Sarah Jessica Parker recalls inappropriate behaviour by ‘very big movie star’

Sarah Jessica Parker has recalled “countless” experiences of inappropriate behaviour from male colleagues on film and TV sets – including from one “very big movie star”.
Entertainment News – Latest Celebrity & Showbiz News | Sky News


Sarah Paulson and Tracee Ellis Ross on Directing for the First Time

Sarah Paulson and Tracee Ellis Ross sat down for a chat for Variety’s Actors on Actors. For more, click here. Tracee Ellis Ross continues to find new notes to play on ABC’s “Black-ish,” on which she stars as a sitcom mom with off-kilter humor and a deep backstory. On FX’s “American Horror Story: Apocalypse,” Sarah Paulson had […]



Sarah Jessica Parker, Intimissimi Extend Collaboration

SECOND ROUND: Sarah Jessica Parker is finding her Intimissimi pajamas comfortable enough for an encore.
The actress and the Italian hosiery and innerwear firm have renewed their partnership, which sees Parker fronting the brand. The actress was first appointed to the role last year, appearing in the company’s TV commercial.
In the new rendition of the spot, released in May, Parker is seen dressing up in a black silk pajama set with contrast piping and choosing among options of the brand’s triangle bras, before strolling around New York’s landmark locations, including the West Village, where Parker’s “Sex and the City” alter ego, Carrie Bradshaw, lived.
A photo campaign lensed on the rooftops of New York’s buildings flanks the commercial. Clad in different variations of pastel-hued pajamas and triangle bras, Parker is portrayed smiling against Manhattan’s skyline at sunset.

Sarah Jessica Parker appears in Intimissimi’s digital short clips. 
Courtesy Photo.

As part of the second phase of their partnership, Parker is also the protagonist of a range of playful short clips to be rolled out across Intimissimi’s social media and digital outlets. There, Parker channels with humor signature Italian gestures and phrases including “buongiorno,” or “good morning” in Italian, while sipping an espresso; “vieni,” or “come here” and

Follow WWD on Twitter or become a fan on Facebook.

Read More…
TideBuy Black Friday Sale 90% Off+ Extra Coupon

Chris Kelly, Sarah Schneider Get Ready for ‘The Other Two’

 Chris Kelly and Sarah Schneider were on hand during one of the most memorable seasons in the recent history of “Saturday Night Live.” They are hoping for a repeat of sorts at Comedy Central. When “The Other Two” debuts on Comedy Central on January 24, it won’t have impressions of President Trump or clever music […]



Sarah Brightman Returns from Space Training for New Album and Tour: ‘I Needed to Earth Myself’

Sarah Brightman is making an astronomical landing with her fifteenth studio album Hymn.

After spending months in Russia training for a trip to outer space that she postponed in 2015, Brightman, 58, opened up to PEOPLE exclusively about the creation of her newest album and the planning stages of her tour.

“I needed to earth myself,” says the soprano singer. “I said I would like to do an album of songs which are full of light, full of hope. Songs that remind me of when I felt safe and familiar with things in my childhood when I sang in my church.”

“If I don’t use and I don’t convey my feelings through it, I feel depleted,” she added. “I don’t function very well and that’s the beauty of having a gift like a voice. You sort of know what to do. You know what direction to take, you know that you want to communicate through it.”

Brightman, who shot to fame after star-turning roles on Broadway musicals Cats and Phantom of the Opera, linked up with producer Frank Peterson for the album-creating process. What came out of two-and-a-half years of planning and recording was the dynamic, choir-filled album, Hymn, out on Nov. 9.

“ is about looking into the good in things because I do believe that good prevails always,” she said, adding that the word “positivity” would describe her album.

“I did experience huge amounts when I was in the space program that actually how precious everything really is on this beautiful planet and how precious that is,” she added.

Now, the “Time to Say Goodbye” vocalist is ready to take Hymn on the road later this fall for a tour that’s “going to be quite beautiful.”

“I have a lot of energy. I tend to before I go on these tours, I become more energetic,” she says. “You create a power for yourself which will protect you because when you go on tour you’re dealing with the hardship of jet lag and moving around continually.”

The “Angel of Music” singer says her set on tour will be divided into two halves. The first will feature a more retrospective aspect to Brightman’s music, which will look like “somebody who is going to the ballet or the opera.” The second will be a bit more modern and feature most of the songs off Hymn.

“I’m wearing all these amazing runway gowns, which I’ve made a little more theatrical by adding things to them. Stones, crystals, all sorts of stuff,” she says. “I’ve got a big choir behind me. Up really high. I’ve got an orchestra on one side, a band on the other side and myself in the middle.”

Brightman’s album is filled with collaborations with artists like French tenor Vincent Niclo on single “Sogni” and Japanese composer Yoshiki on the emotional “Miracle.”

“ is a really interesting guy and we got along very well,” she said. “It was a very interesting collaboration with Japan’s most famous rockstar writing a beautiful contemporary classical piece.”

Along with the collaborations, Brightman’s album jumps from classical and cinematic music to pop rhythms in a cohesive album threaded by its spiritual nature. The album also takes fans back to one of her most famous classics “Time to Say Goodbye” with Andrea Bocelli, which she recreates in a touching English rendition.

“I wrote the lyrics for it but they were very much inspired from the original Italian lyrics when translated,” she said. “It’s quite a grand song, it’s almost like an opera song, but I wanted to do this in a very intimate way.”

Fans can purchase tickets for “Hymn: Sarah Brightman in Concert” through her website.

