The Definitive Sarah Vaughan – Sarah Vaughan

Sarah Vaughan - The Definitive Sarah Vaughan  artwork

The Definitive Sarah Vaughan

Sarah Vaughan

Genre: Jazz

Price: $ 7.99

Release Date: September 23, 2002

© ℗ 2002 The Verve Music Group, a Division of UMG Recordings, Inc.

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Wells Adams Tells Sarah Hyland’s Body Shamer To ‘Eat S***’

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VOICE/PRESENCE/ABSENCE – Malcolm Angelucci, Chris Caines, Simon Charles, John D’Arcy, Amy Evans, Michael Farrell, Iben Have, Walli Hoefinger, Christiane Hommelsheim, Diane Hughes, Alice Hui-Sheng Chang, Sarah Keith, Ansa Lønstrup, Alessandro Mistrorigo, Claire Nashar, Anne Pender, Christine Piper, Jessie Scott, Yuji Sone, Birgitte Stougaard, Prithvi Varatharajan & Jessica Wilkinson

Malcolm Angelucci, Chris Caines, Simon Charles, John D'Arcy, Amy Evans, Michael Farrell, Iben Have, Walli Hoefinger, Christiane Hommelsheim, Diane Hughes, Alice Hui-Sheng Chang, Sarah Keith, Ansa Lønstrup, Alessandro Mistrorigo, Claire Nashar, Anne Pender, Christine Piper, Jessie Scott, Yuji Sone, Birgitte Stougaard, Prithvi Varatharajan & Jessica Wilkinson - VOICE/PRESENCE/ABSENCE  artwork

VOICE/PRESENCE/ABSENCE

An interdisciplinary dialogue on voice and the humanities

Malcolm Angelucci, Chris Caines, Simon Charles, John D’Arcy, Amy Evans, Michael Farrell, Iben Have, Walli Hoefinger, Christiane Hommelsheim, Diane Hughes, Alice Hui-Sheng Chang, Sarah Keith, Ansa Lønstrup, Alessandro Mistrorigo, Claire Nashar, Anne Pender, Christine Piper, Jessie Scott, Yuji Sone, Birgitte Stougaard, Prithvi Varatharajan & Jessica Wilkinson

Genre: Art & Architecture

Publish Date: November 6, 2014

Publisher: UTS ePRESS

Seller: Belinda Tiffen


Voice/Presence/Absence collects international contributions from academic scholars and practitioners, together with recorded live performances of artists, writers, musicians and poets, creating the space for a discussion on the role of voice in contemporary humanities. Voice/Presence/Absence is conceived as a dialogue: between a variety of interpretive frameworks and definitions of voice; between different objects of study (from contemporary art to post-dramatic theatre, from radio-voices to recorded poetry and audio-books, from pop music to novels, from the voice of trees to the one of birds, etc.) and, most important, between artists, performers and the world of academia.

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Clouds – Pauline Fernandez, Sarah Foster & Sonia Fernandez

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Clouds

Pauline Fernandez, Sarah Foster & Sonia Fernandez

Genre: Romance

Publish Date: April 1, 2013

Publisher: Sonia Fernandez

Seller: Sonia Fernandez


A story between two close friends who grew apart over the course of time, Holly Renard returns home only to have her memories with the now famous Jeremy Hyde resurface as the two confront their past while leading separate lives.

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Sarah Jessica Parker Has An Unexpected “Sex And The City” Reunion

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Sarah Hyland Reveals the “Sentimental” Gift Wells Adams Got Her for Their 1-Year Anniversary

Sarah Hyland, Wells Adams, iHeartRadio Music FestivalSarah Hyland is proud of being part of a “hipster” couple with Wells Adams, her boyfriend of one year.
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100 Tricks to Appear Smart in Meetings: How to Get by Without Even Trying (Unabridged) – Sarah Cooper

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100 Tricks to Appear Smart in Meetings: How to Get by Without Even Trying (Unabridged)

Sarah Cooper

Genre: Comedy

Price: $ 9.95

Publish Date: January 31, 2017

© ℗ © 2017 Simon & Schuster Audio

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A Gift of Ghosts – Sarah Wynde

Sarah Wynde - A Gift of Ghosts  artwork

A Gift of Ghosts

Tassamara, no. 1

Sarah Wynde

Genre: Contemporary

Publish Date: March 8, 2012

Publisher: Sarah Wynde

Seller: Smashwords, Inc.


Akira Malone believes in the scientific method, evolution, and Einstein’s theory of relativity. And ghosts. All the logic and reason in the world can’t protect her from the truth—she can see and communicate with spirits. As far as she’s concerned, though, her ability is a genetic quirk and the ghosts she encounters are simply leftover electromagnetic energy. Dangerous electromagnetic energy. Zane Latimer believes in telepathy, precognition, auras, and that playing Halo with your employees is an excellent management technique. He also thinks that maybe, just maybe, Akira can help his family get in touch with their lost loved ones. But will Akira ever be able to face her fears and accept her gift? Or will Zane’s relatives be trapped between life and death forever?

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Sarah Michelle Gellar & Kelly Ripa Rock Massive Hair In Hilarious Throwback Photo


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Showtime refutes Sarah Palin’s claim that Sacha Baron Cohen posed as disabled vet to book interviews

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Willow Palin Celebrates Her Bachelorette Party With Mom Sarah, Sister Bristol & More

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Bill Maher Shreds ‘Baghdad Bob’ Sarah Huckabee Sanders Over Her ‘Bulls**t’

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Sarah Michelle Gellar Celebrates The 21st Anniversary Of ‘Buffy The Vampire Slayer’

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The Long Goodbye – Single – Sarah McLachlan


The Long Goodbye – Single
Sarah McLachlan

Release Date:
August 16, 2016
Total Songs:
1

Genre:
Pop

Price:
$ 1.29

Copyright
℗ 2016 Verve Label Group, a Division of UMG Recordings, Inc.


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Sarah Silverman Interviews Dr. Roxane Gay on “I Love You, America”

Sarah Silverman Interviews Dr. Roxane Gay on I Love You, America

Sarah Silverman Interviews Dr. Roxane… 8:35
Sarah Silverman interviews Dr. Roxane Gay in episode 110 of I Love You, America. I Love You, America is now streaming on Hulu: https://hulu.tv/ILYAmerica
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Sarah Palin’s Oldest Son, Track Palin, Arrested on Domestic Violence Charges

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Sarah Jessica Parker to Narrate Bill Cunningham Documentary

Sarah Jessica Parker has been tapped to narrate “The Times of Bill,” a feature-length documentary about the late New York Times photographer and fashion historian. In addition, artist and illustrator Ruben Toledo has created the animations for the film while legendary model Pat Cleveland’s sole recorded song, “Tonight, Josephine” serves as the film’s theme song.

Sarah Jessica Parker and Bill Cunningham 

The film is written and directed by Mark Bozek and produced by Bozek and Live Rocket cofounder Russell Nuce. Live Rocket, a New York-based entertainment and commerce company, just completed its first global collaboration with Apple to promote “The Times of Bill,” the company’s first project. The tour, part of Apple’s “Today at Apple” retail programming initiatives, included curated events in New York, San Francisco, London, Paris, Tokyo and Singapore.

“The Times of Bill” poster by Ruben Toledo. 

On the day Cunningham died 18 months ago, Bozek went into his basement and retrieved a 25-year-old interview he did with the photographer. The interview, which Bozek conducted when he was 27 years old and producing a fashion segment for television, was supposed to last “just 10 minutes.” Hours later, Cunningham was still talking — passionately and unabashedly — about his unprecedented focus on what

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Sarah Silverman Interviews Patton Oswalt on “I Love You, America”

Sarah Silverman Interviews Patton Oswalt on I Love You, America

Sarah Silverman Interviews Patton Osw… 5:26
Sarah Silverman interviews comedian Patton Oswalt on an all new I Love You, America, now streaming on Hulu.
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Sarah Jessica Parker to Open New York Pop-up Shop

Sarah Jessica Parker’s SJP by Sarah Jessica Parker brand will open a New York pop-up for the holiday season.
To be located at 640 Fifth Avenue with an entrance at 52nd Street, the 1,600-square-foot shop will sell an assortment of shoes — including styles reissued from the brand’s 2014 launch collection.
SJP by Sarah Jessica Parker’s line of little black dresses and handbags will also be on sale.
The shop is to be open on Black Friday, Nov. 24, and remain open through Dec. 3. Parker is expected to periodically drop into the store to greet shoppers.
“Having a home in New York for our SJP Collection has been only a seeming fantasy since we launched our brand almost four years ago.​ So it is with unbridled excitement that we share the news that we have indeed found that home, right off Fifth Avenue, in the heart of Midtown,” Parker said.
The actress, producer and designer’s business partner, George Malkemus, added: ”The very idea of the ultimate New York girl opening a pop-up and, on top of it, one opposite the famous 21 Club, has me pinching myself again and again. I couldn’t be happier for my dear, dear friend and partner, Sarah Jessica Parker.”

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The Heyday of the Insensitive Bastards – Mark Columbus, Sarah Jean Kruchowski, Ryan Moody, Simon Savelyev, Vanita Shastry, Shadae Lamar Smith & Jeremy David White

Mark Columbus, Sarah Jean Kruchowski, Ryan Moody, Simon Savelyev, Vanita Shastry, Shadae Lamar Smith & Jeremy David White - The Heyday of the Insensitive Bastards  artwork

The Heyday of the Insensitive Bastards

Mark Columbus, Sarah Jean Kruchowski, Ryan Moody, Simon Savelyev, Vanita Shastry, Shadae Lamar Smith & Jeremy David White

Genre: Independent

Price: $ 12.99

Rental Price: $ 6.99

Release Date: January 1, 2016


Based on short stories from Robert Boswell's collection, seven vignettes explore the difference between fantasy and reality, memory and history, and the joy and agony of the human condition.

© © 2016 Elysium Bandini Studios. All Rights Reserved.

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Sapphic Seductions: A Collection of Erotic Short Stories (Unabridged Selections) (Unabridged) – Emily Dubberley, Kay Sexton, Chelsea Summers, Jade Taylor, and Sarah Louise Young

Emily Dubberley, Kay Sexton, Chelsea Summers, Jade Taylor, and Sarah Louise Young - Sapphic Seductions: A Collection of Erotic Short Stories (Unabridged Selections) (Unabridged)  artwork

Sapphic Seductions: A Collection of Erotic Short Stories (Unabridged Selections) (Unabridged)

Emily Dubberley, Kay Sexton, Chelsea Summers, Jade Taylor, and Sarah Louise Young

Genre: Romance

Price: $ 3.95

Publish Date: June 22, 2007

© ℗ © 2007 Audible Studios

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Free of Form – Sarah Elizabeth Charles

Sarah Elizabeth Charles - Free of Form  artwork

Free of Form

Sarah Elizabeth Charles

Genre: Jazz

Price: $ 9.99

Release Date: October 6, 2017

© ℗ 2017 Stretch Music / Ropeadope LLC

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Forgetting Sarah Marshall (Unrated) – Nicholas Stoller

Nicholas Stoller - Forgetting Sarah Marshall (Unrated)  artwork

Forgetting Sarah Marshall (Unrated)

Nicholas Stoller

Genre: Comedy

Price: $ 14.99

Rental Price: $ 3.99

Release Date: January 1, 2008


Join the cast of Forgetting Sarah Marshall as they dare to bare all in this Unrated version of the film filled with more laughs, more adventure and way more fun! Peter (Jason Segel) is a struggling musician who finds his world turned upside down when his TV celebrity girlfriend, Sarah Marshall (Kristen Bell), dumps him for a tragically hip rock star. It’s the hysterically funny look at how far one man will go to forget a girl – and all the fun he finds along the way!

© © 2008 Universal Studios. All Rights Reserved.

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Tanner – Sarah Mayberry

Sarah Mayberry - Tanner  artwork

Tanner

Sarah Mayberry

Genre: Contemporary

Publish Date: May 9, 2017

Publisher: Tule Publishing

Seller: Tule Publishing Group, LLC


He’s used to risking it all in the ring, but nothing prepared him for love…   After flying half-way around the world to surprise her boyfriend, Evie Forrester finds herself heartbroken and stranded in a strange city. What could be a total disaster becomes something else when a tall, dark bull rider turns out to be a white knight in disguise. Evie isn’t sure she needs saving, but Tanner Harding is a difficult man to deny.  He’s even harder to resist… Tanner Harding can tame a monster bull with ease, but he never expected to be floored by someone like Evie. Sparks fly between them until injury threatens to end Tanner’s career –and suddenly he’s the one in need of a rescue.   Evie can’t turn her back on her wounded hero and, as Tanner struggles with his recovery, she’s not sure she can guard her heart against him either. Tanner knows Evie has slipped under his skin, but she lives in Australia and his future is under a cloud. Can two people with too many reasons to walk away make the bold decision to stay?

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Chelsea Handler Features Brutal Impression Of Sarah Huckabee Sanders On Her Show

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Exclusive: Sarah Hyland On Opening Up About Her Health Issues On Social Media

“Modern Family’s” Sarah Hyland is using her red carpet style to inspire other young girls, but in 2012, the 26-year-old revealed that she was diagnosed with kidney dysplasia at the age of nine. And, Sarah reveals exclusively to Access Hollywood’s Liz Hernandez that she’s ready to take on life fully renewed.


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About a Girl (Unabridged) – Sarah McCarry

Sarah McCarry - About a Girl (Unabridged)  artwork

About a Girl (Unabridged)

Sarah McCarry

Genre: Sci Fi & Fantasy

Price: $ 17.95

Publish Date: August 13, 2015

© ℗ © 2015 Audible Studios

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Aesop’s Fables: A Graphic Retelling – Sarah Benoit

Sarah Benoit - Aesop's Fables: A Graphic Retelling  artwork

Aesop’s Fables: A Graphic Retelling

by Sarah Benoit

Sarah Benoit

Genre: Graphic Novels

Publish Date: March 30, 2015

Publisher: S. Benoit

Seller: Steven Benoit


Aesop’s Fables: A Graphic Retelling Produced and Illustrated by Sarah Benoit Aesop’s Fables are a great way to teach your child lessons, especially in this new graphic novel style format! Each fable includes a poster at the end of the moral of the story. The fables included are: the Ant and the Grasshopper, the Crow and the Swallow, the Dog and His Supper, the Grasshopper and the Donkey, the Four Oxen and the Lion, the Fox and the Goat, the Fox and the Stork, the Fox Who Lost his Tail, the Hare with Many Friends, and the Vixen and the Lioness

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Alber Elbaz Was Pushed Out at Lanvin; Vogue’s Sarah Mower Reflects on His Legacy

lanvin spring 2016

It is very difficult to keep a calm voice in the midst of a drama, but how is it that Alber Elbaz—one of the most loved, most prolifically creative, most hardworking and loyally long-serving designers—has actually been dismissed?

