The First Scene – The 1st Mini Album – EP – YURI

YURI - The First Scene - The 1st Mini Album - EP  artwork

The First Scene – The 1st Mini Album – EP

YURI

Genre: K-Pop

Price: $ 4.99

Release Date: October 4, 2018

© ℗ 2018 SM Entertainment

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Hug of Thunder – Broken Social Scene

Broken Social Scene - Hug of Thunder  artwork

Hug of Thunder

Broken Social Scene

Genre: Alternative

Price: $ 9.99

Release Date: July 7, 2017

© ℗ 2017 Arts & Crafts Productions Inc.

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The Scene – Roxy Sloane

Roxy Sloane - The Scene  artwork

The Scene

Roxy Sloane

Genre: Contemporary

Publish Date: July 15, 2015

Publisher: Roxy Sloane Books

Seller: Supernova Publishing


Miami. The city of sex, sin — and secrets. I came here with one mission: solve the mystery behind my brother’s death. Somebody’s got answers. Somewhere, I’ll find what I’m looking for. I didn’t bet on Xavier. He’s my way into the scene — and my biggest threat. I should keep my distance, but I can’t stay away. I'm playing with fire, and I just pray I don't get burned.

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My Judas Scene – Arms for Elephants


My Judas Scene
Arms for Elephants

Release Date:
September 1, 2015
Total Songs:
10

Genre:
Alternative

Price:
$ 8.99

Copyright
℗ 2015 Arms for Elephants


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One Thing You Didn’t Notice In ‘Game Of Thrones’ Makes That Sansa Scene Way Worse

And we all thought Jon Snow knew nothing.

tv show gifs

Image via HBO/HuffPost 

There has been a lot said about Sansa Stark’s horrifying scene with Ramsay Snow in Season 5 of “Game of Thrones.” Some fans have outright threatened to stop watching the show because of it while others, including the actors, have defended the scene’s inclusion. Well, now it turns out there’s one thing about it you may have missed that makes it even worse.

Theon is wearing the same outfit Robb Stark had on at the Red Wedding.

Image via Vanity Fair/HBO 

Whaaaaaaattttt????? Yup.

Tumblr user the-kings-hand actually noticed a similarity between the outfits after the episode aired, which you can see below. But could this actually be true?

You bet. Sure as R’hllor is the Lord of Light.

Sansa Stark herself — actress Sophie Turner — confirmed the Easter egg at the “Game of Thrones” Comic-Con panel on Friday.

“If anyone noticed, it was Robb Stark’s costume. Just FYI. Just to make it that little bit more brutal,” said Turner.

Yeah, “more brutal.” What happened to not showing Stannis’ death because it was too “gratuitous,” huh? What happened to that?!

Here’s another look at the outfits side by side:

Wow. Those Boltons are messed up. But you do have to admit they have great fashion sense. 

The North remembers… you were a snazzy dresser, Robb.

Image via Teen.com

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50 Cent Suing MediaTakeOut For Leaking LaLa Anthony’s Power Nude Scene [VIDEO]

50 Cent is currently basking in the eminent success of the second season of Power and he wants fans to witness and enjoy the rollout first-hand. So when MediaTakeOut jumped out in front and posted the anticipated debut of LaLa Anthony’s breasts, he reacted just like the master of litigation we all know him as.

“Shout out to MediaTakeOut for showing La La some love and showing her scene early,” 50 Cent says in a video posted on ForbezDVDPromo’s YouTube page. “For doing that, I’m not gonna take it personal, so don’t take it personal with me when they sue you ’til you blue in the face,” he said with a smile.

After the video made its rounds around the Internet, the gossip publication snatched it down with the quickness.

The G-Unit gorilla doesn’t mess around with websites he personally doesn’t approve of. In March of 2014, he won a lawsuit against WorldStarHipHop.com for copyright infringement. MTO had better lawyer up just as a safety precaution.

Watch Fiddy’s fair warning regarding to LaLa Anthony’s Power nude scene below.

H/T: HHDX


Photo: Instagram/50 Cent

The post 50 Cent Suing MediaTakeOut For Leaking LaLa Anthony’s Power Nude Scene [VIDEO] appeared first on Hip-Hop Wired.