Fashion Deals Update:

EXCLUSIVE: Swarovski Partners With Sarah Brightman for Her ‘Hymn’ Album, Tour

In order to make the classical soprano singer Sarah Brightman shine just a little bit more on her “Hymn” tour next year, Swarovski has teamed with the English crossover artist on a collection and partnership.
The approach to this link-up is multitiered. Swarovski and Brightman created a line of unisex and bespoke jewelry that will be available for purchase at Brightman’s concerts and online; plus, the company applied more than 600,000 Swarovski crystals to the costumes — and a custom tiara, which Brightman co-designed — she’ll wear on tour. A limited-edition version of her new album “Hymn,” customized by Swarovski, will also be for sale, replete with exclusive bonus content.
As part of her involvement with the design and consultation process, Brightman traveled to the brand’s headquarters in Wattens, Austria, to check out the corporate archives and gain further inspiration for her collection.

Sarah Brightman 

“I wanted to create something the fans would feel a natural connection to, and capture the essence of the show experience,” said Brightman, who’s known for donning otherworldly and lavish costumes when she’s on stage.
The “Hymn” tour, it seems, won’t lag in the decadence department. For the 125 dates Brightman is performing in cities including Philadelphia, Baltimore and São

Follow WWD on Twitter or become a fan on Facebook.

Read More…
TideBuy Black Friday Sale 90% Off+ Extra Coupon

Maybe We Should Listen to Sarah Michelle Gellar, David Boreanaz About the Buffy the Vampire Slayer Remake

Sarah Michelle Gellar, Buffy the Vampire SlayerBuffy the Vampire Slayer might be coming back to TV. Or maybe it’s not Buffy. We don’t know. However, what we do know is Buffy Summers and Angel are quite fine with whatever happens to the…

E! Online (US) – TV News


Maybe We Should Listen to Sarah Michelle Gellar, David Boreanaz About the Buffy the Vampire Slayer Remake

Sarah Michelle Gellar, Buffy the Vampire SlayerBuffy the Vampire Slayer might be coming back to TV. Or maybe it’s not Buffy. We don’t know. However, what we do know is Buffy Summers and Angel are quite fine with whatever happens to the…

E! Online (US) – Top Stories

Special Entertainment News Bulletin:

Check Groupon First

Sarah Jessica Parker Steps Out in Red Ball Gown for Date Night with Husband Matthew Broderick

Sarah Jessica Parker and husband Matthew Broderick had an elegant night out on Thursday.

The couple, who have been married for over 20 years, stepped out together to attend the New York City Ballet 2018 Fall Fashion Gala, held at the David H. Koch Theater at Lincoln Center in New York City.

Parker, 53, looked fashionable as ever in a bright red ball gown with a plunging neckline and a billowing skirt, tucked up in the front to show off her matching sparkling red pumps. The gown also featured a unique sleeve design featuring oversized puff sleeves with black sheer panels that led to a red ruffle wrist detail.

Accessorizing the look, the Sex and the City actress wore her blonde locks in a simple ponytail tied with a black ribbon. She kept her jewelry minimal, too, wearing clean circular diamond earrings and a bare neckline.

Broderick, 56, was all smiles as he stood by her side. The Ferris Bueller’s Day Off star kept it standard in a classic black tuxedo with a white shirt and black bow tie.

RELATED: Sarah Jessica Parker and Matthew Broderick Return to a Restaurant from Their ‘Courtship Times’

RELATED: Sarah Jessica Parker Reveals Her Hilarious Would-Be Stripper Name — and It’s a Soup!

Parker has long lent her support to the New York City Ballet.

She chaired this year’s gala, alongside Mazdack Rassi and Zanna Roberts Rassi, Kelly Ripa, and Lizzie Tisch.

Choreography and couture took center stage at the event. The onstage program featured three world premiere ballets by guest choreographers Kyle Abraham, Matthew Neenan and Gianna Reisen. Dancers were costumed in designs from renowned fashion designers Giles Deacon, Gareth Pugh and Alberta Ferretti.

Guests — who walked the star-studded red carpet, mingled at the elegant cocktail reception, took in the performance and attended the black-tie Supper Ball — included Andy Cohen, Gwendoline Christie and Parker’s former SATC costar Mikhail Baryshnikov.

Back in May, Parker brought 9-year-old twin daughters Tabitha and Marion to the New York City Ballet’s Spring Gala.

The mother-daughter trio looked close as can be as they walked the red carpet, holding hands while posing for photographers.

Parker wore a cream-colored knee-length dress with sheer sleeves and a Peter Pan collar and pulled her long locks up in a ballet-inspired bun. She paired the look with silver sparkly pumps.

Her twins each had their own floral dresses — one in white and the other in blue. They coordinated with matching bags, rose-patterned shoes and headbands that held back their hair.

RELATED: Sarah Jessica Parker on the Secret to a Happy Marriage to Matthew Broderick After 20 Years

Meanwhile, Parker and Broderick — who are also parents to son James Wilkie, 15 — have stayed strong in their relationship for over two decades thanks to a willingness to adjust and grow together.

Your needs are shifting,” she told PEOPLE in February. “You and your partner are going to change. It seems so silly, but I think you’re very lucky if you like the person. I still just really like him. I’m sure I annoy him and he annoys me, but I literally learn about him every day. I’m like, ‘You’re doing what? You’re reading what?’”

“I think marriage has a lot of vitality,” she added. “If you’re fortunate, it’s like this dazzling organism.”

And when it comes to raising their children, Parker said she and Broderick make a point to “have conversations” as a family. “Our lives are unpredictable, and we’re not always here when we want to be,” she admitted. “We can’t always do drop-off and pick-up. But I’m proud that our children talk to us in the way they do. I’m glad they’re curious people.”

Fashion Deals Update:

‘The Reports on Sarah and Saleem’ Wins Best Picture in Durban

DURBAN — “The Reports on Sarah and Saleem,” directed by Muayad Alayan, scooped best picture at the 39th Durban Intl. Film Festival, which wrapped Saturday night with an award ceremony at the Suncoast Cine Center complex. The film tells the story of the political ramifications of an extra-marital affair between a Palestinian man and an Israeli woman. Variety described it […]



Yep, Sarah Drew’s Behind-the-Scenes Photos From April’s Intense Grey’s Anatomy Episode Will Make You Cry

Sarah Drew, Grey's AnatomyDon’t even bother trying to compose yourself. It’s futile.
Grey’s Anatomy fans were put through the ringer on Thursday night, with the ABC drama not letting Dr. April Kepner…

E! Online (US) – TV News


Sarah Jessica Parker and Her Twin Daughters Hit the Red Carpet — See the Adorable Photos

Sweeties in the city!

