- RSS Channel Showcase 6781289
- RSS Channel Showcase 7743616
- RSS Channel Showcase 7189770
- RSS Channel Showcase 1756000
Articles on this Page
- 10/21/15--11:50: _How to Dress Your E...
- 10/21/15--12:00: _11 Must-See Art Sho...
- 10/22/15--02:00: _Laverne Cox Is Star...
- 10/22/15--04:24: _Amy Schumer Has A N...
- 10/22/15--04:45: _The Track List for ...
- 10/22/15--05:25: _The Fugliest-Chic L...
- 10/22/15--05:30: _Raf Simons Announce...
- 10/22/15--05:40: _Stop Giving Amber R...
- 10/22/15--06:15: _Kim Kardashian's Bi...
- 10/22/15--08:30: _Chatting With Gende...
- 10/22/15--08:32: _Instagram Unveils A...
- 10/22/15--08:45: _With News of His Ex...
- 10/22/15--09:59: _Marie Yat Is Creati...
- 10/22/15--10:30: _100 Years of New Yo...
- 10/22/15--10:40: _A Few of Taylor Swi...
- 10/22/15--11:00: _Justin Bieber Relea...
- 10/23/15--02:00: _Travel Back To The ...
- 10/23/15--03:27: _Watch the New Video...
- 10/23/15--04:42: _The First Horror Mu...
- 10/23/15--04:50: _Kylie Jenner Has Ha...
- 10/21/15--12:00: 11 Must-See Art Shows Opening This Week
- 10/22/15--02:00: Laverne Cox Is Starring In a Rocky Horror Picture Show Remake
- 10/22/15--04:24: Amy Schumer Has A New Movie In The Works
- 10/22/15--04:45: The Track List for Adele's New Album Will Make You Sob
- 10/22/15--05:25: The Fugliest-Chic Looks Of Buffy The Vampire Slayer
- 10/22/15--05:30: Raf Simons Announces His Departure From Dior
- 10/22/15--05:40: Stop Giving Amber Rose Shit For Standing Up For Herself
- 10/22/15--06:15: Kim Kardashian's Birthday Was ... Interesting
- 10/22/15--08:32: Instagram Unveils A New App For Making 1-Second GIFS
- 10/22/15--08:45: With News of His Exit, a Look at Raf Simons' Legacy at Dior
- 10/22/15--09:59: Marie Yat Is Creating Underwear That Doesn't Cater To The Male Gaze
- 10/22/15--11:00: Justin Bieber Released a Dance Video For His New Track, "Sorry"
- 10/23/15--03:27: Watch the New Video For Adele's "Hello"
- 10/23/15--04:42: The First Horror Museum Will Be...In "The Shining" Hotel
- 10/23/15--04:50: Kylie Jenner Has Hair Tattoos and We Have So Many Questions
The "Hotline Bling" video has destroyed a center part of the internet since it was released two days ago -- the bizarre visual of Drake dancing, often alone, for long periods of time in lots of different weird outfits (along with the phone sex call center at the beginning and James Turrell-esque visuals) have all conspired to create a perfect storm of online insanity.
All this makes for a unique addition to our Drake Halloween costume guide -- there's enough in the "Hotline Bling" video for a full 'nother squad to dress up. (For a full roundup of the maybe too-expensive-for-Halloween clothing involved, hit up Details.) Here, for your squadly enjoyment, is everything you'll need to get your crew together as the entire "Hotline Bling" video all at once, except for fire-ridiculous dad-dancing skills.
Fall Jumpman Drake
The red Moncler jacket (which has apparently sold out in the small and extra-small sizes), the Nike Air Jordan shirt, and, of course, the sweatpants.
OVO Hypebeast Drake
Get an OVO sweatshirt (except it's sold out, so maybe just draw an owl on your normal hoodie). Throw on some striped black jogging pants (blue and red stripes preferable, but it's all negotiable in love and Drake). Add white Nikes.
Turtleneck and Chain Drake
Grey turtleneck (this is apparently the actual sweater, but it costs $400, so you make the call), grey sweatpants, Timbs. Dance. It's lit.
