Free Medicine Help Donated to Smith County Community Child Care Center by Charles Myrick of ACRX

ACRX Recognition Gallery: American Consultants Rx

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Free Medicine Help Donated to Smith County Community Child Care Center by Charles Myrick of ACRX

ACRX Recognition Gallery: American Consultants Rx
http://www.acrx.org -As millions of Americans strive to deal with the economic downturn,loss of jobs,foreclosures,high cost of gas,and the rising cost of prescription drug cost. Charles Myrick ,the President of American Consultants Rx, announced the re-release of the American Consultants Rx community service project which consist of millions of free discount prescription cards being donated to thousands of not for profits,hospitals,schools,churches,etc. in an effort to assist the uninsured,under insured,and seniors deal with the high cost of prescription drugs.

The American Consultants Rx discount prescription cards are to be given free to anyone in need of help curbing the high cost of prescription drugs.

Due to the rising costs, unstable economics, and the mounting cost of prescriptions, American Consultants Rx Inc. (ACRX) a.k.a (ACIRX) an Atlanta based company was born in 2004. The ACRX discount prescription card program was created and over 25 million discount prescription cards were donated to over 18k organizations across the country to be distributed to those in need of prescription assistance free of charge since 2004.

The ACRX cards will offer discounts of name brand drugs of up to 40% off and up to 60% off of generic drugs. They also possess no eligibility requirements, no forms to fill out, or expiration date as well .One card will take care of a whole family. Also note that the ACRX cards will come to your organization already pre-activated .The cards are good at over 50k stores from Walgreen, Wal mart, Eckerd”s, Kmart, Kroger, Publix, and many more. Any one can use these cards but ACRX is focusing on those who are uninsured, underinsured, or on Medicare. The ACRX cards are now in Spanish as well.

American Consultants Rx made arrangements online for the ACRX card to be available at http://www.acrxcards.com where it can also be downloaded. This arrangement has been made to allow organizations an avenue to continue assisting their clients in the community until they receive their orders of the ACRX cards. ACRX made it possible for cards to be requested from online for individuals and organizations free of charge. Request for the ACRX cards can also be made by mailing a request to : ACRX, P.O.Box 161336,Atlanta,GA 30321, faxing a written request to 404-305-9539,or calling the office at 404-767-1072. Please include name (if organization please include organization and contact name),mailing address,designate Spanish or English,amount of cards requested,and telephone number.

American Consultants Rx is working diligently to assist as many people and organizations as possible. It should be noted that while many other organizations and companies place a cost on their money saving cards, American Consultants Rx does not believe a cost should be applied, just to assist our fellow Americans. American Consultants Rx states that it will continue to strive to assist those in need.

Sam Smith Sings with Fifth Harmony in Epic Carpool Karaoke Session

Sam Smith, James Corden, The Late Late Show, Carpool KaraokeSam Smith has officially joined the ranks of artists who have helped James Corden get to work.
He joined the Late Late Show host in his car tonight for a quick round of Carpool Karaoke,…

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The Tear-Stained Confessions of Sam Smith

The British pop singer, who has a new album, tried to come out on his own terms. But now he’s listening.
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Sam Smith Opens Up on Gender-Fluid Identity: ‘I Feel Just as Much a Woman as I Am a Man’

Sam Smith doesn’t need labels.

In a candid interview with The Sunday Times, the English singer opened up his gender identity, saying he doesn’t consider himself a cisgender man.

“I don’t know what the title would be, but I feel just as much woman as I am man,” he elaborated.

Smith explained that he likes dressing in drag, revealing that he hits up the Australian drag shop House of Priscilla whenever he’s in Sydney, Australia.

“Oh, my god, I just buy everything — heels, dresses,” he said. “We have a great time.”

And this habit is nothing new. The 25-year-old crooner said he used to head to school in women’s clothing as a teen.

“There was one moment in my life where I didn’t own a piece of male clothing, really,” he said. “I would wear full make-up every day in school, eyelashes, leggings with Dr. Martens and huge fur coats, for 2 ½ years.”

RELATED VIDEO: Sam Smith on His Dramatic Weight Loss: ‘I Went to Bed Dreaming of Tuna Melts’

Smith also opened up about coming out as gay, saying, “Looking back on it, it was the fear of saying the wrong thing and offending … And I was 19 when I started writing the first album. I’d just moved to London from a village — I was literally the only gay in the village. I didn’t know what I wanted to say.”

The singer also teased fans with a hint of what his new album Thrill of It All, dropping on Nov. 3, holds.

“I think they show my growth, my confidence. I feel like they show me,” he said. “They show the gay guy I’ve become.”

Earlier this month, Smith attended a performance of the Broadway hit Dear Evan Hansen — and rumored new boyfriend Brandon Flynn was also there.

His theater outing comes after he was pictured kissing and holding hands with the 13 Reasons Why star while out in Greenwich Village earlier in the day.


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Equifax CEO Smith to Exit Following Big Data Breach

Equifax Chief Executive Richard Smith is leaving the credit-reporting company after a massive data breach under his watch exposed the information of about 143 million Americans.
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Equifax CEO Smith to Exit Following Big Data Breach

Equifax Chief Executive Richard Smith is leaving the credit-reporting company after a massive data breach under his watch exposed the information of about 143 million Americans.
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Pierce Brosnan and Longtime Wife Keely Shaye Smith Hold Hands on Way to The Late Show

Pierce Brosnan and his wife Keely Shaye Smith have been together for over 20 years, but the couple looked like newlyweds on Monday — walking hand-in-hand as they headed into a filming of The Late Show with Stephen Colbert at New York City’s famed Ed Sullivan Theatre.

The former James Bond actor, 64, was dressed to kill in a royal blue suit and matching tie, which he paired with a crisp white shirt and black shoes.

Smith, 54, was all smiles by his side wearing a fitting little black dress. She paired the look with yellow flats, a silvery tassel necklace, and a black sequin clutch.

RELATED: How Pierce Brosnan Found Love Again With Wife Keely Shaye Smith

The couple have been married for nearly 16 years, tying the knot in Ireland in August 2001, after first meeting in Mexico in 1994.

Brosnan has been effusive in his praise of his wife in the past. “I love her vitality, her passion,” Brosnan gushed to the Independent in March 2016. “She has this strength that I wouldn’t be able to live without. When Keely looks at me, I go weak.”

Spending quality time together is a key ingredient of their happy marriage, as he shared with PEOPLE in April.

“My wife and I took a short road trip up to Santa Barbara — we were going for a romantic weekend and to look at houses and drink great wine,” Brosnan said. “We didn’t listen to any music, but we just listened to the sounds of each other’s voices and sorted out the world.”

RELATED VIDEO: Pierce Brosnan On Life After Losing Wife and Daughter to Ovarian Cancer: ‘I Don’t Look at the Cup as Half Full’

 

The pair have two sons together: Dylan, 20, and Paris, 16.

He also has a 33-year-old son, Sean, from his previous marriage to Australian actress Cassandra Harris, who died in 1991 of ovarian cancer. The disease also claimed their daughter Charlotte in 2013.

Brosnan’s new movie, The Foreigner, hits theaters Oct. 13.


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Zadie Smith Thinks We Should ‘Retain The Right To Be Wrong’

“I have seen on Twitter […] people have a feeling at 9 a.m. quite strongly, and then by 11 have been shouted out of it,” the author said. “That part, I find really unfortunate.”
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Can surprise QB stars of Week 1 keep it going? Expectations for Sam Bradford, Alex Smith, more

Can surprise QB stars of Week 1 keep it going? Expectations for Sam Bradford, Alex Smith, more
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Sam Smith ‘good at getting dumped’ in new song

Sam Smith has made his music return after two years away from the spotlight with a song about getting dumped.
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Sam Smith Talks New Album and Says He’s “Insanely Single”

Sam SmithSam Smith is single–like really single.
During an interview with Beats 1 radio host Zane Lowe about Smith’s new album, Lowe asked Smith if he was over the “heartbreak”…

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Sam Smith Teases New Music Release With Mysterious Billboard

Sam SmithWhen it comes to new music from Sam Smith, the writing’s on the wall–er–on the billboard.
While the Grammy Award winner has been largely out of the spotlight for the last year, a…

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Jada Pinkett Smith Reveals Will Taught Her About ‘Grapefruiting’ Years Ago

“I was like, ‘Are you trying to tell me something?'”
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Will Smith Taught Jada Pinkett Smith About the “Grapefruit” Oral Sex Technique in Girls Trip

Jada Pinkett Smith, Girls TripJada Pinkett Smith learned a naughty lesson from her famous husband.
The actress, who recently starred in the romantic comedy Girls Trip, had audiences buckling over in laughter during…

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Will Smith And James Corden Get Jiggy With It In ‘Carpool Karaoke’ Series Premiere

The show will air exclusively on Apple Music.
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Alex Smith shows in first workout he won’t be fazed by rookie challenge

Alex Smith shows in first workout he won’t be fazed by rookie challenge
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Jada Pinkett Smith Is An Eternal Style Chameleon

We dare you to top these looks.
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Jada Pinkett Smith Responds To Rumors She And Will Smith Are Swingers

The pair have been together for more than two decades.
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Best Dressed of the Week: Jada Pinkett Smith, Céline Dion & More!

ESC: Best Dressed, Jada Pinkett SmithIf Jada Pinkett Smith’s bright-yellow outfit doesn’t get your fashion juices flowing, we don’t know what will.
The Girls Trip actress stepped out looking insanely chic in a…

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Will Smith cast as Genie in Aladdin remake

Disney has announced that Will Smith will play the Genie in their upcoming live-action Aladdin remake, directed by Guy Ritchie.
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Free Discount Cards Donated to Mayor Wayne Smith & Township of Irvington by Charles Myrick of ACRX

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Meet Tracy K. Smith, America’s New Poet Laureate

“Her work travels the world and takes on its voices,” says the standing Librarian of Congress who appointed Smith.
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Tracy K. Smith Is the New Poet Laureate

Ms. Smith, 45, says she hopes to be a poetry evangelist of sorts, going to parts of the United States “where literary festivals don’t always go.”
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Cannes 2017: Is Will Smith fit to be a judge?

The Cannes Film Festival has announced eight key industry figures joining the jury at the world’s most prestigious film festival.
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Will Smith tipped for Aladdin role

Will Smith is reportedly Disney’s first choice to play the Genie in a live-action remake of the 1992 animated classic, Aladdin.
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Survivor: Game Changers Star Jeff Varner Apologizes to Zeke Smith: “Outing Someone Is Assault”

Jeff Varner, Zeke Smith, SurvivorIn hindsight, Jeff Varner would have treated Zeke Smith differently.
Before the tribal meeting in Wednesday’s episode of Survivor: Game Changers, Varner said he had a hunch about…

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Will Smith Starring In ‘The Matrix’ Will Totally Melt Your Mind

Will Smith famously turned down the lead role in “The Matrix.”

But how would the mind-melting 1999 sci-fi movie have turned out if the “Fresh Prince of Bel Air” actor had actually starred as Neo, in place of Keanu Reeves?

Luckily, YouTube channel The Unusual Suspect is on hand to give a glimpse as to what the film may have looked like.

It posted a recut trailer of the movie online Thursday, which has since garnered more than 700,000 views. Via Reddit, the channel has also revealed just how it created the spoof clip:

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Will Smith reunites with Bel-Air pals

How do the cast of Fresh Prince look more than 20 years on at their beachside reunion?
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Will Smith Fulfills 20-Year Dream Of Bungee Jumping At Victoria Falls

Will Smith lived out a long-held dream of bungee jumping at the Victoria Falls, and filmed his entire epic leap.

Video that TMZ posted online on Friday shows the 48-year-old Hollywood movie star falling from the bridge over the waterfall on the ZambiaZimbabwe border.

“Whoa,” the “Bad Boys” star shouted as he plummeted toward the Zambezi River below. “This is going to be a really cool shot. This is crazy!”

As he dangled mid-air on the bungee cord for several seconds, Smith revealed how he’d been wanting to bungee at the location for “like 20 years.”

“Oh, that was fantastic,” he added, once he was back on firm ground.

Check out the full video above.

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Adam Lambert Responds To Rumors He’s Dating Sam Smith

In our dreams, Adam Lambert and Sam Smith would make an adorable couple, but alas, there’s no romance heating up between the two pop stars for now.

On Thursday’s installment of “Watch What Happens Live,” Lambert told host Andy Cohen that although he and Smith have done “a lot of bonding” over the past year, there was no truth in any of the media speculation that the two are more than just friends. 

“I love that rumor, actually. The minute I heard it, I texted him,” Lambert, 35, said, responding to a fan’s inquiry. After shrugging off the romantic suggestion, he praised Smith, noting, “He’s such a nice guy. He’s so funny.”