On Thursday, Sarah Jessica Parker brought two special guests with her to the New York City Ballet’s Spring Gala: 8-year-old twin daughters Tabitha and Marion!

The mother-daughter trio looked close as can be as they walked the red carpet, holding hands while posing for photographers.

Parker, 53, wore a cream-colored knee-length dress with sheer sleeves and a Peter Pan-collar, and pulled her long blonde locks up in a ballet-inspired bun. She paired the look with silver sparkly pumps.

Her twins each had their own floral dresses — one in white and the other in blue. They coordinated with matching bags, rose patterned shoes and headbands that held back their hair.

Want all the latest pregnancy and birth announcements, plus celebrity mom blogs? Click here to get those and more in the PEOPLE Babies newsletter.

Parker’s husband Matthew Broderick and the couple’s 15-year-old son James Wilkie skipped the soiree, making the evening a girls’ night out.

Prior to the event, Parker shared photos of the gals getting ready on Instagram — zooming in on their hair and shoes.

“Special night @nycballet and my wee dates are getting ready,” she wrote. “Shoes moving toward @nycballet Spring gala. With my gals.”

RELATED VIDEO: Sarah Jessica Parker Says She’s ‘Excited’ for Cynthia Nixon’s Governor Bid: ‘I’m Proud of Her’

The New York City Ballet’s 2018 Spring Gala paid homage to famed choreographer and dancer Jerome Robbins as part of a year-long celebration marking the centennial of his birth called “Robbins 100.” Robbins was one of the NYCB’s co-founding choreographers.

Guests began the event sipping Ruinart champagne at a cocktail reception before sitting for a program that included two world premieres. An elegant seated supper ball followed.

Parker and Broderick both served on the NYCB’s  2018 Spring Gala Honorary Committee, which helped orchestrate the elegant fundraising event. Other celebrities on the panel included Annaleigh Ashford, Laura Benanti, Kristin Chenoweth, Sutton Foster, Victor Garber, Jake Gyllenhaal, Patti LuPone, Shirley MacLaine, Audra McDonald, Mandy Moore, Chita Rivera, Stephen Sondheim, Barbra Streisand, and Parker’s former Sex and the City costar Mikhail Baryshnikov.

Fashion Deals Update:

Grey’s Anatomy’s Shonda Rhimes, Ellen Pompeo Pen Emotional Tributes to Jessica Capshaw and Sarah Drew on Their Last Day

Sarah Drew, Jessica Capshaw, Grey's AnatomyIt was an emotional Thursday in Shondaland. The day Scandal’s series finale aired, Thursday, April 19, was also the last day on Grey’s Anatomy for Sarah Drew and Jessica Capshaw….

E! Online (US) – TV News


Sarah Jessica Parker to Narrate Bill Cunningham Documentary

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

Sarah Jessica Parker and Bill Cunningham 

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

“The Times of Bill” poster by Ruben Toledo. 

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

Follow WWD on Twitter or become a fan on Facebook.

Read More…
TideBuy Black Friday Sale 90% Off+ Extra Coupon

Sarah Jessica Parker to Open New York Pop-up Shop

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

Follow WWD on Twitter or become a fan on Facebook.

Read More…
TideBuy Black Friday Sale 90% Off+ Extra Coupon

Sarah Stage Is Trying to ‘Stay Patient’ Now That She’s 9 Months Pregnant

Sarah Stage is trying to “enjoy the journey” as she waits for her second child to arrive.

The lingerie model shared a photo of her bikini body at 9 months pregnant.

“Stay patient and enjoy your journey! (one of my fav quotes at the moment) #9monthspregnant,” Stage, 33, wrote on Instagram.

The soon-to-be mom-of-two is focusing on staying in the moment and using each day to the fullest, which she emphasized in a video of her workout that she shared on Tuesday.

“As you know today is among the greatest gifts we have ever been given. Let’s use it wisely and refuse to waste a single one,” Stage posted. “#37weekspregnant and enjoying the last couple weeks of this pregnancy. It’s been quite the journey!”

Stage has kept up her workouts throughout her pregnancy — to the dismay of some critics — but she thinks they’re going to end soon.

“I’ve been asked how much longer I intend to workout and I think next week will be my last week (although I’ve already decreased my exercising to 2x a week & lowered intensity),” she explained.

RELATED VIDEO: Model Sarah Stage Keeps Up Her Workouts as She Hits Her 9th Month of Pregnancy


And now she has just a little over two weeks to wait until baby #2 is due on Oct. 22.

Fashion Deals Update:

Sarah Stage Gets Ready for Her Last Month of Pregnancy: ‘Looking Forward to Meeting Baby Boy’

On month left to go!

Sarah Stage is ready to meet her new baby boy in October. The model, 33, thanked her followers for supporting her through her pregnancy on Thursday.

“Looking forward to meeting baby boy NEXT MONTH!!!” she writes. “Baby flipped and is now head down and weighs a little over 4.5 lbs.”

“It’s been quite an experience sharing my pregnancy journey so far but I really appreciate all of the positive support from many of you!! I try to always message you back and it’s been great hearing your stories as well!”

Stage also shared a video of her workout that day, which included weighted lunges and squats, and side planks alongside her first son, James, 2.

RELATED VIDEO: Sarah Stage Reveals She’s Gained Just 18 Lbs. in Almost 8 Months of Pregnancy


In a workout video from Aug. 31, Stage said that despite constantly sharing the benefits of exercise during pregnancy, there are still people who accuse her of harming her baby.