Leather Jacket/James Meme Drake
Find a leather jacket, preferably with a logo and stripes on it (here's the Pro Speed jacket he's wearing). Layer over a white or grey hoodie, throw on some black jeans and black combat boots, and you've got the final form Drake takes in the video.
Call Center Girl
And for the women in your squad (who should totally feel free to dress up like Drake if they want to) or dudes interested in doing some drag for the holiday... get a pink shirt tied in the back. Dem light-washed jeans. And a headset. You're good to go. Just make sure you remember how to do stuff with feet. (Hoop earrings a plus.)
Black sneakers, black crop top (or other OVO wear), etc. Most importantly, get ahold of the "Woes" hat from OVO. (Drake is really, really good at making you want to purchase items of clothing.) Go forth and bling.
Pierogi Gallery opens a cool installation/performance called "The Raft" in their Boiler space at 191 North 14th Street in Brooklyn on Friday, October 23rd, 7 to 9 p.m. The "raft" in this video and sound piece by Rico Gatson and Chris Larson alludes to Huckleberry Finn, and features the art duo playing records while standing on a 10-foot-square platform, surrounded by four large video projections. The music is from their personal collection. On view until December 13th.
Knockdown Center (52-19 Flushing Avenue, Maspeth, Queens) has a three-day show, October 22 to 24, noon to 6 p.m., featuring six "kinetic" installations by eight artists from Quebec who "explore the perception of time, observation/surveillance, the connections between seeing and hearing." The exhibition was curated by Nicole Gingas and it's part of "Quebec Digital Art In NYC," a spin-off of the International Marketplace for Digital Art, an annual event held in Canada in the spring. The weekend's opening night exhibition and party is on October 22nd, 5 to 8 p.m., at The Invisible Dog (51 Bergen Street, Brooklyn) and on October 23rd from noon to 5 p.m., there's a big event featuring special presentations by ten artists at the Made in NY Media Center by IFP (30 John Street, Brooklyn), co-presented with the NY-based "interdisciplinary production company,"FuturePerfect. HERE's the complete weekend schedule.
The Hollywood Reporter is saying that Orange Is the New Black actress -- and PAPER Beautiful Person alum -- Laverne Cox is starring in Fox's remake of Rocky Horror Picture Show, playing Frank-N-Furter, the "sweet transvestite from Transsexual, Transylvania" that Tim Curry made famous in the original. The site also reports that Lady Gaga and Adam Lambert were originally offered the part but we can't wait to see how Laverne makes it her own. (Plus, we're sure she can rock a bustier and fishnets like no other.)
The cult classic just celebrated its 40th anniversary this year and the Fox remake, which is being executive produced and choreographed by Kenny Ortega (who did High School Musical), with help from the film's original producers Gail Berman and Lou Adler, will come out as a two-hour special (pre-taped) in fall of 2016.
In the meantime, break out your blush, stockings and lingerie and join the throngs that gather each year for midnight screenings of the flick around Halloween.
After just tossing out a teaser for her new album during a TV spot, Adele has released the full list of songs that will wind up on her new album, 25. Here's the track list:
2. "Send My Love (To Your New Lover)"
3. "I Miss You"
4. "When We Were Young"
6. "Water Under the Bridge"
7. "River Lea"
8. "Love in the Dark"
9. "Million Years Ago"
10. "All I Ask"
11. "Sweetest Devotion"
Prepare to weep.
Fashion musical chairs continues with the unexpected announcement today that Raf Simons is leaving Dior. It comes only a few months after the news this summer that Alexander Wang would be leaving Balenciaga, making each designer's Spring 2016 collection their last at the historic houses.