This scarcely believable bombshell came in a letter to the press sent directly from Elbaz this afternoon. “At this time of my departure from Lanvin on the decision of the company’s majority shareholder,” he writes, “I wish to express my gratitude and warm thoughts to all those who have worked with me passionately on the revival of Lanvin over the last 14 years . . . together, we have met the creative challenge presented by Lanvin and have restored its radiance and have returned it to its rightful position among France’s absolute luxury houses.”



lanvin fall 2014

Expand

Looks from Fall 2014, Fall 2013, and Fall 2012

Photo: Yannis Vlamos / Indigitalimages.com; Marcus Tondo / InDigital | GoRunway; Yannis Vlamos / GoRunway.com

Again, we are pitched back into the unavoidable question that has been roiling in the atmosphere since Raf Simons quit Dior only last week: Exactly what place of strife has today’s fashion industry become? What illness has taken hold at the very top of fashion that is pitting the best and most visionary talents of our times against the management of the companies who hired them? And how do we, the audience of women who buy clothes, reconcile that with what we know of the leaders we look up to, whose shows we enthusiastically attend and whose narratives we carefully analyze and appreciate every season? And who are, in one way or another, dropping like flies?

I can’t answer that. As of this time, I can only speak as someone who has known Alber Elbaz since he stepped into this house. Witnessing over many years how he respected and cared for everyone who worked for him—the infinitely skilled seamstresses, whom he was well aware were supporting their families daily; the young team of designers he nurtured; the friendly press people who were integral to his world—I find it painful to imagine the scene at Lanvin headquarters on the Rue du Faubourg Saint-Honoré. Alber, clearing his desk. Fired.



lanvin spring 2011

Expand

Spring 2011 and Spring 2009

Photo: Yannis Vlamos / GoRunway.com; Marcio Madeira

I last saw Alber in his studio days before his immensely powerful and well-received Spring 2016 show. I sat across the desk from him as he calmly explained how he was processing the multiple realities of addressing women—and the processes of commerce today. He was asking rhetorical questions, not complaining, not judging, but trying to come up with creative answers to the challenges thrown up by the Internet-accelerated speed of fashion, the shift in expectations on a designer not to be a developer and “maker” but a “creative director,” and the need to make dresses that look great on a red carpet.

Alber was also concerned—and show me the designer who is, these days—about how real women might be able to translate skimpy, semi-naked “event” dresses for themselves. “Come in, Olga,” he said, beckoning to a model who was standing in his doorway. Olga was wearing a nude corseted bodysuit over which was draped an emerald green satin “event” gown. Olga looked me in the eye. She knew how good it was. As a genius construct. As a witty comment. As something considerately meant.



lanvin spring 2008

Expand

Three takes on the goddess silhouette from Spring 2008

Photo: Marcio Madeira

The Lanvin Spring show—Alber’s unexpected last—covered this entire waterfront (or is it a cliff’s edge?) with a vast lineup of proposals from severe black and white tailoring, to faux-sexy eveningwear, to brilliantly louche glittery sequins and sarcastically funny Lanvin-logo prints of shoes and bags. Drawing back a bit, I think it was his attempt to square all the circles of the commercial needs of a globally selling company while still being himself, a man who, above all, tries to empathize with what women want. Though, apparently, even that wasn’t enough to keep his bosses happy.



lanvin spring 2003

Expand

Spring 2003, Elbaz’s first runway show for Lanvin

Photo: Shoot Digital for Style.com

Skimming back through Alber’s Lanvin collections, I am struck by how much he has innovated, how much he owned, and how relevant his clothes still are through time. If you were lucky enough to have bought something from one of his early collections, you were the first to have gotten your hands on dresses with tulle jewels suspended in the neckline, the first to have invested in his fluid one-shouldered goddess dresses, the first to appreciate the pretty-fierce eroticism he invented with his ribbon-implanted zippers. And through practice—if you are like me—you’ll now realize that you’ll probably be wearing them, on and off, for the rest of your life.

When all’s said and done, that timeless hot-yet-elegant relevance is Alber Elbaz’s permanent calling card. Should anyone be approaching him with a job proposal right now, they’d be lucky to get him. And for all of us who have Lanvin in our wardrobes, let it be known: We want more. But only if whoever snaps up Alber next takes care to make him happy.

 

Alber Elbaz talks creativity, street fashion, and more:

The post Alber Elbaz Was Pushed Out at Lanvin; Vogue’s Sarah Mower Reflects on His Legacy appeared first on Vogue.

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Sapphic Seductions: A Collection of Erotic Short Stories (Unabridged Selections) (Unabridged) – Emily Dubberley, Kay Sexton, Chelsea Summers, Jade Taylor, and Sarah Louise Young

Emily Dubberley, Kay Sexton, Chelsea Summers, Jade Taylor, and Sarah Louise Young - Sapphic Seductions: A Collection of Erotic Short Stories (Unabridged Selections) (Unabridged)  artwork

Sapphic Seductions: A Collection of Erotic Short Stories (Unabridged Selections) (Unabridged)

Emily Dubberley, Kay Sexton, Chelsea Summers, Jade Taylor, and Sarah Louise Young

Genre: Romance

Price: $ 3.95

Publish Date: June 22, 2007

© ℗ © 2007 Audible Studios

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Desert Island Disks: Sarah Vaughan – Sarah Vaughan

Sarah Vaughan - Desert Island Disks: Sarah Vaughan  artwork

Desert Island Disks: Sarah Vaughan

Sarah Vaughan

Genre: Jazz

Price: $ 5.99

Release Date: February 29, 2000

© ℗ 2000 UMG Recordings, Inc.

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Sinner’s Steel: Sinner’s Tribe Motorcycle Club, Book 3 (Unabridged) – Sarah Castille

Sarah Castille - Sinner's Steel: Sinner's Tribe Motorcycle Club, Book 3 (Unabridged)  artwork

Sinner’s Steel: Sinner’s Tribe Motorcycle Club, Book 3 (Unabridged)

Sarah Castille

Genre: Romance

Price: $ 23.95

Publish Date: October 6, 2015

© ℗ © 2015 Tantor Audio

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Sarah Jessica Parker Just Wore Zuhair Murad Couture to the New York City Ballet Gala

Are you ready for this? Sarah Jessica Parker just hit it out of the park, doubling up on little-girl fantasies. The actress wore stunning Zuhair Murad couture to last night's New York City Ballet Gala,…


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Daughter of Time: A Time Travel Romance – Sarah Woodbury

Sarah Woodbury - Daughter of Time: A Time Travel Romance  artwork

Daughter of Time: A Time Travel Romance

After Cilmeri, Prequel

Sarah Woodbury

Genre: Historical

Publish Date: March 18, 2011

Publisher: Sarah Woodbury

Seller: Smashwords


A medieval man with an uncertain destiny, Llywelyn, the Prince of Wales, faces treachery and deceit at the hands of friends and foes alike … A modern woman with a troubled past, Meg’s life is in tatters when she slips through time and into medieval Wales … Only by working together can Meg and Llywelyn navigate the shifting allegiances that threaten the very existence of Wales–and create their own history that defies the laws of time. Daughter of Time is a prequel to the After Cilmeri Series, and is appropriate for young teens to adults. Other books in this series include Footsteps in Time, Winds of Time, Prince of Time, Crossroads in Time, Children of Time, Exiles in Time, Castaways in Time, Ashes of Time, and Warden of Time. **A note from the author: I am so happy to be able to share with you this prequel to the After Cilmeri series. I created Footsteps in Time and Prince of Time first, and only wrote Daughter of Time after so many readers wanted to know how the story began. Meg's journey is continued in Footsteps in Time and Winds of Time, a novella that is meant to be a companion to the series. Happy reading!

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Sarah Palin Criticizes Ahmed Mohamed On Facebook, Can’t Even Spell His Name Right

It wouldn’t be a GOP opinion unless it goes totally against the grain of the popular thought, and Sarah Palin managed to insert her unsolicited two cents into the Ahmed Mohamed situation.

The former Governor of Alaska has been obsessed with President Obama’s every move since her failed campaign for vice president in 2008 and she used the recent controversy in Irving, TX for a direct jab at the White House.

She also tried to paint the 14-year-old teen as a privileged troublemaker who was immune to the same punishment other (white) students made, but were subjected to national attention. Palin, 51, also couldn’t be bothered with taking heed to the correct spelling of the boy’s name but her right-wing followers loved her all the same for it.

“Friends, consider the kids disciplined and/or kicked out of school for bringing squirt guns to school or taking bites out of a pop tart until it resembled (to some politically correct yahoo) a gun,” Palin wrote via Facebook. “Or the student out deer hunting with his dad early one morning who forgot he had a box of ammo in his truck when he parked in the school’s lot later that day. Kids humiliated and intimidated for innocent actions like those real examples are often marked the rest of their lives and made to feel really rotten. Whereas Ahmed Muhammad, an evidently obstinate-answering student bringing in a homemade “clock” that obviously could be seen by conscientious teachers as a dangerous wired-up bomb-looking contraption (teachers who are told “if you see something, say something!”) gets invited to the White House.”

Cops who arrested Ahmed were fully aware that the strange-looking clock wasn’t an explosive device but “humiliated and intimidated” him by hauling him off to juvenile detention regardless. Still, Palin thinks Obama acted impulsively by extending an invitation for him to visit the White House.

“By the way, President Obama’s practice of jumping in cases prematurely to interject himself as the cool savior, wanting so badly to attach himself to the issue-of-the-day, got old years ago,” she continued. “Remember him accusing police officers doing their job as “acting stupid”; claiming if he had a son, he’d look like Trayvon Martin; claiming he needed to know who was a fault in an industrial accident so he’d “know who’s a** to kick”; etc., etc. Those actions are about as presidential as his selfie stick.”

Palin ran a campaign based on catering to hockey moms and spending a great chunk of the time attempting to prove she was qualified, fundamentally and politically, for the job. Had she and John McCain been elected, it probably isn’t a shot in the dark to say her commentary on social issues would reflect her persona as a conservative white woman living in Alaska.

H/T: Huffington Post


Photo: Ivan Nikolov/WENN.com

The post Sarah Palin Criticizes Ahmed Mohamed On Facebook, Can’t Even Spell His Name Right appeared first on Hip-Hop Wired.

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Sarah Kirkland Snider: Unremembered – Padma Newsome, DM Stith & Shara Worden

Padma Newsome, DM Stith & Shara Worden - Sarah Kirkland Snider: Unremembered  artwork

Sarah Kirkland Snider: Unremembered

Padma Newsome, DM Stith & Shara Worden

Genre: Classical

Price: $ 9.99

Release Date: July 31, 2015

© ℗ 2015 New Amsterdam

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Sarah Michelle Gellar And Freddie Prinze, Jr. Are Giving Us Marriage Goals

Sarah Michelle Gellar and Freddie Prinze, Jr. celebrated their 13th anniversary with the cutest series of internet messages to each other.
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Until the End of the World – Sarah Lyons Fleming

Sarah Lyons Fleming - Until the End of the World  artwork

Until the End of the World

Sarah Lyons Fleming

Genre: Fiction & Literature

Publish Date: January 18, 2014

Publisher: Sarah Lyons Fleming

Seller: Draft2Digital, LLC


Cassie Forrest isn't surprised to learn that the day she’s decided to get her life together is also the day the world ends. After all, she’s been on a self-imposed losing streak since her survivalist parents died: she’s stopped painting, broken off her engagement to Adrian and dated a real jerk. Rectifying her mistakes has to wait, however, because Cassie and her friends have just enough time to escape Brooklyn for her parents’ cabin before Bornavirus LX turns them into zombies, too. This is difficult enough, but Cassie’s tag along ex-boyfriend and her friend’s bratty sister have a knack for making everything, even the apocalypse, more unpleasant. When the two attract a threat as deadly as the undead to their safe haven, Cassie’s forced to see how far she’ll go to protect those she loves. And it’s a lot farther than she’d anticipated. This, coupled with Adrian’s distant voice on Safe Zone Radio and, of course, the living dead, threaten to put Cassie right back into the funk she just dragged herself out of. Survival’s great and all, especially when you have leather armor, good friends and home-brewed beer, but there’s something Cassie must do besides survive: tell Adrian she still loves him. And to do that, Cassie has to find faith that she’s stronger than she thinks, she’s still a crack shot and true love never dies.

iTunes Store: Top Free Books in Fiction & Literature

WIRED Live – How Do You Make a Video Go Viral? Unruly Media’s Sarah Wood Explains

Founder and COO of Unruly Media, Sarah Wood, explains the myths, value, and impact of video content in an evolving digital landscape.
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Bennington, Joe List and Sarah Tollemache, August 17, 2015 – Ron Bennington

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Bennington, Joe List and Sarah Tollemache, August 17, 2015

Ron Bennington

Genre: Arts & Entertainment

Price: $ 1.95

Publish Date: August 17, 2015

© ℗ © 2015 XM Satellite Radio

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2015 Teen Choice Awards Best & Worst: Britney Spears Stuns, Nina Dobrev Says Farewell, Sarah Hyland Trips & More!

It’s the 2015 Teen Choice Awards y’all!

The teens had all the control tonight as they picked their winners in various categories spanning from movies, television, music and…


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Dress du Jour: Sarah Jessica Parker Is a Total Gem in Elie Saab Couture


That glittery emerald gown is a stunner.

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Dreamchaser – Sarah Brightman

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Dreamchaser

Sarah Brightman

Genre: Classical

Price: $ 11.99

Release Date: April 16, 2013

© ℗ 2013 Simha, LLC

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Calm Before the Storm – EP – Sarah Ross

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Calm Before the Storm – EP

Sarah Ross

Genre: Country

Price: $ 5.94

Release Date: July 24, 2015

© ℗ 2015 Average Joes Entertainment Group

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Sarah MacDougall – Grand Canyon – Rabbit Heart

She has a sound that is definably her own but the music has its roots in many different places and you definitely sense this is a full grown album, working on many levels.
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The Breakup Playlist (The Official Movie Soundtrack) – Piolo Pascual & Sarah Geronimo

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The Breakup Playlist (The Official Movie Soundtrack)

Piolo Pascual & Sarah Geronimo

Genre: Pop

Price: $ 8.91

Release Date: June 24, 2015

© ℗ 2015 Star Recording, Inc.

