#i could go to the beyonce vocal academy but if i do not have the chops to sing like beyonce.....

[1eos]

saying taemin isn't a better singer than your fav when taemin was personally vocal coached by THEE KIM JONGHYUN now i need you to be very serious for a moment

so you're aware the only reason you are here in this moment trying to act like taemin is the best singer on earth simply bc he's in shinee and has access to ppl who sing better than him? that's interesting. that man not even the best singer in shinee PLS stop huffing that gasoline from sm!!!!! it's fucking up your brain cells remember you can only have the high road when it comes to dancing when its time to discuss VOCALS taemin can't even get A musical role let alone serve like this!!!!

[joesalw]

Olivia Rodrigo's shortlisted for an Oscar for Best Original Song. LFG!!! TS is gagging for that thing, imagine if she gets nominated and wins lol. The meltdown incoming. That girl could easily down the line go for an EGOT. She can make a documentary, host SNL or write a song for a TV series to win an Emmy and girlie pops has enough vocal and acting chops to star in a musical and go for a Tony. She's only gonna get better with time. I think Billie's gonna take it though. It would be the 2nd one for her. And Taylor's probably gonna go ahead and try to campaign her tour DVD for the Best Documentary next year (the eligibility period for this year ended on Oct. 2 and it also doesn't fall into eligibility rules).

The Special Rules Section, Part B, states: “Works that are essentially promotional or instructional are not eligible, nor are works that are essentially unfiltered records of performances.” -Variety

Wouldn't be surprised if the Academy caves in and changes current guidelines so the ratings go up. If they do, Beyonce's film also becomes eligible. I'm no Beyonce fan but I've seen both hers and Taylor's films and let me tell you, if there would be only 2 options to pick a winner, I'd blindly go for Beyonce's. The performance level is better, the cinematography and editing were better, sound was better, visual effects and lighting were better, styling was better, there was behind the scenes footage and a new song during the end credits. Taylor's film looked like it was done last minute and edited in a hurry on your mum's old laptop. No offense, babes but it wasn't your best work.

Ugh, the lady is so desperate for an EGOT that it's funny. You're no Viola Davis, JHud, Barbra, Liza Minelli, Rita Moreno, Helen Hayes or Audrey Hepburn. Those women are/were TALENTED. Well, Viola, Audrey and Helen Hayes don't/didn't sing but they won for spoken word aka voice acting. The only way for her to win a Tony would be writing a musical or a play. But to do that you have to have multiple writing tropes for more than 1 perspective. Her short film dialogues were trash, let's be real. I wonder what's gonna happen with her directorial Searchlight project. Sure, it'll make lots of money if we even see the day of its release but I doubt she'll be considered for any awards for that. The only options that'll happen are a. to get the ratings up b. for shits and giggles. The only theatrics she can pull off are her childish tantrums in the media and shocked expressions at award shows/TK's throwball games. And even for that she has to have some liquid courage in her system otherwise she's as bland and pasty as they come. Poor thing, even with all that money and fame she still has no rizz.

Anyway, 2024 is new gen's pop girls' year and you can't convince me otherwise. Dua and Billie have new albums coming, Olivia's going on tour, Tyla's on the rise. Hoping for the OR sweep at the Grammys as well. LFG!

p.s Dr. Bridgit Mendler's the main Disney girl

.

[blush-and-books]

🥳🎉 Congrats on 1.5k followers!!!🎉🥳

My four word prompt for you is

One: famous au

Two: fluff

Three: meeting

Four: autographs

And anything you come up with will be amazing 💕💕ily

once again i got carried away. but who is surprised??? this was so much fun!!!

Luke Patterson was excited to be at the Grammys for many, many reasons -- but only part of it (a big part) was because Sunset Curve was nominated.

Best Rock Album, Record of the Year, and Best Rock Performance were their three nominations for their third album, Demo Tapes, and specifically their singles Now Or Never (rock performance) and Unsaid Emily (record of the year). It was all that the boys had been working towards, seeing as this was their first time around after a near revolt towards the academy last year for snubbing their sophomore, self-titled album. The four of them were beaming with excitement in their custom suits -- God, custom, as uppity as it was, Luke couldn’t deny he looked hot. 