“#8monthspregnant and I’m just doing the best that I can and what I believe is the healthiest for baby and myself,” she wrote. “There STILL seems to be some confusion and harsh ignorant opinions about exercising while pregnant and some of you believe it’s putting baby in danger. Do your research and you will see that working out while pregnant (with your doctors consent) has many benefits for mom and baby!”

Stage added words of encouragement for other women.

“Soooooo for all of the women out there who are doing the best they can, I’m proud of you!!! Creating life inside of us is a huge responsibility and we need to support each other instead of judging!!”

Fashion Deals Update:

Costume Jewelry Brand Melinda Maria to Collaborate With Sarah Michelle Gellar, Petra Flannery

Los Angeles-based costume jewelry brand Melinda Maria is finding its groove with a slew of collaborations and an expansion on QVC. The brand, which has a celebrity following that includes Selena Gomez, Alessandra Ambrosio, Taylor Swift, Chrissy Tiegen and Victoria Justice, is known for fashion-forward pieces that retail from $ 38 to $ 298, with a median price of $ 78.
This summer, founder and designer Melinda Maria Spiegel launched her first collaboration with Rebecca Gayheart and Kelly Oxford to benefit the Chrysalis foundation — a pair of butterfly-shaped earring jackets, a bracelet and a necklace. That was followed last month by a capsule with celebrity hair colorist Tracey Cunningham to benefit Nanci Ryder’s ALS charity.

Melinda Maria earrings 

“We design the pieces together and only the strong pieces will survive the cut. It’s not a traditional way of doing a collection for me; it’s very item-driven more than a ‘collection’ because the purpose is to create pieces so customers feel like they are wearing a beautiful piece of Melinda Maria and feel good about giving back,” Spiegel said.
Next month she will link with Sarah Michelle Gellar to benefit the World Hunger Organization, and in September, she will tie up with Kelly Sawyer and Norah Weinstein

Follow WWD on Twitter or become a fan on Facebook.

Read More…
TideBuy Black Friday Sale 90% Off+ Extra Coupon

Sarah Michelle Gellar Just Dyed Her Hair Platinum Blonde

Sarah Michelle Gellar is combating June Gloom with a brand-new platinum blonde look. Of course, it looks stunning.
The Paris Opera tapped Balmain’s Olivier Rousteing to design their costumes. See what they look like now that they’ve been unveiled!
Allure - the best dating site for sexy, successful singles! – the best dating site for sexy, successful singles!

Sarah Palin Slams Kathy Griffin: She’s ‘Mercilessly Attacked Children for Years’

Sarah Palin doesn’t feel any sympathy towards Kathy Griffin.

The 53-year-old former politician, who served as the governor of Alaska from 2006 until resigning in 2009 and was the Republican party vice presidential nominee in the 2008 election, wrote an impassioned Facebook post on Friday slamming the comedian.

Her words come after Griffin, 56, gave a tearful press conference earlier in the dayapologizing again for holding up a decapitated head of President Donald Trump in a gag gone wrong and claiming the 70-year-old former businessman and his family were “bullying” her and “trying to ruin life forever.”

“I don’t think I will have a career after this,” she said while crying, adding that the Trumps’ alleged bullying has led to her being vilified, receiving death threats and losing work. “I’m going to be honest, he broke me.”

Palin’s advice to Griffin? “Suck it up, Cupcake.”

“Kathy’s crocodile tears at her publicity-seeking press conference today mean nothing to mothers who’ve witnessed the ramifications her sick acts have had on precious children,” Palin claimed. “And today Kathy claims SHE is the victim!”

Calling Griffin’s statements “ridiculously self-serving,” Palin said she was biting her tongue to not say what she’d actually tell Griffin to her face — a decision of restraint she said she was doing “on behalf of Melania Trump and other mothers who’ve tried to protect our children from Kathy’s soulless vile attacks.”

But Palin did explain the own personal harassment she said she received from Griffin — including a 2010 episode of the comedian’s Bravo reality show My Life on the D-List in which Griffin traveled to Wasilla, Alaska, met up with 26-year-old daughter Bristol’s baby-daddy Levi Johnston, and knocked on the politician’s door to invite her to her comedy show.

While Palin wasn’t there, Griffin did leave a note. “Dear Palins who are 18 years old or older (mostly Sarah),” she wrote. “I’m doing a funny comedy show on Friday night at the Anchorage Performing Arts Centre. Come see me. I’ll even comp you or at least a two-for. xoxo, Kathy Griffin.”

“You can’t do nicer than that,” Griffin added before leaving the note at Palin’s doorstep.

The bit — the consistent sort of joke Griffin would showcase on her Emmy-winning program — was not funny to Palin.

“When this ‘celebrity’ (who ‘celebrates’ her, btw?) traveled all the way to Wasilla and actually knocked on my home’s door to personally humiliate my kids again, I knew she was deranged,” Palin wrote on Facebook.

She also called out an interview Griffin did with the The Hollywood Reporter in January 2011, in which she made it her New Year’s resolution to make fun of Palin’s then-16-year-old daughter Willow.

“I’ve already gone for Sarah, Todd and Bristol obviously,” Griffin said. “But I think it’s Willow’s year to go down. In 2011, I want to offend a new Palin.”

Once again, Palin wasn’t laughing. “The liberal ‘star’ had attacked my teenage daughters for so long – first Bristol then, inexplicably, giddily announced she would ‘go directly after Willow Palin’ despite Willow’s young age and innocence in doing anything to earn the wrath of this attacker.”

Griffin’s photo stunt has already cost her multiple gigs, including her job hosting CNN’s New Year’s Eve special and a sponsorship with the company Squatty Potty.

Fashion Deals Update:

Sarah Paulson Lost Her Mind When She Saw Madonna At The Met Gala

Everyone who’s anyone attends fashion’s biggest night on the first day of May in New York City.

And, you know, Madonna is someone. 