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Bound to the Bachelor – Sarah Mayberry

Sarah Mayberry - Bound to the Bachelor  artwork

Bound to the Bachelor

Sarah Mayberry

Genre: Contemporary

Publish Date: February 20, 2015

Publisher: Tule Publishing

Seller: Tule Publishing Group, LLC


Your date with Marietta local Beau Bennett includes a day on the slopes at Big Sky Resort, complete with a sumptuous meal in the Resort’s fanciest fine dining restaurant and door-to-door transport. Dig deep to secure the attentions of one of Montana’s most eligible – and elusive – bachelors.   Lily Taylor knows Beau Bennett dislikes her, but that won’t stop her from asking him to volunteer for the Bachelor Auction she’s organized to help her friend Molly provide for her tragically injured son, Josh. If Beau’s gorgeous face, piercing blue eyes and chiseled body inspires the women of Marietta to dig into their pockets for a good cause, then Lily will do whatever it takes to secure his participation.  Beau Bennett isn’t sure how he wound up on the auction block being eyed up by hundreds of eager women, but he knows who to blame for it – Lily Taylor, the sexy, distracting, off-limits best friend of his kid sister. As far as he’s concerned, the sooner this nightmare is over, the better.  The last thing either of them expects is for Lily to wind up bidding on – and winning – Beau, or that their date will lead to Beau stepping in to save Lily when her past comes back to haunt her. As Beau does his best to keep Lily safe, they discover that maybe they don’t dislike each other quite as much as they thought.  In fact, maybe it’s just the opposite…  Bachelor Auction Series   Book 1: Bound to the Bachelor  Book 2: Bachelor at her Bidding  Book 3: The Bachelor's Baby  Book 4: What a Bachelor Needs  Book 5: In Bed with the Bachelor  Book 6: One Night with her Bachelor

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Coming Back: The Sarah Kinsely Story, Book 2 (Unabridged) – CJ Berry

CJ Berry - Coming Back: The Sarah Kinsely Story, Book 2 (Unabridged)  artwork

Coming Back: The Sarah Kinsely Story, Book 2 (Unabridged)

CJ Berry

Genre: Romance

Price: $ 5.95

Publish Date: June 26, 2015

© ℗ © 2015 Real Romance LLC

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Riot Girls: Seven Free Teen Books With Girls Who Don’t Need A Hero – Jill Nojack, Brad Magnarella, Pauline Creeden, Rachel Medhurst, Sara C. Roethle, Sarah Dalton & Stella Wilkinson

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Riot Girls: Seven Free Teen Books With Girls Who Don’t Need A Hero

Jill Nojack, Brad Magnarella, Pauline Creeden, Rachel Medhurst, Sara C. Roethle, Sarah Dalton & Stella Wilkinson

Genre: Short Stories

Publish Date: January 30, 2015

Publisher: IndieHeart Press

Seller: Draft2Digital, LLC


Riot Girls: Seven Free Teen Books With Girls Who Don’t Need A Hero is a collection of Young Adult Speculative Fiction (Fantasy/SciFi/Dystopian/Paranormal) for readers who like it when a girl can take care of herself. These teens don’t sit around waiting for someone to rescue them from their situation, they act! The collection has something for everyone—dystopian societies, trained assassins, strange creatures (faeries, vampires, werewolves, and zombies), super heroes, and witches. What binds our stories together is our heroines—girls who have the inner and outer strength to take care of themselves. Included in the collection: xGeneration 1: You Don't Know Me – Genre: SciFi / Superhero – Full Length Novel (95,000 words). Fourteen-year-old Janis Graystone is mostly worried about soccer, school, and keeping her older sister from running her life. But when strange things start happening to her including out-of-body experiences and the sense someone is watching her, she finds herself working with an unlikely but loyal ally to discover the source of the danger she senses around her. Rated PG-14 (Language). The Blemished: Blemished #1 – Genre: SciFi / Dystopian – Full Length Novel (85,000 words). Below average and imperfect in a world of stunning clones, Mina Hart is denied an education and a normal life. But when she meets a new friend’s mysterious brother, she finds herself willing to share a dangerous secret… Xoe: or Vampires, and Werewolves, and Demons, oh my! – Genre: Paranormal – Full Length Novel (50,000 words). Xoe Meyers liked her normal small-town life. But things change fast when the new guy in town turns out to be a werewolf who goes after her best friend in a big way. Determined to save her friend, she finds herself allied with creatures she never knew existed in a battle that threatens all their lives. Rated PG-13 (Language). Magic Unbound: Book One in the Fae Unbound Series – Genre: Contemporary Urban Fantasy – Full Length Novel (45,000 words). Not-quite-sixteen year old Lizbet Moore expects a boring last month of summer vacation. What she wasn't expecting was a fifteen-hundred-year old fae hiding in her back garden. Murderous monks, memories of her past lives, and the race to save the fae from destruction change her summer in ways she could never have imagined. Avoidables: Book 1 – Genre: Fantasy / Dystopian – Serialized Novella-length Fiction (25,000 words). Hope is an Avoidable in a world that belongs to the Perfects. She was born with only one arm, but when she discovers that her disability is actually a gift, she joins a group of rebels who are determined to change the rules of her society. Rated PG-14 (Language, Mature Situations). Chronicles of Steel: Raven 1: Episode 1 – Genre: Fantasy / Steampunk – Short Serialized Novelette (17,300 words). Raven was trained by her father to be a Reaper. Just as she's saved enough lives to redeem the ones she's taken, she agrees to take on a last mission that's too important to ignore. Will it force her back into the life she's trying to escape? Halloween Magic & Mayhem – Genre: Paranormal / Comedy Romance – Novelette (15,000 words) . On her sixteenth birthday, Emily Rand discovers she is a powerful witch. Her experiment with a spell accidently turns a ghost back into a boy and reanimates a group of zombies. It will take all of her power to undo what she has done. Rated PG-13 (Language). Please note: Riot Girls contains books by authors from both the United States and Great Britain. Spelling, punctuation, and sentence construction can be different from what is correct grammar on the "other side of the pond".

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The Midnight Swim – Sarah Adina Smith

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The Midnight Swim

Sarah Adina Smith

Genre: Drama

Price: $ 9.99

Rental Price: $ 3.99

Release Date: June 26, 2015


Spirit Lake is unusually deep. No diver has ever managed to find the bottom, though many have tried. When Dr. Amelia Brooks disappears during a deep-water dive, her three daughters travel home to settle her affairs. They find themselves unable to let go of their mother and become drawn into the mysteries of the lake.

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Move over, royal princess! Sarah Michelle Gellar’s Charlotte was here first

The newest member of the royal family is having her moment in the spotlight, but Sarah Michelle Gellar wants to remind everyone that her daughter is Charlotte No. 1.




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Sarah Hyland Sports Sexy, Plunging Black Gown to the 2015 MuchMusic Video Awards, Packs on PDA With Boyfriend Dominic Sherwood

Sarah Hyland, Dominic Sherwood, 2015 MuchMusic Video AwardsSarah Hyland’s 2015 MuchMusic Video Awards look can be summed up in, well, a word: Wowzah.

The Modern Family star took to the red carpet in a plunging black gown featuring a sexy…


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Stories We Tell – Sarah Polley

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Stories We Tell

Sarah Polley

Genre: Documentary

Price: $ 13.99

Rental Price: $ 0.99

Release Date: May 10, 2013


STORIES WE TELL is a "riveting" (LOS ANGELES TIMES) and "unmissable" (ROLLING STONE) genre-twisting film by Oscar®- nominated director Sarah Polley. Her poignant investigation into the elusive truths and buried secrets of a family of storytellers paints a profound portrait of a complicated and deeply loving group of relatives you won't soon forget.

© © 2012 National Film Board of Canada.

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Welcome to Shadowhunter Academy: Shadowhunter Academy, Book 1 (Unabridged) – Cassandra Clare, Sarah Rees Brennan

Cassandra Clare, Sarah Rees Brennan - Welcome to Shadowhunter Academy: Shadowhunter Academy, Book 1 (Unabridged)  artwork

Welcome to Shadowhunter Academy: Shadowhunter Academy, Book 1 (Unabridged)

Cassandra Clare, Sarah Rees Brennan

Genre: Sci Fi & Fantasy

Price: $ 3.95

Publish Date: February 17, 2015

© ℗ © 2015 Simon & Schuster Audio

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Sarah Jessica Parker is the new face of Jordache

Fashion icon and actress Sarah Jessica Parker is modeling for Jordache jeans latest ad campaign.




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Sarah Jessica Parker: Jordache Chooses Actress As New Face

Sarah Jessica Parker, is following in the footsteps of supermodels Heidi Klum and Elizabeth Hurley as the new face of Jordache jeans.

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Style Notes: Sarah Jessica Parker Is Jordache’s New Face; Instagram Gets a New Look


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Forgetting Sarah Marshall (Unrated) – Nicholas Stoller

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Forgetting Sarah Marshall (Unrated)

Nicholas Stoller

Genre: Comedy

Price: $ 14.99

Rental Price: $ 2.99

Release Date: January 1, 2008


Join the cast of Forgetting Sarah Marshall as they dare to bare all in this Unrated version of the film filled with more laughs, more adventure and way more fun! Peter (Jason Segel) is a struggling musician who finds his world turned upside down when his TV celebrity girlfriend, Sarah Marshall (Kristen Bell), dumps him for a tragically hip rock star. It’s the hysterically funny look at how far one man will go to forget a girl – and all the fun he finds along the way!

© © 2008 Universal Studios. All Rights Reserved.

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Sarah Michelle Gellar & Selma Blair — Awesome Intentions!! Sucking Face While Reese Witherspoon Watches

Sarah Michelle Gellar and Selma Blair recreated their epic “Cruel Intentions” make out scene last night — and it was just as epic … 16 years later. Reese Witherspoon made it a full reunion — but she kept her tongue in her mouth — as the…

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Walk Off the Earth Singer Sarah Blackwood — United Airlines Booted Me ‘Cause My Kid Was Crying

United Airlines has a problem with crying infants according to alternative rocker Sarah Blackwood … who says she was kicked off a flight because her 1-year-old son got fussy — but the airline claims the kid was a safety risk. Sarah — Walk…

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Reese Witherspoon, Sarah Michelle Gellar And Selma Blair Had The Best ‘Cruel Intentions’ Reunion

“Do you think I relish the fact that I have to act like Mary Sunshine 24/7 so I can be considered a lady? I’m the Marcia fucking Brady of the Upper East Side and sometimes I want to kill myself. So there’s your psychoanalysis, Dr. Freud.”

That’s some dialogue from “Cruel Intentions,” which is one of the best movies of 1999 (if you disagree you clearly were not in eighth grade the same year it was released).

Sixteen years later, the film’s stars Reese Witherspoon, Sarah Michelle Gellar and Selma Blair just had a mini reunion and an epic girls’ night out.

And what do the three stars of such a fine piece of cinema do on a night out together? Well, they took in the a showing of “Cruel Intentions: The Completely Unauthorized Musical Parody”, which is pretty much the best thing ever. Gellar actually already saw the play back in April, but we’re guessing the meta experience was even better the second time around with Witherspoon and Blair by her side.

Best girls night of the year!!! #cruelintentions

A photo posted by Reese Witherspoon (@reesewitherspoon) on

#CruelIntentions @reesewitherspoon @therealselmablair #cruelintentionsmusical

A photo posted by Sarah Michelle (@sarahmgellar) on

@sarahmgellar Sebastian and Kathryn reunite! #cruelintentionsmusical #90sflashback

A photo posted by Reese Witherspoon (@reesewitherspoon) on

And this isn’t the only reunion Gellar has had lately. Over the weekend, the actress reunited with her former “Buffy the Vampire Slayer” co-star Alyson Hannigan, to celebrate Hannigan’s daughter’s birthday.

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Entertainment – The Huffington Post
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Former ‘Buffy’ Stars Sarah Michelle Gellar, Alyson Hannigan Reunite In Santa Monica

Buffy and Willow are back together again, reuniting over some family fun and craft-making.

Former “Buffy the Vampire Slayer” stars Sarah Michelle Gellar and Alyson Hannigan, who played BFFs on the hit show, were reunited over the weekend in Santa Monica, California.

“So this girl (#AlysonHannigan) and her husband (#AlexisDenisof) know how to throw a party,” Gellar wrote on Instagram Sunday, sharing a happy snap of her and Hannigan clad in denim-and-white outfits.

“I thought I was good with the crafts, till I went to this party #CraftMaster,” she added. “Thanks for having the #PrinzeFamily I’ve never seen a farm and pony rides in Santa Monica before #NowIveSeenItAll.”

A photo posted by Sarah Michelle (@sarahmgellar) on

According to People, Gellar, 38, and her family had likely been invited to the third birthday party of Hannigan’s daughter, Keeva.

Hannigan, 41, has two kids with husband — and “Buffy” alum — Alexis Denisof. Gellar and husband Freddie Prinze Jr. also have two children.

Earlier this month, Hannigan revealed that she and Gellar share “mutual love of crafting” after the pair bumped into each other at a Michaels.

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Sarah Silverman Joins Andy Samberg in Lonely Island Music Comedy (Exclusive)

Judd Apatow is producing the musically-inclined comedy with Lonely Island’s Akiva Schaffer, Jorma Taccone and Samberg.
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Sarah Deragon’s ‘The Identity Project’ Challenges The Way We Think About Queer Identity

“The Identity Project,” from photographer Sarah Deragon, challenges the way that we compartmentalize and think about queerness and identity.

The photo series captures the way subjects want to present themselves to the world around them and communicate their personal ways of self-identifying. Mainstream understandings of what it means to be lesbian, gay, bisexual and transgender (LGBT) tend to be narrow and specific, but with “The Identity Project,” we can see the infinite shades and hues of queerness that make up the spectrum of human identity.

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The Huffington Post chatted with Deragon this week about her work and how the project has grown.

The Huffington Post: What is your driving vision for The Identity Project?
Sarah Deragon: My main vision for The Identity Project is to expand what we normally understand to be the LGBTQ communities. I wanted to create a photo project that allowed participants to self-identify and stand up and be seen for who they really are. I honestly thought that the project would be a small collection of 50 or so photographs, but the response to the project was so profound that I decided to expand it and travel to several US cities like New York City, Portland, Chicago and soon Austin to photograph more people. I imagine that this will be an ongoing project for me throughout my lifetime.