The two stars have, in fact, spent quality time together in the past. In March 2016, the guys were spotted together at the New York nightclub No. 8. DJ Dawson posted a photograph of himself posing with Lambert and Smith on Instagram.  

Lambert elaborated further about his friendship with the “Stay With Me” singer in the “Watch What Happens Live” interview Thursday. “We did ride a rickshaw in London from one club to another, wasted, at like 3 in the morning,” he said. “And I ran into him in Mykonos this summer.” 

Fortunately for us, Lambert documented both of those encounters with Smith for posterity on Instagram

W/ @samsmithworld and Vince #mykonos

A post shared by ADAMLAMBERT (@adamlambert) on

@samsmithworld

A post shared by ADAMLAMBERT (@adamlambert) on

Though Smith, 24, has spent much of the past year out of the limelight, Lambert is gearing up to the road once more. In June, he’ll kick off a North American tour with Queen, playing 25 cities across the country.

Sizzle or not, Lambert and Smith no doubt have a lot to talk about as two of the pop world’s most out-and-proud performers. And there’s no reason the two can’t make some sweet music in the studio. C’mon, boys ― gift us with some ear candy!

For the latest in LGBTQ culture, don’t miss the Queer Voices newsletter.

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Carpool Karaoke: The Series: Where Can You Find Ariana Grande, Wedding Surprises, Will Smith and Helicopter Rides

Carpool Karaoke: The SeriesCarpool Karaoke: The Series is coming. The Late Late Show segment is getting its own spinoff on Apple Music and the series’ first sneak peek was shown during the 2017 Grammys, naturally, which…

E! Online (US) – TV News

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By the Book: Ali Smith: By the Book

The author, most recently, of “Autumn” ranks “Invitation to a Beheading” among the great books: “Nabokov treats us to, then liberates us from, the bad farce of totalitarianism. What a blast.”
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Steve Smith Sr. confirms he’ll retire (Yahoo Sports)

Steve Smith

Smith said that Sunday was his final NFL game, and the league won’t be the same without him.



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Liz Smith: Tributes pour in from Royle Family co-stars

Co-stars pay tribute to Liz Smith, who played Nana in the Royle Family, after her death aged 95.
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Farewell Nana: Royle Family star Liz Smith dies

The Royle Family actress Liz Smith has died aged 95, a spokeswoman for her family has said.
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Will Smith trial ends with tears on both sides (Yahoo Sports)

Supporters of Cardell Hayes leave the courthouse Sunday night after a jury found him guilty of manslaughter. (AP)

Cardell Hayes was found guilty of manslaughter in the death of the ex-Saints star. But there were no winners Sunday, just as there were none on that night eight months ago.



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Jaden Smith Defends His Gender-Bending Sense of Style

Jaden Smith, NylonJaden Smith has become better known for his eye-catching style than his movies as of late–and he’s OK with that.
Will Smith’s son, now the face of Louis Vuitton, has been…

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The Bottom Line: ‘Swing Time’ By Zadie Smith

Zadie Smith writes novels about the people and themes that seem particularly freighted with political baggage these days: immigrants, multiracial families and social groups, the white and non-white working class. Though she’s writing about her own home turf ― England, typically north-west London ― those realities are no less incendiary there, in the Brexit era, than they are here, in the Trump one.

But Smith has also declined, most recently in an interview with Slate, to get too political about the multicultural world she depicts in her fiction. “I’ve always dealt with [multiculturalism] as a descriptive fact,” she said. And anyway, she added later, “I don’t have a political intelligence […] Sometimes people’s intimate lives reflect the political world, but my first concern is always people.”

To those who love her fiction, this should make sense; her worlds jostle with the colliding energies of so many acutely observed characters ― tussling, flirting, gossiping, bullying, falling in love and giving in to hate. It’s the writing of someone who wants to get inside the minds of as many people as possible, to figure them out properly.

Swing Time carries that curious, energetic feel, but it’s also entirely different. It’s Smith’s first novel written entirely in the first person, muting the raucous din of her cast of characters by filtering them entirely through her nameless narrator, whose introspective yet often fragile consciousness purposefully distorts the narrative.

The novel hangs around the childhood friendship, and adult alienation, of the narrator and a girl named Tracey. They meet in a dance class in a church near the council estates in North West London where they both live. Both are biracial, the child of one black parent and one white; both are clinging to their mothers; both are intrigued by each other, though not immediately friends. The narrator’s mother is from Jamaica and has aspirations to middle-class acceptance, educational achievement and a career in line with her interests in political activism. While her husband, the narrator’s father, is a loving family man, he’s also relatively content with an unambitious life, while she’s beautiful, restrained, determined to act like any educated middle-class woman would ― and disdainful of Tracey’s mother, an overweight white woman with gaudy taste and no apparent goals except to get on disability. “It turned out ― as my mother had guessed at once ― that there was no ‘Tracey’s father,’ at least not in the conventional, married sense,” writes Smith. “This, too, was an example of bad taste.”

The girls are drawn together like “two iron filings drawn to a magnet,” soon becoming like sisters. The narrator’s studious mother disapproves of the friendship ― Tracey is spoiled with toys and TV time ― but can’t stop them from spending hours watching videos of old musicals and making up stories about ballet dancers. Though their similarities bound them together, in a crucial way the two dancers are different: Tracey has perfect arches and a gift for dance that the narrator simply doesn’t. As she carries on preparation to become a professional dancer, her friend resentfully finishes in standard school and attends university.

As they enter adulthood, they suffer a mysterious and traumatizing falling-out that effectively ends their friendship, and as the narrator goes to work as a personal assistant for Aimee, a famous pop singer, she slowly loses track of her old friend’s dance career and her life.

Meanwhile, Aimee takes a violently sudden interest in charity work, and the narrator finds herself spending weeks at a time in a small West African country working on a girls’ school her charismatic and impulsive boss has decided to found. There she meets Fern, an economist who manages the logistics of the project; Lamin, a handsome local teacher who’s in charge of guiding them; and Hawa, a bubbly young woman who teaches English. Well-intentioned but constantly misstepping, painfully reminded at every turn of her isolation ― not an equal of Aimee, nor capable of relating to the local people ― she’s frustrated by the mission she’s a part of, but also unsure of how to do better.

Back home, her mother, now a divorced politician, has fallen ill, and has begun hearing nonstop from Tracey, who seems bitter and unstable, full of grievances toward the narrator and her mother. When a personal and professional catastrophe devastates the narrator, Tracey is waiting, again, to vent her fury through revenge. Now a single mother of three, and no longer a dancer, she seems distant from her friend’s long-cherished ideal friend: spunky, sharp, beautiful, transcendently gifted.

What happens to Tracey, and to her friendship with the narrator? From the vantage point we’re given, it’s basically insanity ― a couple wild accusations from Tracey; first that their dance school piano player, an elderly man named Mr. Booth, touched her inappropriately; next a still-more shocking one about the narrator’s beloved father ― and then paranoia, rage, erratic behavior. The narrator vaguely disregards all of her friend’s claims, from a very early age; later, she’s horrified to hear that she’s sent “distressing emails” to such people as “[a] director at the Tricycle who had not cast her, she thought, because of color.” The accusation that Mr. Booth had been inappropriate, made directly to the dance teacher after Tracey was accused of stealing the cashboxes from a student show, is not only dismissed out of hand, but it’s clear that one friend worked hard to convince adults in charge to believe the teacher instead: “I made it as clear as I could that Mr. Booth had never laid a hand on me or on Tracey, nor anyone else, as far as I knew.”

Smith doesn’t seem to intend to give readers enough information to know whether Tracey was, specifically, harmed by Mr. Booth, or whether her career was thwarted by racist casting, or whether, as she complains, her black children have been discriminated against in the school system. The barrage of personal and political grievances seem, to the narrator, out of hand. On the other hand, her own story is full of unsettling stories of black girls being touched under their underwear by boys who crawled under their desks, of black actresses (including Tracey) treated as second-class in the theater world, and of black boys excluded from classrooms because their teachers somehow fear them. The cumulative effect is to make both the narrator’s struggles and her old friend’s paranoid twist seem more logical than at first glance.

During her rocky visits to West Africa, the narrator similarly finds herself befuddled by her surroundings ― but struggling not to superimpose the political over the personal. While her colleagues doggedly work to make the best of Aimee’s absurd resources, no matter how problematically distributed, the narrator becomes entangled in vaguely delineated suspicions of her employer’s privileged actions. When Aimee becomes infatuated with Lamin, or adopts a local baby, or sweeps in for a school opening, her assistant is always watching with the certain, sour sense that wrong is being done.

Is she wrong? Maybe not, but as the novel goes on, it’s difficult to see what good her political anxiety does, either. Time and again, Smith’s narrator offers the personal and the political, but she struggles to see how they might fit together, and in that she’s not so different from most people. 

The Bottom Line:

In a first-person twist on her buoyant, bustling London narratives, Smith examines the trouble of combining the personal and political, and captures the thrills of girlhood, dance, and first friendship. 

What other reviewers think:

The Atlantic: “Swing Time is criticism set to fiction, like dance is set to music. One complements — and animates — the other.” 

Jezebel: “Smith has a rare understanding of the psyche of girlhood, that rush of sexuality which is simultaneously exhilarating, frightening and confusing.” 

Who wrote it?

Zadie Smith vaulted to fame with the publication of her debut novel, White Teeth, when she was just 24. Smith has won a slew of prizes, including several for first novel. She has since published four more novels, including Swing Time and On Beauty, which won the Orange Prize for Fiction in 2006. She also writes criticism. Born and raised in North West London, Smith studied at Cambridge. She is married to poet Nick Laird, with whom she has two children.

Who will read it?

Who won’t? Smith is a literary superstar, and her new book showcases why.

Opening lines (from Chapter 1):

“If all of the Saturdays of 1982 can be thought of as one day, I met Tracey at ten a.m. on that Saturday, walking through the sandy gravel of a churchyard, each holding our mother’s hand. There were many other girls present but for obvious reasons we noticed each other, the similarities and the differences, as girls will. Our shade of brown was exactly the same ― as if one piece of tan material had been cut to make us both ― and our freckles gathered in the same areas, we were of the same height.”

Notable passage:

“Tracy could ― did ― tell a teacher to ‘fuck off’ without even being sent to stand in the hall, but Jordan passed most of his time in that hall, for what seemed, to the rest of us, small infractions ― talking back, or not removing a baseball cap ― and after a while of this we began to understand that the teachers, especially the white women, were scared of him. We respected that: it seemed like a special thing, an achievement, to make a grown woman fear you, though you were only nine years old and mentally disabled. Personally I was on good terms with him: he had sometimes put his fingers in my knickers but I was never convinced he knew why he was doing it, and on the walk home, if we happened to fall in step, I sometimes sang for him ― the theme tune to ‘Top cat,’ a cartoon with which he was obsessed ― and this soothed and made him happy.”

Swing Time
By Zadie Smith
Penguin Press, $ 27.00
Published November 15, 2016

The Bottom Line is a weekly review combining plot description and analysis with fun tidbits about the book.

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FUSE+ Amber / Rose Polarized Lenses for Smith Optics Pit Boss

FUSE+ Amber / Rose Polarized Lenses for Smith Optics Pit Boss

Premium Optics by Carl Zeiss Vision – F30P Amber / Rose Polarized golf-specific sunglass lens designed to improve course visibility and depth perception. Creates strong contrast against greens and browns, significantly improving visibility against fairways, sand traps and putting greens. Completely block harmful UV rays, providing 100% UVA/UVB protection. Polarized lenses provided reduced glare for increased comfort and decreased vision impairment. Constructed from the highest quality polycarbonate material for the ultimate in safe and clear eyewear. Custom Made to easily interchange with your current sunglasses.