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Photographer Nicholas Contrera Documents New York City’s Genderqueer Scene

2015-06-10-1433948157-9985023-Nick_TTP.jpg
Self Portrait by Nicholas Contrera

Nicholas Contrera and I recently met for a beer on the patio of a queer dive bar in Brooklyn. Contrera is really a dream interviewee. Almost immediately after sitting down he started telling me about the projects he has in the works: a photo series capturing genderqueer night life personalities, and his spread in this year’s NYC Pride Guide. I just sat back, listened, and enjoyed hearing him talk about his photography. I think that passion comes across in this interview, and know it’s very present in his work.

Phillip Miner: Tell me about your collodion wet plate series.

Nicholas Contrera: I’m calling it either Tribe or Tribal — I think Tribal; I like the tone of that. The series is an aspect of myself in New York in the society — in the clique and the lifestyle — I live.

When I first got to New York, I read Patti Smith’s Just Kids. I was very into the ’80s New York and Paris Is Burning New York, and I tried to almost capture that New York, which doesn’t exist anymore. The photographs just didn’t work. I realized my work needed to be my New York. This is my New York. This is my time. This is when I look back when I’m older and say, “My time is the best.”

I’ve become friends with the club kids and the ladyboys, the kids who go out with beards and lipstick and have a genderbending look. I find them the bravest gays to go out, pushing past boundaries, breaks so many walls for all of the gay community.

PM: Tell me a little more about the people you’re photographing.

NC: I’m not just photographing the typical drag queen. I’m photographing the people around me. These are the people who surround me every night. In the nine months of doing this project, the work has changed me and my sexuality. I’m still a gay male, but it’s encouraged me to explore my feminine side. When I go out I give more femme. I push those boundaries. I can give more femininity and have these genderbending moments.

Similarly, I never wanted the work to just be restricted as a gay piece. I want my work to reach everyone. I want this work to appeal to the largest audience possible.

PM: Why did you choose this particular photography process?

NC: The process was made in the early 1900s for the lower working class. Tin was so cheap you could go and get a portrait of your family. What a lot of photographers would do is take this process to Africa or other countries and document the people who were living out there, the natives, and come back and show what they found.

I was talking to my mentor, and we realized this is what I’m doing. I’m going out there and photographing my tribe, which is really foreign to a lot of people. This is a tribe. New York nightlife, the New York gay scene — these are both tribes.

I fell in love with the collodion process and felt this would be a perfect medium to produce this series with. I love processes that get me dirty. I love that the photo happens once. The type of film I’m using limits me to 12 shots. With wet plate you photograph once and that’s the image. That’s how I view these people, when they go out and give these looks, mixing masculinity and femininity. For me those looks, those moments, are collectable. That’s what I capture in my photographs.

PM: That’s a great contrast to the selfie culture we have these days, where people take 30 pictures to get just the right angle so that they look perfect.

NC: You’ve got it. What I love about wet plate is the mistakes, the scratches on the plate. Some people are perfectionists. For me, I love the grime of the plates.

PM: You have a series of photographs in this year’s NYC Pride Guide called Extraordinary. Can you tell me about that?

NC: New York Pride came to me. They saw my black-and-white work and wanted me to do a series for the Pride Guide. They had me photograph nine transgender men and women. It’s been such an honor and a privilege to photograph these people.

My favorite person to shoot was a woman who grew up in New York City and has identified as trans since she was 13. She was in New York during the Stonewall riots. She was there for the birth of our gay-rights movement. I spent a couple hours with her, and the stories she told me were incredible.

All of the sudden my work was about grey gender and transgender. I’m doing so much work with the current gender movement! Pride Guide is my biggest success. I’m honored, as a gay man, to be asked. The trans community are our last brothers and sisters to get their rights. I’m hoping, in my way, I’m helping make that happen.

PM: Could you tell me more about that?