However, besides the fact that the four boys were rocking their suits and were going to be honored to perform Now Or Never on the same stage that their inspirations had done decades before -- Luke couldn’t help the bubbling in his stomach that he might run into Julie Molina on the red carpet. 

Yes, the Julie Molina. 

After revealing during a round of Spill Your Guts or Fill Your Guts on the Late-Late Show that Julie was Luke’s raging celebrity crush, and she exposed the same truth about him while playing Plead The Fifth on Watch What Happens Live, Luke had been itching to meet her in person. 

Both of them seemed to be on the other sides of the country -- hell, even the world -- at different times, from running the talk show circuit to world touring. He knew they were both from LA, but it never felt like they were home at the same time. 

Tonight, she was nominated for Best Pop Vocal Album, Best Pop Vocal Performance, and yes; Record of the Year, too. And this was only for her sophomore album, Wake Up, and her leading single of the same name. The single had debuted at #1 on the charts and knocked Now Or Never to #3 (it was competing with All Eyes On Me, by Dirty Candi), while the album had been switching with Demo Tapes on the charts for the last month. 

He was honestly hoping that they would get the chance to communicate, or even collab, at some point -- as many avid fans online were urging -- because he was pretty sure she was one of the most talented songwriters in the next generation of the music industry.

He thought they could make each other even better. 

His plan was honestly to try and track her down on the red carpet, and if that didn’t work, he would find her in the auditorium. She would probably be in the front row next to Adele or Beyonce anyways, seeing as how she was (as deserved) America’s Darling. 

“Dude,” Alex elbows him in the gut and gestures to the line of paparazzi and reporters with flashing cameras in microphones. “Stop staring into space and smile. And walk us on, lead guitarist.”

The nickname is said with spite and a smirk, but Luke is overall grateful that Alex centered him in the moment once again and got him to quit looking for Julie. 

She probably wasn’t even there yet, so he shouldn’t worry about it. 

(Even though he’s definitely been fantasizing about how stunning she’ll look tonight.)

Him and the boys walk up to a few reporters to hyperactively answer a few questions while finding time in between to pause for photos of all of them together, and some individual shots. They are in the middle of being ushered down the red carpet when he hears it:

“Julie! Julie Molina! Come here darling, I would love to talk to you!”

There are a few people in between them, but she’s there -- in a stunning, bright purple dress covered in sparkles and small diamonds. Her curls are flawlessly pulled back but still twirling down behind her head, and to be blunt -- she takes his breath away, even though he can’t see her clearly. 

“Luke! Luke!” A photographer is calling out to him, so he is sure to face back and sling his left arm around Reggie as the band poses for a few more group shots. Once again, a technician is guiding them to walk right to proceed along the carpet, and Luke catches that Julie is still being interviewed. 

He doesn’t realize he’s staring when a reporter, the same reporter that’s interviewing Julie, is calling him over. 

And Julie is still standing there, visibly blushing under layers of makeup and sending him a sheepish, apologetic smile. 

Without hesitation, he jogs over, and hugs the reporter. 

“Hi, Grace! It’s good to see you!”

“Luke Patterson, you are the talk of the night -- besides my other guest, Miss Julie Molina, of course.” Grace gestures to both of them, and Luke sees that Julie is still avoiding her eyes, and even though they are currently broadcast on national television he just wants to talk to her. 

“Yes, of course, I’ve been looking forward to getting to officially meet her all night.”

Julie’s head whips to the left to look at him -- he meets her eyes with his classic, joyous Luke Patterson grin. When she reflects it, he feels like the final nail has been hammered into his coffin. 

“No, you have not!” She slaps his arm playfully. “I should have known you’d be a flirt when I met you.”

“So what you’re saying is… You’ve thought about meeting me too?”

Their moment is interrupted by the reporter. “Wait, you two haven’t met before? That’s impossible!”

“And incredibly disappointing,” Luke jumps in. “All of our fans keep asking us to meet but we’ve been touring at the same times, and the timing’s just never been right.”

“I just told Marie Claire last week that Lu- Sunset Curve, sorry, was my dream collab for the future. Our sounds could blend so well!”

Luke’s heart just about shoots out of his chest, so he tries to control himself by biting his lip with a smile. The reporter doesn’t miss it. “Luke, you look happy about that!”

“I- I-” His stutter emerges, but he quickly swallows and changes directions. “It’s just really cool to hear that, we listen to Julie’s music all the time at home, and I have spent an unhealthy amount of time imagining a collaboration, so hearing she feels the same way tells me already that we would creatively blend really well.”