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Adam Smith sa vie, ses travaux, ses doctrines

Adam Smith sa vie, ses travaux, ses doctrines


Ce livre comporte une table des matières dynamique, a été relu et corrigé. Il est parfaitement mis en page pour une lecture sur liseuse électronique. Albert Alfred Delatour (1858 – 1938), est un économiste français de l’école libérale. Professeur d’économie politique à l’École libre des sciences politiques, membre de la Société d’économie politique et président de l’Institut international de statistique, il est connu surtout pour son ouvrage sur Adam Smith, “Adam Smith, sa vie, ses travaux, ses doctrines”, paru en 1886. Il est élu membre de l’Académie des sciences morales et politiques en 1912. Adam Smith (1723 – 1790) est un philosophe et économiste écossais des Lumières. Il reste dans l’histoire comme le père de la science économique moderne, dont l’auvre principale, les Recherches sur la nature et les causes de la richesse des nations, est un des textes fondateurs du libéralisme économique. Extrait: Sur la côte septentrionale du golfe du Forth, dans le comté de Fife (Écosse), s’étend, sur 5 kilomètres de longueur, la petite ville de Kirkaldy. C’est là que naquit Adam Smith, le 5 juin 1723. Son père venait de mourir. C’était, dit-on, un homme d’une réelle valeur et très-versé dans les affaires: il avait été d’abord secrétaire privé du gardien du grand sceau, le comte de Londown, puis secrétaire des cours martiales; enfin, depuis neuf ans, il remplissait les fonctions de contrôleur des douanes au port de Kirkaldy lorsque la mort vint le surprendre. Dans ces tristes circonstances, la naissance d’un fils fut, pour la jeune veuve, comme une consolation; elle donna au nouveau-né le prénom de celui qu’elle regrettait, et, grâce à sa sollicitude, Adam Smith, dont la complexion était très-délicate, traversa aisément les épreuves du premier âge. Cependant, il n’avait pas encore trois ans lorsqu’il fut victime d’un accident qui pouvait avoir les conséquences les plus graves. C’était à Strathenry, chez M. Dou

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Smith & Wesson Knives PEN3PCP Tactical Stylus Pen | Ball Point Refill with Touch Screen Tip

Smith & Wesson Knives PEN3PCP Tactical Stylus Pen | Ball Point Refill with Touch Screen Tip


Smith & Wesson Knives – 5 1/2″ overall. Model: SWPEN3PCP. Pink aluminum housing. Schmidt P900M ball point refill. Touch screen tip. Includes replacement stylus tip. The 3 in 1 tactical stylus pen is the perfect tool for engineers, nurse practitioners, teachers or anyone who uses a touch screen daily. Personal protection tip. Hang packaged.
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Will Smith Sends Sweetest Birthday Message To Daughter Willow

Before she was whipping her hair back and forth, Willow Smith was her father Will Smith’s little bean. 

The actress and artist turns 15 this Halloween, and to show her how much he cares, Papa Will penned perhaps his most meaningful words since he and Jazzy Jeff made the “Fresh Prince” theme song. Smith took to Facebook to thank Willow for “correcting” his heart and teaching him to love “without constriction or condition”:

Happy Birthday, my Bean. 15 years old today!! When you were born it took about 2 seconds to realize that I was willing…

Posted by Will Smith on Saturday, October 31, 2015

The Smith family has been in the business of making adorable messages lately. Will also sent his wife, Jada Pinkett-Smith, a message that melted everyone’s heart, and Jada reciprocated with a sweet post for Will.

The Fresh Prince’s message to Willow is too much, though. Ah, so many feels! Can Will please just use his ”Men in Black” mind eraser to take away all these feels?

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Get to Know Country Singer Canaan Smith, Nashville’s Next Rising Star

Meet country's newest star Canaan Smith, the Nashville-based musician who has been rising the country charts with his hit "Love You Like That" and his newest single, "Hole in a Bottle"—both off of his debut…


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Burnside: Coyotes' Mike Smith anxious to embrace challenges

Burnside: Coyotes' Mike Smith anxious to embrace challenges
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Jada Pinkett Smith Posts Adorable Baby Pic For Will Smith’s Birthday

Happy 47th birthday to the Fresh Prince! 

Wife Jada Pinkett Smith marked the occasion by sharing one of her husband’s baby pictures on her Facebook page — and it’s precious. 

She wrote in the post, “I’m not going to pull out the calculator like you did but know this…you have a 100 percent of my heart and the rest of my days…Happy birthday, you exceptional man.”

I'm not going to pull out the calculator like you did but know this… you have a 100 percent of my heart and the rest of my days…Happy birthday, you exceptional man󾌬

Posted by Jada Pinkett Smith on Friday, September 25, 2015

The calculator comment is a reference to the super sweet birthday message Will posted about Pinkett Smith when she turned 44 last Friday. On September 18, the “Men In Black” actor shared a 20-year-old throwback pic of the couple, captioning it: ”I’ve told you ‘I love you’ at least 8,285 times. And of the nearly 3.96 billion women on the planet — there is only 1 that I want to spend the rest of my life with.”

D’awww!

This was taken at your mom's house 20 years ago. That's a long time ago!!! So I decided to do some math… I have sung…

Posted by Will Smith on Friday, September 18, 2015

Smith and Pinkett Smith — who have faced affair and divorce rumors for a number of years — tied the knot on New Year’s Eve in 1997. They are parents to 17-year-old son Jaden and 14-year-old daughter Willow. 

 

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StreetModa.com – Adidas Originals Men’s Stan Smith Tennis Sneakers Shoes just $54.99 + Free Shipping!

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StreetModa.com – Adidas Originals Men’s Stan Smith Tennis Sneakers Shoes just $54.99 + Free Shipping!

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Paul Smith Mixes Art and Commerce

If England is indeed a nation of shopkeepers — as the French have been saying with a sneer since the 18th century — then the keeper in chief should be Sir Paul Smith, who managed to transform a tiny, windowless shop in his native Nottingham into an international — and still independent — business with annual sales north of $ 320 million and double-digit profits.
Smith, 69, achieved it all with no fancy investment (indeed, he was often the one investing, buying the real estate for his British shops), no grand marketing or advertising (he shoots all the campaigns himself), and no disproportionate reliance on fragrance or accessories to keep the ready-to-wear machine humming.
He has always been big in Japan — the country fell quickly for his charm and childlike imagination — and his licensed sales — separate from his own direct business — in the region total about $ 330 million annually. The brand has been selling there since 1982, and Smith said that even during the country’s lost decades of economic growth, volume never fell.
Smith’s commercial savvy, curiosity and creativity, inside and outside the luxury arena, have made him postwar Britain’s most successful independent fashion designer. He was knighted by Queen

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Lindy's Funky Owl Cutter by Lindy Smith

Lindy's Funky Owl Cutter by Lindy Smith


Lindy's Funky Owl Cutter by Lindy Smith.We adore this cute, fun and funky owl sugarcraft cutter designed by Lindy – It's just the perfect size for decorating the top of cupcakes and the sides of cakes. The decoration options for this mini owl are many and varied, team with other small cutters and embossers to create patchwork owls or use in silhouette and place against a crescent or full moon. For a graduation celebration add icing mortar boards to your sugar owls or use with pastel icing colours to top baby shower cupcakes.Maximum height is 4 cms (1.6 inches).  Manuactured in the United Kingdom from stainless steel.  This cutter is extremely durable.

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Progressive Sight Reading Exercises for Piano By Tutorial Fellow and University Lecturer in History Hannah Smith (Sheet music)

Progressive Sight Reading Exercises for Piano By Tutorial Fellow and University Lecturer in History Hannah Smith (Sheet music)


Overview A group of resourceful kids start “solution-seekers.com,” a website where “cybervisitors” can get answers to questions that trouble them. But when one questioner asks the true meaning of Christmas, the kids seek to unravel the mystery by journeying back through the prophecies of the Old Testament. What they find is a series of “S” words that reveal a “spectacular story!” With creative characters, humorous dialogue and great music, The “S” Files is a children’s Christmas musical your kids will love performing. Product details Isbn-13: 9780793552627, 978-0793552627 Author: Tutorial Fellow and University Lecturer in History Hannah Smith Publisher: Associated Music Publishers Publication date: 1986-11-01 About Wordery Wordery is one of the UK’s largest online booksellers. With millions of satisfied customers who enjoy low prices on a huge range of books, we offer a reliable and trusted service and consistently receive excellent feedback. We offer a huge range of over 8 million books; bestsellers, children’s books, cheap paperbacks, baby books, special edition hardbacks and textbooks. All our books are dispatched from the UK. Wordery offers Free Delivery on all UK orders, and competitively priced international delivery. #HappyReading

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Smith Optics Fly By Prescription Bifocal Sunglasses

Smith Optics Fly By Prescription Bifocal Sunglasses


A boost for your eyes, these ready-to-wear polarized bifocal sunglasses are perfect for reading fine type or trying on a new fly. With +2.0 or +2.5 magnification options, each model has a magnifying segment that is 25mm wide and placed low in the lens to avoid impacting your long-range field of view. 8 Base Lens Curve. Frame Measurements 60-17-120.
List Price: $ 138.95
Price: $ 138.95

Smith and Tweed Microfleece Vest – Full Zip (For Men)

Smith and Tweed Microfleece Vest – Full Zip (For Men)


CLOSEOUTS . Are you ready for the most plush microfleece experience of your life? Itand#39;s time to zip up Smith andamp; Tweedand#39;s microfleece vest, complete with an anti-pill finish for years of smooth good looks. Available Colors: LIGHT GREY, NAVY. Sizes: M, L, XL, 2XL.
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Jada Pinkett Smith Talks Growing Up In Baltimore

Long before Jada Pinkett Smith gained stardom, met Will and started a family, she was a young girl who roamed the streets of Baltimore, Maryland and battled the harsh reality that came with it.

In a recent interview with “American Way,” the “Magic Mike XXL” actress detailed her upbringing in the city and how the city’s crime rates impacted her childhood. 

“When I think back to who I was, living in Baltimore and what my ideas of survival were, and the kind of activities I was involved in at 13 years old. I was going to jail or I was gonna see a grave. Those were my two choices, because you get caught up in a mentality.” 

She also recalled the moment she was held at gunpoint by two men in one of the city’s largest public-housing project. It happened just before she got accepted into the North Carolina School of Arts. She said her mother eventually found out about the horrifying moment and promptly packed up her belongings and made her move. “She probably saved my life,” she told the magazine. 

Shortly after her transition to North Carolina, Pinkett Smith moved yet again — this time to Hollywood to pursue her acting dreams. But the fame she acquired over the years also came with much criticism. Despite the scrutiny, Pinkett Smith said she’s more concered about other issues.

“There are mothers out there losing their sons, their husbands, their daughters. I’m blessed. So scrutinize me,” she said. “I’ll take that any day over what the majority of my people are dealing with on a daily basis. I dare not complain. Hollywood scrutiny has nothing on what I’ve survived just to be here.’”

Read more of Jada Pinkett Smith’s “American Way” interview here.

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The 5 Wildest Things Willow Smith Has Ever Said About Fashion

Willow Smith just landed her biggest fashion coup yet, grabbing a spot in Marc Jacobs‘ fall 2015 campaign (alongside Cher no less). It might mark the first time Jacobs’ customers have been introduced to Will Smith‘s 14-year-old daughter, but the rest of us already know her as a style rebel-icon for the social media generation. If you’ve been paying attention since her “Whip My Hair” days, you’re aware there’s no shortage of fascinating fashion soundbites.

willow-smith-gray-suit-blazer-black-girls-rock

March 2015: In a recent interview given to Billboard, Smith called her style “high-fashion nomad. I could literally climb a mountain and survive a couple nights in nature. That’s a requirement for my clothes because one day I was on the freeway and I saw a mountain, so I literally just pulled over and climbed it.”

November 2014: “I like to go to places with my high-fashion things where there are a lot of cameras, so I can just go there and be like, ‘Yep, yep, I’m looking so sick,'” she told The New York Times this fall. “But in my regular life, I put on clothes that I can climb trees in.”

November 2014: “Flexibility with yourself and your looks shows self confidence. You’re willing to paint on your canvas with whatever comes from within you,” she told Wonderland.

August 2011: “I wear anything I feel like,” she told Teen Vogue back when she was a youthful 10 years old. “If I want to put on a pair of Converse with a pencil stuck through them, I will.” She also revealed fashion is a constant part of the family conversation. “It’s pretty much a regular family. At dinner we talk about ‘What did you do today? What did you wear today?'”

March 2011: When she cohosted an episode of The Oprah Winfrey Show, Smith caught flak for being a little bit rude to the talk show legend in the eyes of some viewers. When asked about her closet, she answered back, “Giiiiiiirl. No, it’s like from here to there.”

Jacobs introduced Smith’s campaign imagery via Instagram, writing about “those individuals whose creativity, unique vision, and voice [that] inspire all of us.” He also revealed that the fall ’15 lineup wouldn’t stop with Cher and Smith, with more to come in the next few weeks.


Ever since our first Juergen Teller ad in 1998 which featured Kim Gordon on stage wearing my dress, I have always preferred collaborating with the people who inspire me to give new life to the clothes we show on our runway. Over the years we have photographed an incredibly diverse and exceptional group of talented friends and individuals who I greatly admire: Victoria Beckham, Jamie Bochert, Jarvis Cocker, Sofia Coppola, Miley Cyrus, Dakota Fanning, William Eggleston, Jessica Lange, Jennifer Jason Leigh, Stephen Malkmus, Samantha Morton, Kate Moss, Charlotte Rampling, Winona Ryder, Stephanie Seymour, Cindy Sherman, Michael Stipe, and Rufus Wainwright, just to name a few. Beauty, style and talent know no age. It is those individuals whose creativity, unique vision, and voice inspire all of us here to create and express ourselves through our medium: fashion. Photographed by David Sims, this season’s ads feature friends, each of whom evoke a sense of intrigue and inspiration and collectively provoke a true consideration for individuality. Here today I would like to share (not CHER) with you first, the talented, stylish and charming Willow Smith @gweelos Stay tuned over the coming weeks for more…

A photo posted by Marc Jacobs (@themarcjacobs) on

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Jaden Smith Goes To Prom With ‘Hunger Games’ Star Amandla Stenberg

These two totally have our vote for prom king and queen.

