reads:
I have not (yet) birthed any children, but my body has changed and stretched causing me to have stretchmarks on various places of my body. They serve as a reminder of the years my legs carried me as I sprinted around the track, and the many times I tried to change myself to fit the mold of what I thought society wanted me to look like…smaller waist…smaller legs…smaller everything…then bigger legs…bigger butt…and so on.
An estimated 80 percent of people have stretchmarks, which are often caused by rapid growth, weight changes or hormonal changes. Pregnancy is often the biggest cause — leaving moms with “tiger stripes” — but men aren’t unaffected by stretch marks and women who haven’t had children get them too.
“I found it interesting that all types of women have stretch marks because I’ve had them on my thighs since I was a teenager,” one of the founders, a 31-year-old wedding and lifestyle photographer, told The Huffington Post over email. “So even though I’m a mom (which gave me a few more) I’ve been coming to terms with my marks for a long time now. I’m also very thin so looking at me with clothes on, you’d think I had no body issues.”
The creators of @LoveYourLines intend to celebrate all women’s bodies, regardless of age, weight or if they’ve had children.
“Even though we are moms, we both had ‘stretchies’ before having kids and we are aware that women get them for different reasons at different times,” the second creator, a 25-year-old entrepreneur, told HuffPost. “Both of us are thrilled to have had such an amazing response in less than 24 hours.”
What started as a simple comic book convention where fans gather and celebrate their medium has now exploded into the international phenomenon we call San Diego Comic-Con. Over the past couple of years it has become the go-to event for movie studios, TV networks, book publishers and video game makers to launch new products related to sci-fi, horror, anime, animation, and gaming. Which is great for those who enjoy getting first-hand knowledge about their favorite anime characters, but means another round of Xanax for those who are terrified of waiting in line. Before this year’s convention, we decided to come up with a list of booths we’re pretty sure you wouldn’t have to camp out for the night before. Call it a hunch.
In past years, The View‘s booth was a great place to swing by to check out the greatest cat fight since Catwoman met…well…the other 50 Catwomen at Comic-Con. This year, however, View co-hosts have been jumping ship like passengers fleeing a Carnival Cruise Line with a dysentery outbreak. Whoopi Goldberg is currently the only host confirmed for next year’s season. That means that this year’s panel is basically just Whoopi signing old Jumpin’ Jack Flash posters and showing off her latest big, manly shoe purchases.
— Liz Brown
The John Wilkes Booth…Booth:
Comic-Con is a haven for has-been and chagrined performers looking to capitalize on their fleeting fame and notoriety. Nowhere is this more evident than the John Wilkes Booth Booth, where fans can have their picture taken with a hologram of the murderous thespian. “Sic semper terrific!” Attendees can assassinate their friends with jealously with their very own Booth action figure and conspirator bubble-gum cards: “I’ll trade you my Mary Surratt for your Jack Ruby.” We hear the VIP section is a blast, but not worth losing your head over.
— Courtney Hyde
The Duncan Booth:
The Duncan Booth attracts a variety of fandom: aficionados of Community‘s Prof. Duncan, yo-yo enthusiasts, and a number of attendees who mistakenly presume they will be given the opportunity to knock George RR Martin or Norman Reedus into a tank of water. Alas, many are sorely disappointed to be greeted by the sunny grin of Sandy Duncan who will happily sign your copies of The Hogan Family DVDs or her YA novelizations of The Cat from Outer Space.
— Courtney Hyde
The Yule Log Booth:
The Burning Yule Log is not quite a perennial favorite (yet), but it has a lot going for it: coziness, consistency, and simplicity. Its lack of overall pizazz is admittedly unfortunate, as far as booth appeal goes — the Yule log will surprise no one. What you see is what you get: a slowly burning log with intermittent crackling. It’s marginally better than watching paint dry. Stand in front of it and calm your nerves in its zen qualities, or do yourself a real favor and move on to the next booth already.
Hoping to capitalize on attendees’ love for random stuff, the Discovery Channel is sponsoring a booth for their unique reality show about people attempting to survive in the wild with literally nothing but their wits on them. The Naked & Afraid booth touts that you can “see and buy the actual outfits worn by your favorite contestants!” So…. nothing? In addition to the clothing exhibit, the booth will also feature a live performance of the new “Naked and Afraid” theme song, a Weird Al spoof of Iron and Wine’s “Naked as We Came.”
— Kelly Lin
The Kale Booth:
At first glance, the booth proves to be promising. There’s even buzz that big name celebrities are manning this station: Joel Mc”Kale,” Mindy “Kale”ing and “Kale”y Cuoco (no affiliation whatsoever to their sound-alike Hollywood counterparts.) The line should keep moving quickly — much like your digestive system if you indulge in this booth’s offerings. Fresh kale. Frozen kale. Nothing prepared to eat. Just Kale — forcing you to tote around kale for the rest of your visit at Comic-Con. Note: If you ask, they do carry a small selection of Swiss chard under the table.
— Richard Ogawa
The Verbal Abuse Booth:
We were uncertain of what this booth entailed, exactly. So we sent a friend of ours who is pretty knowledgable about these things to sniff around for more info for us. This is what they said.
“You don’t seem like the type of person who would understand this booth, so I’m not going to spend a lot of time explaining it to you. Basically, the Verbal Abuse Booth is the best experience at Comic-Con, full of Real Housewives, Chef Ramsays, and other cultural elites who berate you. For free. Everyone will probably think it’s weird, but for those who actually get it, it’s pretty awesome.”
While we don’t advocate getting close to a girl by using pickup lines, there are certain ways of sweeping that hottie off her feet without sounding cheesy or implying a lack of intelligence on your part. What you want to achieve is to get her to notice you, not to send her running for the hills. Relationships:Dating Articles from EzineArticles.com
The 18-year-old model and reality star had one task at the 2014 Billboard Music Awards, and that was to introduce Australian boy band 5 Seconds of Summer. But when it came time to announce the group, Jenner flubbed her lines — almost calling the band One Direction — before hanging her head in embarrassment and telling the crowd, “You guys! I’m the worst reader.”