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Mommy-and-Me Hair Color: The Daughter-Inspired Dye Jobs of Sarah Jessica Parker, Gisele Bündchen, and More

Gisele Bündchen and Vivian Lake Brady

Not so many years ago now, highlights involved tiny, meticulously threaded strands and countless foils—an arduous process that has given way to a far more natural aesthetic. In fact, these days, the best hair-color cues come from a summer spent basking in the surf or, say, the pristine sun-streaked pitch of a child’s uncontrived mane. And from a look at our favorite celebrities, the latter has provided more than its fair share of pitch-perfect inspiration.

Sarah Jessica Parkers artfully painted ombré looks like an amalgam of her twins’ Marion and Tabitha’s respective toffee and flaxen tones, while Salma Hayeks daughter Valentina might have helped the actress fine-tune the rich brunette shade she was born with. We wouldn’t be surprised if Gisele Bündchens legendary beachy mane was based on her toddler Vivian’s multidimensional blonde—or if Lily-Rose Depp played muse for Vanessa Paradiss signature golden blonde hue. Just in time for Mother’s Day, here’s a look at why great hair really does run in the family.

The post Mommy-and-Me Hair Color: The Daughter-Inspired Dye Jobs of Sarah Jessica Parker, Gisele Bündchen, and More appeared first on Vogue.

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Here Are The Sarah Jessica Parker Memes From The 2015 Met Gala

Sarah Jessica Parker showed up to the 2015 Met Gala in a headdress — so of course the Internet made the IRL Carrie Bradshaw into a meme.

She’s no stranger to extravagant headpieces, especially when it comes to the most glamorous ball of the year. Back in 2013, Parker donned a decked-out mohawk for the Punk gala.

In anticipation of tonight’s theme, “China: Through The Looking Glass,” there were worries that celebrities and stylish influencers would flood the red carpet with offensive and ridiculous garb. While some starlets kept their cool and avoided the topic at hand, there were (of course) instances of outrageous looks that surpass the point of judgement.

Enter in SJP’s Philip Treacy headpiece, which had jaws dropping and social media firing up with memes comparing her to various cartoon characters, like Jafar from “Aladdin.”

See the memes that prove that the Internet clearly has no chill.

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The 10 Best Instagram Fashion Moments of the Week: Sarah Jessica Parker, Katy Perry, and More

Best fashion Instagrams

With the first bloom of May flowers finally on the horizon, the new look of spring has been breaking through our feed. Street style photographer Tamu McPherson dipped her toe into the idea with Margiela’s hand-painted daisy black boots, while Susie Lau found wall-to-wall inspiration at London label House of Hackney. Doing her part for the environment on Earth Day was Sarah Jessica Parker, who took a proud and thoughtful selfie in a Save the Bees shirts from J.Crew.

And as the rest of the fashion world had their eyes on the bridal shows in New York City, Vegas-bound supermodel Cara Delevingne discovered that newlywed style can happen in the most unlikely places. See these moments and more in our weekly roundup.

The post The 10 Best Instagram Fashion Moments of the Week: Sarah Jessica Parker, Katy Perry, and More appeared first on Vogue.

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Model Sarah Stage — See, My BIG Baby Had Plenty of Womb (PHOTO)

People don’t want to believe model Sarah Stage gave birth to an 8 lb. baby — especially since her belly only looked like it had a quarter pounder with cheese in it — but here’s photo proof of the big guy. Sarah’s son, James, is looking…

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Model Sarah Stage — See, My BIG Baby Had Plenty of Womb (PHOTO)

People don’t want to believe model Sarah Stage gave birth to an 8 lb. baby — especially since her belly only looked like it had a quarter pounder with cheese in it — but here’s photo proof of the big guy. Sarah’s son, James, is looking…

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Sarah Jessica Parker’s ‘Divorce’ Comedy Ordered to Series at HBO


Bringing the ‘Sex and the City’ star back to the network after more than a decade.

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Hollywood Reporter

Louis C.K. Reveals He Recently Apologized to Sarah Palin for Those Infamous Profane Tweets

Sarah Palin, Louis C.K.Is Louis C.K. turning into a big softie?

The Louie star revealed today on The Howard Stern Show that he recently apologized to Sarah Palin in person for some profane tweets he wrote…


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Model Sarah Stage — Super Skinny Pregnancy Leads to Big Baby!

The day after model Sarah Stage took a ton of flak for looking like the fittest pregnant woman in history … she squeezed out a baby wayyy bigger than anyone with eyes would expect.  Stage gave birth Tuesday afternoon to James Hunter — 8 lbs.…

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Ladies, Sarah Silverman Wants You To Ask For A Raise

Sarah Silverman is standing up against wage inequality by asking for more.

Silverman teamed up with Levo League in a new video for Levo’s #Ask4More campaign to talk about the gender pay gap and how it’s affected her throughout her career.

The 44-year-old comedian began with an anecdote about a time she and a male comedian performed the same show, but she was paid less. “He just got $ 60, and I just got $ 10. We did the exact same time back-to-back on the same show,” she said. “It’s pretty shitty.”

Silverman noted that there are many different variables that influence pay, including experience and output — but if the work is equal, the pay should be too. “If you work a job and a man is working the same job, you should be getting paid the same,” she said. “I don’t think anyone’s asking for more than what’s fair.”

Women tend to wait for perfection before asking for more. Silverman shared a lesson from years of playing basketball with all guys as an example of how women can’t be afraid of failure. “You can’t take a shot and miss and feel like it means you’ve missed a hundred shots and that you’re burdening your team,” Silverman said. “The guys shoot and miss all the time, most of the time. And they get better.”

The pay gap is an issue that impact women across socioeconomic and racial groups — no matter what field they work in. The wage gap only grows larger as women age, with women earning 90 percent of what men make until 35, after which they are paid 75–80 percent of what men are paid. And many women of color are hit even harder by the wage gap, with Latina women earning just 54 percent of every dollar a white man males, and black women earning 64 percent.

And things aren’t changing nearly fast enough. A recent report showed that in a few parts of the U.S. women won’t see equal pay until 2100.

“I think as women, as a whole, if we can understand what we deserve… we [can understand that] we deserve quality lives,” Silverman says. “Go ahead, ask for more.”

On it. Thanks, Sarah.

H/T Marie Claire

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‘Game of Thrones’ Star Emilia Clarke on Playing Sarah Connor, Turning Down ‘Fifty Shades’ and Moving on From Nudity


Power, pay and prestige: Everyone in the town wants some, and Clarke, star of HBO’s massive hit, just happens to have a little more than other actresses right now, as she commands $ 7 million a season, gets billing above Arnold Schwarzenegger in ‘Terminator’ and cuts back on nude scenes: “There are other women who remove items of clothing on our show, so they’ve kind of got my nipple count down now.”

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Brutality Exposed: Sarah Shevon blackmails Police to Gangbang her!

Sarah Shevon is out to correct the cops after they arrest her for recording police brutality on her phone. She demands they protect and serve – starting with her pussy! Much to the officers’ surprise, Sarah blackmails them to get her ultimate pleasure – a punishing gangbang!! Sarah demands they pull out their cocks and fuck her throat. She takes their cocks deep into her wet mouth and then tells them to stuff all her holes. She is blindfolded and pinned down, demanding choking orgasms, heavy anal fucking, double penetration, and bukkake! Sarah gets everything she deserves and more when this group of brutal cops fucks her to eye rolling orgasms before shooting five loads all over her pretty face.
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Sarah Palin ”Couldn’t Be Happier” for Bristol Palin’s Engagement, Reveals How Rascal Flatts Helped With the Proposal

Sarah Palin, Bristol Palin, InstagramSarah Palin is a happy mama!

Just a few hours after news broke that Bristol Palin got engaged to Sgt. Dakota Meyer, the former governor of Alaska took to Facebook where she sounded off…


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Brutality Exposed: Sarah Shevon blackmails Police to Gangbang her!

Sarah Shevon is out to correct the cops after they arrest her for recording police brutality on her phone. She demands they protect and serve – starting with her pussy! Much to the officers’ surprise, Sarah blackmails them to get her ultimate pleasure – a punishing gangbang!! Sarah demands they pull out their cocks and fuck her throat. She takes their cocks deep into her wet mouth and then tells them to stuff all her holes. She is blindfolded and pinned down, demanding choking orgasms, heavy anal fucking, double penetration, and bukkake! Sarah gets everything she deserves and more when this group of brutal cops fucks her to eye rolling orgasms before shooting five loads all over her pretty face.
Hardcore Gangbang Gallery Update

Brutality Exposed: Sarah Shevon blackmails Police to Gangbang her!

Sarah Shevon is out to correct the cops after they arrest her for recording police brutality on her phone. She demands they protect and serve – starting with her pussy! Much to the officers’ surprise, Sarah blackmails them to get her ultimate pleasure – a punishing gangbang!! Sarah demands they pull out their cocks and fuck her throat. She takes their cocks deep into her wet mouth and then tells them to stuff all her holes. She is blindfolded and pinned down, demanding choking orgasms, heavy anal fucking, double penetration, and bukkake! Sarah gets everything she deserves and more when this group of brutal cops fucks her to eye rolling orgasms before shooting five loads all over her pretty face.
Hardcore Gangbang Gallery Update

Brutality Exposed: Sarah Shevon blackmails Police to Gangbang her!

Sarah Shevon is out to correct the cops after they arrest her for recording police brutality on her phone. She demands they protect and serve – starting with her pussy! Much to the officers’ surprise, Sarah blackmails them to get her ultimate pleasure – a punishing gangbang!! Sarah demands they pull out their cocks and fuck her throat. She takes their cocks deep into her wet mouth and then tells them to stuff all her holes. She is blindfolded and pinned down, demanding choking orgasms, heavy anal fucking, double penetration, and bukkake! Sarah gets everything she deserves and more when this group of brutal cops fucks her to eye rolling orgasms before shooting five loads all over her pretty face.
Hardcore Gangbang Gallery Update

Sarah Says Her ‘Battle Of The Exes 2′ Dome Vote Was Inspired By Johnny Himself

Sarah of ‘Battle of the Exes II’ explains why she voted her friend, Johnny Bananas, into the game’s final elimination round.
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‘Midnight Rider’ Trial: Sarah Jones Remembered in Family Statements


The camera assistant liked to paint, write and go to comedy shows with her brother, her family shared in court.

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Hollywood Reporter

Brutality Exposed: Sarah Shevon blackmails Police to Gangbang her!

Sarah Shevon is out to correct the cops after they arrest her for recording police brutality on her phone. She demands they protect and serve – starting with her pussy! Much to the officers’ surprise, Sarah blackmails them to get her ultimate pleasure – a punishing gangbang!! Sarah demands they pull out their cocks and fuck her throat. She takes their cocks deep into her wet mouth and then tells them to stuff all her holes. She is blindfolded and pinned down, demanding choking orgasms, heavy anal fucking, double penetration, and bukkake! Sarah gets everything she deserves and more when this group of brutal cops fucks her to eye rolling orgasms before shooting five loads all over her pretty face.
Hardcore Gangbang Gallery Update

Brutality Exposed: Sarah Shevon blackmails Police to Gangbang her!

Sarah Shevon is out to correct the cops after they arrest her for recording police brutality on her phone. She demands they protect and serve – starting with her pussy! Much to the officers’ surprise, Sarah blackmails them to get her ultimate pleasure – a punishing gangbang!! Sarah demands they pull out their cocks and fuck her throat. She takes their cocks deep into her wet mouth and then tells them to stuff all her holes. She is blindfolded and pinned down, demanding choking orgasms, heavy anal fucking, double penetration, and bukkake! Sarah gets everything she deserves and more when this group of brutal cops fucks her to eye rolling orgasms before shooting five loads all over her pretty face.
Hardcore Gangbang Gallery Update

Brutality Exposed: Sarah Shevon blackmails Police to Gangbang her!

Sarah Shevon is out to correct the cops after they arrest her for recording police brutality on her phone. She demands they protect and serve – starting with her pussy! Much to the officers’ surprise, Sarah blackmails them to get her ultimate pleasure – a punishing gangbang!! Sarah demands they pull out their cocks and fuck her throat. She takes their cocks deep into her wet mouth and then tells them to stuff all her holes. She is blindfolded and pinned down, demanding choking orgasms, heavy anal fucking, double penetration, and bukkake! Sarah gets everything she deserves and more when this group of brutal cops fucks her to eye rolling orgasms before shooting five loads all over her pretty face.
Hardcore Gangbang Gallery Update

Brutality Exposed: Sarah Shevon blackmails Police to Gangbang her!

Sarah Shevon is out to correct the cops after they arrest her for recording police brutality on her phone. She demands they protect and serve – starting with her pussy! Much to the officers’ surprise, Sarah blackmails them to get her ultimate pleasure – a punishing gangbang!! Sarah demands they pull out their cocks and fuck her throat. She takes their cocks deep into her wet mouth and then tells them to stuff all her holes. She is blindfolded and pinned down, demanding choking orgasms, heavy anal fucking, double penetration, and bukkake! Sarah gets everything she deserves and more when this group of brutal cops fucks her to eye rolling orgasms before shooting five loads all over her pretty face.
Hardcore Gangbang Gallery Update

Watch Sarah Hyland Talk About Eating Pizza on the Red Carpet (With Glamour!) on The Talk

I'm pretty sure before I started working at Glamour three years ago, no one in their right mind ate anything on a red carpet. I mean, why would they? Actresses monitor what they eat around…




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Marked: Servants of Fate, Book 1 (Unabridged) – Sarah Fine

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Marked: Servants of Fate, Book 1 (Unabridged)

Sarah Fine

Genre: Sci Fi & Fantasy

Price: $ 9.95

Publish Date: January 1, 2015

© ℗ © 2015 Brilliance Audio

iTunes Store: Top Audiobooks in Sci Fi & Fantasy

Kathy Taylor, Cancer Sufferer Who Inspired Sarah McLachlan, Dies at 34

Kathy Taylor, who inspired singer Sarah McLachlan and others, has died in Utah after a fight against cancer while pregnant with her sixth child. She…
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Veronika Decides to Die Official Trailer #1 (2015) – Sarah Michelle Gellar Movie HD

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Veronika Decides to Die Official Trailer #1 (2015) – Sarah Michelle Gellar Movie HD

After a frantic suicide attempt, Veronika awakens inside a mysterious mental asylum. Under the supervision of an unorthodox psychiatrist who specializes in controversial treatment, Veronika learns that she has only weeks to live.