Jaden Smith escorted “Hunger Games” actress Amandla Stenberg to prom on Friday night, and judging from their Instagram pictures, they were easily the most interesting couple there.

Stenberg, who played Rue in the “Hunger Games,” looked super chic in a metallic lamé gown, while Will Smith’s 16-year-old son, ever the eclectic dresser, wore what appears to be a black-and-white dress, topped with a black blazer. The 16-year-old actress shared snapshots from the night on her Instagram account:

here’s to highschool

A photo posted by amandla (@amandlastenberg) on


gentleman

A photo posted by amandla (@amandlastenberg) on



A photo posted by amandla (@amandlastenberg) on


to all my loves: thanks for a great night

A photo posted by amandla (@amandlastenberg) on



It’s been a busy prom season for Jaden Smith, who dressed as a superhero for another prom earlier this month.

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Sam Smith to rival Beatles record

It has been a long time since a debut album has done what Sam Smith’s In the Lonely Hour manages this week. 51 years to be exact.
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Smith and Tweed Peached Wind Vest (For Men)

Smith and Tweed Peached Wind Vest (For Men)


CLOSEOUTS . The peached fabric of this Smith andamp; Tweed wind vest is a breathable, water-resistant and packable wonder called Superlight Doeskin Microfiber — brushed for a smooth, touchable finish. Available Colors: BLACK, NAVY. Sizes: M, L, XL, 2XL.
List Price: $ 59.50
Price: $ 29.71

American Consultants Rx Charity Donation To The Office of Dr.Kate Smith By Charles Myrick

ACRX Recognition Gallery: American Consultants Rx
http://www.acrx.org -As millions of Americans strive to deal with the economic downturn,loss of jobs,foreclosures,high cost of gas,and the rising cost of prescription drug cost. Charles Myrick ,the President of American Consultants Rx, announced the re-release of the American Consultants Rx community service project which consist of millions of free discount prescription cards being donated to thousands of not for profits,hospitals,schools,churches,etc. in an effort to assist the uninsured,under insured,and seniors deal with the high cost of prescription drugs.

The American Consultants Rx discount prescription cards are to be given free to anyone in need of help curbing the high cost of prescription drugs.

Due to the rising costs, unstable economics, and the mounting cost of prescriptions, American Consultants Rx Inc. (ACRX) a.k.a (ACIRX) an Atlanta based company was born in 2004. The ACRX discount prescription card program was created and over 25 million discount prescription cards were donated to over 18k organizations across the country to be distributed to those in need of prescription assistance free of charge since 2004.

The ACRX cards will offer discounts of name brand drugs of up to 40% off and up to 60% off of generic drugs. They also possess no eligibility requirements, no forms to fill out, or expiration date as well .One card will take care of a whole family. Also note that the ACRX cards will come to your organization already pre-activated .The cards are good at over 50k stores from Walgreen, Wal mart, Eckerd”s, Kmart, Kroger, Publix, and many more. Any one can use these cards but ACRX is focusing on those who are uninsured, underinsured, or on Medicare. The ACRX cards are now in Spanish as well.

American Consultants Rx made arrangements online for the ACRX card to be available at http://www.acrxcards.com where it can also be downloaded. This arrangement has been made to allow organizations an avenue to continue assisting their clients in the community until they receive their orders of the ACRX cards. ACRX made it possible for cards to be requested from online for individuals and organizations free of charge. Request for the ACRX cards can also be made by mailing a request to : ACRX, P.O.Box 161336,Atlanta,GA 30321, faxing a written request to 404-305-9539,or calling the office at 404-767-1072. Please include name (if organization please include organization and contact name),mailing address,designate Spanish or English,amount of cards requested,and telephone number.

American Consultants Rx is working diligently to assist as many people and organizations as possible. It should be noted that while many other organizations and companies place a cost on their money saving cards, American Consultants Rx does not believe a cost should be applied, just to assist our fellow Americans. American Consultants Rx states that it will continue to strive to assist those in need.

Final gift: UNC’s Smith leaves $200 to players

Former UNC coach Dean Smith, who died last month, directed his trust in his will to give $ 200 to every lettermen who played for him during his 36 seasons as head coach at the school.
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Paul Smith RTW Fall 2015

Paul Smith RTW Fall 2015

Sir Paul Smith reprised the blanket-check flannels — and a faint whiff of the Seventies — from his men’s show in Paris for this strong women’s outing.

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Paul Smith RTW Fall 2015

Paul Smith RTW Fall 2015

Sir Paul Smith reprised the blanket-check flannels — and a faint whiff of the Seventies — from his men’s show in Paris for this strong women’s outing.

Continue reading…

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Focus Official Trailer #3 (2015) – Will Smith, Margot Robbie Movie HD

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Focus Official Trailer #3 (2015) – Will Smith, Margot Robbie Movie HD

A veteran grifter takes a young, attractive woman under his wing, but things get complicated when they become romantically involved.

The Movieclips Trailers channel is your destination for the hottest new trailers the second they drop. Whether it’s the latest studio release, an indie horror flick, an evocative documentary, or that new RomCom you’ve been waiting for, the Movieclips team is here day and night to make sure all the best new movie trailers are here for you the moment they’re released.

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Funny Or Die Has A Take On The Tom Petty, Sam Smith Controversy

Funny or Die won’t let Tom Petty take good news without a jab.

Last week, the world learned that Sam Smith would pay Petty royalties from his song “Stay with Me” due to its musical similarities to Petty’s “I Won’t Back Down.” The folks over at Funny Or Die found the development quite interesting, considering the numerous instances of musical similarities among pop songs. Cue the above video, which draws attention to the resemblance some of Petty’s songs bear to earlier ones from other artists.

Petty still comes out on top in this whole scenario — lots of money trumps not being made fun of on the Internet — but it does raise some interesting points about musical ownership.
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The Second Best Exotic Marigold Hotel Official Trailer #2 (2015) – Maggie Smith, Judi Dench Movie HD

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The Second Best Exotic Marigold Hotel Official Trailer #2 (2015) – Maggie Smith, Judi Dench Movie HD

THE SECOND BEST EXOTIC MARIGOLD HOTEL is the expansionist dream of Sonny (Dev Patel), and it’s making more claims on his time than he has available, considering his imminent marriage to the love of his life, Sunaina (Tina Desai). Sonny has his eye on a promising property now that his first venture, The Best Exotic Marigold Hotel for the Elderly and Beautiful, has only a single remaining vacancy – posing a rooming predicament for fresh arrivals Guy (Richard Gere) and Lavinia (Tamsin Greig). Evelyn and Douglas (Judi Dench and Bill Nighy) have now joined the Jaipur workforce, and are wondering where their regular dates for Chilla pancakes will lead, while Norman and Carol (Ronald Pickup and Diana Hardcastle) are negotiating the tricky waters of an exclusive relationship, as Madge (Celia Imrie) juggles two eligible and very wealthy suitors. Perhaps the only one who may know the answers is newly installed co-manager of the hotel, Muriel (Maggie Smith), the keeper of everyone’s secrets. As the demands of a traditional Indian wedding threaten to engulf them all, an unexpected way forward presents itself.

The Movieclips Trailers channel is your destination for the hottest new trailers the second they drop. Whether it’s the latest studio release, an indie horror flick, an evocative documentary, or that new RomCom you’ve been waiting for, the Movieclips team is here day and night to make sure all the best new movie trailers are here for you the moment they’re released.

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J.R. Smith to Cavs, Waiters to OKC in trade

J.R. Smith, Iman Shumpert and Dion Waiters are involved in a three-way trade involving the New York Knicks, Cleveland Cavaliers and Oklahoma City Thunder.
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Ed Sheeran & Sam Smith lead home grown UK albums

Home grown talent has been driving demand for music from UK fans over the past decade, and, led by Ed Sheeran and Sam Smith
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Chiefs’ Smith (spleen) out against Chargers

Kansas City Chiefs quarterback Alex Smith has a lacerated spleen and will miss Sunday’s game against the San Diego Chargers, trainer Rick Burkholder said Friday.
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Sources: Heat make move hoping for Smith

The Heat have formally applied to the league office for a Disabled Player Exception in the wake of Josh McRoberts’ season-ending knee injury in a move they hope will help them land free agent Josh Smith, according to league sources.
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Pistons waive Smith, cite ‘shifting priorities’

The Detroit Pistons on Monday waived Josh Smith, who still had two years and at least $ 26 million remaining on his contract after this season.
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For The Blackhawks’ Ben Smith, Music Connects A Talented Family

With successful musician parents and brothers, it’s easy to see where Chicago forward Ben Smith gets his drive to perform.
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Fragments of Femininity: A Comparative Analysis of the Art of Tracey Emin and Kiki Smith

2014-11-20-KikiSmithbyMiriamIvanoff.jpg

*This post contains some graphic content.

Tracey Emin and Kiki Smith have starkly different visual approaches in their art yet thematically their work is inextricably intertwined. Both women eschew the expected and express different aspects of both the feminine psyche and life itself in unpredictable ways. Emin is radical about love; Smith about life and death. Their work is often both precious and difficult to stomach (think Emin’s blankets and Smith’s statues excreting beads). They are provocative, evocative and not afraid to expose themselves — a raw honesty radiates throughout their work that is rare to find.

This honesty manifests itself as Emin cries out for intimacy by exposing details of her private life that others wouldn’t dream of revealing. In a letter that accompanies My Abortion 1990 she recounts the moment when, in a London taxicab, her body expelled a second fetus, overlooked during the initial procedure, “I had killed the thing which I could love the most. Forgive me, tiny little thing… Forgive me — leave me.”

Smith is honest in her portrayal of the female form in unconventional ways — often from the inside out, neutralizing it so that it stands for mankind as a whole, challenging the tradition of male artists to paint the female in an erotic light. In How I Know I’m Here, a massive linocut, Smith depicts several internal organs, including a heart, brain, lungs, and reproductive systems splayed out around etched lines that represent her own feet, face and hands. Although Smith’s work can be seen as rather feminist, honing in on this as a political statement can be a mistake, or at least a dangerously narrow view. Her approach is far more personal — she explores the significance of how the body functions systemically in order to gain a stronger grasp on reality.

Smith’s probing stops at no bounds and delves into the human body’s most intimate inner functions — urination, menstruation, reproduction, and so on. She creates statues excreting bodily fluid in the form of beads. By making urine or menstrual blood beautiful, Smith probes at our societal reaction to such things. She also emphasizes the lack of importance we normally attribute to these fluids by placing them on an altar in jars with gothic lettering, each fluid in equal standing.

Emin does not shy away from the exploration of the significance of bodily fluids either, confidently displaying used tampons alongside her sketches giving the two equal importance. In My Bed, Emin displays her bed after a depressive episode, covered in suspicious stains and leaked menstrual blood in all its glory.

For Smith and Emin, the body is in perpetual motion. Neither artist has any shame in laying the ghastliest aspects of femininity stripped bare. This introspection strips their work of pretense down to an almost primeval level. The exposure of the self creates a vulnerability that leaves the work open to interpretation.

This vulnerability is also reflected in the use of humble craft materials. Smith uses papier-mâché for many of her sculptures and Emin uses appliqué techniques and household fabrics to create her patchwork quilts. The lack of durability of these materials as compared to that of objects like bronze sculptures creates a sense of urgency that reflects their need to create their art — to express something physically that has been building up inside. Emin’s tapestries show fragmented sentences; often just words, names or phrases. Smith’s works consist of fragmented body parts, with no logical context in the body from a biological standpoint, with the spleen and bladder displayed next to the more socially glorified heart and brain. These fragments add to this sense of urgency, as both artists emphatically express that nothing lasts forever.

The exploration of the ephemeral is so honest and pure in Smith’s work that her art can be difficult to write about. She is not trying to make a statement. Instead she follows whatever is preoccupying her at the moment without necessarily knowing why. “I don’t want to be trying to do anything,” Smith says. “When I was younger, people’s work was so expressionistic that to me it felt indulgent or self involved.” Based on this view Smith may not be a fan of Emin’s work, which is often self-indulgent. Emin is this big, booming voice that is deliberately loud because she desperately wants to be heard. Yet the honesty still permeates through Emin’s willingness to be open about a past as she sees it, inspiring the viewer to look back to the events that brought them into their present state of existence. Smith may be better at playing the innocent, but she also questions the nature of our existence through her exploration of life, death and the existential.

