Solid & Striped Recruits Supermodels for ‘Swim Team’ Collab

Swimwear brand Solid & Striped is releasing a collaboration and accompanying campaign that’ll give Victoria’s Secret and Sports Illustrated’s swimsuit issue a run for their money. Solid & Striped enlisted 13 major models — Lily Aldridge, Hailey Clauson, Jourdan Dunn, Hannah Ferguson, Isabeli Fontana, Toni Garrn, Jessica Hart, Elsa Hosk, Eniko Mihalik, Carolyn Murphy, Barbara Palvin, Natasha Poly and Josephine Skriver — to design a suit for the collection. And model it, of course. Each model designed one silhouette in three colorsways. All 13 women appear in the campaign, which is being parlayed into a printed calendar, shot in Harbor Island in the Bahamas by Bjorn Iooss and styled by Carine Roitfeld.
After two collaborations with Poppy Delevingne and one with Staud, Solid & Striped founder Isaac Ross wanted to work on something group-oriented and liked the idea of assembling a swim team of sorts. “I wanted to work with women who had a perspective on bathing suits and had spent parts of their career modeling bathing suits and sort of reimagine the model/brand dynamic,” said Ross. “Usually we pay someone to model our bathing suits but I thought it would be interesting to have some of these women to create

Follow WWD on Twitter or become a fan on Facebook.

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

Solid Gold Hits – Beastie Boys

Beastie Boys - Solid Gold Hits  artwork

Solid Gold Hits

Beastie Boys

Genre: Hip-Hop/Rap

Price: $ 5.99

Release Date: November 8, 2005

© ℗ This Compilation 2005 Capitol Records, Inc. and Beastie Boys. All rights reserved.

iTunes Store: Top Albums in Hip Hop/Rap

Rock Solid (Unabridged) – Carly Phillips & Erika Wilde

Carly Phillips & Erika Wilde - Rock Solid (Unabridged)  artwork

Rock Solid (Unabridged)

Carly Phillips & Erika Wilde

Genre: Romance

Price: $ 17.95

Publish Date: January 4, 2018

© ℗ © 2018 CP Publishing

iTunes Store: Top Audiobooks in Romance

‘Black Mirror’ returns solid, with some cracks

Rating “Black Mirror” against its own creative resume, the latest batch of a half-dozen installments — which Netflix will drop right before New Year’s — offers more of a mixed bag than usual, with two or three standouts and the rest conceptually interesting but rather ho-hum affairs.


CNN.com – RSS Channel – Entertainment

GamersGate: The World's Largest Online Game Store

Theater: Thin Falstaff, Solid Hal In “Henry IV;” Gloria Estefan Congas Onto Broadway

HENRY IV *** out of ****
ON YOUR FEET! ** out of **** (but first act ***)

HENRY IV *** out of ****
ST. ANN’S WAREHOUSE

When is a solid, entertaining production of Henry IV a mild disappointment? When it comes from director Phyllida Lloyd and the marvelous ensemble that brought us Julius Caesar, at the top of my list for the best shows of 2013. Two elements hold it back. The framing device of having the production being performed by women in prison feels less germane (and certainly less surprising). And the choice to keep Falstaff a less swollen presence (when usually one thinks the show should be renamed for him) lessens the impact of the finale. Nonetheless, strong performances and clever touches abound, making it a worthy if not revelatory experience.

We begin in the lobby, with armed guards clearing a path. “Prisoners coming through!” they announce, as the manacled cast is led past us into the theater. Finally we troop in and it begins. Guards are always present and at two minor points, they intrude. The spell is broken once for comic effect and once for a serious purpose but neither felt telling. But by and large the play didn’t feel informed by the danger and menace and looming despair of prison the way Julius Caeser did.

Happily, Lloyd has many other insights to offer. Battle scenes are rendered as pantomimes of boxing matches. Maps are spray painted on the floor. Deejays spin appropriate music at key moments or make the sounds of babies and animals in an openly theatrical, pleasing style. And much of the cast is excellent, led by the brilliant Harriet Walter, so good here that instead of retitling the play Falstaff (or Prince Hal) you think it fitting that it is dubbed after her character and only wish she had more stage time.

2015-11-12-1447307752-8318614-HarrietWalter.jpg
(Photo By Pavel Antonov)

Hal (Clare Dunn) of course is a wastrel, a princeling who has sunk into drink and bawdiness with disreputable friends like the braggart and thief Falstaff (a fine Sophie Stanton, but fine don’t cut it with Falstaff). Hal’s father the king (Walter) despairs of him and despairs of the kingdom when Hal comes to power. Sensing weakness, the upstart Hotspur (Jade Anouka) raises an army, hoping and expecting more to follow once things get underway.