So, obviously she’d be climbing the grand staircase at the Metropolitan Museum of Art for the 2017 Met Gala. Sarah Paulson was, clearly, just unaware of that fact. 

Hahaahhahahhaahahha Love you Sarah! ♥️

A post shared by Madonna (@madonna) on

The Emmy-winning actress fangirled out when she spotted a camouflaged Madge on the carpet, pointing at the singer with her mouth agape.

Luckily, Madonna loved it. 

Following the photobomb, Madonna enthusiastically took to Instagram to share the image, writing, “Love you Sarah!”

These two shared the moment of the night.

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Entertainment – The Huffington Post
Entertainment News-Visit Adults Playland today for the hottest adult entertainment online!

Met Gala Time Machine: Revisit Beyoncé, Sarah Jessica Parker, Anna Wintour and More Fashionistas’ First and Last Appearances

ESC: Met Gala, Now and ThenThere have been many first Mondays in May.
As we prepare for yet another Met Gala next week, it’s easy to forget how much fashion–and the famous people that rock it–has changed….

E! Online (US) – Style


Internet Dresses Down Cuba Gooding Jr. For Lifting Up Skirt Of Sarah Paulson

Cuba Gooding Jr. lifted up Sarah Paulson’s dress at an “American Horror Story” panel Sunday night, prompting some concern on social media.

While Paulson greeted costar Kathy Bates at Los Angeles’ PaleyFest, Gooding crept up behind Paulson and pulled her skirt up. A surprised Paulson eventually realized what was happening and tugged her skirt down. 

Whether or not it was intended as a playful moment between Paulson and Gooding, who also worked together on “The People v O.J. Simpson: American Crime Story,” some Twitter commenters expressed their surprise.

Digital Spy noted that Gooding had already pulled at her dress before the incident, prompting a playful slap from Paulson. 

The Huffington Post has reached out to reps for both actors and will update this post accordingly.

Tina Fey, Alec Baldwin, Tom Hanks, Tracy Morgan, Maggie Gyllenhaal, Michael Moore, Padma Lakshmi and a whole host of other stars are teaming up for Stand for Rights: A Benefit for the ACLU. Donate now and join us at 7 p.m. ET on Friday, March 31, on Facebook Live. #standforrights2017 

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Entertainment – The Huffington Post
Visit Gabby Love today for the hottest fashion entertainment online!
Ashley Madison - Have an affair. Married Dating, Affairs, Married Women, Extramarital Affair

Raf Simons, Sarah Jessica Parker Unwind at Narciso Rodriguez

A show, a friendly meet-up and dinner with your husband: a solid Valentine’s Day for Sarah Jessica Parker, who kicked off the night at Narciso Rodriguez.
“How has my fashion week been?” she said. “I mean, I’ve not been at a lot. Just some friends and this is the last one. But it’s been exciting and I’m always happy to be able to come to Narciso’s show and Prabal [Gurung] and obviously being at the Calvin Klein show was a real treat.”
Parker called the Calvin Klein show “thrilling” and offered her thoughts on the bigger picture. “I really thought it was exciting for outsiders frankly, you know what I mean? To come and reinterpret American fashion,” she said. “I think it’s good for us and I think it’s very exciting for the industry. I was really thrilled with what I saw. Frankly it was just – it was extremely exciting. I’m happy that they’re here and I’m a longtime admirer of the brand and the house. I felt really lucky. I was sitting next to Anna [Wintour] and Grace [Coddington] and I just said, ‘Wow, we get to say we were there that day.’”
But, as the night was ultimately about Rodriguez, Parker expressed

Follow WWD on Twitter or become a fan on Facebook.

Read More…
TideBuy Black Friday Sale 90% Off+ Extra Coupon

Sarah Chloe Sterling Silver Engraved M Add On

Sarah Chloe Sterling Silver Engraved M Add On

Keep your loved ones near your heart always! Designed by Sarah Chloe Jewelry in New York City, this handmade Sterling Silver 1/2 inch disc is beautifully engraved with a block letter in the center. Packaged loose, it is intended to be used as an add-on initial to your Sarah Chloe necklace. Simply string the charm onto your Sarah Chloe chain to create a customized layered initial necklace. Please note – all Sarah Chloe charms are only compatible with Sarah Chloe chains. Sarah Chloe Jewelry incorporates both personalized and fashion elements into their classically beautiful collections. With the launch of their Sarah Chloe Petite collection, they’ve introduced their most popular styles sized for young girls. These handcrafted designs are something she will wear and treasure forever. Best selling styles include the Engraved Bangles and Necklaces.

Price: $
Sold by (dba Shopping)

Sarah Paulson’s Sparkly Dress Is A Holiday Treat For Us All

Sparkly angel human Sarah Paulson wore her official sparkly angel human uniform on “Late Night with Seth Meyers” Monday.

Clad in a pink and red sequined fantasy disguised as a dress, the actress once again solidified her affinity for the statement dress. In these dark days, it’s important to find some things to smile about. This look is one of those things. 

It was perfect. 

She is perfect.

Someone buy me this dress so I can be perfect, too. 

type=type=RelatedArticlesblockTitle=Related… + articlesList=57df0f77e4b0071a6e07e726,56fd339de4b0daf53aeee089,57df47f9e4b08cb140966c77

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Entertainment – The Huffington Post
Entertainment News-Visit Adults Playland today for the hottest adult entertainment online!

A First Peek at the Fashion on Sarah Jessica Parker’s New HBO Show, Divorce

We’ve collectively been thrilled about news that Sarah Jessica Parker is returning to TV ever since it was confirmed that her HBO show Divorce was actually, 100% happening. A picture of SJP filming the show in downtown Manhattan has just surfaced and already has us excited about the upcoming style we can expect to devour, covet, and draw inspiration from. It’s only a single outfit, but even so—this is major when it comes to TV fashion.