At his side, Julie beams at him. His cheeks hurt from smiling so much, and she’s giggling at his sweet words, and in the split moment that the reporter tries to regain their focus -- their hands brush together as they spin back to face Grace. 

In a bold move, Luke raises his fingers towards hers like they are magnets, and holds his breath while he waits for a reaction. 

He can finally breathe when her fingers link in his; her soft skin brushing along and sending sparks up his arm. 

“Well, I should let you guys go,” Grace says with a sigh, “but thank you both so much for taking the time! Can we expect a possible Julie Molina/Sunset Curve collab anytime soon?”

Surprisingly, Julie takes the lead on this one, her fingers tightening around his hand. 

“If it’s not the next song that I release, then somethings wrong and you guys will need to send help.”

You have a band, Luke tells himself, a band that you need to talk to about-

“I second that,” he finds himself saying with a squeeze to Julie’s hand. 

As the reporter hypes up their announcement while facing the camera, they start to walk away, and Luke realizes he has to rejoin the band on the carpet and not get to stand here and hold Julie’s hand and tell every reporter that he is holding Julie Molina’s hand! 

Julie turns to him. “See you in there?”

“See you in there,” Luke smirks, “I’ll be the one on my feet when you sing.”

“And I’ll be the one holding the Grammy.”

And with a wink, as Luke shakes his head with an awed grin, she makes her way back to the carpet.

--

As it turns out, they do find each other later. Shockingly, Julie asks the band for an autograph, because -- despite Luke’s teasing -- her little brother is apparently a huge fan.

She is the victor in the competition for Record of the Year, but Sunset Curve pulls away with two trophies from their other nominations, and Luke can’t find it in him to be anything but overjoyed for themselves and Julie -- especially as he watches her sing, captivate the entire audience, and get everyone on their feet at the end. 

In a burst of impulsiveness, she joins them in their van after the ceremony; but instead of going to an afterparty, they drive to the boys’ house on the beach and Luke finds himself curled up on the couch in his custom suit right next to Julie (who is almost on top of him), furiously writing down new songs and beginning their collaboration then and there. 

It turns out, they were wrong about one thing. 

The next song released by the two artists isn’t the collab -- the next album is. Julie and the Phantoms becomes their official collaboration project, and spirals into more of a hit than their individual groups. 

Twelve months later, they are back at the Grammys, and everything is the same -- only they are no longer competing. They are a team. And Luke couldn’t be happier about it; especially when he shows up on Julie’s arm.

@willexx @unsaid-emily  

[theteenagetrickster]

The First Roar: Will Beyonce's 'The Lion King: The Gift' Make History for Best Pop Vocal Album - Rated R&B

In an important career that spans over two-decades, the international icon possesses 23 prizes in her things. Having actually succeeded 3 awards as a member of Destiny's Little one and also one as The Carters with her hubby JAY Z, a number of Beyoncé's rightfully made statuaries were actually for her Hazardously in Affection launching album (46th Grammy Honors in 2004) and also her third album I Are Actually ... Sasha Tough (52nd Grammy Awards in 2010). At the latter ceremony, she produced history as the 1st woman to earn 6 Grammys in one night.

Along with four elections this year for her executive-produced album as well as the , Beyoncé prolongs her power as the very most nominated women artist in Grammy record.

While her a lot of musical payments have been considered (as well as have actually succeeded) in numerous sought after cd areas, including Album of the Year, Absolute Best Urban Contemporary, R&B, as well as Border Audio, she is noticeably absent in significant groups this year-- despite pair of suitable cds released in 2019.

Despite being actually locked out, Beyoncé may possess a go at ending up being the gold specification in the very best Stand out Singing Album type. This salute, a job initially for the artist in this album competition, is actually for the LP she determined a "."

That claimed, if she can easily squeeze by her stand out contemporaries (Taylor Swift, Ariana Grande, Billie Eilish, Ed Sheeran), this gain might identify her as the 1st Dark women single process to take this appreciated Grammy.

There are actually 2 startling concerns, though: Why is this Beyoncé's very first election within this group? And, why hasn't a Black female solo performer gained this award?