But a genuine threat to the kingdom rouses Hal’s princely blood. He astonishes his father and indeed everyone with purpose and modesty and a lion-like vigor to defend the kingdom and everything his father has built. Not because he will inherit it one day, but because it deserves defending and his father deserves better than layabout for a son. His former ways must be banished for good, as banished as the portly Falstaff who is denounced in one of the most pitiable scenes in all of Shakespeare.

The cast is strong throughout. But the dueling between Hotspur and Hal is electric thanks to the two actors who embody them. Dane is wonderfully present from the start, alive to the foolishness of Falstaff and clearly a better person in waiting. This makes sense, but it does remove some of the drama from Hal’s transformation and ultimate rejection of his (mostly) harmless drinking buddy.

Anouka’s Hotspur is even more rounded, shading from confident to bragging to desperately trying to convince himself that the longer the odds, the greater the glory. He’d clearly take lesser glory and better odds — no fool, he — but those aren’t the cards he’s been dealt and he makes the best of them. It makes Hotspur a more convincing and sympathetic character, rather than the fool he often seems.

Women barely figure here, so padding a scene to target one of the few female characters and have it sting doesn’t really make sense to me. It certainly doesn’t illuminate this play. (Now Taming of The Shrew might benefit from an all-female cast….) Yet it’s the finale that really falls flat. The less dramatic arc for Hal, the decision to make his rejection so regal and public (including, I think, echo on his voice as if Hal were addressing the world over a PA system), to having Falstaff/the prisoner react so dramatically all lessens this moment’s wrenching possibilities.

Still, the ensemble! The inventive staging! And the King! Walter holds our attention with ease, the ache of this father and this king having many layers. When he is ill but still gives his son sound advice for managing the country (setting up Henry V in the bargain), we hang on every word. It’s enough to make you head to the warden and ask to leave credit for all the cigarettes she can smoke on Walter’s account.

ON YOUR FEET! ** out of **** (but first act ***)
MARQUIS THEATRE

On Your Feet begins so confidently, you get excited. It’s frothy, fun and as the songs pile up, you realize that you recognize a lot more of them than you thought. And even the ones you don’t recognize are ones you’d like to hear again. Is this bio-musical about Gloria Estefan the new Mamma Mia? While hardly perfect, that sense of innocent pleasure continues for the entire first act, which ends inevitably with the cast performing her breakout hit “Conga” as they wind their way through the audience. Unfortunately, there’s also an act two.

The fun forward momentum created by director Jerry Mitchell and choreographer Sergio Trujillo grinds to a halt as we deal with the famed accident and surgery on her spine that meant Gloria Estefan might never walk again. Unfortunately, very minor squabbles with her husband and a more meaningful conflict with her mother simply don’t have the fun and excitement of watching the Miami Sound Machine discover its sound, find success and plug away until breaking out of the Latin market into worldwide fame. Sure, it’s wonderful that the love of her fans inspired Estefan; we just don’t need to see it acted out onstage. So the first act remains a tantalizing look at what might have been a far more satisfying musical.

That beginning is very strong. After a clever prologue, we see Little Gloria (a sweet, endearing Alexandria Suarez) doing her many chores, but always always singing. She can’t help it! Her daddy savors audio cassettes of her singing while serving in Vietnam and cherishes her voice even more while suffering from MS later in life. But Little Gloria is always butting her heads with her mother (a very good Andréa Burns), who sees singing as a waste of time. All too soon, Little Gloria is replaced by teenage Gloria (Ana Villafaña).

They live in South Florida and Gloria’s grandmother sees a young woman born to sing. A local band that is having success working the wedding/bar mitzvah/party circuit is making a name for itself and Consuelo (a winning Alma Cuervo) convinces Emilio Estefan (Josh Segarra) to come over, meet Gloria and maybe give her some advice about the music business. Emilio hears one song and knows he’s just seen the future. Before you know it, Gloria is rehearsing with the band, working on dance moves, learning to not hate the spotlight and writing songs.

Becoming a hit in the Latin market is no easy task. But it’s crossing over to the pop market that really fires up Emilio. His record label doesn’t want any songs in English, the radio stations don’t want to play them (the Latin stations say they’re too Anglo; the white stations say they’re too Latin) but by God Emilio believes in Gloria’s talent! It won’t be long before they have the world doing the conga and the act one finale is a clever combination of seeing the band work their magic at every two-bit venue imaginable (from weddings to a Shriner convention) before finally setting the world on fire.

While none of this is revelatory, it’s presented with genuine humor and a pleasingly innocent charm that’s winning. Villafaña is a winning presence and an absolute dead-ringer for Estefan’s voice. If you told me that she was actually lip-syncing to Estefan herself I’d believe you; it’s that similar. Segarra has a sleepily sexual charm and the chemistry between the two leads is genuine. However, he is absolutely no singer.