NC: Our society loves to label and box things. For a long time society boxed in gay society. If we were gay, we were supposed to be feminine, a sissy. If we were gay, we were supposed to be butch. It served a purpose. When we started this movement, it’s easier when people thought they understood us. If they were given a bunch of genderqueer people, middle America would have no way to relate.

With this work I want to break labels and break boxes. There’s a moment I have with the people I photograph, and I really want to show who they really are.

You can learn more about Contrera at his website, nicholascontrera.com, or on Instagram @nicholascontrera.

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Kittens Make Epic Fight Scene From ‘The Lion King’ So Much Better

Question: How do you improve on an epic scene from a classic Disney movie?

Answer: Swap out the animated characters for live kittens. Keep all the action the same, just with kittens.

Here’s an example, using the climactic fight scene from “The Lion King.”

Grown-up Simba? Bam! He’s a kitten now. Scar? DONE. Kitten-ized.

We can’t imagine how long it took for YouTuber Pasdidée to wrestle his actors into line, but it’s truly a work of art.

It is not, however, the only time someone recreated “The Lion King” with kittens.

H/T Time

— 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.

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Was That The Weirdest ‘Mad Men’ Scene Yet?

Do not read on unless you’ve seen “The Forecast,” the tenth episode of “Mad Men’s” final season.

You come to me for analysis of “Mad Men” that is, ideally, cogent, entertaining and thoughtful, so I feel the need to inform you that the show may have broken my brain tonight. “The Forecast” may have contained the weirdest scene in “Mad Men” history, and this is a show that cut a guy’s foot off just for grins.

Glen Bishop. Glen Bishop, my friends. I am shaking my head and laughing as I write this. That final Glen-Betty scene was so odd and so surreal on so many levels that I know I won’t do it justice. But like Mathis, I have to try to go down swinging.

So here’s the main problem. I think the scene was meant to be awkward in many ways. Any time you have an 18-year old hitting on a much older married woman, who is the mother of one of his good friends, there is no doubt that the moment is going to be transgressive and strange. That act of rule-breaking can contain within in it a host of uncomfortable feelings — discomfort at crossing a line, guilt about putting the moves on someone who is taken, an odd feeling about how society might perceive the difference in ages. (And to be clear, I’m not saying any “rules” to which I refer are inviolate or even valid. I’m just saying, those were society’s rules according to the understanding of these 1970-era, upper-middle class characters)


So on one level, the Glen-Betty scene was meant to be weird. It intentionally prodded the audience to get a reaction. But the strangeness and discomfort of the moment was overwhelmed by many other layers of weirdness, most of which were unintentional. It wasn’t necessarily distracting for the right reasons.

The main problem is, the two actors on screen not only had no chemistry together, they were intensely wooden and awkward together. The whole thing felt like a marionette show performed by a beginning puppeteer. I think we were supposed to feel epic emotions about the tragedy of Glen’s love of Betty and the yearning of her strange love for him. Mainly it felt forced and vaguely creepy. I felt no deep emotion, only surprised bemusement that it was happening at all.

“Mad Men” creator Matthew Weiner simply has a blind spot where these two actors are concerned. I’m not saying January Jones can’t act, but she has a very small range and unless she’s in a scene that plays to her strengths, she falls back on playing Betty in a very one-dimensional ways. She has grown as an actress — witness her performances early in Season 1, when some of her scenes were actively painful to watch. Then recall how good she was when she confronted Don over the contents of his Dick Whitman box in when that couple was breaking up. When given the right tools and the right scene partner, Jones can give as good as she gets.

When given Marten Holden Weiner as her scene partner, she flounders, because he is… not adept. I have seen high school plays in which the male lead had more presence, technical mastery and natural fluidity. This was Matt Weiner going for some kind of “Splendor in the Grass” or Douglas Sirk-ian high-class melodrama and coming up with something that was comically stilted and unintentionally strange. That story line did tie into the episode’s theme of children as both impediments and necessary anchors, but it was also just odd and strangely superficial. As James Poniewozik tweeted, “That was like the darkest Greg Brady storyline ever.” Pretty much.