While details are scarce about Simons' decision to exit the brand, statements from the designer and Bernard Arnault and Sidney Toledano, Chairman and CEO of Dior's parent company, LVMH, and CEO of Christian Dior Couture, respectively, suggest it was an amicable, mutual decision made after they were unable to reach an agreement over his contract. WWD reports that Dior says Simons "reached this decision for personal reasons," suggesting he wanted to focus his attention on other, non-fashion interests and on his personal life, away from the relentless hustle of the fashion world's never-ending runway cycle. In a statement, Simons says:
"It is after careful and long consideration that I have decided to leave my position as creative director of Christian Dior's women's collection. It is a decision based entirely and equally on my desire to focus on other interests in my life, including my own brand, and the passions that drive me outside my work. Christian Dior is an extraordinary company, and it has been an immense privilege to write a few pages of this magnificent book. I want to thank Mr. Bernard Arnault for the trust he has put in me, giving me the incredible opportunity to work at this beautiful house surrounded by the most amazing team one could ever dream of. I have also had the chance over the last few years to benefit from the leadership of Sidney Toledano. His thoughtful, heartfelt and inspired management will also remain as one of the most important experiences of my professional career."
But one thing's for sure, whoever gets named successor will have some elegant, modernist shoes to fill.
Really @gq??? I'm so much more then Kanye's Ex or Wiz's baby's mama. Damn, why the fuck did u guys reach out to me for this article and photoshoot? To dumb me down? I talked about feminism and my Slutwalk... Wtf nice title smh I expected so much more from u guys and I'm so disappointed. I was so excited to be featured in GQ not realizing I was shooting for a tabloid. My slutwalk was for ignorant shit like this. Oh "Her beautiful dark twisted journey to the top"? Nice pun. Negative af. Thx for nothing.
GQ applied the Ether to Amber Rose and she salty as hell pic.twitter.com/9rBNJOkG8X-- DJ Akademiks (@IamAkademiks) October 20, 2015
Amber Rose can't possibly be mad at GQ when she though the name "Slut Walk" was ok and posts something sexual dam near everyday on her IG.-- Christopher Stewart (@SpeedyLVFoodie) October 20, 2015
AMBER ROSE IS A HYPOCRITE AND SHOULD NOT BE A FACE OF FEMINISM . SHE SENDS THE WRONG MESSAGE ABOUT WOMEN !!-- ℓunα (@lucititty) October 21, 2015
Amber Rose should be in the spotlight for her activism -- the reason she ostensibly agreed to the profile in the first place -- and not for who she's sleeping or has slept with or the fact that she's "thick." Of course she's going to be upset when the work she's been doing against institutionalized sexism gets boiled down to a subhead focused on the fact that she was Kanye's ex and "Wiz Khalifa's baby mama" set on clawing her way to the top?
In New York City's gay nightlife scenes, there seems to exist a line between sexy boys in jockstraps cruising on the dance floor and drag queens lip syncing for tips. While gender maybe be part of our cultural dialogue in a way it never has been before, sometimes it can feel that mainstream gay culture lags behind when it comes to conversations about gender fluidity and androgyny. But genderfucking go-go goddess Rify Royalty is leading a revolution in Brooklyn with Straight Acting, a monthly party celebrating its one year anniversary this week. Straight Acting trolls gay men who uphold rigid definitions of masculinity when it comes to who they'll sleep with, all while shrieking "Yasss queen!" at the latest episode of RuPaul's Drag Race.
At Straight Acting, bearded boys in mini skirts and pastel wigs can celebrate their sexuality alongside female burlesque dancers, trans women and men, and an entire spectrum of gender identities. Ahead of the one year anniversary party tonight at Williamsburg's This N' That, which is powered by Scruff -- the very app whose dating-and-hook-up preference choices inspired the party's name -- and will feature music by DJ Nita Aviance and performances by Charlene, Manifestany Squirtz, and more, we chatted with Royalty about why he created the party, the state of gender in Manhattan nightlife, and the power of trolling.
What is your gender identity?
I'd say I identify as a cis male, but I don't know that I always have. I came into that [identity] very recently, and I'm learning to accept that that's OK. For a long time I felt very ambiguous -- I felt genderless.
Do you consider yourself a drag queen?
I do, yes, in the context of what drag is. I lip sync, I wear clothes designed for the opposite sex, I create a character and perform as that character. I don't think drag necessarily has to be feminine or masculine, and my drag has never been about female impersonation as much as it has been about character development, so to speak.
One of the problems some queer people have with drag is that it mocks femininity, and there is certainly a huge undercurrent of misogyny in gay culture that does sometimes come out through drag. How do you prevent the drag you're doing from receiving similar criticism?