The cast is pleasingly a rainbow of Latino shades (Segarra is of Puerto Rican descent, for example, not Cuban like Emilio) so while Hispanic and Latino audiences will note actors who don’t “fit” their roles, it doesn’t matter. And the fact that Segarra really can’t sing doesn’t matter in the first act. He only has one obligatory number and chimes in on another. Unfortunately, in the second act with Gloria incapacitated, Emilio is front and center vocally. Suddenly, casting the charming Segarra becomes indefensible when he takes the lead or sings a portion of three or four more songs. Dramatically, he’s great. But this is a musical and it’s a mortal blow to have one of the two leads not up to the demands of the role.

That’s just one more reason the relatively boring and Lifetime movie of the week nature of act two is such a bad call. (Book writer Alexander Dinelaris is very nimble and strikes the right tone in the first act.) Quite simply, the entire show takes place in act one, which should have been expanded. The Little Gloria scenes are charming and frankly over too soon. Another scene or two where we saw her weighed down by responsibility and finding refuge in song would have been very welcome. A flashback to Cuba is very effective and another moment or two would bring the heartbreak of her mother’s dreams being dashed even more into focus. The fun of breaking out in the Latin market and then wanting more (even though they risked it all by doing so) was plenty of drama to build on. “Conga” shouldn’t have been the climax of act one. It should have been the climax of the show.

The scenic design by David Rockwell is fine but not his strongest visually, though very effective in incorporating many different locations and switches from front stage to back and the like. The costumes by ESosa are a slam-dunk and don’t disappoint. Ditto the lighting of Kenneth Posner. Trujillo’s choreography is appropriately working class in its idiom and delivered with panache by a very hard-working cast. Mitchell’s direction is energetic, from the jolting opener with a live band onstage to the friendly, megamix finale where seemingly every member of the cast takes a turn on the mike just to prove they all have a better voice than Segarra (he actually raps at this moment, a wise choice). All they needed was a ruthless editor. Sometimes an album of 17 songs isn’t nearly as good as an album with just ten. Leave after the first act and you’ll recommend On Your Feet to undemanding theater-goers looking for some harmless fun. Stay for the whole show and you’ll probably go home to buy Estefan’s greatest hits (or stream them, I guess). But recommend the musical? Probably not.

THEATER OF 2015

Honeymoon In Vegas **
The Woodsman ***
Constellations ** 1/2
Taylor Mac’s A 24 Decade History Of Popular Music 1930s-1950s ** 1/2
Let The Right One In **
Da no rating
A Month In The Country ** 1/2
Parade in Concert at Lincoln Center ** 1/2
Hamilton at the Public ***
The World Of Extreme Happiness ** 1/2
Broadway By The Year 1915-1940 **
Verite * 1/2
Fabulous! *
The Mystery Of Love & Sex **
An Octoroon at Polonsky Shakespeare Center *** 1/2
Fish In The Dark *
The Audience ***
Josephine And I ***
Posterity * 1/2
The Hunchback Of Notre Dame **
Lonesome Traveler **
On The Twentieth Century ***
Radio City Music Hall’s New York Spring Spectacular ** 1/2
The Heidi Chronicles *
The Tallest Tree In The Forest * 1/2
Broadway By The Year: 1941-1965 ***
Twelfth Night by Bedlam ***
What You Will by Bedlam *** 1/2
Wolf Hall Parts I and II ** 1/2
Skylight ***
Nellie McKay at 54 Below ***
Ludic Proxy ** 1/2
It Shoulda Been You **
Finding Neverland ** 1/2
Hamlet w Peter Sarsgaard at CSC no stars
The King And I ***
Marilyn Maye — Her Way: A Tribute To Frank Sinatra at 54 Below ***
Gigi * 1/2
An American In Paris ** 1/2
Doctor Zhivago no stars
Fun Home **
Living On Love * 1/2
Early Shaker Spirituals: A Record Album Interpretation ***
Airline Highway * 1/2
The Two Gentlemen Of Verona (Fiasco Theatre) ***
The Visit (w Chita Rivera) ** 1/2
The Sound And The Fury (ERS) **
Broadway By The Year: 1966-1990 ***
The Spoils * 1/2
Ever After (at Papermill) **
Heisenberg *** 1/2
An Act Of God **
The National High School Musical Theatre Awards ***
Amazing Grace *
The Absolute Brightness Of Leonard Pelkey ** 1/2
Cymbeline (Shakespeare in the Park w Rabe and Linklater) ***
Hamilton *** 1/2
The Christians ***
A Midsummer Night’s Dream (Pearl Theatre Company) ** 1/2
Spring Awakening (w Deaf Theatre West) *** 1/2
Daddy Long Legs **
Reread Another **
Fool For Love (w Nina Arianda and Sam Rockwell) ** 1/2
Barbecue (at Public) **
Old Times (w Clive Owen) **
The Bandstand ***
The Gin Game **
Rothschild & Sons ** 1/2
The Inn At Lake Devine **
First Daughter Suite ** 1/2
The Humans *** 1/2
Sylvia **
Dames At Sea ** 1/2
Ripcord **
Hir **
Thérèse Raquin *
King Charles III *** 1/2
Henry IV (Harriet Walter at St. Ann’s) ***
On Your Feet **