I didn’t hate the episode; the non-Glen parts were pretty good, and anything would have been better than the repetitive glumness of last week’s outing. But I found the final Glen scene both painful and faintly amusing because it was such a misfire. Yes, Betty is an immature woman who likes flirting with a young man with whom she had a strange relationship years ago. Yes, Glen is a lost young man with a misguided crush on a pretty but empty shell. Only Weiner cares about any of this.

The show’s creator continues to be fascinated with Betty, even though she ceased to matter to the core stories of “Mad Men” a long time ago. He has kept Glen Bishop in the story long past the time when he served much of a purpose even in Sally’s life. I guess I was supposed to feel bad for the poor kid that he was going to Vietnam carrying a torch for Betty, she of the unmoving hair helmet. Instead, I just found myself laughing a little bit at the whole scenario, marveling at Glen’s impressive sideburns and thanking Dieu that I didn’t have to put up with any outbursts from the Calvet women tonight.

The World’s Strangest Sub-plot aside, this half-season started to kick into gear, maybe, sort of (while proving that, as I’ve written, AMC should not have split this show into half seasons — every week, we get more proof that that was not a good call). Characters had to face up and confront all sorts of realities, and the mission statement Don was trying to formulate gave us an indication that we really are near the end. Don’s trying to figure out what it all means and what the future might hold — and yet we never actually got to hear the finished speech (if Don actually finished it, that is).

What was amusing in this hour — in the right ways — was the fact that nobody has time for Don’s bullsh*t anymore. His real estate agent, Mathis, Peggy, Ted Chaough — nobody buys into the Don Draper mystique. They either don’t have time for it or they simply don’t care. When it came to the apartment, he told the real estate agent to just tell a good story about an empty vessel, which is basically the Don Draper story in a nutshell. She wasn’t having it, because she lives in the real world. “You don’t have any character. You’re just handsome. Stop kidding yourself.” Mathis’ angry rant was pretty spot-on, as was the Realtor’s assessment of Don’s faded apartment. “This place reeks of failure.” Lady, you don’t know the half of it.

The forecast of the title — the speech — represents Don trying to answer the question the song asked a few weeks ago — “Is that all there is?” He looked down on all of Peggy’s ambitions because those are all the things he’s accomplished already — he’s established a name for himself, he’s famous within the advertising industry, he’s created some famous campaigns and he has money and power. He’s signed big clients. Now what?

It’s typical of Don that he wants Peggy to answer that question for him, but he doesn’t even do her the courtesy of telling her he’s grilling her for his speech. He vaguely pretends he cares about her annual review (and he doesn’t, of course, because he’s Don Draper). That scene, however, felt like vintage “Mad Men”: Without giving Peggy much in the way of context, he drew her into his thought process and she helped him brainstorm and toss around ideas. However skilled they are on their own, together, they are greater than the sum of their parts, and I’m so glad when the show remembers to show us that.

Peggy left feeling frustrated, but Don probably got something useful out of their conversation — not that you’d know. Women tend to leave Don’s presence not having fully gotten what they wanted and feeling vaguely irritated these days. He doesn’t lack for companionship, but he lack much in the way of actual intimacy with anyone he can count on. Does anyone truly like hanging out with Don these days? Even Don himself?

That said, Don’s bond with Peggy is still strong. I love that those two can trade barbs with each other and it doesn’t really mean anything. (And how great was the confrontation in the hallway in which Don played the harried dad to his two “children,” Peggy and Pete? Those actors have such a great spark together — I will miss that core trio a lot.)

Is Don a failure because he hasn’t created real value in the world? Has he done what he counseled his daughter to do — has he himself become more than just a pretty face? Or, does he have too much in common with his apartment (i.e., it looks good at first glance but on closer inspection, it’s hollow and a little sordid)? Peggy and Ted can’t find meaning for him; he’s going to have to find it for himself.

At least Peggy and Joan, unlike Don, know exactly what they want. Peggy wants to be the agency’s creative director, and Joan wants to just do her job, which she loves and is good at. And my goodness, I really want both of them to be happy when the series ends. It’s not about whether they’re with a man, it’s about whether they have a real shot at finding personal fulfillment in the ways that they define that. That said, it was a brilliant stroke to cast Bruce Greenwood as Joan’s handsome stranger. Christina Hendricks had real chemistry with him, and I am so glad that Joan didn’t get saddled with yet another disappointing guy who didn’t treat her right. She’s had enough disappointment for five lifetimes.