For me, I don't take the dress up portion of drag to the extreme of hiding a bear and making sure that things are contoured to look as feminine as possible and wearing pads to make my body as womanly as possible. For me, it's about taking elements that I enjoy like clothing and hairstyles and makeup and twisting them around and making a drag character that's not necessarily a woman, but something along the lines of [Rocky Horror Picture Show's] Dr. Frank-N-Furter or something. I try to make sure that my acts aren't directed toward women, they're more about me.
It seems like your drag and exploration of gender is more about genderfucking then female impersonation.
I like being a boy in heels and a boy who challenges masculinity as opposed to trying to be feminine. I think being feminine is beautiful and I think that masculinity has its own responsibilities that people have bestowed upon it, and I want to challenge that and say, "I don't know about you, but I don't think masculinity has to be this way." The way that I'm giving it to you can still be sexy. Create your own masculinity. I'm not saying that I've created something new -- genderfuckery has been around forever -- but currently it's missing in New York City nightlife, and there's a divide between drag queens and men in general. It's "he's a go-go boy and she's a drag queen" and those worlds can't mix. But I said no, I'm going to do something different.
And that prompted you to create your party, Straight Acting.
I was working a lot of parties and strictly being booked to go-go dance, and I was getting bored of being expected to wear certain things and behave a certain way to generate interest and entertain people. I also really loved performing and fagging out, and I needed a platform where I could do that. So I started performing more in Brooklyn and creating more looks, and I had ideas for performances in my head, and people were giving me a platform to do them at these parties. I think my first gigs in Brooklyn were Hot Fruit and Bathsalts, and I was fully embraced doing whatever I wanted to do, and it was fun. But I was still go-go dancing, and I started noticing that some people had stopped booking me because the fantasy of the sexy go-go boy that they had had kind of deteriorated. And I'm ok with that, that's their loss.
It seems like Straight Acting came out of you wanting to express different forms of sexuality that weren't being represented anywhere else.
Well sexuality and gender and drag and identity -- I wanted to make a party for everybody, really. Specifically for people who wanted to challenge their gender roles and gender identities.
Straight Acting obviously uses the language of hook up apps, where people feel comfortable really harshly defining what they're into. Straight Acting really trolls that "masc for masc" culture -- can you talk about the power of trolling and why those assholes deserve to be trolled?
Since apps have been a thing, people feel very comfortable with that kind of dialogue, which can be very hurtful. I'm not shaming anyone for being masculine, I'm more about celebrating [different interpretations of masculinity and femininity]. No one on those apps is saying "femme for femme" or "femmes welcome" -- there seems to be a desire for "masculine" men. Using words like "straight acting" and not actually behaving in that way is giving them the middle finger because we're gonna do what we wanna do, and hopefully they'll realize that behavior is silly. There's nothing "straight" about getting on all fours and getting fucked by another man.
Isn't it crazy that that's the language? People who are literally looking to get bent over and plowed want someone who is "straight acting" when the least straight thing you can do is take a 9 inch dick up your ass?
I've had people not be interested in me because I wear nail polish. I think when I was a younger gay I allowed those things to bother me, but now -- I'm cute, I'll find someone else who doesn't give a shit about my painted nails, and maybe wants me to paint their nails. And that's Straight Acting.
One of the genius things you've done with Straight Acting is having your hosts put photos of themselves in crazy looks on Scruff and use that as a promotional tool. Did you ever leave one of those photos up and get some interesting responses?
Sometimes my hosts don't have Scruff and I'll chose a picture and use it on my account. Usually I change them back quickly, but one time I made one for Untitled Queen and I forgot to change it, and people were messaging me saying "I think you're great, I wanna get to know you." And I had to say, unfortunately that's not me in the photo, that's another queen, but I'll let her know that you fancy her. I'm seeing more trans people and more queer people on the apps, and that makes me really happy.
Do you think that Straight Acting as a party could happen in Manhattan?
I think it needs to. It's a very Brooklyn party, but it definitely should happen in Manhattan. I feel like that's where it is needed the most.