_____________

Thanks for reading. Michael Giltz is the founder and CEO of the forthcoming website BookFilter, a book lover’s best friend. Trying to decide what to read next? Head to BookFilter! Need a smart and easy gift? Head to BookFilter? Wondering what new titles came out this week in your favorite categories, like cookbooks and mystery and more? Head to BookFilter! It’s a website that lets you browse for books online the way you do in a physical bookstore, provides comprehensive info on new releases every week in every category and offers passionate personal recommendations every step of the way. It’s like a fall book preview or holiday gift guide — but every week in every category. He’s also the cohost of Showbiz Sandbox, a weekly pop culture podcast that reveals the industry take on entertainment news of the day and features top journalists and opinion makers as guests. It’s available for free on iTunes. Visit Michael Giltz at his website and his daily blog. Download his podcast of celebrity interviews and his radio show, also called Popsurfing and also available for free on iTunes.

Note: Michael Giltz is provided with free tickets to shows with the understanding that he will be writing a review. All productions are in New York City unless otherwise indicated.

— 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!

Hot Tip Alert!

Click here for more.

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Theater: Solid Sam Shepard, Half-Baked “Barbecue” And Muddled “Old Times”

FOOL FOR LOVE ** 1/2 out of ****
BARBECUE ** 1/2 out of ****
OLD TIMES ** out of ****

FOOL FOR LOVE ** 1/2 out of ****
MANHATTAN THEATRE CLUB AT SAMUEL J. FRIEDMAN THEATRE

I’ve spent my entire adult life watching the stock of playwright Sam Shepard fall. He was at his peak in the 1980s, with that iconic trade paperback of seven plays sporting his handsome mug on the cover.

2015-10-10-1444450776-3565548-SamShepard.jpg

That compilation was just a blip on the radar for Shepard. He starred in the landmark film Days of Heaven in 1978. He won the Pulitzer Prize for his play Buried Child in 1979. He received an Oscar nomination for his great work in 1983’s The Right Stuff, a masterpiece by any measure. He co-wrote the Palme d’Or winner Paris, Texas in 1984, the same year that collection of plays became a fixture in bookstores around the world. No wonder he made the cover of Newsweek in 1986.

The plays kept coming: about one every three years since Seven Plays was published 31 years ago. But cruelly for someone so acclaimed and clearly devoted to his craft, they haven’t become part of the repertory yet, not really. Buried Child played Broadway for two months in 1996. A praised revival of arguably his best play True West had a five month run in 2000 and received three Tony nominations. And now this revival of Fool For Love with Nina Arianda and Sam Rockwell. One play on Broadway in 1996, another in 2000 and now (finally) another in 2015. Shepard’s new work has been seen at various venues Off Broadway to little success.

What do I think of Shepard as a playwright? How would I know? I haven’t had a chance to see his best work performed by committed actors. (No wonder Signature devoted a season to Shepard back in 1996. For all their good work, it’s a pity they don’t continue that tradition.) So it’s a pleasure to see four excellent actors tackle 1983’s Fool For Love. And it’s a disappointment to say that on my first viewing, it feels like a flawed work that has not dated well.

The set-up is simple: May (Arianda) is slumped over, sitting on the edge of a bed in a dumpy hotel room. The cowboy Eddie (Rockwell) is in a corner, taking a break from what is clearly an exhausting battle of wills. Off to the side (In the room? Outside? Metaphorically watching from above?) is an Old Man (Gordon Joseph Weiss). At first May clings to Eddie, then she pushes him away. She claws at him; he threatens her. She orders him to go then begs him to stay. He insists on leaving and then remains. The Old Man watches.

They’re fools for love, obviously, and it’s fun to watch. The tension is real (along with the humor) as we try and figure out who is toying with whom and whether they belong together and if being together will mean more battling or actual, genuine happiness. It feels meaty and real and while hardly revelatory is certainly satisfying, thanks to talent like Rockwell (sneakily charming as always) and Arianda (who is thoroughly at home and not flashy for a single moment despite the acclaim of recent years that might have sent anyone less grounded flying off into space).

Eddie has blown back into town and wants to — maybe — take May away with him. More tension arises for this on-again off-again couple with the arrival of May’s date for the evening, a hapless local fellow (Tom Pelphrey) who just wants to take her out to a movie. Instead he becomes trapped in their game of truth-telling about what is really tearing them apart. Director Daniel Aukin has molded the cast into an excellent ensemble: his two leads are marvelous; Weiss is spot-on and Pelphrey was for me a revelation, wonderfully funny and dim-witted while holding his own onstage with two powerhouses, all with a minimum of dialogue. The tech elements were also strong, though I could have done without two visual and sonic flourishes (once at the beginning and once at the climax) that called too much attention to themselves.