The autobiographical component in both artists’ work allows them to question our existence from a personal level, where they each recognize their own struggle. Emin uses her confessional art to deliberately bare her soul on canvas so that the spectator feels that they immediately know her on an intimate level. Her honesty supersedes the unfamiliar and this is what makes her art beautiful. Smith often features her self in her work, literally and physically. She is the first to admit this: “My work was very autobiographical. In the pieces about birth I was trying to reconcile an ambivalent relationship to being here on earth because earth is a difficult place to be sometimes.” Emin and Smith both create art through this therapeutic method of working out on canvas whatever is preoccupying their minds at the moment. Smith has said, “I’m just trying to make my life okay. I’m just trying to have a good life; that is my ambition: to be better at being here.” Emin speaks of art as her raison d’être, as something that has saved her life many times. To this, Smith would agree, “You know, we’re not doing research; our lives are at stake.”
Arts – The Huffington Post
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Sam Smith only million seller in UK & US for 2014

Sam Smith has become the only artist in the world to score a million-selling album in both the UK and the US during 2014, the Official Charts Company confirms today.
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Annie Movie Premiere Sizzle (ft. Will Smith, Jay-Z & Sia)

Relive the world premiere of Annie on the red carpet with the entire cast and special appearances by Will Smith, Jay-Z, Beyonce & Sia.

See the family event of the holiday season! Get tickets now: bit.ly/GetAnnieTix
Release Date: 19 December 2014 (United States)

Genre: Musical / Comedy / Family
Cast:
Jamie Foxx
Quvenzhané Wallis
Rose Byrne
Bobby Cannavale
Adewale Akinnuoye-Agbaje
David Zayas
and Cameron Diaz

Directed by: Will Gluck
Screenplay by: Will Gluck and Aline Brosh McKenna

Based on the musical stage play “Annie”
Book by Thomas Meehan
Music by Charles Strouse
Lyrics by Martin Charnin

“Little Orphan Annie” © and ® Tribune Content Agency, LLC.
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Get more information at www.Annie-Movie.com
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Chris Smith autographed trading card (Golf) 2002 Upper Deck SP #ST-SM

Chris Smith autographed trading card (Golf) 2002 Upper Deck SP #ST-SM


Chris Smith autographed trading card (Golf) 2002 Upper Deck SP #ST-SM. Item comes fully certified with a tamper-evident, serialized hologram and certificate of authenticity.
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Soap Opera Star Freddie Smith Charged With DUI After Crash That Injured His Girlfriend

JEFFERSON, Ohio (AP) — Soap opera actor Freddie Smith has been charged with felony vehicular assault and misdemeanor driving under the influence after a single-vehicle crash that injured his girlfriend in northeast Ohio.

The 26-year-old “Days of Our Lives” actor lost control of his car on a curve in Ashtabula (ash-tuh-BYOO’-luh) County on Oct. 7 and ended up in a culvert, causing his car to flip over. Authorities say Smith, who was visiting his Ohio hometown, was legally drunk at the time of the accident, with a blood-alcohol level of .093. The legal limit in Ohio is .08.

Smith’s attorney declined to comment.

Twenty-seven-year-old actress Alyssa Tabit of North Hollywood, California, was trapped in the car and was seriously hurt. She is recovering.

Smith suffered minor injuries.
Entertainment – The Huffington Post
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Songs From The Big Chair Gets Supersized: Chats with TFF’s Roland Orzabal & Curt Smith, Lloyd Cole and Lang Lang…Plus!

BAHAMAS’ “BITTER MEMORIES”

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photo courtesy of Bahamas

According to Bahamas’ Afie Jurvanen, “I wanted the song to have something vaguely Celtic about it. Not really bagpipes and whistles, but more in mood. Something elemental and ancient. I think the drums and especially the guitar playing was very much done with those things in mind.”

Alfie adds, “As an interesting companion to this stripped down acoustic performance of “Bitter Memories” for North Shore sessions, you may have heard Jurvanen’s music as part of the new James Franco Verizon Droid commercial.”

On Tour Now:
November 7 /// Sherbrooke, Canada /// Theatre Grande*
November 8 /// Quebec City, Canada /// Imperial*
November 15-29 /// European Tour /// EU
December 4 /// Burlington, VT /// Higher Ground†
December 5 /// Albany, NY /// The Hollow†
December 6 /// New York, NY /// Terminal 5†
January 8 /// St. Catharines, ON /// Sean O’Sullivan Theatre
January 9 /// Peterborough, ON /// Market Hall Performing Arts Centre
January 10 /// Ottawa, ON /// Bronson Centre
January 12 /// Kingston, ON /// The Grand Theatre
January 13 /// Barrie, ON /// Georgian TheatreJanuary 14 Pittsburgh, PA Club Café
January 16 /// Louisville, KY /// Zanzabar
January 17 /// Nashville, TN /// Mercy Lounge
January 20 /// Houston, TX /// Fitzgerald’s Downstairs
January 21 /// Austin, TX /// Stubb’s Jr
January 22 /// Dallas, TX T /// he Kessler
January 24 /// Omaha, NE /// Reverb
January 25 /// Rock Island, IL /// TBD
January 27 /// Iowa City, IA /// The Mill
January 28 /// Milwaukee, WI /// Shank Hall
January 29 /// Chicago, IL /// Lincoln Hall
January 30 /// Ann Arbor, ME /// Ann Arbor Folk Fest
January 31 /// London, ON /// Aeolian Hall

*****************************

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A Conversation with Tears For Fears’ Roland Orzabal

Mike Ragogna: Songs From The Big Chair celebrated across six discs. How did all this material come together?

Roland Orzabal: Well, it came together right at the end. We had made the whole thing, we had a lot of those songs for many years and we also had a philosophy behind Tears For Fears that very much came out. Then we were very much stuck with this success in England and the record companies saying, “Okay, we now need to follow it up.” It just went into this frame of, “Write whatever songs you have and we’re going to record.” We had a false start with a track called “The Way You Are” which was way too clever. We spent a long time on it and didn’t do that well for us. We then went on to a song called “Mothers Talk” and tried to do it in a similar way. That’s the point at which the record company was going, “No, this is not going to work.” They pulled us back and I think there was a secret mandate to beef up our sound, to put guitars on it and make it a bit more global. That influence and that pressure came from outside, it wasn’t something that came from Curt and I. Big Chair was a relatively quick album to make, I had no idea what we were doing, it didn’t sound cohesive to me, hence the title Songs. It just seemed like a random number of songs that were thrown together because we had them available at the time. It was only when right at the end of the album and I was running off cassettes…do you remember what they are? That I was forced to listen to the whole thing right from beginning to end and I thought, “This isn’t bad! There’s something there!”

MR: What was your impression when you listened to the work from top to bottom?

RO: I was surprised, because the thing is some of those tracks are quite complicated and quite layered. Some of them aren’t. I just remember how long we spent on the whole mixing process, going across to Germany in the midst of winter, God knows why, I’ve never been so cold. You just never feel particularly wonderful about what you’ve done because it’s all been a debate and discussion long into the early hours of the morning. It’s only really when you’re relaxed and step back that you can see what you’ve done. It’s only really in hindsight. Everything was done quickly with no many decisions on a certain level. For instance, the album cover. We didn’t have an album cover. It was like, “Come on, let’s get an album cover,” so we had a photo shoot and we were looking at the proofs and I leaned over to Curt and said, “Right, that’s the album cover.” Likewise with the title of the album, there was a dispute over that. It was not as if it had always been the title and everyone was happy about it. It was decided very quickly.

MR: Do you think that it came together so well because the vision was hidden there all these years?

RO: I think that’s a good point. With that question, Curt and I combined and interfaced with something that was kind of necessary at the time. To use a strong word it was sort of destined. We got very lucky.

MR: How do you feel about how your first album resonated with the culture?

RO: As I keep saying, we got lucky. I think that there were two things, really. The team that came together, the politics of the team, myself and Curt probably being on the bottom of it in a hierarchy, Chris Hughes, Dave Bates from the record company, Ian Stanley, the relationships were all changing. What was great is that because we were slightly in a rush, when I wrote “Shout” the chorus, that all I thought it was going to be, a chorus like “Give Peace A Chance,” a song about protest. Then when I played it to Ian and Chris they said, “No, that’s a single.” I said, “What?!” “That’s a single that needs a verse.” Luckily, Curt and I had to do the video for “Mothers Talk,” so we walked away, left Ian and Chris to muck about for a day and when we came back the backing track for “Shout” was born and it was like, “Whoa, okay.” That really did change how things were stacking up. Then the other thing, the track “Listen” which was really Ian Stanley’s baby, he’d been mucking about with that when we were recording The Hurting and we’d come back from London and I’d pop up and see Ian and he’d play me this track and I’m thinking, “This is just beautiful.” So we had these pieces lying around but we didn’t realize it was going to work so well to put them all together.

MR: The temptation of many artists after doing a successful album is to recycle the formula, but you guys took a complete left turn.

RO: Big Chair was so successful that we ended up touring for eight months. We used to use a Revox tape machine beside the stage to play all the electronics and backing tracks. Because it was edited in that way we played the same set for eight months pretty much. It was in hindsight the worst thing we possibly could have done. We should have toured for a while and then started recording again while everyone was in love with each other. Those eight months of just two albums’ worth of material killed us. I’ve told this story many times, when we were playing in Kansas and the audience was going mad and we were playing the same songs that we’d been playing for God knows how long. We walked into a bar in the hotel in Kansas and there was a woman in a ball gown singing with two guys in dinner jackets. Her name was Oleta Adams and I just remember sitting at the bar with our album at number one and thinking, “There’s something wrong here.” That affected me in a big way. For me it wasn’t about the success anymore, it was about the music. So it was not a good career move but I went away and explored myself spiritually and never ever lost that memory of Oleta and her powerful soul. So yes, it did change and it changed radically.

MR: And what was released after that was a giant leap from the last project.

RO: It’s a difficult one because again it’s all down to hindsight, but yes, it’s one of the best periods of my life, Seeds Of Love. Living in London, I was finally doing primal therapy which was the thing we were banging on about. I was opening up. I don’t think I could’ve written something like “Woman In Chains” if I hadn’t gone through such therapy.

MR: My feeling is that in the States, The Hurting was digested once they understood your Songs From The Big Chair. I think America really needed to shout, and “Shout” was what was needed at the time.

RO: There’s no doubt about it. When I was younger and the muse was visiting me constantly as opposed to nowadays when it’s in the odd occasion, you sit down or stand up to write and once you get into that semi-hypnotic state ideas start pouting in. Then you look at the songs that were written at the time, there was a song not particularly well known in America, by Paul Weller called “Shout To The Top” and I’m thinking that must have been written pretty much at the same time. There was obviously something floating around in the ether waiting for an open mind as they say. That’s the role of the artist, isn’t it?

MR: Roland, this expanded version of Big Chair with all its bells and whistles…for you as the artist, how entrenched in the process did you get? Did you have any other revelations as you were re-examining the album?

RO: I had to help Steve Wilson who did the 5.1 not just find the tapes but recreate the original mixes. Some of these songs I haven’t listened to in twenty years. Steve was putting it all together and sending it to me and I listened to it on headphones and going, “Wow, that sounds pretty good,” but the one that shocked me was “The Working Hour.” It’s not something that I’d listened to. I just thought, “My God, that’s a really good song.” It’s not just the hits on Big Chair, it’s also the gems, like “Working Hour” and “Listen.” Just listening to the luxuriating in the sounds and the fact that in those days we used so much reverb, it was just great. Steve did an amazing job.

MR: Being the person who has to keep the machine going, so to speak, I don’t understand how any artist in the middle of creation can fully understand what they’re doing at the time. It seems you have to wait for years to pass to truly understand it.

RO: It’s true.

MR: What advice do you have for new artists?

RO: I think it’s the same advice that I get from people on social media, really big fans. Dig deep. That’s fundamentally the most important thing. If you don’t really, really search and explore you’re not going to come up with the best stuff.

MR: When you were digging deeply, were there any moments where it got scary, where you had to say, “I need to deal with this another day?”

RO: No. I love it.

MR: [laughs] Beautiful! Is this still your creative approach?

RO: When you’re younger, your brain is growing, and as you get older, your classical brain takes over because you’ve learned how to cope with virtually everything that life has thrown at you. Therefore, that sort of element of chaos is contained far more. I think it’s the element of chaos within your brain that allows great ideas to come in.

MR: And if you create something that resonates well enough with the culture, it keeps coming back. Tears For Fears keeps getting rediscovered in every generation.