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Daughter of Time – Sarah Woodbury

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Daughter of Time

After Cilmeri, Prequel

Sarah Woodbury

Genre: Historical

Publish Date: March 18, 2011

Publisher: Sarah Woodbury

Seller: Smashwords


A medieval man with an uncertain destiny, Llywelyn, the Prince of Wales, faces treachery and deceit at the hands of friends and foes alike … A modern woman with a troubled past, Meg’s life is in tatters when she slips through time and into medieval Wales … Only by working together can Meg and Llywelyn navigate the shifting allegiances that threaten the very existence of Wales–and create their own history that defies the laws of time. Daughter of Time is a prequel to the After Cilmeri Series, and is appropriate for young teens to adults. Other books in this series include Footsteps in Time, Winds of Time, Prince of Time, Crossroads in Time, Children of Time, Exiles in Time, and Castaways in Time. **A note from the author: I am so happy to be able to share with you this prequel to the After Cilmeri series. I created Footsteps in Time and Prince of Time first, and only wrote Daughter of Time after so many readers wanted to know how the story began. Meg's journey is continued in Footsteps in Time and Winds of Time, a novella that is meant to be a companion to the series. Happy reading!

iTunes Store: Top Free Books in Sci-Fi & Fantasy

Arthur Christmas – Sarah Smith

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Arthur Christmas

Sarah Smith

Genre: Kids & Family

Price: $ 9.99

Release Date: November 11, 2011


Santa and his elite elf team use spy-like stunts to deliver billions of presents to all the world's children in one incredible night. So what does it mean if only one child gets left without a present? Everything! Now it is up to Santa's youngest son Arthur to fix this slip up and make good on the promise of Christmas. With the help of retired Grandsanta and a rebellious young elf, Arthur's on a last-second ride to give the final gift and bring wonder back to the holiday season. Deck the halls with thrills, excitement and fun in this instant Christmas classic!

© © 2011 Sony Pictures Animation Inc. All Rights Reserved.

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The Bedwetter: Stories of Courage, Redemption, and Pee (Unabridged) – Sarah Silverman

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The Bedwetter: Stories of Courage, Redemption, and Pee (Unabridged)

Sarah Silverman

Genre: Comedy

Price: $ 21.95

Publish Date: April 8, 2010

© ℗ © 2010 HarperAudio

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A Gift of Ghosts – Sarah Wynde

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A Gift of Ghosts

Sarah Wynde

Genre: Fiction & Literature

Publish Date: December 11, 2011

Publisher: Rozelle Press

Seller: Draft2Digital, LLC


Akira has secrets. But so does the town of Tassamara. Akira Malone believes in the scientific method, evolution, and Einstein’s theory of relativity. And ghosts. All the logic and reason in the world can’t protect her from the truth—she can see and communicate with spirits. But Akira is sure that her ability is just a genetic quirk and the ghosts she encounters simply leftover electromagnetic energy. Dangerous electromagnetic energy. Zane Latimer believes in telepathy, precognition, auras, and that playing Halo with your employees is an excellent management technique. He also thinks that maybe, just maybe, Akira can help his family get in touch with their lost loved ones. But will Akira ever be able to face her fears and accept her gift? Or will Zane’s relatives be trapped between life and death forever?

iTunes Store: Top Free Books in Fiction & Literature

Conversations with Billy Gilman, Ernest Ranglin, Mary Sarah and Gangstagrass’ Rench, Plus Ben Jaimen’s “Satellites” Exclusive

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photo credit: Lost In Translation

A Conversation with Billy Gilman

Mike Ragogna: Billy, it seems like only yesterday when you made history becoming the youngest singer to reach the top Billboard Country Albums spot. Do you even remember that these ten years later?

Billy Gilman: Yes…such a while ago, yet it seems literally like yesterday. I remember so much. Good and bad. Mostly great of course. Very lucky, I am, to have people respond to me and my voice that early on. Pretty bomb!!

MR: You also sold over 10 million records worldwide before 16. How did the media attention and all that success affect you?

BG: It really didn’t affect me. Granted I have been very lucky but my parents were key. They couldn’t care less if I’m their plumber or a 10 million selling singer. I’m still their son and they will kick my ass now as they did then. Haha. That’s what most kids and young adults need. Parents that are just that. Parents!

MR: You later made the decision to move back home with your family in Rhode Island and you’ve used your celebrity to help organizations like St. Jude’s and the Muscular Dystrophy Association. Was this in some way getting back to your roots and grow intotoday’s 26-year-old Billy Gilman.

BG: Well, I make my time between Nashville and Rhode Island. Having traveled literally more than half my life I love RI and my family and friends. No one should give that up. The charity work was a no brainer for me. Seeing other young men and women and children battle every day hoping to live…how selfish could I be having done what I’ve done and not wanting to help in ANY way. It’s bigger than all of us. Those kids and adults teach me more about life than I could ever learn elsewhere.

MR: You recorded 2012’s “The Choice” for yet another charity, Soles4Souls that included many artists. Can you first go into the story behind “The Choice”?

BG: So proud that this was accomplished! My co-writers Dan and Philip and myself were writing for this project and started on “The Choice.” Knowing it didn’t fit the run of the mill song we instantly knew it was an anthem. Why not an anthem for the greater good? We found a great charity in town–Nashville–called Soles4Souls. I then realized there had never been a song like We Are The World in country music so my brain start spinning. I thought why not ask the people I’m closest to in my field of work and see if they would commit to singing a line for the charity single. I started with 4 people and ended up with 18! Never In my wildest imagination would I have thought they all would say yes. I went to Haiti to see firsthand what the charity does and what this single would provide to so many. It’s been an awesome and fulfilling project.

MR: That brings us to “Say You Will.” What’s the story behind this recording, when is the new album coming, and can you go into any behind the scenes stories about it?

BG: “Say You Will” is very special to me. It’s the very first single I have co-written. It’s like a baby lol. It was born during the time of “The Choice.” Started with a chorus and it evolved into one of the best songs my voice has been able to perform. I love the treatment of it…letting the voice and words be the front running theme. Not an over produced pop/country song.

MR: Billy, what advice do you have for new artists?

BG: My number one advice would be, know who you are as an artist before anything else. Know your craft better than anyone. Listen to your gut no matter how many times other people question your gut.Be truthful whether it be personally or lyrically. And always make your fans #1

MR: How do you picture your future, creatively and personally?

BG: I really hope this brand new path–where it’s basically me getting back into the ropes–is where I’ll be for a while. Creating the best songs I can for my fans and getting out there to the public in any form. If you love what you do, truly love it, you will stop at nothing to achieve any form of success. That separates the men from the boys. Passion.

BEN JAIMEN’S “SATELLITES”

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According to Ben Jaimen…

“I started working on ‘Satellites’ a few months before meeting with my producer. It has a great riff and when I played the song for him, we decided that it should be the single because it’s so catchy and the hook really grabs you. It’s a song people have on when they are having a good time, weather in a stadium concert or a party, or just hanging out with friends. It’s about people being together. It’s about people loving each other. I wanted to capture the excitement you get when you hear something you love, the feeling that makes you want to jump ‘to the moon’ because you are so excited.

“I have been creating music my whole life and began songwriting when I was 14. I think this EP, Through the Universe, is the best representation of my work, and it’s the perfect time to have others involved in my work. It’s about teamwork, and I want them to be a part of the team…”

http://new.benjaimen.com/

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A Conversation with Ernest Ranglin

Mike Ragogna: Ernest, how do you feel about your creative body of work these days?

Ernest Ranglin: I feel fine. And good! When you have been doing it as long as I have and still get to keep doing it, I feel like a lucky man. I love what I am doing. I still compose and write and I am always trying to find that sound…whatever it is that I am hearing at the moment. I am still learning.

MR: You recently released the album Bless Up. How did it come together?

ER: I a did a festival in California in 2011 and connected with some musicians out there that and I had met a nice gentleman named Tony Mindel and we seem to have some common ideas at that particular moment. The band had a nice connection and we did a quick little recording (album name Avila) in just a few days in lovely studio in northern California. I brought in a new composition and we reworked a couple of my older ones and each of the musicians added a tune and I think had had something pretty special. I really enjoyed the sound. We all stayed in touch and Tony and I connected again a year later in New York. I mentioned I had a stack of new compositions and Tony was excited to make another album. This time around we’d had more than a couple days in the studio to record what is now Bless Up. Needless to say I am very pleased with the results and this is a good feeling. The musicians have very international world flavor and style. Inx Herman is from Johannesburg and Yossi Fine is a very talented Bass player /producer from Israel, and keyboardist Jonathan Korty a great musician from the San Francisco Bay Area. This band and I have a special musical understanding. I hope people will agree when they hear these songs.

MR: Any particular songs that you’re most fond of having played, created or recorded for Bless Up?

ER: That is difficult to say. I consider all of these songs good friends–this is a bit of humor as one of the tracks is titled “Good Friends.” But really I like them all and think we have a pretty good variety on the recording. I think the compositions encompass many different styles–ska, reggae, jazz, world music–we put in some interesting elements and instrumentation on this album such as like harmonium and the melodica. These songs have flavors from many different eras of my career. So in that way, I like that we have so many sounds that will take the listener to many different places.

MR: How do you approach your music now compared to when you first started?ER: Well I am always trying to be stay true to myself as a musician and a person. I never want to write for anyone but I also want people to feel good and enjoy what we are playing. I feel I have a certain style that is accessible to the listener but I try to keep it original and have some interesting things as far as melody, rhythm or tempo in each composition as well as well. I have many different influences of course–Charlie Christian, Dizzy Gillespie, Charlie Parker the great John Coltrane. But I work very hard to maintain a unique sound. I am self-taught, and always learning. I read a lot of music books when I was younger and the music that I grew up certainly influenced me but I have always tried to play my way. I try to portray what is necessary for the music. I try to play whatever suits the moment, as much as that is possible.

MR: What have been your observations about music over the years? For instance, genre changes, new artists, technology?

ER: Well music is always growing and changing and reinventing itself so I try to remain neutral in regards about judging new artists and technology. I am sure they were thinking my music was pretty different at some point when we were playing the ska rhythm and reggae for the first time. Everyone is a new artist at the beginning of their career and there are always new talents coming along. As far as technology, again the technology is just a tool and it always depends on how you use the tool. It always comes down to the music and if technology can help all the better, but for my style it usually comes out early in the process so hopefully we don’t need much of anything else to make it sound the way we want it.When When I was just starting in studios we used very rudimentary 2-track recording. Vocalists shared mics. One mic for drums etc… But we got a lot of real sounds in those studios. There is always room for new things and developments in technology. That is just the way things go, but it still comes down to the essential musical elements and what people feel. It is always about feeling the music for me.

MR: What are some of your favorite recordings that you’ve ever recorded? Do you continue to play them live?

ER: That is a tough one as well. Again, I like so many of them it is hard to pick favorites. Of course, Below the Bassline is something I have always been proud of. I still do many of those compositions live so of course that one has a special place in my heart. Modern Answers to Old Problems and In Search of the Lost Riddim… They all came from a desire to explore new and different styles and I was lucky to be able to collaborate with great musicians. I try to play the style and sound that suits the moment. And there have been a lot of moments indeed. I am blessed to have the opportunity to travel the world and create music that comes form my heart and soul.

MR: Does playing live still have that excitement to you like from when you first started out?

ER: Oh yes, definitely. I still enjoy performing very much. Of course, as I grow older I play a little less but there is nothing like performing one’s own music to people who truly appreciate it. I still enjoy traveling and seeing new and different places and visiting some of my favorite cities.

MR: What do you make of the respect and reverence people have toward you and your music?

ER: Well I am deeply appreciative and humbled by all the nice people out there who seem to appreciate what I am doing. I have always tried to create something of substance that is accessible and pleasing to the ears. I am very grateful that I have been able to create something that is enjoyable and don’t plan on absconding anytime soon! I just want the good vibes to keep following me.

MR: What advice do you have for new artists?

ER: One, look for a good teacher. I know I wish I had one. 2–Always remain true to your own heart and vision and try not to be like anyone else. Of course, you can always have your influences but chart your own course and stay true to yourself!

MR: Beyond promoting the album, do you have any plans or projects in the near future?

ER: I am always interested in new ideas in music and learning about different musical cultures. Specifically, I am interested in music from India and Southeast Asia and, of course, Africa. Perhaps combining many different sounds from all over the world and infusing this into a one conceptual project…who knows. I think this new record represents what I am doing now but I am not planning on stopping. I hope the music will continue for a good long time.I also plan to write a book one day. I’d like to get down all the great stories from over the years on paper. That’s part of my plan.

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A Conversation with Mary Sarah

Mike Ragogna:  Mary Sarah, your debut album Bridges on Cleopatra Records approaches country classics with their original hit artist singing with you. Where did the idea for an album like this come from?

Mary Sarah: When I finished touring with Kidz Bop, I returned to Texas to find that the only place I could sing often was the local and regional opry’s around Houston. I fell in love with traditional country music and fans were asking for a cd every time I played an Opry. So we originally set out to do an EP of the songs I sang quite often in the opry’s but when we turned our attention towards Nashville I had people encourage me to think a little bit bigger. I was introduced to Kent Wells–Dolly’s producer and band leader–who in turn introduced me to Dolly Parton. Truly, we started with a small idea that turned in to this finished project which is why I say it was “miracle after miracle”.

MR: Did you ever expect this level of country icons to appear on the album?

MS: I don’t think I ever “expected” anyone to agree to sing with an unknown, unsigned artist but I am so grateful that they did. I just kept going in to the studio and showing them what I could do vocally and then we would wait to see if they agreed. It was artist by artist and song by song.

MR: What do some of these songs and artists mean to you, and do you have any specific songs on Bridges that you have specific memories or stories attached to?

MS: I have stories with each one and this will always be one of the best things that I have ever done…I know that I will have stories to tell my grandchildren about these amazing Legends. “Where The Boys Are” seems out of place but this is a song I sang very early on in the Opry’s and the iPhone video of it with the Oak Ridge Boys helped to give me credibility when asking some of the Legends if they would consider singing with me. It opened doors and I love to sing it.

MR: You’re an 18-year-old who, through this album, is creating a “bridge” to older generations and some beloved songs. Do you feel the weight of pulling off a project like this just right? Are you aware you might be presenting material like this for the first time to your peers and are you anxious to see their reaction?