In the snap, Parker is wearing a long, powdery pink coat over a printed dress. And while New York is legitimately experiencing chilly fall weather, the addition of nubby gray tights and classic pumps has us hypothesizing that the show will start off being set in fall or winter. The print and colored topper reveal that SJP’s character has to be somewhat into fashion, but she’s not pushing any envelopes, Carrie Bradshaw-style. That shouldn’t come as a surprise though, since the Sex and the City character was a 30-something-ish single gal and Parker’s new character, Frances, is a middle-aged woman going through a divorce.

HBO execs announced the series was being written this summer and wouldn’t premiere until the summer or fall of 2016. With that timeline in mind, it makes sense that taping would just be starting now.

SJP’s ties to HBO have been strong ever since SATCeven though she reportedly tried to drop out of the project way back when.

Shop Women’s Sales & Values at

You Won’t Believe How Sarah Jessica Parker Came Up With the Scent for Lovely

The actress shares her scent inspiration.
The latest from
It’s hard to believe that some of the notes we consider common were once controversial, but they serve as a great reminder of the transformative, progressive power of perfume.
The latest from - the best dating site for sexy, successful singles! – the best dating site for sexy, successful singles!

Sarah McQuaid Tours and Enchants With Her Brilliant New Album, Walking Into White

Finding treasure feels great, and such is the case with musician Sarah McQuaid. The soulful singer, smart and sensuous songwriter, and scintillating guitarist has been hidden in plain sight with three gorgeous solo albums, and her fourth — the recently-released, critically-acclaimed Walking Into White — reveals a truly magnificent artist primed to enchant the masses. Sarah’s current U.S. tour continues through October before she carries on in the U.K., and listen: I’ve attended hundreds of concerts of all kinds, and her subtle mastery onstage launches her straight into my fave shows ever. One voice, one guitar, and the wondrous reminder of the magic of music. Sarah has the gift.


Sarah McQuaid

photo by Phil Nicholls

While Mrs. McQuaid and her Jedi-esque manager-engineer Martin Stansbury log thousands of highway miles, it’s my pleasure to join them for terrific Thai cuisine and discuss the storied life and career of this focused yet easygoing chanteuse. We promptly explore Walking Into White:

“It was new territory for me in a number of ways,” reveals Sarah. “I was working with my cousin, Adam Pierce, as producer, whereas the previous three albums were all recorded in Ireland with Gerry O’Beirne producing, and this one was recorded in Cornwall, New York, with Adam producing. Another change is that the previous albums were all made over fairly sizable periods of time — where I would kind of go in, and do a recording session, and then come back out, and then go back in and record some more.”


“With Walking Into White,” the artist continues, “I already was in a really hectic tour schedule when the album was being planned, and over the few years in between The Plum Tree and the Rose and Walking Into White, I was constantly jotting down song ideas — both using audio memos on my phone, jotting down little melodic ideas, and chord progressions and so on — and also writing down bits of lyrics. Because the tour schedule was so hectic, I hadn’t finished a single song by the time we booked the studio time. We really just had 15 days in three weeks to do the whole thing: to record and mix the album. That actually turned out to be a really good way of working, and I’m going to do that again.

“Because the songs were all written in one intensive session, I think they fit together really well, and I think also I was conscious of making them all quite different from each other, in terms of: rhythmically, and what keys they’re in, and what I was doing with the guitar, and what the general feel of the song was. I was thinking, ‘I’m putting a suite of music together, and I want to make sure there’s plenty of variety and contrast.’ And also they all came out of the same kind of creative space, in a way, if that’s not too airy-fairy a way to talk.”

For new songs “Where the Wind Decides to Blow,” “The Tide,” and the title track, Sarah illuminates in her new album a literary inspiration perhaps unfamiliar to American audiences.

“It reflects a moment in time, and what themes are running through my head, and I guess one big theme would be the natural world and how we interact with it: partly because I was reading this series of books to my kids — Swallows and Amazons, which are all written by Arthur Ransome — and thinking about how a lot of situations in the books were kind of wonderful kind of metaphors for life, you know — and metaphors drawn from the natural world.”

Born in Spain, Sarah grew up in Chicago and Washington, D.C., before carrying on through disparate locales such as France, Pennsylvania, and Ireland — eventually settling in England’s west country. Since she impressively cites the decidedly-not-Disneyfied Wind and the Willows chapter, “The Piper at the Gates of Dawn” as an inspiration for “Pipe and Tabor” (from her album Crow Coyote Buffalo, with singer Zoë Pollock, together as duo Mama), I ask if she also grew up with the Swallows and Amazons series.

“My husband had read them as a kid,” she clarifies. “They were written back in the ’20s and ’30s, and they’d been read to my husband by his mum, and at some stage, when the kids were young, my in-laws, his parents, gave us a box set of all 13 books. He was like, ‘Oh, these are great!’ And I had never come across them, because I don’t think they really made it over to this country. They’re very English books — and they’re of their time. There are a few politically incorrect moments in them — which I kind of fudged over when reading them aloud to my kids. (laughs) With asides of, ‘Now, this is the way people used to talk in those days.’ (laughs) ‘We don’t do this anymore.'”


photo by Phil Nicholls

“And songs that aren’t drawn from the Swallows and Amazons series,” Sarah elaborates, “like ‘Yellowstone’ was inspired by a thing my son wrote on a piece of paper. Basically he was lying awake at night and worrying about things, so I said to him — because this had worked for me — I said, ‘Why don’t you try writing down your worries on different pieces of paper, and once they’re written down, they’re on the paper, and they don’t have to be in your head anymore.’ He did that, and that worked for him, but of course I being his mother had to go and look through the bits of paper where he’d written down the things that he was worried about. And one of the things that he was worried about was this underground volcano underneath Yellowstone, and the danger that it would erupt and somehow set off a chain reaction of volcanoes.”

Sarah notes that at the show I attended, a geologist approached and explained to her that her son’s elaborate chain-reaction concerns were unfounded. But still that volcano is potentially problematic. I ask how her son found out about it.