But the play? It revolves around the revelation that this couple is related. They fooled around in high school only to discover that Eddie’s father knocked up May’s mother. Once upon a time, such was the stuff of Greek tragedy. Today it fails to shock (What? No gender confusion?). And once that twist was made clear, the play became less and less compelling. Perhaps I was too quick to credit this production. Certainly in retrospect I didn’t sense the seeds of despair that should be driving it. Eddie’s violence didn’t seem the frustrated violence of one unexpectedly in love with his half-sister, just your run-of-the-mill violence. May’s fickle attitude towards Eddie seemed powered only by his wandering attention, not by the turmoil of a love that dare not speak — or even think — its name.

And where in all this naturalistic fatalism does the rather fantastic off-stage character of The Countess fit in? A nutty rich woman who shoots up hotel rooms and sets fire to trucks hardly squares with a simmering tale aspiring to Sophoclean despair. I felt confusion over the big outburst of the Old Man and just a sense of anti-climax when Eddie and May kiss ferociously at the end. Since they already kissed earlier, the tension for a physical release was already dissipated. Sure, the first time we didn’t know they were siblings, but what might have felt transgressive and powerful at the finale had already been undermined by the play itself.

Shepard is a terrific actor, an admirable artist and devoted to theater. I want to be a fool for his work — I have ever since buying that collection back in college with student loan money I should have saved for food. I just wish I had more chances to judge his work where it belongs: on stage. Surely this showcase for four actors (and True West, which was catnip for the late Philip Seymour Hoffman and John C. Reilly) is proof he’s worthy of more attention. It may reveal flaws but that’s better than not being seen at all.

BARBECUE ** 1/2 out of ****
PUBLIC THEATER

Everyone’s faith in playwright Robert O’Hara is thoroughly justified. He’s whip-smart, funny, provocative and has a gift for entertaining. (I’ll take entertaining over deep thoughts any day.) I didn’t go over the moon like some with Booty Candy, but that often hilarious look at growing up gay was bursting with inventiveness, to say the least. Barbecue may be a little more flawed but it confirms O’Hara as a playwright you don’t want to miss. It seems only a matter of time before he hits one out of the park.

A park, actually is the setting for his new play Barbecue. A family is gathered not to grill some meat but to confront one of their siblings, the out of control Barbara. Calling Barbara out of control is really saying something since all the other adults in this family boast a roll call of addictions and pathologies: alcohol, marijuana, meth (maybe), pills (certainly), busted relationships and dead-end jobs are all on the menu.

Barbara may not be quite ready for an intervention. Will she really cotton to the idea of heading to Alaska for yoga and group therapy? But if she gets out of hand — a distinct possibility since razors-hidden-in-the-mouth is one ploy they worry about — well, they’ve always got the rope, duct tape and Taser to fall back on.

So there you have it. A flawed play with a strong first act, a sputtering second act, a good cast and solid tech elements (especially the costumes by Paul Tazewell and the hair and wigs by Leah J. Loukas which work together in ways subtle and clever to keep it funny but real). O’Hara tosses a lot of plates in the air and — while many of them crash — it’s invigorating to watch. Barbecue employs some big switches (just like Fool For Love, which has a big reveal as well). As in Shepard’s play, the Big Reveal is not terribly interesting and makes what came before it less interesting in retrospect. Meta playfulness is irresistible for a playwright with an unbridled imagination. But the discipline of rules and genre and structure (rather than always tearing that structure down) can be just what is needed to give that imagination focus. Here’s hoping O’Hara works to use his distinctive voice in a context less freewheeling just to see what happens. I can’t recommend Barbecue as strongly as Booty Candy. But if you’re in New York City and a regular theater goer, O’Hara is clearly a talent you want to watch develop. By all means go.

SPOILER ALERT SPOILER ALERT SPOILER ALERT SPOILER ALERT SPOILER ALERT SPOILER ALERT SPOILER ALERT SPOILER ALERT

Why are you still reading? I said spoiler alert! If you have any ability to see the play, walk away please. But Barbecue and its flaws are impossible to discuss without spoiling the multiple tricks that O’Hara plays with us. Literally impossible. So the first half of my review is for anyone who might go see it. Now for posterity, let’s actually discuss the damn thing. Truly, it’s no fun to even KNOW there’s a spoiler much less dissect it. But what can one do? Not talk about the new play by a clearly bursting at the seams talent like O’Hara? So you’ve been amply warned.