MS: I am excited because I told so many of my friends what I was doing on the weekends when I was in high school and they didn’t have the faintest idea why I would choose this over a party. My parents have taught me to respect those that have gone before me and I hope to not only introduce my generation to these songs but to set an example that you can never go wrong honoring those that have made a way for you to follow your dreams.

MR: What made you choose a country music path?

MS: Losing yourself in the story. I love getting lost in a song and what it can do to your soul.

MR: Are there other songs that you might have recorded but didn’t have the time or room on the album for?

MS: I really can’t say that there is because I believe that the Legends that stepped up and said they would do this deserve all the recognition. There are no empty hopes or any regrets…I love it just the way it is.

MR: What’s your favorite track and why? Were you surprised by the approach taken by any of the guest artist performances?

MS: I can not name one because I love them all. I was very shocked and surprised by Dolly. She said she loved the trax and wanted to dance around my vocals. I was in shock but I was not going to tell Dolly what to do. The outcome is an amazing version of “Jolene” and I am so happy because it does not sound like any other recorded version of “Jolene.”

MR: What advice do you have for new artists?

MS: Take constructive criticism, don’t let anyone tell you what your dream is and surround yourself with good people who make you a better person. Don’t chase after fame because it is fleeting.

MR: How do you picture Mary Sarah five years from now? What do you hope will happen for you

MS: I hope to be touring and sharing great music with people around the world. I have been blessed enough to start with the Legends and I hope to be a Legend one day that can do what these Legends have done for me.

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A Conversation with Gangstagrass’ Rench

Mike Ragogna: Rench, your first album was the big, happy Lightening On The Strings, Thunder On The Mic, then came the undeniable Rappalachia. Since then, you’ve been nominated for an Emmy for Outstanding Original Main Theme Music. So what is all this Broken Hearts And Stolen Money stuff?

Rench: All three albums draw heavily on the common ground Hip-Hop and Bluegrass have in subject matter–outlaw life, heartache, and being a badass. The latest album just turned out to have lots of songs with robberies, so I figured lets shout that out front in the album title. Maybe because robbing banks is how we financed the last few tours.

MR: “Long Hard Times To Come” was your breakthrough, but It looks like another Gangstagrass song, “Give It Up,” is up at bat. Will this bring on even more heartache and thievery?

R: Actually we have a newer track out now, “All For One” and we just released a video for it that is really starting to pick up steam. This track stands out as one of the rare happy and positive tracks. We show how Gangstagrass can be a symbol for how America could still come together and party. People think we are so divided that there is no common ground, but we are here to prove them wrong. It may be presumptuous to make ourselves the symbol of how America can be united, but if there is anything that stands for how we can bridge the gap between us, it’s a rapper and a banjo player getting down together. So we have declared that this video is good for America.

MR: Okay, perhaps you’re Justified to do such things, but before we go any further, can you go into what gave you the idea to combine two traditionally contrasting genres? What are Gangstagrass’ humble roots?

R: My dad is from the panhandle of Oklahoma, so I grew up with honky-tonk music at home. And when I was in grade school, hip-hop blew up and my friends and I went crazy over it. I always liked things that pushed boundaries and experimented, and because of my honky-tonk roots, when I started producing hip-hop I always had an urge to put something twangy over the beat. I had to just go for it, bring my two main influences into one project.

MR: Has Brooklyn caught on to Gangstagrass and as we speak mimicking what you’re doing for fame and fortune?

R: As far as I know, we are the only ones doing high quality bluegrass hip-hop. I would welcome anyone to join in and make it a movement, and we do have a great fanbase in Brooklyn, which is the perfect place for this–lots of great Bluegrass pickers and sick emcees. Who knows, maybe out there in a basement somewhere right now there is a jam going on to get the next great bluegrass-hip-hop band started. But for now we stand alone.

MR: What and who were your early musical and personal influences and do you feel you’ve honored them with your creative adventures or have you shamed them to tears or both? Don’t leave out anything about your RUN-DMC breakdancing.

R: Yeah, in third grade, it was all about breakdancing for me – every recess we would throw down our cardboard to do our backspins to the Beat Street soundtrack. I had a casette tape I dubbed off of a friend with Run-DMC “Raising Hell” on one side and Beasty Boys “License To Ill” on the other, and I wore that tape out. But when I got home it was Willie Nelson and George Jones on the stereo. There was also Gram Parsons, which I learned more about later, and he was a definite inspiration in terms of crossing genres in a way that was ahead of his time, bringing psychedelic rock and country music together before people were ready for that. I think if he were around today he would probably be incorporating hip-hop into his sound.

MR: Have you been slapped or approached with any other form of aggression by Bluegrass purists who feel you’ve made a mockery of their art form?

R: For the most party the response from Bluegrass fans has been overwhelmingly positive. We just got back from a really successful appearance at the Grey Fox Bluegrass Festival, which was an amazing thing to be accepted into. But there is that fun little slice of purists for whom what we are doing is a crime against nature. They are certainly entertaining. Especially the claim we hear now and then that hip-hop is too violent. Apparently they aren’t away of the incredibly violent tradition of “murder ballads” that are part of bluegrass history. One day on tour I put a version of “knoxville girl” on in the van and the rappers jaws dropped.

MR: Where do you see this Gangstagrass-y stuff heading?

R: We will definitely be seeing world domination sometime next week. I look forward to our own brand of sneakers, drinks, and cologne. We are currently working on flying sharks with laser eye beams. We will probably use those for transportation on tour next year. Right now the jetpacks keep falling off the sharks. But expect to see an expansion – there will be more Gangstagrass, a solo Rench release and some other secret side projects to be revealed in 2015.

MR: What’s your advice for new artists?

R: Just do what you love and share it with the world and believe in yourself, and brush your teeth and don’t do drugs.

MR: Would you take your own advice?

R: Absolutely not.
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Sarah Finds Hope at Joseph’s House – Our America with Lisa Ling – OWN

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Shine On, Best and Sketches In Spain: Conversations with Sarah McLachlan, John Waite and Steve Wynn

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A Conversation with Sarah McLachlan, This Time For Real

Mike Ragogna: Sarah, how did you approach coming into Shine On versus your other albums?

Sarah McLachlan: I approach all my records the same way, which is to try not to “eat the whole whale at once.” The approach to songwriting for me is slow and laborious and I just have to let things take their natural course. I attempt to work every day, I try to write, but certainly when absolutely nothing is happening and I’m banging my head up against a wall, I kind of have to let it go. But when I am feeling fruitful and things are happening, I just let the song dictate how it wants to go, and I try not to edit myself too much.

MR: Were there any particular scenarios or adventures you had that led into some of the topics that popped on this album?

SM: It was just sort of natural, things I wanted to talk about. I do write from a personal emotional place. I’m typically telling my own story, but within that, there’s always other people’s stories that come into play as well. That’s creative license; you have to tell a story in a unique and special way that’s different from all the other stories, when you only have the words that we have, and only, for example, seven words to stick into a particular frame, and they have to rhyme at the end. Musically I could make the effort to try to do something a little different. With the last record I did some [inaudible at 3:16] and I wanted to do more of that and try to have a bit more of a rawer sound, so that was one of the reasons for wanting to work with Bob Rock, and I think turned out very well. He pushed me in that direction a little more than I would have naturally gone on my own. I think there’s a directness, lyrically. Again, I’ve always written from an emotional point of view, and my stories are always in there, as are others’, but I think that with this time, I felt the story was strong enough on its own not to cloak it with other people’s stories. I’m thinking of “Song For My Father” and “Surrender and Certainty,” which are both sort of about my dad. Those were powerful stories for me that I really wanted to tell, and I just wanted them to be simple.

MR: There’s a piece, “In Your Shoes,” that was inspired by young Pakistani activist Malala [Yousafzai]. What was that process for you, internally, to get to that point?

SM: I had started writing that song months before that happened, and the first line came out in its entirety, “Turn the radio on / play your favorite song and cry,” and I then wondered where that came from, and what I wanted to say about it; it reminded me of when I was a teenager and I disappeared into music because I didn’t have very many friends and I was picked on a lot. So I thought I’d write a song about bullying, which is a hot topic these days – I’ve got two young daughters who luckily haven’t experienced that yet. But I couldn’t finish the song; I tried to think about bullying and I wrote my own story, and it wasn’t strong enough. And then the story of Malala came on the news and she’s so incredible, such a powerhouse. She was at the time 15 years old, and to have that strength of character to stand up for herself and what she believed in, and then to have that horrific thing happen to her and to survive it and become an international heroine… I thought she’s an amazing role model, and the perfect heroine for the story, so the song became easier to finish after that.

MR: What do you feel is at the root of bullying? Is there a basic thing here that we’re just not getting?

SM: I’m really baffled by the whole thing. There are things you can certainly point to that are very different from when I was growing up. When we were growing up and we got bullied, we got thrown into the locker, beaten up, etc. and you just sucked it up and kept on going. No one I know ever killed themselves. But now it seems to me that’s happening all the time, and I don’t understand what has changed. In some ways I would think we have way more support for that kind of thing, but at the same time, with the internet, you’ve got an amazing campaign that can be launched against a kid that’s incredibly destructive. Not just within their own school, but they can change schools and this stuff follows them; it becomes unbearable. That vindictiveness has always been there; kids are cruel. I think the magnitude of it has really gotten a lot bigger, but I don’t know what the answer is. Honestly, I think all of us exist just barely on the right side of chaos at all times. And it kind of amazes me that everything runs as smoothly as it does. You turn on the news every night and there’s kids bringing guns to school and killing themselves and their friends. These horrible things are happening, and I think that as a culture and a society we’re heading away from spirituality and away from communication and connectedness. Most of people’s friends live in the virtual world, they’re not real friends; people don’t have real conversations anymore, they’re living on their devices. It scares the crap out of me.

MR: It seems like what’s happening is that kids are possibly re-expressing what they’re learning in their homes. Maybe there’s something embedded in the psyche of our culture. And you wee bullied, right?

SM: I was bullied every day. I was beaten up, teased, ridiculed. I went to my mom and she told me I was lying because she couldn’t handle it, so I was completely on my own. I didn’t have any friends. But I never even considered hurting myself. Here’s where I go to “Music saved my life,” because it did. It was the one thing I had that I knew I was good at. It was a friend to me. I could always go to music. I’m so lucky because of that.

MR: Beautifully said. Also, I think a lot of people have been lucky because they’ve been able to identify with the topics of your music, and also your recordings; it’s solace. They’ve found a friend in Sarah McLachlan, I think.

SM: That’s what music is for me, it’s comfort. At the best of times it’s comfort, it’s solace, but even more importantly it’s that connection of, “Oh my God, somebody else understands me, someone else hears me and feels what I’m going through because they’re talking about it in this medium and they totally get me.” That’s what we want. We want to be connected, heard, seen. Again, I think that’s part of what’s wrong with our society; you’ve got two parents working nonstop trying to pay all the bills to survive, and kids are struggling. Adults are struggling. Everybody’s struggling. The world is moving so fast, and we’re all trying to so hard to keep up with it. Like I said, one step away from chaos at all times.

MR: I feel like “Sarah Mclachlan” represents something a little bit more than just your typical recording artist who’s had a successful career, evidenced but in everything we just talked about. I think people do find comfort in your music, and that you have contributed much so that you’ve beome iconic in a lot of ways.

SM: I think whenever you’re in the spotlight and are recognizable and a large group of people “follow” you, you have even more of a responsibility. We all have a responsibility to be a positive influence in the world. That’s certainly always been my goal, which is why I’m so incredibly happy and grateful that I’ve been given this gift, and that I can do something good with it. It’s a really amazing validation for me to know that something I created goes out there in the world and helps someone I don’t even know. It’s a beautiful thing.

MR: Sarah, what are some areas where you think artists should be careful or stay aware of?

SM: [laughs] That’s a long list! Surround yourself with people you can trust; though that in itself is a loaded statement, because how do you know who you can trust? I think it’s about managing and understanding people’s agendas, and having good-quality relationships. What is a good-quality relationship? It’s reciprocal. There’s giving and receiving. When and if you can find people in your life who can help you and are in it for the right reasons… it’s such an intimate dance; it’s like reading a parenting book and saying, “Okay, that’s how I’m going to raise my kid.” It’s far too complex for that. Human relationships are so complex, and everyone is unique and different. So to give advice on a particular relationship without having all the facts, you’re never going to have enough information to really accurately give good advice. Even if you do have all the information, the advice is based on your experience, not theirs. It’s a matter of taking people’s advice, not with a grain of salt necessarily, but just getting a lot of different opinions. Don’t just take one person’s answer at face and say that’s the way it is. The bottom line is we have to educate ourselves and be our own advocate. And in order to do so, we need to ask a whole lot of questions and not take everybody’s answer at face value. When you’re your own advocate and you can have a well-rounded understanding for the reasons you’re doing things, you can look at yourself in the mirror at the end of the day and be proud and say, “I did these things, and I did them for the right reasons, and with a certain degree of responsibility.”

MR: Beautiful. Sarah, before we end, did we miss anything?

SM: I’m excited to come on the road for the Shine On tour! Bringing these songs to North America and play them live and we have a great band, and we’re starting rehearsals next week so I’m very excited!

Transcribed by Emily Fotis

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Another Awesome Conversation with John Waite

Mike Ragogna: John, your latest is titled Best–not a “Greatest Hits” per se, but more of an overview of what you felt was your best material on your terms. A lot of the package is made up of live renditions and a couple of re-records. What motivated you to do a project like this?

John Waite: Last December, I was wandering around Beverley Hills and it was raining and it was Christmas, I was doing some Christmas shopping and I got caught in the rain. I walked past a Richard Avedon photography exhibition and I went in, to get out of the rain, really. I’m more of a David Bailey guy when it comes to sixties photography. I worked with David for one of my album covers. I’ve always been interested in art and photography and painting, a lot of different forms of art, so it was great to get out of the rain. I thought, “Avedon, I’ll give it a shot,” you know. It was very high fashion, very sixties, very period, you know, and there’s this one wall that was covered in small framed protraiture, really, everybody from Janis Joplin to Mick Jagger to Elizabeth Taylor to Jean Shrimpton, all sorts of different people. I was stood there looking at it and it just came to me, “What would it sound like if that was music?” If it was a history of my work, what would it sound like? From there on I was making mental notes about how to go about it.