In Manhattan nightlife there are much stricter lines between the sexy "boy" parties and the drag shows, but it feels like that's starting to blur. Now you might see an ad for a huge circuit party and the go-go boy will be wearing heels. Is that the Straight Acting effect?
I hope so. That makes me really happy to see. I make an effort to invite a lot of boy boys, who don't do drag all the time, and have them as hosts, because I know that they'd be willing to dress up, and I want them to post the pictures, so that other people will see them and say, "Oh, he went to this party in heels and a wig and he's still sexy!" And I can't expect to do all of that on my own, it's a community effort, making sure the party is present and accessible to everyone.
We were talking earlier about how there's a lot of ugly misogyny in gay culture but your parties always seem to include cis women in your line-ups. Can you talk about that decision?
It's very important that women are included -- both cis and trans women -- in our scene and in our world. A lot of gays want to dress like women but don't want to party with them. The problem isn't as big in Brooklyn as it is in Manhattan -- there's a lot more diversity in the Brooklyn scene. Straight Acting is about overcoming obstacles and breaking down gender norms, so I think women are very important to the party.
When Straight Acting started you had a dark room set up on stage -- do people actually hook up there or is it just part of the fantasy?
It was part of the fantasy of the party, that people could fag out and hook up in looks. I thought that would be really sexy and cute. But as the party grew, the dark room was not as successful, but I also didn't set out to make it that way. It was there if you needed it, and a lot of people didn't need it. A lot of people were just making out on the dance floor, and I was just happy to be creating a space where people could dance, get closer to each other, make out, and take someone home.
How happy does it make you feel to see two boys in heels and wigs making out on the dance floor?
Especially the hairy legged boys in mini skirts, who are feeling hot and feeling their damn fantasy! I've done it -- I never really make out with people at Straight Acting, I don't have time because I'm always running around. I've hooked up with a few boys I knew, who were in dresses and it was so hot, there was lipstick all over the place. And I've gone home with boys too, I just tell them, "Wait for me, I'll go home with you at 3:30."
For more information on Straight Acting's anniversary party tonight, go HERE
There is a particularly poignant scene in Frederic Tchengs' excellent documentary, Dior and I, chronicling Raf Simons' first haute couture collection, where he cries tears of joy after a print by the artist Sterling Ruby is finally realized and draped on a model. After being told for weeks it was impossible to produce, there it is walking before him and he is thusly moved. It is one of the most powerful moments in the film and what, as someone who does not design clothes, I took as a true glimpse into the process of someone who does. I think of this scene whenever a new Dior collection bows in Paris; I imagine how Raf has felt every last print, button and panel deeply. Perhaps he didn't always feel these details to the point of tears but his heart was in every bit. And with the surprising announcement that his spring 2016 collection would be his last there are obviously questions as to why. Could a heart so porous and vulnerable ever really be at home in such a global machine of a brand? Simons cited personal reasons as why he was leaving and there is no evidence to suggest otherwise. The mere fact that there was no leak of the news until the official announcement this morning is news itself.
What his departure means most immediately is a few weeks of speculation about possible replacements -- some likely (Riccardo Tisci and Phoebe Philo are never NOT on these lists) or some unlikely, though LVMH will have a hard time finding a more interesting, if head-scratchy, decision than their crosstown rival Kering did this month naming Vetements' Demna Gvasalia as head of Balenciaga. Or since there is the feeling that this decision came out of the blue with no succession plan, will they take their time as they did post-Galliano (over a year) and wait until they find someone just right?
Protracted speculative talk aside, Simons' legacy at Dior is clear, now that it is fully contained. He took the tumult of the preceding years, which some could argue worked in his favor having nowhere to go but up, and brought in a modernity and sensitivity that was dormant during the Galliano era. His debut collection, revamped Bar Suit and saturated pigments are among the many highlights, standing out much the same way as his pulsing house music did on his runways, something that heretofore no one would associate with Dior. He brought the house's ideals of femininity to earth for everyone to see and it was just as beautiful as Galliano's bombast or Mr. Dior's stoicism, if not more so in its reality. He replaced fantasy with elevated reality and brought warmth and heart to a house that was on creative life support, giving Dior the careful redirect that it needed. And so who is anyone to say why he could not do that for himself? It seems there is very little at play other than the realization that his dream job became less so after a while. Perhaps Simons' greatest revival from the Dior archives, one some thought lost, is this: the graceful exit.