The first big reveal is an absolute corker. The family — led by the redoubtable Becky Ann Baker of Freaks & Geeks — has discussed all possibilities while they wait nervously for Barbara. A violent, hilarious peak is reached when the lights go to black, the show pauses very briefly and then the lights come up and the action begins again…but the entire white cast has been replaced by black actors clearly playing the same characters in the same scene. It’s head-spinning, unexpected and marvelously effective in super-charging the action.

The rest of the first act continues this by transitioning back and forth several times between the two sets of actors. A play about white trash has now become a play about black people held down economically. Or is it that a play that didn’t seem to be about race now really is about race? Or maybe it’s not race but class that we’re dealing with? And why am I laughing more with the ensemble of black actors? You immediately question your own prejudices. Am I trained to be embarrassed or less amused by white trash since they reflect poorly on me, a white man? Or am I seductively encouraged to laugh at black folk as a subtle form of racism that reinforces racial stereotypes perpetuated by white society?

Naturally, I decided I wasn’t racist (no one ever decides they are racist, do they?) and that the black cast was in fact stronger across the board. However, I was also aware of a heightened reality present when the black cast was performing. Their roles and jokes were broader and bigger — it was meant to be funnier. I think. Or I’m just a jerk. This was a rich vein O’Hara had opened and it was fully worth exploring for an entire play. Unfortunately…

SPOILER ALERT SPOILER ALERT SPOILER ALERT SPOILER ALERT SPOILER ALERT SPOILER ALERT SPOILER ALERT SPOILER ALERT

Okay, there’s another Big Reveal. In truth, a great work should be able to survive knowing about the “twist.” You can enjoy and appreciate it even if you know something the original audience didn’t. (It’s a sled.) Still, it’s certainly more fun not knowing, if possible. So if you’re in NYC and might go to the show and kept reading past the first Spoiler Alert, for heaven’s sake, stop now! On the other hand, you’ll find out why the play that started out so strongly became so muddled.

After the switching between casts, act one climaxed with yet another switch. As the black cast was on stage, suddenly Barbara (Tamberla Perry) shouted out “Cut!” and the stage was swarmed by cameramen and sound guys and PAs and all the other folk on a film crew. The audience, already blindsided by the brilliant ploy of swapping out casts, exploded in mirth. So this is being filmed? I assumed it was reality TV we’d be spoofing, but in fact act two revealed that we were watching the actual events of an intervention (later made famous by Barbara’s best-selling triumph-over-addiction memoir) interspersed with a cast of black actors filming it for a movie.

Act Two goes way, way down hill as we jump back a little and watch a world famous Whitney Houston-type singer and actress (played by Perry) meet with the “real” Barbara (Samantha Soule) in that same park. The self-absorbed diva is searching for authentic details and deciding whether to make the movie we’ve watched her film throughout act one. The energy and inventiveness disappears and the play slowly loses steam as it plods to a close.

Perry’s diva is a boring stereotype that also makes no sense: she’s from the ghetto but puts on a fake British accent? When authenticity is the coin of the realm in the pop world and not one she’d run from? We’re supposed to seesaw back and forth as we watch these two women search for power over the other. The movie star blathers on and occasionally reveals how little Barbara means to her. Revelations pile up, each one less meaningful and interesting than the last: the memoir is faked, the diva is an addict, one or both of them is a lesbian and so on.

While act one juxtaposed “real” people with cinematic portrayals that were exaggerated, in act two all we get are “real” people who seem a lot more fake than everyone in act one. Potentially the most powerful scene — when the diva demands the clean Barbara do some crystal meth — becomes a throw-away moment when clearly it should have been the manipulative pivot of the entire act. How far will a diva go to demonstrate power or gain an Oscar worthy project? How far will a recovering addict go to cash in? And does dignity even come into the equation? Everything here is less interesting, including the performances of the two women since their characters become more cardboard by the second.

It’s very confusing. On the one hand, O’Hara clearly has a fertile imagination. On the other hand, he had an absolutely brilliant concept — switching between an all black and all white cast — that was plenty for an entire play. It should have been the sole “trick” in the show, one that was worthy of exploring deeply and imaginatively. I feel almost cheated that this clever and potentially penetrating gambit was squandered. On the other (other?) hand, he came up with that idea, didn’t he?

OLD TIMES ** out of ****
ROUNDABOUT THEATRE COMPANY AT AMERICAN AIRLINES THEATRE

The soufflé did not rise. Truly, what else can one say about a production of Harold Pinter that doesn’t work? One can see a decent production of Oscar Wilde or Horton Foote, a good performance here and there and all of it…okay, But Pinter (and Brecht and that ilk)? Their work is so ambiguous and off kilter that either it clicks or it doesn’t. This one most assuredly doesn’t. That isn’t to say your experience at Pinter is either euphoric or nightmarish. Far from it. The three actors are to varying degrees solid, the production is certainly enjoyably risk-taking (at least visually) and unlike some truly off the rails productions that flop entirely, it’s hardly an endurance test. But does it rise? Does it breathe? Sadly, no.