I went back to Britain to see my mum for Christmas and took a sketchbook and filled it full of different lists of songs, every day I would spend five minutes on it and I more or less had the same eighteen songs; I didn’t have anything that didn’t make it on here. But in the mean time I’d been thinking about re-recording “Missing You,” “Back On My Feet Again,” and “Change.” I flew back on New Year’s Eve and almost immediately went into the studio. “Change” I couldn’t do anything with at all, it’s just a period piece that rang the bell really hard in 1981 or whenever, ’82, but it was a complete piece like it was supposed to be and it had a great live version ready to go. But with “Back On My Feet Again” I pulled back all the production and made it as current as I thought I could. I really felt that it would benefit from being stripped down. I’d written the lyric to that song the morning I sang it. It was originally called something else and then the band had cut this track–The Babys–and I hated the track and didn’t want to sing it, so the morning I was supposed to sing it I got out of bed and wrote “Back On My Feet Again” and re-wrote the entire melody and the words and went in and sang it. I only really had, truthfully, about three hours from conceiving it to singing it. Thirty five years later you’ve lived a lot of life, you’ve listened to that song a lot and it was great to get another chance to sing it, and I think I sang it better! With “Missing You” it was the same thing. It had been mixed in a glossy way which was of the time, but the rest of the record wasn’t, it was very hardcore avant garde over the top, a very risky record with no brakes. The single “Missing You” had been mixed with view to it being a single, so it had all the gloss of the eighties on it. It was also the same thing, I’d written the lyric about five days before I sang it, so it was incredibly new as well. I wanted to go back over those two songs and put the thirty years plus or whatever it was that’s happened to me into the songs. I think if I’d have sang it with a hoarse, burnt out voice it would probably sound just as engaging, but I seem to be pretty much in my moment as a singer, I seem to have gotten stronger. It’s got a hint of cowboy in it somewhere. I was thinking about Jimmy Webb–the Wichita Lineman–when I wrote the song, and I was thinking about a Free song called “Catcha A Train,” I was just channeling those two songs really, but there is kind of roots of blues in “Missing You.” Nobody ever really got that. I tried explaining it on a morning show once in New York City. If John Lee Hooker sang “Missing You,” you’d think it was a blues with three more chords. It’s a bit more complex than a blues, but the phrasing and the intensity behind it is blues!

MR: Well, its storyline and sentiment, the topic, is, I think, the blues. To me, it’s all about what’s going on in the lyrics that’s the biggest hint.

JW: Yeah! Absolutely! When I got those two songs, I tried to get “Change,” I had the original guitar player and the original bass player and I just couldn’t sing it the way I’d sung it before, I’d learned too much. a lot of people go back and re-record their masters and I don’t know how they do it because it means singing it like you don’t know what you know today. I got about two bars into it and said, “F**k it.” I gave up the record immediately. The live version is wild, so I’m quite happy with that.

MR: You mentioned the thirty year difference. You know, I used to be a purist, not liking artists re-recording their material. But now I realize now that an artist should be allowed to grow over the years and has every right to look their work and go, “You know what? This really could be a little better here and that could still be a little better there.”

JW: There is a purity, though, when you hear that original sound on the radio, the sound of the drums coming in, you are taken back to a time and there’s enormous nostalgia attached to that. I’m quite a nostalgic person, but as a musician, not as somebody who had written the thing in the first place. It was the need to finish the story somehow. To sing it again at another time in my life. I respect the past and I have quite a strong sense of nostalgia, but after seeing that exhibition and so many people putting out ten songs as “The Greatest Hits” and that’s all you’re going to get, I felt I’ve developed so much more as an artist and I wanted to get that across. If it was the last thing I did, I wanted to have that as my testimony. There’s “Bluebird Cafe” on there and “Sucicide Life,” which are two extremely unlikely songs to put on what you would regard as a greatest hits record, but as a singer and as a writer I don’t think I did anything better. So I wanted to put “Bluebird” on there and I wanted to put “Suicide Life” on there, and that’s where things got sexy, because then it was no longer about songs that had charted or that you knew me for, they were obscurer songs. I just felt like it was the artist’s way. There’s two ways of going, there’s one of making a dollar, and one of just being an artist I guess.

MR: Right, and it’s also the element of revealing more about you than just your hits.

JW: Yeah! I was hoping people would see the roots, because I was raised on western music, Frankie Laine was huge with me; Marty Robbins, they were gods to me; when I was about five, I was wearing a cowboy outfit and running around listening to that. Years later, I got to play the Opry with Alison Krauss and that to me was more meaningful than being number one in the rock world because that was my first inkling of music; country. A lot of things in my life have come full circle, they really have.

MR: Isn’t that funny, how you mentioned it just now? That was more important in your life than having a number one record.

JW: I can’t even begin to tell you how nervous I was backstage. I went out on stage with my band and Alison and it was broadcast. I’d recorded a Vince Gill song about seven years before that called “Whenever You Come Around” and Vince was backstage and as I went out on stage and we went into the top of “Whenever You Come Around” I turned around and Vince was plugging in about fifteen feet behind me, plugging into this old amp he was just trying to get turned on. We played the whole thing live on the air and that was just like Christmas. I can’t imagine a higher moment than with Alison Krauss at the Opry.

MR: It seems you’re digging deeper into the reality of the songs and who John Waite is. It’s really a theme with you, huh?

JW: Yeah! Well, I’ve grown up. I’m not really classic rock, Classic Rock Magazine in England barely write about me. I took a full page ad in the magazine this month because we just got back from Milan, we went ove rand played the Milan Frontiers Rock Festival and we went down like a storm. We just blew the place apart. But I don’t fit into their perception of what a classic rock guy is, and I’m very opinionated and I say what I mean about music and a lot of classic rock is complete crap. It just is. It is, and there’s people who can’t think of anything else to do but repeat the past. I have this weird kind of thing going on where I’m not mainstream, I’m not classic rock, I’m not country and I was saying to Jim Ladd the other day on this Deep Tracks show, me and Jim go back years, “That’s what’s what,” and he said, “Yeah, but you’re a singer-songwriter,” and I thought, “Wow, I guess I am in some strange way.” If you look at “Suicide Life” and you look at “Bluebird” you would consider that singer-songwriter.

MR: I think he’s right. But you’ve always been a singer-songwriter because you’ve had great songs. I guess it’s just the clothes one puts on the musical body, the image, that differs.

JW: I agree, there’s a way of putting on the table. As Steely Dan once said, “You’ve got to learn how to put it on the table,” and I think I came at America with a very good tailor. I really wanted to engage people visually, but I think I was toying with the idea of the whole thing. It was like a game, but behind it all it was deathly serious. I was trying to write a song so that it would last thirty years and apparently I’ve managed to do that. I felt, honestly, making this record, that it needed to be done now because I wanted to get on with something else. I needed to explain myself to people in these songs and then move on. I might even make an acoustic record. I’ve got half of the album and it’s really out there, but it’s very spartan and lyric-driven. I wanted to draw a line in the sand, I wanted to say, “This far and no further.”

MR: Look at Robert Plant, what he did was he presented himself as he saw himself, not just as Led Zeppelin.

JW: He probably did that when he set off. But you do get trapped into a logo. I think I took a left turn after “Missing You,” I made a quiet record, I didn’t go and try and immitate “Missing You.” I’ve always tried to do something that people didn’t expect, but I don’t know what’s going on anymore, I’m not listening to other bands like I used to. I couldn’t tell you who’s number one right now.

MR: It’s pretty difficult! I asked Glenn Hughes how he felt about what’s going on in the music scene and he scratched his head. Now more than ever for you to have a huge, huge hit means record companies are putting a lot, a lot, a lot of money behind you. It almost seemes like they are taking no chances and you have to act exactly like your brother and sister records.

JW: Absolutely, everything’s compartmentalized. But you know, that doesn’t mean that people aren’t making great art. I just got off the phone with somebody who said they expect a hundred thousand new people to arrive in Nashville this year. A hundred thousand people. And I’m worried about what happens to Mister Bluegrass and what happens to Larry Sparks and Del McCoury and Ricky Scaggs and Alison Krauss. I’m worried about those people, the real people.

MR: I often wonder what the motivations are for young people who are going in to music now. Is it to make art? Is it to make music because they don’t know any other way? Or is it for the American Idol illusion?

JW: You beat me to that! I was going to say at the end of that road is American Idol. It’s not the satisfaction of bringing the house down at the Ryman, or writing a song that stops people breathing for a second. I don’t want to come down on what’s going on around me, because there’s still great songwriters out there, it’s just that the whole focus has shifted on to showbusiness, which is great, too, because all the idiots are going to be in one place at one time.

MR: [laughs] What advice do you have for new artists?

JW: I would just go your own way! Steve Marriott once said, and I may have used this as my answer twice now, “The first idea you have is the best one.” There are so many people involved in making a record when you’re at a record label and the money is so tight, they’re so scared of releasing anything that’s cutting edge that everything’s like three minutes and everything’s aimed at a demographic, as they say. That doesn’t mean–when you look back to Tracy Champman doing “Fast Car” somebody, somewhere at a record company saw her and went, “She’s the real deal.” And then they backed it up with a tremendous video because they understood how deeply she felt all of that and how real she was so they so they gave her the video too. There was nobody saying, “Put this dress on and sing about this.” It’s a threatened business. Artists are much, much bigger than the business. People that chase after artists, that’s what they’re meant to do, but the artist is going to be the uncompromising guy on the end like Dylan or somebody who just changes the world with three chords and starts singing something. It’s like that great moment in Llewyn Davis movie where he’s singing that song to the agent, and then he stops playing the guitar and he sings the rest of the song with just his voice and it’s heartbreaking and you think you’ve got this reaction out of F. Murray Abraham and then he says, “I don’t see any money in it.” It’s just a great moment, but that’s the world.

MR: What ever’s going to happen to that level of talent?

JW: It will be okay. It’s always going to be okay. There’s always going to be somebody who takes a step to the left and then everybody follows them. It just takes that one percent. It’s more fun to go your own way anyway. I think once you get on the wheel you’re kind of sunk. I’m very positive about music, I think it’s a beautiful thing and it’s always going to be constant and people are going to want quality. I guess all kids that want to be in the music business, there’s going to be a percentage that are going to be brilliant, but everybody seems to be in it at the moment.

MR: Well, I hope some of those hundred thousand descending upon Nashville are coming from the house of brilliance.

JW: Oh man. Just oh.

MR: We mentioned classic rock earlier. You have one of the great classic rock songs, “Head First.” That became an anthem, maybe because sports arenas played it, it got endless airplay, all that.

JW: Although there was soul stuff and blues stuff, it wasn’t fully The Babys direction, really. Whatever it was, it was come upon honestly. There was no uniform to wear, there was no club to join, back then it was just great rock radio. It was before MTV. You had to fight to play, really, it was like the underground. I thought The Babys were exceptionally great, but I have a hard time calling that classic rock, it’s not like the guys running around giving high fives on stage and wearing spandex still. I don’t understand any of that, I don’t. Speaking of Glenn Hughes before, he’s got a tremendous voice, he’s an incredibly great bass player, a very musical guy and a nice geezer, and I’m sure he’s puzzled as much as I am when he looks to the left and the right of himself and sees how people want to compartmentalize music.

MR: Yeah, his group California Breed doesn’t really fit into one particular thing.

JW: I haven’t heard that yet, but I’ve heard it’s good! He’s always swinging, he’s always comging out of his corner fighting.

MR: Speaking of The Babys before, I recently interviewed Tony Brock recently. They’re releasing a new album as well. John, I’m imagining you have an affection for The Babys and what you did during that period, too.

JW: Oh, absolutely. “Isn’t It Time,” “Head First,” there’s a few Babys songs–we do a live version of “Every Time I Think Of You” on the record. Pretty much The Babys would’ve done it, just a three piece band, maybe some Hammond organ, although we had no organ, but we had a backup singer, Debby Holiday. It’s bluesier. I don’t know if we finished as well as we started, because we were a five piece by the time we finished. I think we might have lost a thread when I stopped playing bass, but my favorite Babys stuff is probably the first three albums.

MR: Yeah, but it’s a nice place in history.

JW: You know, there’s a great beauty in the fact that we didn’t make it completely to the top. There’s something ironic about it, but there’s something ironic I just love about the fact that people are still playing it. We might have just been ahead of our time.

MR: That reminds me of The Move versus… or Free versus… hmm…

JW: Yow!! [laughs]

MR: Maybe that’s a little grandiose, sorry.

JW: No, that was great! God! I wouldn’t have made that comparison. I still listen to Free and just sit there and go, “How did they do that?” It’s three guys and a singer in a room and basically they’re playing live. But they were that good. Bands in the seventies, the bands that really influenced me, that I went to see at the local university on Friday nights, The Who and Quintessence and Family and all the great bands that I saw there, they were three piece bands that had a Hammond organ player on the end. It wasn’t big productions. If I know anything, after Bad English I was so disgusted with myself I went back to being completely a singer-songwriter. Temple Bar was a songwriter album. My life began again at that point.

MR: Bad English seemed like an excursion.

JW: Yeah, I think it was a detour. It had its year and then it was kind of done. We were done. We couldn’t top anything we’d done.

MR: It’s like The Firm, or a couple of other bands that happened around that time.

JW: Yeah. It brought a smile to a lot of people, it was good fun, but it was high time to leave when it was time to leave.

MR: What’s the future for John Waite? What do you want to do?

JW: Well, I think I got very close in ’96 when I did the When You Were Mine album, “Suicide Life” is off that, and that was dark and it was lyrical and it was way out, and “Bluebird Cafe” was on that record, too. I think I’m going back to that. It’s in my nature to keep taking a left turn and taking a right turn and trying to get out of the maze of where I am and find somewhere new, but I think I was on ground there that was really truthful. The songs that I’ve written so far for the new record are pretty extreme, they’re pretty out. That doesn’t mean to say I’m not going to go out and sing hard rock and do “Missing You” and do all theo ther things as well, but I might tour smaller places just for a few months, just coffee houses or something just to get that vibe back of being on the acoustic guitar. Everything about my life comes from the acoustic guitar, and I’m a rock singer and I’m influenced by western music and blues, so I haven’t a clue. And I’m glad I don’t! I take it as it comes. There’s so much more to do and I want to do it while I can still sing full out. My voice is in incredible shape for some reason, and I’m enjoying the hell out of my life and I’m enjoying the new record. Tomorrow’s pretty bright.

Transcribed by Galen Hawthorne

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A Conversation with Steve Wynn

Mike Ragogna: The album Sketches In Spain collects a certain period of your music. What’s your perspective on that album’s material now?