In our October 'Nowstalgia' issue
we're taking a look at 100 Years of New York Nightlife, tracing
after-hours trends to their beginnings and analyzing the ways our
nocturnal habits of the past continue to influence our habits of the
present. We've already kicked things off with the Roaring '20s and the exclusive Post-War era; below, we look at the glittery, disco-tinged 1970s. Check back for future decades each day.
CBGB, ca. 1980. Photo by Harvey Wang
A crowd outside Studio 54, 1978. Photo by Allan Tannenbaum
Andy Warhol and Divine at the re-opening of the Copacabana, 1976. Photo by Allan Tannenbaum
Of course for every trend there's a
counter-trend, so new-wavy dance clubs emerged to cater to
narrow-tie-wearing punks who preferred minimalist dancing and posing to
flat-out whoop-whooping. Lovably dingy CBGB had been going strong since
1973, soon to be joined by Hurrah in '76 as a haven for bands and the
too-cool-for-school crowd. Two years later, Steve Mass opened the Mudd
Club on a ratty side street in Tribeca, where it flourished as a
glorified dive where avant-garde filmmakers and their friends could
exude some 'tude and mix with celebs like David Bowie and Debbie Harry
in between catching the edgiest musical talent on the planet, like the
Talking Heads, the Contortions, dna and my own band, the Must (until a
bartender told an absent Mass that we sucked, and that was the end of
our bookings there, which was fine).
The Psychedelic Furs at the Mudd Club, 1980. Photo by Allan Tannenbaum
I would regularly barrel between the two worlds -- the glitz of 54 and the austere aesthetics of Mudd -- loving them both because of their unique electrical charges. Connecting the two places was an affinity for great music, glamour and the art of being in the right place at the right time. And the influence is still felt. The '70s patented the idea of dancing as a communal delight, and it took fun-seeking to an extreme, setting a standard that some (admittedly denial-prone) partiers still strive for today. And since Top 40 pumps out of a lot of dance clubs these days, it harkens back to a time when disco hits -- which were big on the crossover charts -- played and we squealed with recognition, then flailed our arms around to act them out as we danced. It's not for nothing that some dance clubs are still called "discos." There are all-new rules, but it's the same feeling.
According to his Rolling Stone cover story, the Weeknd and Taylor met one night, and were pretty drunk and hitting it off. "But when she started petting my hair, that's when I was like, 'I definitely need a drink.'" As Jezebel notes, Taylor has, in fact, proudly told this story herself (in an interview with Ed Sheeran, naturally), but didn't seem to think there was anything wrong with it. There's probably only one way to handle Taylor Swift playing with your hair like a pet...
Celebrating Her Friend Kendrick's Politically-Charged Album
When that new Kendrick comes on: pic.twitter.com/g9Il2LUgdX-- Taylor Swift (@taylorswift13) March 20, 2015
To Pimp a Butterfly is a lot of things, but it is not a bright and happy album, nor is it an album that you should respond to instinctively by parading through nature drenched in sunlight. It's often harsh, difficult to listen to, and is aggressively political in ways that don't quite jive with Swift's mass-friendly message. Being a pop star is fine, but don't pretend you're all about "The Blacker the Berry."
Asians can't be racist. White or black, we don't care, all dogs taste the same to us.-- Joseph Kahn (@JosephKahn) September 3, 2015
While we await the release of Justin Bieber's new album, Purpose, on November 13th, the Biebs has shared the video for "Sorry" featuring a crew of syncopated dancers who look like they could double as Shop Jeen models. Give it a watch above.
The video for Adele's "Hello" is here and we're already crying. And will continue to cry until her new album, 25, comes out on November 20th. And then we'll cry some more. Set fire to the rain, grab a kleenex and watch our queen make her triumphant return in full, sepia-toned glory.