This is the first time I’ve seen Pinter’s Old Times so I have nothing to compare it to, no way to know what power plays and intriguing shifts in balance can take place when it’s done well. Deely (Clive Owen) and Kate (Kelly Reilly) are at home. I use the term “home” loosely, since the set by Christine Jones depicts a striking vortex looming over them at all times while a giant slab of ice is a stand-in for a door or perhaps a window. A tad abstract, but hardly out of place for the oft-surreal Pinter. They banter about a dinner guest soon to arrive. Anna (Eve Best) is an old friend of Kate, though Kate clarifies by saying Anna was and is her only friend. She has no other friends, not really.

Typically for Pinter, they are fencing with words. Anna arrives and a sexy, provocative presence she is indeed. Anna and Deely seem to be battling each other for supremacy; they’re trying to prove which one of them is more important, more crucial to Kate (or at least the person Kate has become)? Inevitably, the somewhat passive Kate will make her own move for domination before all is said and done.

Reilly is the least satisfying here and Best the most. Owen is very solidly in the middle, proving himself a strong and promising stage presence, fully at home and ready to play. One must point the finger at director Douglas Hodge. Whatever music is to be found in this Pinter play remains unheard. Whatever drama, mostly unseen. Whatever sense the scenic design and the vaguely period costumes of Constance Hoffman might have made unexplained. Whatever impact the modest visual and sonic pow of key moments delivered by Thom Yorke (music), Japhy Weideman (lighting) and sound (Clive Goodwin) unfelt.

I really have no idea what Pinter is up to in this play. But I’m certain Hodge and his team haven’t figured it out either.

THEATER OF 2015

Honeymoon In Vegas **
The Woodsman ***
Constellations ** 1/2
Taylor Mac’s A 24 Decade History Of Popular Music 1930s-1950s ** 1/2
Let The Right One In **
Da no rating
A Month In The Country ** 1/2
Parade in Concert at Lincoln Center ** 1/2
Hamilton at the Public ***
The World Of Extreme Happiness ** 1/2
Broadway By The Year 1915-1940 **
Verite * 1/2
Fabulous! *
The Mystery Of Love & Sex **
An Octoroon at Polonsky Shakespeare Center *** 1/2
Fish In The Dark *
The Audience ***
Josephine And I ***
Posterity * 1/2
The Hunchback Of Notre Dame **
Lonesome Traveler **
On The Twentieth Century ***
Radio City Music Hall’s New York Spring Spectacular ** 1/2
The Heidi Chronicles *
The Tallest Tree In The Forest * 1/2
Broadway By The Year: 1941-1965 ***
Twelfth Night by Bedlam ***
What You Will by Bedlam *** 1/2
Wolf Hall Parts I and II ** 1/2
Skylight ***
Nellie McKay at 54 Below ***
Ludic Proxy ** 1/2
It Shoulda Been You **
Finding Neverland ** 1/2
Hamlet w Peter Sarsgaard at CSC no stars
The King And I ***
Marilyn Maye — Her Way: A Tribute To Frank Sinatra at 54 Below ***
Gigi * 1/2
An American In Paris ** 1/2
Doctor Zhivago no stars
Fun Home **
Living On Love * 1/2
Early Shaker Spirituals: A Record Album Interpretation ***
Airline Highway * 1/2
The Two Gentlemen Of Verona (Fiasco Theatre) ***
The Visit (w Chita Rivera) ** 1/2
The Sound And The Fury (ERS) **
Broadway By The Year: 1966-1990 ***
The Spoils * 1/2
Ever After (at Papermill) **
Heisenberg *** 1/2
An Act Of God **
The National High School Musical Theatre Awards ***
Amazing Grace *
The Absolute Brightness Of Leonard Pelkey ** 1/2
Cymbeline (Shakespeare in the Park w Rabe and Linklater) ***
Hamilton *** 1/2
The Christians ***
A Midsummer Night’s Dream (Pearl Theatre Company) ** 1/2
Spring Awakening (w Deaf Theatre West) *** 1/2
Daddy Long Legs **
Reread Another **
Fool For Love (w Nina Arianda and Sam Rockwell) ** 1/2
Barbecue (at Public) **
Old Times (w Clive Owen) **

_____________

Thanks for reading. Michael Giltz is the founder and CEO of the forthcoming website BookFilter, a book lover’s best friend. Trying to decide what to read next? Head to BookFilter! Need a smart and easy gift? Head to BookFilter? Wondering what new titles came out this week in your favorite categories, like cookbooks and mystery and more? Head to BookFilter! It’s a website that lets you browse for books online the way you do in a physical bookstore, provides comprehensive info on new releases every week in every category and offers passionate personal recommendations every step of the way. It’s like a fall book preview or holiday gift guide — but every week in every category. He’s also the cohost of Showbiz Sandbox, a weekly pop culture podcast that reveals the industry take on entertainment news of the day and features top journalists and opinion makers as guests. It’s available for free on iTunes. Visit Michael Giltz at his website and his daily blog. Download his podcast of celebrity interviews and his radio show, also called Popsurfing and also available for free on iTunes.