Steve Wynn: Sketches In Spain is a compilation that Omnivore is putting together from two collaborations I made in Spain in the last decade. The first was a record with a band from Spain called Australian Blonde, we did a record called Momento in 2001. The second record is a collaboration called Smack Dab, which is me, my wife and drummer Linda Pitmon and also the leader of Australian Blonde, Paco Loco. That came out in 2005. So that’s the basic facts updated.

MR: So you like to collaborate.

SW: I get off these days more from collaboration than anything else! I like going to new places, new cities, new countries, new studios with people I’ve never worked with before and seeing how they do what they do. I still do my own solo records, I still have my various bands, but that’s the thing that’s always fun, that always gives me that rush. It’s like a first date, it’s like that kind of feel. A blind date, even. The excitement of having to come up with your best stuff quickly before the other person loses interest. This is probably one of the more successful versions that I’ve had, where I was working with virtual strangers in Spain, these guys from Australian Blonde, they were friends of friends, they were a really popular band that had a number one single in the nineties, kind of a grunge-pop-indie band that really did well over there. We got hooked up on one of these musical blind dates and it worked great. We spoke the same language literally and metaphorically, because I do speak Spanish pretty well. We collaborated on this record not by email, but by FedEx, sending tapes back and forth the old fashioned way. It’s funny, it was just fifteen years ago but it was a very different way of working.

MR: Did you end up in Spain for creative reasons?

SW: I do a lot of touring over there, ever since my earliest days with the Dream Syndicate I’ve had a good following there. I tend to get over there at least every other year for shows. The guy who ran my label over there, a label called Astro Discos, had formerly been in Australian Blonde. He knew them really well, he knew me really well and he just felt we’d hit it off. Around that same time I was wroking on a series of song of the month installations for the website eMusic. I was trying to make each month be a new collaboration, a new setup, a new way of working with different people like I was talking about earlier. I suddenly had a whole in my schedule for March of that year and htat’s when I got in touch with this guy, Paco Loco from Australian Blonde and I said, “Let’s try something.” We did a song called “The Last One Standing,” it’s one of the songs that ended up on the record. It’s funny how these things are quick sometimes. It’s just like dating, or like a business transaction, go down to the market and look at the produce, whatever. The day where you hit it, you hit it right, and the days where you don’t it doesn’t work at all. On these collaborations in Spain it was just effortless, which is always exciting.

MR: So Dream Syndicate versus the Steve Wynn solo career… What is the creative difference between the two? How do you approach each of them?

SW: I really do what I do period. I think that’s the best way of putting it. Each time I have a batch of songs or a project I’m working on, whether it’s a solo record or a record for whichever band I’m playing with at the time, it’s generally a collaborative situation. I’m not a tyrant in the studio, I get more excited by feeling what people are bringing to the session and what people I’m working with might be good at and the way they react to what I’m doing. That kind of gets me to respond in the moment. The more preconceived notions I bring into a session the worse it is. It’s probably not a good way to do a lot of things, I’m sure. If you go to an interview and say, “Here’s what this is all going to be about, I’m going to get this thing out of the way as fast as possible” you may not get anything surprising out of it. I don’t know if that’s true for anyone, but I like to be surprised. I like to have my expectations turned upside down. So when I go into a project I kind of get my feelers out to see what people are bringing in to it.

MR: That’s really smart. That’s a good point, and that’s really true. So you’re more of a spontaneous creative person. I’m imagining however that when you have your solo projects, something like Crossing Dragon Bridge, do you get motivated to do them when it’s time to do a new album, or are you motivated because you’re getting hit by the muse and you need the vehicle?

SW: That’s changed over the years. I think say twenty or thirty years ago things were different. Back in the eighties you were expected to have your one project and hit it every couple of years as hard as you could with a new record and tour and you would focus on the idea of “It’s time to do something new,” and that was great, but I think now it’s different. If a situation comes up, I come up with songs for it. So if I know I’m going to Slovenia, for instance, for Crossing Dragon Bridge and I’m going to work with someone like Chris Eckman, who’s a really good producer there and the leader of The Walkabouts–great band–and I know what he does, I come up with songs for the situation and then show up ready to change and adapt once I’m there. I think more and more these days I’m just looking for things I want to do. At any given time, even right now there are about five or six different records that I could make in the next half year, that I want to make in the next half year, and whichever one I choose, that’s kind of going to dictate the bag of songs that I bring to the session.

MR: Wow. Now we’re in 2014, you surely are working on something, is it another album?

SW: Well I just put out a new record with The Baseball Project. It’s kind of the focus for me because it came out a couple months ago and we’re going to tour all summer. That’s one thing I’m doing now, I’m also working on a new solo record, and I really want to do a new Dream Syndicate record, so that’s something I think I might try to do later this year. We haven’t done a record together since 1988. It’s interesting, I think there was a time where I might not have wanted to do another Dream Syndicate record, I would’ve thought there was too much weightt on the record–for me, I’m not saying for the world–but for me, what would it mean, what would be the natural progression of the record, what would be the context?” and the more I think about it, especially since we’ve been playing together and touring lately, it’s just another step along the way, another record, another little postcard from far away.

MR: At this point in your career, where are you energy-wise? You sound like you still like to tour a lot, you still like to record, where are you as far as long range? Do you have a long range plan with this stuff?

SW: Not really. I just like being busy, I like writing songs, I like working with people and I like being on the road. I’ve been doing this now for thirty years, I’ve played a lot of shows, made a lot of records, and the idea of a long range, where I want to be in ten years, I hope that in ten or twenty years I’m doing what I’m doing and doing it better, and that in fifty years I’m alive and in a hundred years I’m preserved somewhere in a museum. Who know? You just can’t make plans at this point, especially given the way music is changing so much and the way people hear music and get music, I think more than ever I just take it day to day and project by project. That’s kind of the way it should be. You’re deluding yourself if you think you know what’s going to happen ten years from now. I was at a baseball game the other night and they were advertising on the Jumbotron a Styx and Foreigner concert at Caeser’s Palace and I was thinking, “I wonder if these guys thought thirty years ago that they’d be playing a casino in Atlantic City together in 2014.” Maybe they wouldn’t maybe it would be a horrific thought, or maybe it would be kind of exciting, but you just don’t know. I think each time you’re in one of those situations you say, “Here’s where I am, how did I get here, how did this happen? Why at this moment am I doing this? I didn’t see this coming, but what can I do with that?”

MR: If you had the opportunity to play in Caeser’s Palace, would you turn it down?

SW: I wouldn’t turn down anything that appealed to me. That’s a very obvious statement, but I just take every situation and say, “Do I want to do this?” It’s a lie when people say they don’t do things to keep doing this, especially now. Again, it’s a big change, you see lots of musicians doing commercials or doing private shows or casino shows or whatever it is and they may not even consider twenty years ago, but you’ve got to do what you do so you can keep making more music and keep surviving. You have to take each one along the way and say, “Is this something I want to do? Is it reprehensible? Is it something that I’m going to regret years from now?” There’s no hard and fast rule. All bets are off now, you do case-by-case what you want to do and what makesa sense. For me, I’ve just always enjoyed being out there and playing. It’s funny, you hear people say a lot these days, “Well now that record sales are down, people have to be on the road all the time,” as if that’s a sacrifice or a hardship. It’s what I love doing. It’s what I’ve loved doing from the start. I love touring, I love playing every night, I love the nightly rebirth you get when you finish a gig and it’s history and you have another one to look forward to the next day. That’s great. Nothign has changed for me. I’m still writing songs, putting them together in some kind of context and going out there and telling people about those songs all around the world.

MR: What advice do you have for new artists?

SW: I think that the advice is no matter what you hear, what you’ve read, what you think, what people tell you, at the end of the day you’re always right. No matter how crazy your impulse is, no matter how wrong it seems, you’re right. Trust yourself. Do it. You’re going to have to live with it and probably the more people that tell you, “Things don’t work that way,” the more you’re on to something.

MR: Is that how you did it?

SW: In a way. I think that one of the main reasons The Dream Syndicate caught on so quickly is that we were doing something that seemed like the exact opposite of what was going on; we were playing raw, feedback-laden guitar music at a time when everybody wanted to hear synthesizers and wear frilly coats. I think it seemed like the exact wrong thing to do at the time and I think that’s why people liked it. And it wasn’t even calculated like that, it’s a matter of what we wanted to hear. There was a philosophy we had back then that I still hold today: If you’re making music htat would be somebody’s favorite record, even your own favorite record, you’re doing okay. If you’re trying to make music because you think, “A lot of peopel are going to like this, this is what people want to hear these days,” eh, you might make it, you might not, but you’re not going to have a lot of fun. It’s kind of going back to that extreme thing. I think self-indulgent is a good word. I think it’s good to be self-indulgent. It’s good to indulge yourself, when it comes to making music anyway. That’s the idea. Who else are you going to indulge? If you do that, if nothing else you’re going to make one person really happy, and that’s yourself. And maybe, maybe out of millions of people in the world you’re going to make somebody else happy, too.

MR: Yeah, and you’ve made a lot of people happy all over the world, too, because you even have a tribute album! Dude, a double-disc tribute album to Steve Wynn! How do you feel about having something like that in existence?

SW: It’s great. That’s actually one of the most flattering things that’s ever happened to me. Some of them were friends, a lot of them were bands I admired, a lot of them were both, and they did great versions of my songs with a lot of love and a lot of understanding of what the songs are all about. That was fantastic. There’s a lot of things that are great. It’s great when you make a record, when you collaborate with new people and it works, when you play a show and everything clicks, it’s great when you write a song that moves you in some way and connects that with other people, but it’s also reallygreat when other msuciains say that you inspired them somehow. That’s a very real thing, that’s a thing that everybody understands. I understand because there are so many people that I have met that can say, “I heard that record when I was seventeen and it just changed everything that I wanted to do.” It happened this week, I’m doing a show in New York next month, a tribute show to the Nuggets collection, the show is being put together by Lenny Kaye, who put that collection together, he was in the Patti Smith group and he put out the original Nuggets. I said to him, “First of all, I’m really happy you’re asking me to do this, and second I’ve got to tell you, the Nuggets compilation changed my life when I was seventeen. That just re-wrote the rulebook for me.” He’s become a friend over time, but also I have to remind him often what he meant to my life. When I meet a musician in Italy or Norway or Japan or whatever who says, “I heard your record and it made me want to start a band,” that’s great. I get that. I’m happy, I’m flattered, and I completely understand what you’re talking about because I’ve been there, too.

MR: What do you feel The Dream Syndicate’s place is in music history and pop culture?

SW: I think we were a link between all your Velvets and Stooges and Big Star and all of the bands that came after that and became the textbook for indie rock. We sort of passed the baton from the groovy bands of the sixties and seventies to what it all led to. It’s a genre, it’s several channels on Sirius Satellite Radio, it is a corner stone of a certain kind of music. College kids plug a guitar into a fuzzbox and gettin’ loose. I think we were a nice middle point in that line. The thing is, I look at what we did in the eighties and what we meant to people in our inner circle and outside of that, but now that we’re together again I think, “What do I want to be now?” I like the idea that what we are now is kind of a living, breathing, modern band that has that connection at least in name, at least in catalog and probably in intention as well to what we did in the past but is hopefully going somewhere else as well.

MR: When you look at music now–and this isn’t a “Hey, kids, get off my lawn” question…

SW: “Get off my lawn,” that’s a good one. On certain days, I feel like that, too.

MR: [laughs] Do you think there’s something missing from the pop culture-powered education of the last couple crops of creative people?

SW: It’s just different now because there’s a lot more out there. It’s a gigantic tower of Babel with everybody shouting from different rooftops of every kind of music and you start to feel like everything’s been done. There are days where you feel like, “Well, there’s nothing that can surprise me, there’s nothing new, everything is a rehash of something, and then you’ll hear some new record with somebody doing something that has been done a million times but has been done in some unique way with a unique voice and some weird thing about the way a singer might phrase their vowels or some weird thing about the way a guitarist hits their open D chord, and you say “I’ve heard that a million times but I’ve never heard it like that,” and you get excited all over again. It happens to me all the time. You can define something by all the ingredients that went into it, the same way as when you’re cooking something on a stovetop and it comes out better than you’ve ever made it before, you can define it easily, but you can’t define it because it’s a human being that did it and in some way it’s a finger print. In some way it’s never been done before. Again, the advice I give to everybody is just do your best to try to find that thing yourself and then push as hard as you can. Exaggerate your own individuality. Do your own thing. Indulge yourself. All of my stories are baseball game stories, not to hype my other band, but I was at a Boston Red Sox game at Fenway parks a few weeks ago and between innings at one point they played “Roadrunner” by The Modern Lovers. I know they’re pushing that to be the state song of Massachussetts, and it should be, and it blared out of the PA system and it sounded so beautiful and everybody in the park responded to it like it was the biggest hit of all time, like it was the national anthem, and I thought, “This band, The Modern Lovers, made that record for almost no money, almost no attention back in the early seventies.” It’s a record that by the late seventies I had and maybe five thousand other people had in the whole country, and now it’s a standard. I think of all the records that came out in the same time that were huge hits on the charts, big stadium-filling bands that are forgotten by now. Now, having said that, there are a lot of people who would rather cash in, play a stadium, count their money and be done with it. That’s fine. More power to you, but for making lasting music, making something you can do your whole life, like I have, which I think is truly winning the jackpot, if you want that you’ve got to do your own thing, go your own way and not be afraid of what people are going to say of you.

MR: You’ve had your solo career, your bands, your guest appearances… What’s left? What is it that you still want to conquer?

SW: I feel like the Sketches In Spain record is a good indication of the kind of thing I really enjoy doing most these days, finding new people and new combinations. That doesn’t mean I couldn’t sit alone in a room with an acoustic guitar and write songs and sing them that way, that’s exciting, too, but I do like working with new people. I like seeing how things work in other places. In the next year I’m probably going to do a record in Mexico with a band over there, another record in Spain and possibly a record in Italy along with everything else I’m doing. I’m not going to say those things are my favorites, but they are the most surprising, generally. Everything is going at full speed, in the next month I’m playing a show with the Dream Syndicate, one with my band, Steve Wynn & the Miracle Three, one solo show and one with The Baseball Project. They’re all different catalogs of songs and different inside jokes and personalities and all that. I love it that way.

MR: Nice. Do you blend all that stuff when you do a solo show?

SW: Depends on which solo thing I’m doing. It could be me by myself, or me with four other people. Like I said before, the beauty of it is that every night is unique and every combination is unique, which is great. I wouldn’t have it any other way.

Transcribed by Galen Hawthorne
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