“Well, he’s an inveterate reader of Wikipedia,” she laughs. “So, we don’t have TV at all, but we do have computers, and he’s a mine of information which he gets off Wikipedia. He comes up with the maddest things like: gummy bears came up in conversation one time. I don’t know — somebody mentioned gummy bears. Were you talking about Haribo, Martin?”

“I think we were talking about Haribo,” responds the stalwart Martin. “We’d been in Germany.”

“You want peanut sauce?” knowingly asks the server.

Affirmative on the peanut sauce. Sarah cheerfully continues:

“Somebody was talking about gummy bears, and my son said: ‘Gummy bears were invented by so-and-so in such a year, by somebody in Germany in 1926’ or whatever — and I was like, ‘Really?! Let’s see if he’s right!’ and I got out my phone, and looked it up, and he was right.”

I let slip a flash of sincere wonder.

“He just has the most amazing ability to retain information,” adds Sarah.


Between tour dates in Toledo and Chicago,
Sarah makes a new friend in South Bend, Indiana

photo by Martin Stansbury

One of the standout songs on Walking Into White is “Jackdaws Rising,” which makes for brilliant and unusual performance material, with Sarah delivering its polyrhythms via stomps and handclaps, plus a round of three simultaneous verses, all looped live by maestro Martin. I ask if she’s dealing in metaphor, but not particularly: these jackdaws really swoop where she lives, and this is a word painting.

“I’m just describing what I see. I guess the kind of metaphorical bit, where I get kind of dreamy about it, is I’m thinking about the whole thing of twilight, and the whole thing about the crossing of worlds, and that this is the time when there’s a window through to the spirit world, and it’s supposed to be the time when all the ghosts are about, as well. It feels kind of spooky, because — you can imagine, this cloud of black birds suddenly all flying up at once into the sky, and making huge amounts of noise, and then they [whooshing sound effect] back into the tree again. It’s an amazing time.”

(“Damn, you’re cool,” silently reflects the journalist. “Why aren’t more people cool like you?”)

In closing, I ask the inspiration for the album’s lovely opener, “Low Winter Sun.”

“‘Low Winter Sun’ — that also is kind of a word picture of a very specific time and place. It’s driving up the hill from my house up to the nearest village — especially in winter, when the sun is low. As you’re driving up the hill, the sun just hits you straight on in the face, and blinds you, and you can’t see anything. And there’s these wonderful kind of stunted hawthorn trees, and the wind has shaped them, so they’re kind of curved over. And when it’s winter, and the branches are really clearly outlined, and the sun is hitting you in the face, you see this branch shape against the light, and it’s just really stark and very intense.

“It’s funny,” smiles Sarah, patient as her Pad Thai cools, “because I try to write songs that are universal in the sense that anybody can listen to them, and feel like it’s about their life in some way, but with imagery, I tend to pick on a particular, very specific piece of imagery. But hopefully my emotional reaction to that very specific image is similar to the emotional reaction another person would have to the same image. So if I describe the image, then maybe the emotion can be universal.

“If that makes any sense!”


photo by Phil Nicholls

Yes, Sarah McQuaid is a major discovery, her devotion to songcraft impressive, her nuanced delivery grounded yet heavenly. As music magazine The Living Tradition aptly put it, Sarah is world class. And she’s presently touring. Seeking treasure? Here you go.

Images and videos courtesy of Sarah McQuaid.

Sarah McQuaid: Official Website

On Facebook

On Twitter

On Soundcloud

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Entertainment – The Huffington Post
Entertainment News-Visit Adults Playland today for the hottest adult entertainment online!

Reese Witherspoon, Selma Blair, and Sarah Michelle Gellar Had an Epic Cruel Intentions Reunion: Come See the Pics!

Prepare for vivid Cruel Intentions memories—specifically, that sex scene to "Colorblind," that kissing scene, and, of course, "Bittersweet Symphony"—to start flooding back into your brain like it's 1999 again, because the female stars of the…

All Entertainment
Call Now: 877-516-9953



Unlock the inner you and get ready to take charge of your body. This new DVD workout for blood Type AB has many traits of all the other blood types making it exciting and challenging. After a dancers warm up you will sculpt your entire body with isolated exercises. Then open your mind and you will have a blast performing the dance cardio routine. Exercise plays a critical component in stress reduction and maintaining a healthy emotional balance for Type AB. The exercises performed in the workouts: walking dance stretching low impact aerobics and strength training will get you results fast. Equipment used: resistance ball malleable sand weights and tubing. Sarah Otey is a professionally trained dancer specializing in ballet contemporary and jazz as well as hip-hop tap and modern dance techniques. Sarah has appeared in national advertising for Asics Under Armour TYR Mary Kay Cosmetics and Pantene Pro V. She regularly appears in fitness magazines including Womens Health Fitness Magazine Self Magazine Cosmopolitan Shape and Runners World. Other clients include Levis Esprit Target and Ralph Lauren Sport.

  • Running Time: 58
    List Price:

  • Sarah Deragon’s ‘The Identity Project’ Challenges The Way We Think About Queer Identity

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

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


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

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

    — This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

    Arts – The Huffington Post
    ENTERTAINMENT NEWS-Visit Adults Playland today for the hottest adult entertainment online!

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

    Subscribe to TRAILERS:
    Subscribe to COMING SOON:
    Like us on FACEBOOK:
    Follow us on TWITTER:
    Veronika Decides to Die Official Trailer #1 (2015) – Sarah Michelle Gellar Movie HD

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

    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.

    In addition to being the #1 Movie Trailers Channel on YouTube, we deliver amazing and engaging original videos each week. Watch our exclusive Ultimate Trailers, Showdowns, Instant Trailer Reviews, Monthly MashUps, Movie News, and so much more to keep you in the know.

    Here at Movieclips, we love movies as much as you!