Note: Michael Giltz is provided with free tickets to shows with the understanding that he will be writing a review. All productions are in New York City unless otherwise indicated.

— 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!

Hot Tip Alert!

Click here for more.

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Venus Lux Breaks In The Newbie On Her Solid Cock

Javier LoveTongue thinks he’s auditioning for Divine Bitches, but Venus Lux has other ideas. She blindfolds the newbie and mocks him, taking advantage of his eager naivete. She demands that he worship her gorgeous body, from her beautiful feet to her luscious ass and rigid cock, then she lays him out and fucks him hard for his attentiveness. As a reward for pleasing her, Venus tops him off with an explosive creampie, sliding her solid, dripping cock back inside him to finish the job. Welcome to TS Seduction, Javier.
TS Seduction Gallery Update

Metal Gear Solid V: The Phantom Pain Spoilercast

gt_youtube_thumb_mgsvtpp_spoilercast-gt

We just couldn’t wait any longer — It’s time to break down the highs, lows and everything in between for the pivotal chapter of the Metal Gear Solid series. If you’re afraid of Phantom Pain spoilers… This is not the place for you right now.
GameTrailers.com Videos Hub

Chris Brown — Do Me a Solid, Judge … Make My Baby Mama Shut Up!

Chris Brown wants the courts to do his dirty work — as in, force baby mama Nia Guzman to quit bad mouthing him and talking about his fathering skills, or lack thereof, in public. Chris and Nia are heading into court Friday morning to start hammering out…

Permalink

TMZ Celebrity News for Music


Metal Gear Solid V: The Phantom Pain Ten Essential Tips for The Phantom Pain

Metal Gear Solid V The Phantom Pain - Ten Essential Tips - Thumb

After spending dozens of hours in the Phantom Pain, we reveal some crucial advice on how to make the most of your time.
GameTrailers.com Videos Hub

Metal Gear Solid V: The Phantom Pain Launch Trailer

gt_youtube_thumb_mgsvtpp_launch

A new trailer stirs some Metal Gear Solid emotions as The Phantom Pain nears release.
GameTrailers.com Videos Hub

Metal Gear Solid V: The Phantom Pain Metal Gear Explained in 12 Minutes

Metal Gear Explained in 12 Minutes - Thumb

To get you properly prepped for MGS V, Michael Huber recounts the entire chronology of the Metal Gear franchise.
GameTrailers.com Videos Hub

Metal Gear Solid V: The Phantom Pain gamescom 2015: Full Mother Base Demo

gt_youtube_thumb_mgs5tpp_gc15_motherbasedemo

A hefty tour of Mother Base probably gives you a ton of useful and awesome information, but I’m not watching it because media blackout. You have fun though.
GameTrailers.com Videos Hub

Metal Gear Solid V: The Phantom Pain gamescom 2015: Full Trailer

gt_massive-thumb_mgs5tpp_gc15_fulltrlr

As we near the release of The Phantom Pain, here’s another epic trailer to whet your appetite, assuming you’re not on media blackout.
GameTrailers.com Videos Hub

Metal Gear Solid V: The Phantom Pain Eyes of the Fox: E3 2015 Recap

gt_massive-thumb_mgsv_e3-15_fanresponse

In the first of the “Eyes of the Fox” series, Konami recaps the fan response from E3 2015.
GameTrailers.com Videos Hub

Solid (feat. Kevin Gates) – Single – Trae tha Truth


Solid (feat. Kevin Gates) – Single
Trae tha Truth

Release Date:
June 17, 2015
Total Songs:
1

Genre:
Hip-Hop/Rap

Price:
$ 1.29

Copyright
℗ 2015 ABN / EMPIRE


iTunes 100 New Releases

Music Review: Third Eye Blind is back with solid ‘Dopamine’

Third Eye Blind, “Dopamine” (Mega Collider)
Music News Headlines – Yahoo News

Solid Gold Hits – Beastie Boys

Beastie Boys - Solid Gold Hits  artwork

Solid Gold Hits

Beastie Boys

Genre: Hip-Hop/Rap

Price: $ 7.99

Release Date: November 8, 2005

© ℗ This Compilation 2005 Capitol Records, Inc. and Beastie Boys. All rights reserved.

iTunes Store: Top Albums in Hip Hop/Rap

How To Build Up Rock Solid Game For Easy Seduction

Getting women consistently requires a certain skill set. Here’s how to quickly and easily get them.
Relationships:Dating Articles from EzineArticles.com