I’m glad Mitchell came back and made it right with her; I’m glad he saw her point and he decided not to be “rigid.” The framing of the final image of those two — both in full-body silhouettes — felt absolutely right. They looked well matched in that scene, which was Sirk-ian and symbolic in all the right ways.

Of course, Glen and Betty were filmed in the kitchen in the exact same way, which only shows you that certain framings only work with the right characters in the right moment. Not to flog a dead horse here, but I bring up Glen again in order to talk about Kieran Shipka, who was phenomenal, as usual, in this episode. Here’s the thing: In a television show with actors as great and subtle as Jon Hamm, Elisabeth Moss and Kiernan Shipka (among others), every other actor on the screen will be held to the very, very high standard they set.

An example: Think about the scene in which Sally called Glen’s house and presumably spoke to his mother, Helen. Shipka got no help in that scene. We didn’t hear the other voice on the line. There was no music. There were no cuts — just a slow, steady push of the camera right into her face. During that short phone call, she had to go from polite to panicked and sad to weepy, and make all of it work by herself. She nailed it, of course. All of which makes the Glen scenes look that much more ridiculous. Marten Weiner, at best, comes off as if he’s the eighth lead on a derivative genre show that’s about to be canceled. Shipka comes off as a future Oscar winner. Le sigh.

Anyway, Sally provided the episode’s high points by giving Don an intentionally hilarious series of side-eye glances that made it clear that she was disgusted with her dad. You could hardly miss any of the discomfort with kids in this episode: Sally thought it was gross that her mother flirted with Glen and that her father tolerated her friend’s aggressive come-ons at dinner. Joan’s son was seen, at first, as an impediment to a man getting what he wanted. And that’s aside from the fact that Weiner cast his own son in the role of a young man who is obsessed with a woman he barely knows. Lots of weirdness, folks, lots.

In any event, whatever Don’s other faults, he would not actually get physical, even slightly, with one of his daughter’s friends, I think (and I fully realize that this is not exactly an endorsement of Don Draper’s character, which is, as others pointed out, fairly suspect overall).

Is it wrong that I think Don comes of slightly better in the comparison between Sally’s two narcissistic parents? Don never would have put the moves on any of Sally’s friends, while Betty came very close to kissing Glen, who, presumably has been in love with her since the Ossining days. Betty doesn’t even know how much she’s reveling in Glen’s attention — witness the way she smoothed down her hair in his presence, and her own wicked side-eye when she wanted Sally to leave them alone. Of course, Betty would deny to the death that she was flirting with Glen, because she’s still in denial about most things (and what Glen doesn’t realize is that, despite her immaturity, she’s so status obsessed that an 18 year old dropout would never even remotely land on her radar).

Weirdly enough, I think both Sally’s parents are about as functional as they’re ever going to be. Don at least has the self-awareness to know that Sally’s upset and to try to get her to understand that part of her cynicism will wear off as she realizes she’s not all that different from the people who raised her. And even if Betty is still immature and clueless, she and Sally had a decent rapport in their earlier kitchen scene.

But who knows how much more Sally and Joan we’ll get? To be clear, I want lots more from them, and from Peggy and Pete and all the usual suspects. Weiner has different ideas for his farewell tour, I guess. Last week, we got the Calvet women. This week, lots of quality (hahaha) time with Glen Bishop.

Next up: Maybe we’ll go in depth with Chauncey the dog?