RO: I’m happy about it.

MR: It must be very satisfying as an artist.

RO: It’s extremely flattering.

Transcribed by Galen Hawthorne

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A Conversation with Tears For Fears’ Curt Smith

Mike Ragogna: Songs From The Big Chair has been treated with such reverence, expanded into a six-disc super deluxe edition. Even to the artist that must be a little shocking.

Curt Smith: What, the extent to which the company has gone to make something good?

MR: [laughs] No, the huge amount of material on there.

CS: Not really. It’s a big anniversary obviously and this is really the first time when we’ve actually been involved in the process. They’ve released various limited things before and obviously they have the masters so it was beyond our control. This is the first time we’ve sat down with management and said, “Let’s do something we can all be involved in and proud of.”

MR: Listening back to all of this content was there anything that jumped out at you like, “Oh, I forgot about that, that was pretty cool?”

CS: Probably a lot of the remixes. You have to understand that when we finished the album it took off really quickly and we were on this big world tour so sometimes we only heard the remixes once or twice and said, “Okay, that’s great,” and then we’d forget about them because we were busy on tour for about a year. I guess a lot of the remixes I’d forgotten about.

MR: Were there any revelations? This must be the biggest microscope you could apply to the actual album. Were there any conclusions you came to that were different from when you originally recorded it?

CS: I think for us, it’s actually nice to look back and start to appreciate how well that record did and the amount of work we put into it and everyone put into it because I mentioned before that at the time we were so busy we didn’t really have time to appreciate it. Being able to look back and see the things that were happening that we missed at the time because we were too busy was illuminating.

MR: What happened in the birthing that made it come together as a significant work? Or were you not aware at the time that it would be as appreciated as this?

CS: When we record, I don’t think we go in with any set idea of what we’re attempting to achieve. Basically, we’re just trying to go in and make the best record we can. “The Way You Are” was not the best experiment and certainly not the best way to start it. I think after that we realized that we are more of an album band, we want to put a project together as opposed to just one-off singles. There’s no real direction in one song, it’s when you get to play with a whole bunch of songs together that you get a sense of an album and a sense of a project as a whole. For us that was the big revelation I guess. “You know what? We’re an album band. We may have hit singles, but we’re an album band.” Obviously, we had some disagreements; the record company back then wanted things done very quickly because The Hurting was successful. It wasn’t as big in America as everywhere else but it was successful. They wanted us to follow up quickly and we kind of didn’t. There were some battles to be had there.

MR: Roland mentioned a couple of tracks that changed when he got a chance to listen and dig into them with this package. For instance, he felt that “Listen” was a stronger track than he remembered it being. Did you have any similar experiences?

CS: I think I would agree with Roland about “Listen.” But I always kind of liked that track. What I remember most about it really is when we were on tour in ’85 that was our opening track, the music we played before we came on stage. In a big arena, it sounded fantastic. We just started playing for a couple of shows “The Working Hour” again live and you forget how good that song is. We just haven’t played it for a long time.

MR: Yeah, there are b-sides that are more loved than one would expect for a b-side. Given the fact that tracks like those became fan favorites, does it seem like they originally should have gone on the package?

CS: A lot of questions have been asked in recent interviews about, “Why only eight tracks?” We felt that the project was complete at that point in time. Plus you had to remember that CDs had just come in and the primary sales at that point were actually on vinyl so you were limited to twenty-two and a half minutes a side. I don’t think we could’ve fit much more on vinyl at that point in time. Going back to the b-sides, yeah, I love them. They become fan favorites and some of them we like a lot as well. For us, that was the chance to experiment outside of us making an album, and that was always fun to do.

MR: I wonder if a seventh disc might have been a re-imagining of the entire album including the b-sides.

CS: [laughs] I mean I guess it could’ve been. I don’t know where some of them fit in. I think “Listen” is really a bigger version of a b-side we would do.

MR:I grilled Roland about this, so I want your opinion as well. I feel like “Shout” and “Everybody Wants To Rule The World” became huge hits resonated with everything that was going on in the world when they were released. How do you feel about their relation to that?

CS: Yeah, it was a cold war era, there was a lot of posturing on all sides from America and from Russia and also the UK to be honest. Basically, we’re writing about what we’re experiencing, so that was our viewpoint at the time and it expanded to echo your view on society at the time. In a weird way it comes full circle because the reason you write a song is because society is affecting you and then maybe your song affects society.

MR: Obviously, “Everybody Wants To Rule The World” is a reference to America and Russia as you mentioned, but I feel like “Shout” additionally describes your generation’s reaction to Cold War stress.

CS: Yeah, I think so. The fact was that it came about quite a way before it ended. I think it’s us reflecting what we’re seeing in the world. There were a lot of protests, the cold war was coming to a head and it wasn’t going to be much longer until the fall of the Soviet Union happened. Again, I think we’re reflecting what we’re seeing and I’m not sure how much we influenced the way other people think about it.

MR: Yeah. But that’s why I think it also resonated so strongly. You supplied an outlet for people’s thoughts and reactions to what was going on at the time.

CS: I think that in general, the people who are kind of into it are the people who agree with oyu. “Yeah, you’re right.” I don’t necessarily think it’s a new concept for them, I guess we’re just verbalizing it.

MR: There are 5.1 remixes in this collection, did you discover anything from the multis that you forgot about over the years?

CS: Not that jumped ahead of me. To be honest, I think the most interesting part of the package to me is the 5.1 mixes and being able to hear things separated more than they would be in stereo. When that happens there are things that jump out at you that make you say, “Oh, I forgot we put that on there,” because you can hear it clearly now.

MR: Are there parts that your mind is putting together now that you would’ve liked to have put on there originally?

CS: No, not really. I find the fact that I don’t really want to change any of it gratifying. I think that it still stands up. I think if I was recording today I don’t think anyone would say it was a bad recording. Even with all the technology and advancements that have happened since we did that album I still think it’s a great record.

MR: It seems each generation discovers Tears For Fears at some point, especially when “Mad World” was popular in Donnie Darko and now Lorde has covered “Everybody Wants To Rule The World.” What do you think of that?

CS: Obviously, it’s very nice for us. I believe again it comes down to content. I think that as generations change each generation relates to an album that you made at that age. The amount of young bands we meet who cite The Hurting as a big influence on them purely because of the lyrical content on that record and subsequently on Songs From The Big Chair they can relate to. We were that age when we did them. I find it gratifying that other artists have embraced our music as the years have gone on and more so that they stretch across a bunch of genres. You mentioned Lorde, obviously we had the Gary Jules version of “Mad World,” which Adam Lambert also covered, and now you have Kanye West using “Memories Fade.” It crosses a bunch of genres which is interesting.

MR: Nice. There is something about the material that keeps bringing people back. There’s a timelessness to a good song.

CS: And to a good recording. I thin somewhere between the songs the production is what makes it last, I believe.

MR: Speaking of new generations, what advice do you have for new artists?

CS: It’s a very different landscape now. There are so many more ways to get noticed that it’s kind of hard to stand out. There’s so much out there because of the internet. One, do the best you can, and two, be creative. The things that stand out are those people that are being more creative. I mean that in recording and I mean that in video. It’s a multi-layered medium now. It’s not just recording, you’ve got to be doing other things as well.

MR: Can you picture starting as an artist during this era? How would you approach it if you did?

CS: I think it still starts with the song, I honestly do. My kids will find great songs online before I’ve ever heard them on the radio or anywhere else. It’s like younger kids going out and finding them for themselves. My youngest was a huge fan of Justin Bieber because of YouTube. But again, I think that a great song is always going to stand up. I think the most important part is making decent music but then you’ve got to be creative with everything else you do as well.

MR: Nice. Thank you. What are you going to be working on? Any plans for more Tears For Fears music?

CS: Yep, we’re in the middle of doing an album now. Well, we’re taking a break right now as you can tell, Roland’s in England and I’m in LA, but we’re back in the studio in November starting again. We’re now signed to Warner Brothers records. People ask when the record will be ready and my answer will always be, “When it’s ready,” but hopefully at some point next year there will be a new album.

MR: Are you conscious of gathering all of the stages of the mixes so you can have a six-disc reissue in a few years?

CS: [laughs] With the technological advancements in place now, we have everything on a hard drive somewhere.

Transcribed by Galen Hawthorne

******************************

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A Conversation with Lloyd Cole

Mike Ragogna: Hey Lloyd, what is all this about being too old to rock?

Lloyd Cole: I think sometimes, we think a little bit too much about what is age-appropriate. I’d got to thinking that I was done with making rock music, and I was kind of okay with that. Then I wrote a bunch of songs and I was like, “Well I can’t really see any other way to do these other than with a rock ‘n’ roll band, so let’s see what happens.”

MR: How did this tracklist come together as far as direction?

LC: I just write songs. One would hope that my songwriting has evolved over the years but I still feel like I’m pretty much the same songwriter that I was when I was maybe thirty years old. I’m just older. I still get turned on by the same kind of music. I still think Prince was the biggest genius that’s ever been. I’m not sure how much is different in myself, I just think that for a certain amount of time in my forties and maybe early fifties, I was over-interested in restraint and understatement. I think I’m naturally a fairly flamboyant lyricist and maybe I’ve just been reigning it back too much. I thought on this record, “What would happen if I just don’t worry about that type of thing?” What happened is I became more colorful again.

MR: Is this album a return to what you like?

LC: Not really. In the first four or five years after The Commotions, the first year was quite frightening because I had no idea if I could make music on my own. Then when I found out that I could make music on my own it was very much just like starting with The Commotions again, “Oh, my God, I’m going to try and do this, I’m going to try and do that,” and I was excited to try and do lots of things that would not have been possible with The Commotions. I think in my later years, after I had a fairly depressing end to my major label relationships in the late nineties I think I retreated somewhat. I found myself in a niche and I wasn’t particularly happy about it. I wasn’t willing to play the game to get out of the niche and I think I turned myself into a niche artist, which is not something I’m happy about.

MR: With Standards, you’re reunited with Fred Maher and Matthew Sweet. What was getting back together like?

LC: It was weirdly exactly the same. There’s no mirrors in the recording studio so we weren’t looking at what we looked these days–I guess we were looking at each other, but we weren’t looking at ourselves going, “I’m this older, grayer, heavier guy than I was when we were working together.” As soon as the three of us started playing together with the drums, the bass and the rhythm guitar it just felt exactly as it did before. Obviously, I wouldn’t have gone back to that recipe if I didn’t think it was the best rhythm section I’ve ever worked with.

MR: When you listened to the end result, did you have any revelations or discoveries? Any moments of, “Okay, this is what I need to do going forward.”

LC: You know, it wasn’t just with this record. Part of the steps going forward were with the one before, Broken Record. I worked with Fred again for the first time on that and that was the first album that I actually went back into the studio and recorded the basics live with a band. I’d always done that in the nineties and with the commotions. It was only in the two thousands when I was consciously trying to get away from rock music and I basically went into a room and made music on my own with acoustic instruments and computers. I’m very happy with that music, but it’s a lonely experience and it’s very difficult. After we made Broken Record I just thought, “I don’t want to make any of those records in a room on my own again.” This is more the way I want to work, and I’ve made those records, I don’t need to make them again. The way forward is definitely working with musicians as opposed to computers. Having said that I’m setting up my attic right now to find a way to try and get the best of both worlds from the next record, because I’m interested in things that I can do with the modular synthesizer. It’s integrated in Standards very, very slightly but I think that there’s a way that I can take the sound of Standards and augment it with some different textures which will make for a different next record. The computer is still unfortunately part of my life.

MR: But it was fun to re-explore the rhythm section as the element of a backbone perhaps.

LC: I just think there’s certain combinations of people where the end result is greater than the sum of the parts. I just think that Fred and Matthew and I have got something that’s pretty great in that way. We don’t have to think about it. What I was very conscious about on Standards was knowing that I had to be the producer of the record. Very rarely do I start recording a record when I’ve finished writing every single lyric for ever song. When the band is having pizza between takes I’m usually going off to the office to try and write verse three. It’s not a lot of fun. But usually what I’ve done is I’ve demoed the songs up to a certain stage so I can play the songs to the band and I’ve got a pretty good idea of what I want to do with them. What I decided to do on this record is I’ve decided to not make any demoes at all but to finish every single lyric before I start it so that I didn’t have to be worried about finishing the songs. I knew I was happy with the songs and I basically wanted to say, “Okay Fred and Matthew, here’s the song now, I’m going to play it on guitar,” and a few hours later we’d have the basic track recorded.

MR: I imagine that in the studio, things evolved and changed from how you wrote them?