    “veronika decides to die” “veronika decides to die movie” “veronika decides to die trailer” “sarah michelle gellar” “Jonathan Tucker” “Erika Christensen” “Rena Owen” drama vchan
    Uploads by MOVIECLIPS Trailers

    Fandango Now Tickets for AMC Theatres!

    Sarah Jessica Parker Has 3 Holiday Party Outfit Ideas to Try

    As the last weekend before Christmas, this one’s kind of packed with holiday parties. The bad news is that by now, you’ve probably already worn your favorite go-tos once or twice. In order to spend as little time as possible standing in front of the closet (and more time having fun), I’m sharing three easy outfit ideas Sarah Jessica Parker just shared with Neiman Marcus’s blog.


    “I love wearing winter white,” she said, calling out an ivory t-strap Carrie heel from her SJP line. “I love picturing [that shoe] with a black velvet party dress.” The classic color combo is always a winner, and I love the touch of richness that sumptuous velvet provides. The fabric is gorgeous, but tricky to wear in spring and summer—take advantage of the chilly weather and experiment (Avery’s even done all the shopping for you!).


    If black velvet’s not your thing, SJP suggested wearing white heels with a tailored black pant or a festive-hued crimson skirt. And if it’s white shoes you’re nervous about, consider two of her other favorites: the Brooks and the Doris, “a true evening silhouette that does everything you want a special-occassion shoe to do.”


    Are you partying this weekend? Already know what you’re going to wear? I am, but don’t…

    Shop here: ASOS velvet dress, $ 133,, SJP Carrie heel, $ 355,, SJP Doris heel, $ 385,

    Shop Women’s Sales & Values at

    Breathing Space: Honoring Lily, Sarah and Grace Badger | Super Soul Sunday | Oprah Winfrey Network

    Tune in Sundays 11am/10c

    After losing her three daughters in a Christmas Day 2011 house fire, advertising agency owner Madonna Badger says her connection to Lily, Sarah and Grace becomes more powerful with every passing day. Her girls often come to her in unexpected ways, including in the form of a butterfly. In this Breathing Space, we honor Madonna’s three beautiful children with a quiet moment of reflection on the wings of a butterfly.


    “Super Soul Sunday” is a two-time Emmy award-winning series that delivers a thought-provoking, eye-opening and inspiring block of programming designed to help viewers awaken to their best selves and discover a deeper connection to the world around them. The series features exclusive interviews and all-new conversations between Oprah Winfrey and top thinkers, authors, filmmakers and spiritual leaders. Exploring themes and issues including happiness, personal fulfillment, wellness, spirituality and conscious living. “Super Soul Sunday” presents an array of perspectives on what it means to be alive in today’s world.

    Oprah Winfrey Network is the first and only network named for, and inspired by, a single iconic leader. Oprah Winfrey’s heart and creative instincts inform the brand — and the magnetism of the channel.

    Winfrey provides leadership in programming and attracts superstar talent to join her in primetime, building a global community of like-minded viewers and leading that community to connect on social media and beyond. OWN is a singular destination on cable. Depth with edge. Heart. Star power. Connection. And endless possibilities.

    Discover OWN TV:
    Find OWN on you TV!:
    Our Fantastic Lineup:

    Connect with OWN Online:
    Visit the OWN WEBSITE:
    Like OWN on FACEBOOK:
    Follow OWN on TWITTER:
    Follow OWN on INSTAGRAM:
    Follow OWN on PINTEREST:

    Breathing Space: Honoring Lily, Sarah and Grace Badger | Super Soul Sunday | Oprah Winfrey Network
    Uploads by OWN TV

    Sarah Finds Hope at Joseph’s House – Our America with Lisa Ling – OWN

    Tune in for an all-new episode of Our America with Lisa Ling Thursday at 10/9c.
    Subscribe to OWN:

    For years, 34-year-old Sarah struggled to find an HIV medication she wasn’t resistant to, but eventually developed AIDS. Now, as a resident of Joseph’s House in Washington D.C., Sarah has found an effective treatment and hope for the future.

    For more on Our America with Lisa Ling, visit

    Find OWN on TV at

    Visit our channel for more videos:
    Uploads by OWN TV

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


    A Conversation with Sarah McLachlan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Transcribed by Emily Fotis


    Another Awesome Conversation with John Waite

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    JW: Oh man. Just oh.

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

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

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

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

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

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

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

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

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

    JW: Yow!! [laughs]

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

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

    MR: Bad English seemed like an excursion.

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

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

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

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

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

    Transcribed by Galen Hawthorne


    A Conversation with Steve Wynn

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

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

    MR: So you like to collaborate.

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

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

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

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

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

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

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

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

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

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

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

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

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

    MR: What advice do you have for new artists?

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

    MR: Is that how you did it?

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

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

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

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

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

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

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

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

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

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

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

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

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

    Transcribed by Galen Hawthorne
    Entertainment – The Huffington Post
    Visit Gabby Love today for the hottest fashion entertainment online!
    Ashley Madison - Have an affair. Married Dating, Affairs, Married Women, Extramarital Affair

    Sarah Palin Talks To ‘Neighbor’ Putin On The Tonight Show

    Former Alaska Gov. Sarah Palin gave her “neighbor” Vladimir Putin a call during a Wednesday appearance on “The Tonight Show with Jimmy Fallon.”

    Palin, who famously said she could see Russia from her house, cashed in on her “I Told-Ya So” moment last month, when she reminded her Facebook followers of her 2008 prediction that Russia would invade Ukraine. Fallon, dressed as Putin and speaking with a Russian accent, sought Palin’s advice on which country he should invade next.

    “Actually, Alaska is really close to Russia, maybe i should invade?” Fallon said.

    “I wouldn’t if I were you Vlad. You may be able to take down a bear, but you’re no match for a mama grizzly,” Palin responded.

    Watch the skit above.
    Comedy – The Huffington Post
    ENTERTAINMENT NEWS-Visit Mobile Playboy today for the hottest adult entertainment online!