This week’s list of bullet points:

  • Everyone looks at the show’s opening credits and sees a man falling, which is part of that imagery, of course. But what about the moments before that, when walls fall away? That’s the situation Don is in now, I think — women and commitments and his apartment have all fallen away from him. Who will he be when he’s “free as a bird”?
  • “You know what, you’re ruining my life!” Not the first time that has been said to a Maureen.
  • The show keeps emphasizing how busy Roger is. I think they’re setting him up to have another heart attack — and it might be the last one, if you know what I mean.
  • Now we know where Lou Avery went — he split for the West Coast, where he’s spending most of his time trying to sell his cartoon. “It’s like Gomer Pyle — but it’s a monkey.” Never change, Lou.
  • “And a space station.” Never change, Meredith.
  • Never forget Glen’s finest hour.
  • I feel like they’re writing Peggy as a very harsh person this season, and I’m not exactly loving that. That said, I liked her exit line in her scene in Don’s office. Classic.
  • Mitchell’s leisure suit was … abominable. And I recall my dad having one just like it. Horrifying, yet all to accurate.
  • Whoa whoa, Sally said a swear! “Are you [expletive] stupid!” I wonder if we’ll get the actual line on the DVDs and/or in the streaming version of the show.
  • Here’s a photo that is now vaguely disturbing.
  • When Joan was hurt by Mitchell in their second hotel-room scene, I felt so terrible for her and I wanted to launch him into the sun. Only an actor as innately likable as Greenwood could have even partially redeemed the character.
  • A great actor only needs a second to make a scene memorable, and Vincent Kartheiser did that brilliantly in the Tinkerbell cookie scene. His reaction to Mathis’ gambit with the Peter Pan guys was absolutely priceless.
  • The classic shot of Don Draper is of the back of his head as he stares out a window. But the show is subverting even that part of his appeal: His meditative moment was ruined by Meredith prattling on about the World’s Fair and Mathis’ angry entrance. Nobody even noticed Don’s angst, much less cared about it.
  • “I know something could happen to me I know I’m safe because I I know you’re mine.” Maybe some actor could sell turgid dialogue like that. That someone is not Marten Weiner.
  • Contrast that line reading with Kieran Shipka’s, as Sally brilliantly punctures of Don’s moderately creepy bantering: “I just want to eat dinner.”
  • Less than four weeks to go before the show is over forever. Arrrghh!

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Freshman Anal Orientation Scene 5 Picture Gallery

Jynx Maze may not be a name you know well yet, but if you are a fan of hardcore anal sex videos you can be sure she is about to enter the rare territory of your top ten pornstars list! Cute face, great ass and a playful personality perfect for anal porn DVDs!

ZTOD – Picture Galleries

Official Friday Parody Scene 2 Picture Gallery

Brooklyn Carter and Natasha Dulce were on their way to getting laid when they decided to just kick back and enjoy the feminine touch for a change. They made some sweet lesbian love and spend the entire afternoon sharing soft kisses and caresses.

ZTOD – Picture Galleries

Sexperts Scene 3 Picture Gallery

Jynx Maze is quickly becoming one of the most popular new pornstars of the modern era. She has a real ‘can do’ attitude about sex and is always willing to try something new. That’s why, even as a teen, she has already learned so many different ways to please her fans!

ZTOD – Picture Galleries

Official Friday Parody Scene 1 Picture Gallery

Check out the all-natural rack on Aryana Adin, who sucks her men off with such gusto that those fun bags are shaking the entire time, especially when she’s bent over and taking that reaming cock as hard as a gal can while staying coherent.

ZTOD – Picture Galleries

Official Friday Parody Scene 3 Picture Gallery

Nyomi Banxxx is a sweet piece of ass. Just look at the way she smiles so lustily as she’s getting her big tits showered with cum. This sweet black babe is already covered in sweat after a long, hard fuck and she needs that sticky cream to finish things off!

ZTOD – Picture Galleries

Sexperts Scene 2 Picture Gallery

Bridgette B has big tits a tight ass and a pretty face but that’s not why we all love her. Watch the look in her eye after she catches a monster cum facial at the end of this video. She has a look that says ‘Can’t you squeeze out some more sperm, I just wish I could swallow another load right now!’

ZTOD – Picture Galleries

Freshman Anal Orientation Scene 4 Picture Gallery

When Jada Stevens turns around and shows off her big thick buns the first thing your dick will be thinking is how can I slide between those beautiful ass cheeks and get balls-deep on her backside?! The honest answer is it’s easy, all you have to do is ask!

ZTOD – Picture Galleries