LC: There was nothing to evolve from. A song is a blank canvas. You can do anything with a song. All I had were the words and the chords and the melodies. I had a few basic ideas, I forced them to listen to Neu! every morning before recording because I wanted to get that kind of insistent, repetitive feel to the drums. Fred didn’t need much help in that direction.

MR: And did you also play them Tempest?

LC: No, I wasn’t trying to make a record that sounded like Tempest, I was only inspired by them inasmuch as, listening to that record it was immediately obvious, I don’t think Bob Dylan knows how old he is. If you asked him old he is he’d probably say, “I’m sixty something.” It was that aspect of things, the fact that that Bob is still pretty much just doing what he’s always done and he’s never worried about whether his music’s age appropriate or not, that was the spark for me. That was what got me back to thinking, “What would happen if I made a record not worrying about whether it was age appropriate or not.

MR: Joan Wasser also joined you. Was it your idea to have her come on board? What elements did she bring to the creative process?

LC: Joan was a friend of a friend and now she’s sort of an old friend. She used to be in a band called the Dambuilders and Dave Derby from the Dambuilders was in my band The Negatives for a while so I used to see Joan around. When she released that record Real LIfe I must say I was completely taken aback because I think it’s one of the best records anybody’s ever made. She’s my favorite. Karen Dalton’s probably my favorite singer but she’s dead. Of the female singers living now, Joan is probably my favorite singer. I was making Broken Record and I said, “Would you sing on it?” and she said, “Yes, of course,” so she sang on Broken Record and as long as she keeps saying yes, she’ll be singing on all my records. She brings a harmony and something in the sound of her voice, a texture that she adds that just brings the song to life in a way that nobody else could.

MR: And you also have your son Will on the project plating guitar.

LC: Absolutely. Quine is dead. It used to be Fred, Matthew, me and Quine. Quine’s no more, but William grew up listening to Quine and Keith Richard and the Strokes and he’s got his own thing. He’s not playing on the record because he’s my son, he’s playing on my record because I was watching his development as a musician and he got to the point where I thought, “I like what you’re doing, how about trying to play some guitar on my record?” That’s him playing the guitar solo on “Blue Like Mars” and that’s the closest to a Quine feeling that anybody’s had on my records since Quine.

MR: Nice. When you look at the people who played on Standards it seems like an amalgam of many periods of your life. You’ve got people from the Commotions, you’ve got your son, you’ve got Joan and you’ve got Fred and Matthew. Did you find that this group of people was creatively inspiring or satisfying to you?

LC: All the projects are satisfying in that way. The ones that aren’t I don’t release. It’s hard for me to say because the process of making the record, especially the two weeks in LA doing basic tracks was great fun. It wasn’t even two weeks, it was ten days. That was invigorating and that made making the rest of the record a lot easier, especially with Fred and Matthew’s enthusiasm for the material. They reminded me a lot of when we were working in the early nineties because if I wasn’t sure about a song they were always very honest about stuff. Matthew just kept going on and on, “These songs are amazing! This record’s going to be great!” Frankly that’s nice. I needed a little bit of enthusiasm. There’s no need for another record unless it’s got a chance of being great.

MR: You created a nice circle of moments in your life. That must have had some sort of happy influence.

LC: I guess so. I guess that’s just the type of thing that makes sense as you get older. You can’t have your son playing on your record when you’re thirty.

MR: What’s out there right now that you like? New things that have got your ear.

LC: I don’t listen to a great deal of popular music. The last band that I was particularly excited about was probably The Walkmen, and they don’t exist anymore. It’s nice to see somebody like the black keys become popular. That’s exciting, I think. It goes to show that the market is not as constricted as people thought. I really like Santigold. There’s music I hear every now and again where I go, “Oh, what’s that? I want to hear more of that,” but I spend more of my time listening to experimental and classical music these days. I probably spend more time listening to music made with modular synthesizers more than anything else. There’s a guy who runs a record shop in Cambridge, Massachusetts, and also makes music with synthesizers, I listen to a bunch of his stuff. The last couple years, I’ve been more of a student than a listener because I’ve been learning how to make music without computers but with synthesizers. That’s my side project.

MR: Do you use a sequencer at least?

LC: Yeah, but it’s not in the computer.

MR: Like the old days.

LC: Yeah, like Tangerine Dream or Kraftwerk.

MR: You have Somerville, Boston and Cambridge near you. Those music scenes may not be national but do you get out to the bars and check out that music once in a while?

LC: Not much. I’m not saying I don’t, every now and again I do, but I’m about an hour and a half west of Boston, in the North Hampton valley. It’s got a similar scene to it, there’s a lot of music going on. I keep a room in a local studio that I can go to when I need to do recording that I can’t do here in the attic, so I see music coming through. I used to go out more to see music, but I have to say I go out less because I’ve been working a lot recently, and I do like silence. I probably prefer reading to listening to music.

MR: That’s a lost art, too. What advice do you have for new artists?

LC: I have to think about this all the time these days because my son’s band is in Brooklyn, they’re getting started and it looks like they have a chance. I think that you need to find your voice. If you find a voice which is your own and you feel like you have something that is not a rehash of something that’s already been done then you can run with it. But if you’ve been playing music for four or five years and you haven’t found your voice yet then you’re going to be in a cover band. That’s fine, playing music for fun is also fine, but you have to find your voice and that’s it. The music that I made before 1983 sounds like a cover band. It wasn’t until writing “Are You Ready To Be Heartbroken” that I suddenly went, “Oh gosh, this is what I’ve been wanting to do. How can I do this now when I couldn’t do this last week?” I don’t know, but I think you have to have that moment and you have to believe in it. I play golf also and you have to accept that there’s a great deal of luck involved. I got lucky in 1984, the whole band got lucky. There’s plenty of great bands that don’t get lucky but I think over all luck will even out and if you are a great band there’s a very good chance you will be found. I think if you don’t think you’ve got a chance to be great, we don’t need more music from people who don’t think they can be great.

MR: Can you see the evolution you’ve gone through over the years?

LC: There’s certainly not a linear evolution, that’s for sure. There are some terrible mistakes made along the way and certainly some dead end streets that were taken. My relationship with individual records changes. For many, many years I was very frustrated with the album Don’t Get Weird On Me Babe and kind of perplexed by why it was a lot of people’s favorite record of mine, but it’s now one of my favorite records of mine. For many years the album Love Story was the album I thought was my best solo record, I now think it’s probably my worst solo record. My relationship with things absolutely changes. I can’t sing certain songs because I don’t know where to start with them, I can’t remember what I could’ve been thinking to write them and yet other songs, maybe even older songs still seem perfectly simple, I don’t even have to think about why I wrote them and I still feel I can sing the songs. I’m not sure if evolution is the right term. I think maybe quest is better. I think I’m still trying to write beautiful songs and I think over thirty years there might be three or four songs that have absolutely nothing I would change about them. There’s maybe a dozen or twenty others that–I don’t like the term “proud of” because I don’t like pride, but I’m very happy with them. And there are a few things every now and again that I find myself looking at or hearing when I’m singing and going, “Well gosh, I think only I could’ve written that.” So maybe I am a valid addition to the canon.

MR: What advice would you have given yourself as a kid?

LC: I wasn’t really a musician, I was just kind of an ideas person. I did the right thing, I surrounded myself with musicians who were able somehow or other to invest some trust in my vision for what the band could be. I literally could barely play guitar or sing. When we were recording Rattlesnakes the only production that went into the recording of the vocals was, “Is it in tune or not?” When it was in tune it was regarded as being finished. As soon as producers started to try and direct me with how my vocals were presented, Jesus, things went terribly wrong for a while. I had no idea what I was doing, I was just some kind of savant. I got lucky. I guess I knew I needed musicians but I got lucky to find the right ones.

MR: So your advice would be stay the course.

LC: [laughs] No, I certainly wouldn’t say stay the course! If it’s not going well and you’re not sure that what you’re doing has got a chance of being great then do something else. I’ve always been pretty sure. I was sure when I was getting started and then I was unsure for about six months after the Commotions because I wasn’t sure I could do it on my own and then as soon as I started making demos on my own I was like, “Oh, I can do this.”

MR: What does the future look like? You’re going to be supporting Standards?

LC: Standards came out in Europe about a year and a bit ago. I’ve been all around the world promoting it already. We’re just sort of starting again over here. I’ve got a New York show and then some European shows in November and then probably some touring early next year over here. I’m actually getting ready to make the next record, that’s what I’m doing up here in the attic. I’m trying to reorganize it so that it’s a work space for the next record. I don’t think there’ll be a lot of work when we’re snowed in here so I’m going to try and get some recording done.

MR: Are you going to have your cast of characters back?

LC: I’m not going to record it exactly the same way as I did last time, I’m going to try and make some sketches and some recordings that can be overdubbed, or certainly sonic ideas. With Standards, the idea of the recording was more a philosophical, conceptual idea of how I wanted the bass and drums to be in terms of wanting it to be very driving and straight ahead and not even slightly jazzy. For the record, I’m thinking about I actually want to create a textural soundscape idea before I write the songs because I want to have a sound that I can then write for.

MR: I wish you very good luck and a wonderfully creative snowed-in winter.

LC: [laughs] I hope so. You’ve got to try and get something out of it when you’re snowed-in here, it’s just grim. I’m not having too many more winters, I’m going to be somewhere else when I’m sixty, that’s for sure. Snow’s cool when you’re in your teens and you can go sledding, and it’s beautiful for the first week, but when it’s been there for three months, boy. I’ve seen enough of it. But my youngest son is in high school and everything’s going well in that respect so I’m not going to move to preferable climes until he’s finished with that. That is apparently why we’re supposed to look forward to my retirement, if my body can actually stay healthy long enough.

Transcribed by Galen Hawthorne

******************************

2014-11-06-LangLangSeptember30.jpg

A Conversation with Lang Lang

Mike Ragogna: Let’s talk about The Mozart Album that you recorded with the Weiner Philharmonkier. In the past, you’ve taken on other composers, why Mozart this time out?

Lang Lang: First of all, I must say recording with Nikolaus Harnoncourt was always a big dream in my career. For me, he is the most unique and special interpreter of Mozart. We worked for two years on those concertos. He showed me the authentic way of doing the styling on those pieces. In a way I never experienced Mozart like this before.

MR: Were there other things you learned from him?

LL: Yes, absolutely. He’s the one normally who always plays on the period instrument. He plays the instrument from many, many centuries ago. He also uses the old bowing and articulation to play. In a way, it sounds very original but at the same time he is not a very conservative style person. He’s very liberal in music making. He’s very romantic. He has this wonderful inspiration which combines both very, very authentic bowing on top of a very liberal interpretation. That really gave me the idea to play a mozart concerto in this direction. He showed me the Mozart bird from Salzberg, Vienna. The country music, the church music, the folk dance, everything he explained to me is in the roots of it. You can feel that it’s kind of local music.

MR: From this collaboration and from recording a project based around this particular composer, did you discover anything new about Mozart?

LL: Yes. Mozart is someone who you think that you know about him and then he changes. He transforms his character all the time. He never stays in the same place more than two bars. So therefore his music is like a live drama. It’s an opera, it’s a movie. You’re watching a movie of one hundred different characters walking in and out. It’s beautiful. That’s Mozart.

MR: That must be very demanding for you. Is it challenging to keep up with all the drama?

LL: You need a lot of practice. There’s a lot of spontaneous, right-on-the-beat interpretations. There are a lot of turnovers. You can even see that he makes a lot of turns in his music. As much as you need to be very precise when you practice you need to be very slow and soft. With Mozart music you really need to practice slow and soft. You cannot practice in a loud way because then your ear doesn’t feel those precise interpretations anymore.

MR: Early on, you were taught the actual history of Mozart. But is there anything you feel you now know more about him from exploring his music as deeply as you have?

LL: Certainly. One thing that’s very important about Mozart is a letter he wrote to his father about his music and his personality. He said that his music is like a tree. You have the roots, which is the left hand, you also have the leaves, which is the right hand. He said he wanted the leaves to be really free and floating, but he wanted the roots to be very solid and give a good base and support. He is basically saying life should be like that. I really love that because you can be really free but you still have the gut to tell you what to do.

MR: Are there any pieces that musically illustrate what you’ve just explained?

LL: Yeah, I would say the slow movement of the G Major Sonata is like that and then the third movement, which you’d call the bird concerto, which is also a G Major Concerto, the third movement is like a bird. One other magical thing is when you see a chromatic scale going down it means Mozart has little tears in his eyes. Just a little bit of tears. That’s what Harnoncourt told me.

MR: You’ve recorded the Mozart album, you’ve recorded various themed albums, what are the different approaches you need to take with some of these other composers? For instance, what did you discover with Chopin? Obviously, Chopin is a lot gentler, but he’s also very precise.

LL: Yes. Chopin is already almost more than one hundred years later, so the piano as an instrument had become a much bigger instrument. You can play much louder than before. Mozart’s double forte still had a limit. Chopin’s time was already what you call the romantic time. Everything’s kind of like poetry and novels. Chopin added a lot of new technique already. The harmony is totally different because the romantic harmonies are quite different than the classical ones. There’s a lot of much longer phrases because the instrument can do that. Lizst, for example, basically stretched the piano a lot because he destroys pianos all the time and needed a new piano to be as powerful as himself. Then Rachmaninoff comes later and you need a very solid grand piano to play those pieces. If you play Rachmaninoff on Mozart that’s like today’s pianists playing on the keyboard. The descriptions are still the same, “Happiness,” “Deepness,” “Sadness,” but it’s like in a movie. You have 4k or 3D and there’s a different kind of dimension.

MR: As a thirty-two year old pianist, the amount of experience and exposure you’ve had and the amount of composers’ works you’ve recorded, do you feel like you’ve become a musicologist?

LL: I think that since I’m now doing a lot of teaching work and my foundation work I need to be more precise on the things that I’m telling to the kids; how to do interpretation and how to analyze the possible ways to play on the keyboard. We need to be very critical of ourselves to get more knowledge and to get more precise and accurate to what we are looking into. I need to be better at Chopin, better at Beethoven, better at Bach. I need to find solid points to convince myself and to convince our professional world of those interpretations. I think this is a great thing. I think kids need to go through that. But at the same time it’s also very important for a kid to realize by the end of the concert they need their entire soul to come out with their playing. They cannot just follow everything they have learned from the teacher. They need to find their own way and their own signature to prove they actually received the knowledge but at the same time live through the creative parts. That’s very, very important.

MR: What advice do you have for new artists?

LL: In our career we’re facing a lot of challenges, whether they’re professional challenges or personal challenges. There are a lot of things that you may have wanted to do in certain ways but in the end it may not be what you thought at first impression. The important thing for us is to always follow our dream and try to achieve what is best for yourself and what is best for our musical environment.

Transcribed by Galen Hawthorne
Entertainment – The Huffington Post
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Ashley Madison - Have an affair. Married Dating, Affairs, Married Women, Extramarital Affair

Chris Smith Autographed Ball – Golf

Chris Smith Autographed Ball – Golf


This is a Chris Smith Autographed Golf Ball signed in black sharpie
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Kathy Smith Timeless Collection: Yoga Sculpt (Region 1)

Kathy Smith Timeless Collection: Yoga Sculpt (Region 1)


This DVD contains three full-length workouts: NEW YOGA BASICS – When life gets in the way, and you’re feeling stressed and tight, soothe your body and soul with this foundation-level yoga workout developed with renowned yoga master Rod Stryker. (58 minutes); NEW YOGA CHALLENGE – Heat it up with this athletic yoga routine. Move through a variety of continuous yoga poses to improve strength, stamina, and flexibility. (68 minutes); FUNCTIONALLY FIT: LOWER BODY FIRMING – Tighten and lift your butt with Kathy’s signature full body, calorie-blasting moves. These simple moves will also help you strengthen and tone your abs, back, hips, and legs. (35 minutes). Kathy Smith’s Timeless Collection: ‘Welcome to my Timeless Collection! I hope you’ll enjoy these DVDs containing my favorite and most memorable workouts from the past. What was great then is still great today and I think you’ll agree that a great workout is, indeed, TIMELESS! If you want a body that’s long and lean, my Yoga Sculpt program will lengthen and strengthen your muscles while calming your mind. The all-in-one stretch and sculpt workout package will also help reduce back pain and improve balance and flexibility. In no time, you’ll develop flexible strength and move with a new sense of confidence. Get ready to look and feel your absolute best!’ – Kathy Smith Total Running Time: 161 min.

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Daniel Franzese, Mean Girls Star, Releases Hilarious Sam Smith Spoof Featuring San Francisco Gay Men’s Chorus (VIDEO)

Mean Girls star (and Internet-meme master of all time) Daniel Franzese has taken his “Bye, Felicia” routine to new heights today with the release of “Please Go Home,” a parody of Sam Smith‘s meteoric hit from earlier this year, “Stay With Me.”

The spoof stars Franzese and actor Adrian Anchondo, with cameos from all kinds of San Francisco queers, including the San Francisco Gay Men’s Chorus.

Daniel Franzese made headlines in April when he officially came out publicly as gay, and then again in August when it was announced that he would be joining the cast of HBO’s Looking for its second season.

For more on Daniel Franzese, visit his YouTube channel or follow him on Twitter and Facebook.

For more on Logan Lynn, visit his website or follow him on Facebook.
Comedy – The Huffington Post
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Kathy Smith Timeless Collection: Step Workout DVD

Kathy Smith Timeless Collection: Step Workout DVD


From Manufacturer’s Label:Kathy Smith Timeless Collection:  Step Workout DVD with Kathy SmithTake a step in the right direction with my Step Workout! Whether you’re a new or seasoned stepper, I’ve designed this program for anyone looking to achieve real results. Mix it up and get the best of both worlds with my calorie-blasting cardio step routine, and my full body weight training workout – a perfect combination to help accelerate your metabolism and define your entire body, especially your butt, hips and thighs. It’s simple, effective, easy on your joints, and terrific when you’re in a time crunch. Step up to a leaner, healthier you now!Mix it up and get the best of both worlds with my calorie-blasting cardio step routine, and my full body weight training workout – a perfect combination to help accelerate your metabolism and define your entire body, especially your butt, hips and thighs. Video includes:Cardio SteppingBurn Baby Burn! This high-energy workout is guaranteed to burn calories and increase endurance. A brisk 8 minute warm-up gets you ready to select from 3 different workouts: Beginner (12 Minutes)Intermediate (13 Minutes)Advanced (10 Minutes)So you can choose the one that best fits your level… or do all three together for maximum impact! THe three progressively challenging routines will push you as far as you want to go and the easy-to-follow, results-driven moves will keep you coming back for more. A 5-minute cool-down then winds things down and leads into the Sculpting portion.Upper & Lower Body SculptingSculpt your body lean with this slimming total body toning routine that uses light han weights (the weights are optional). Sculpt hard with: 5-Minute Abdominal Training8-Minute Upper Body Workout5-Minute Cool-down &a

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John Henry Smith

John Henry Smith


New – Excerpt: …safe to interrupt Carter while thus engaged, but after LaHume said a few words the other laid aside the paper and listened intently. They talked for some time, and in view of what happened later I have an idea of the subject of their conversation. Carter called me aside the next evening. “I understand,” he said, “that you have retained the services of a private golf tutor.” “Who told you that?” I was thunderstruck. “Never mind who told me,” laughed Carter. “Trying to steal a ma

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Masters Of Love – Emily Esfahani Smith – The Atlantic

Every day in June, the most popular wedding month of the year, about 13,000 American couples will say “I do,” committing to a lifelong relationship that will be full of friendship, joy, and love that will carry them forward to their final days on this earth.

Except, of course, it doesn’t work out that way for most people. The majority of marriages fail, either ending in divorce and separation or devolving into bitterness and dysfunction. Of all the people who get married, only three in ten remain in healthy, happy marriages, as psychologist Ty Tashiro points out in his book The Science of Happily Ever After, which was published earlier this year.

Weddings – The Huffington Post
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Jaden Smith Wore A White Batman Costume To Kimye’s Wedding

Yes, Kim Kardashian and Kanye West’s wedding was an over-the-top, star-studded circus, but Jaden Smith was strangest sighting at the affair.

Seriously, the kid wore a white Batman costume — at least to the reception, anyway. If you think we are joking, look no further “Girls Gone Wild” founder Joe Francis’ Instagram photo, in which he and Kourtney Kardashian were photobombed by “white Batman.”

Francis and Kourtney weren’t the only people he photobombed, either. Family friend and hairstylist, Clyde Haygood, also posted an a photo of the 15-year-old swooping in on his snapshot with Kris Jenner, which he captioned, “And then…. This cRaZYyyy #albino #bat flew in… “

We’re thinking maybe Smith’s rumored girlfriend Kylie Jenner has a thing for superheroes, because a source told E! News the two teenagers were actually seen “making out” following the wedding ceremony at Forte di Belvedere on May 24. And let’s just say, it’s not the first time we’ve seen Smith in a superhero costume while he’s been hanging out with Jenner.

Weddings – The Huffington Post
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Walmart’s Pledge to Veterans: Meet Steve Smith

Even with 25 years of military service and experience commanding teams of hundreds, Captain Steve Smith couldn’t find a job after coming off active duty. Recognizing the value in his leadership experience, Walmart hired Steve as a Developmental Shift Manager. Walmart pledges to hire 100,000 veterans by 2018. Subscribe for more great videos: http://youtube.com/walmart.
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Smith Lyric Sunglasses – Womens

Smith Lyric Sunglasses – Womens


The Smith Optics Lyric sunglasses are the perfect set of shades for someone who needs nothing less than ideal performance without yielding an inch on the style front. Offering 100 percent protection from the suns ultraviolet rays, these glasses are specifically designed to keep your eyes at ease and your head in the game. Made with Smith Optics special Evolve Frame Material this pair of sunglasses will stand up to the rough and tumble of everyday life while still maintaining their comfortable feel and elegant style. They also have a durable Carbonic TLT lens and comfortable Hydrophilic Megol Nose Pads.
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Vicky Smith Autographed 1992Miss May Celebrity Framed Photo

Vicky Smith Autographed 1992Miss May Celebrity Framed Photo


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Not Quite What I Was Planning by Fershleiser, Rachel; Smith, Larry Edition ILL, 0

Not Quite What I Was Planning by Fershleiser, Rachel; Smith, Larry Edition ILL, 0


Deceptively simple and surprisingly addictive, Not Quite What I Was Planning is a thousand glimpses of humanity—six words at a time.One Life. Six Words. What's Yours?When Hemingway famously wrote, For Sale: baby shoes, never worn, he proved that an entire story can be told using a half dozen words. When the online storytelling magazine SMITH asked readers to submit six-word memoirs, they proved a whole, real life can be told this way too. The results are fascinating, hilarious, shocking, and moving.From small sagas of bittersweet romance (Found true love, married someone else) to proud achievements and stinging regrets (After Harvard, had baby with crackhead), these terse true tales relate the diversity of human experience in tasty bite-sized pieces. From authors Jonathan Lethem and Richard Ford to comedians Stephen Colbert and Amy Sedaris, to ordinary folks around the world, everyone has a six-word story to tell.
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TV TONIGHT: ‘Day Of The Doctor’ Reunites Three Time Lords – Matt Smith, David Tennant, John Hurt In 50th Birthday Special

When is a TV show more than a TV show?

When it’s the 50th anniversary of ‘Doctor Who’, being shown on cinema screens around the world, amid plot hints and red herrings by writers, storyline clues pounced upon and debated by eager fans,

Because Steven Moffat and his team have been successfully secretive about the events around tonight’s festivities, we only know some bare bones.

doctor who

Three Timelords unite for the 50th anniversary of ‘Doctor Who’

Special guests at tonight’s party include Daleks, Zygons and Elizabeth I. Current companion Clara (Jenna Coleman) is joined by a familiar face in Rose Tyler (Billie Piper), during three unfolding plots set in different times, destined to unite in one almighty battle.

doctor who

One of the familiar faces in ‘The Day of the Doctor’

Ingrid Oliver, Jemma Redgrave and Joanna Page are also on board, but the real birthday boys are Matt Smith and David Tennant, a combination enough to keep any more recent fans happy, plus the tantalising reappearance of John Hurt to explain away all those elliptical statements we’ve received thus far.

Who’d have thought a grouchy, grandfatherly figure would have stepped into a police telephone box in 1963 and, fifty years later, still keep us guessing?


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Smith and Tweed Microsuede Vest (For Men)

Smith and Tweed Microsuede Vest (For Men)


CLOSEOUTS . A versatile layer ideal for the golf course or a trip to town, Smith andamp; Tweed’s microsuede vest offers lightweight weather protection thanks to highly water-resistant and breathable Butterskin microsuede construction. Available Colors: BLACK. Sizes: S, M, L, XL, 2XL.
List Price: $ 78.50
Price: $ 29.71

Neon Bangle Set by Jules Smith

Neon Bangle Set by Jules Smith


Set of 5 jelly bracelets in assorted neon colors Accented with a 14k gold plated bar Country of Origin: China About the designer: Gina Nigrelli, designer behind Jules Smith, a vintage-inspired jewelry collection, is at the forefront of modernizing accessory trends from the 1970’s and 80’s. Her pieces are influenced by the strength and style of the iconic women of those trend-setting decades. Nigrelli’s designs span timeless silver, rose gold and sterling silver bangles, edgy knuckle rings encrus

Price: $
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