Effectively, the stand out cd type has simply been actually around for 26 years. It was offered as Absolute best Contemporary Album in 1968, with The Beatles prevailing for their Sgt. Pepper's Lonely Hearts Nightclub Band cd. A year later, the award was discontinued and also stayed the way for 27 years, prior to it was actually restored as Best Stand out Album in 1995. This tribute got its own current label improvement in 2001 at the 43rd Grammy Honors.

Over times, 12 white women solo performers have actually won this honor. Kelly Clarkson, a United States Idolizer champion, has obtained the best elections, with 5 total amount. She in addition to Adele are actually the best champions, with 2 triumphes each.

Among the principal factors Beyoncé as well as other females of colour aren't saluted as Greatest Pop Vocal Cd victors is due to the considerable distinction in the nominations ratio.

In the 26-year honor existence, besides Beyoncé, simply five other female Dark solo acts-- Mariah Carey (Musing, 1996), Toni Braxton (Secrets, 1997), Janet Jackson (All for You, 2002), Leona Lewis (Feeling, 2009), as well as Rihanna (Loud, 2012)-- have been nominated. On top of that, all have merely been recommended once, unlike their white versions that have actually usually observed two or even more nominations in this particular type.

This overall shortage of correct portrayal for females of colour is actually fairly perplexing taking into consideration a musician like Carey, who has been heavily an aspect of the modern pop industry with a lot of her work.

Take Musing, her fifth center cd as well as among the most critically-acclaimed releases of 1995. The cd scored her 6 elections at the 38th Grammy Awards in specific types, featuring Greatest Stand out Cd. Nonetheless, she was actually burglarized at creating this golden moment occur for females of colour after she shed to popular music legend Joni Mitchell.

She also left behind the event along with no prizes, inducing a lot of movie critics' untimely forecasts to drop standard to the Audio Institute's eyebrow-raising choice.

Carey's final pair of cds of the '90s (Butterfly, Rainbow) never ever had a possibility at succeeding this classification (or even for any kind of), as they weren't chosen, which is a lot more distressing snub. Even years later, the elusive chanteuse remains to have her physical bodies of work disregarded through the Audio Institute.

Why is Carey's 2018 Vigilance album her 4th disregarded release over the last 10 years? Is it the most effective Brand-new Artist jinx or even are our team missing out on one thing? However that is actually a much deeper conversation.

Unusually enough, Beyoncé has acquired the very same future in this race. What's various about her omission is actually that the product is typically miscategorized, and also sent to complete in the R&B area. was much even more pop-oriented, particularly the A-side that featured , to become nominated for Finest Contemporary R&B Cd.

If the splendid ballad "Halo" could succeed Ideal Female Pop Singing Performance, why is it a go for the cd to become nominated for Best Stand out Singing Album and really sway The Black Eyed Peas, Pink, and Kelly Clarkson?

Going past Dark women solo musicians, Dark solo acts in general have actually seldom been actually identified in this group. Tape, CeeLo Green, as well as Ray Charles, who gained the honor in 2005, support a total of 9 Dark musicians having their solo albums considered here. Nine.

What this cultural variety drought advises to customers as well as the songs industry is actually that Dark artists can easily generate well-liked music with industrial charm, but it just can't be actually identified anything however R&B.

The inquiry becomes, what are pop vocals? According to , pop is defined as "any type of popular music located on unforgettable tunes, repeated parts (often, but not constantly verses as well as choruses), as well as a precarious, to the point structure that keeps the listener's focus on those elements." The channel also stated that the music fine art type is actually affected by R&B and adult modern.

Just like Carey's Air castle album, Brandy's Never Point out Never Ever possesses sturdy grown-up modern components that may be stylized as pop-driven songs. The Vocal Holy bible's student LP was actually put in the Best R&B Cd category in 1999. What created this work a candidate for the last type? The stirring belting? Or even her microbraids?

This certainly not just takes place for Black female solo artists, yet to groups. Examine TLC, whose album battled for Absolute best R&B Cd in 2000. Their 1st top album on the Advertising board 200 perhaps might possess been actually challengers for Greatest Stand out Album against Backstreet and Ricky Martin, that each had chart-topping hits on the Warm one hundred and also other particular Billboard graphes that satisfied their industrial noises.

Tender Loving Care's encouraging favorite "Unpretty" won for Best Pop Functionality through a Duo or even Group with Vocals. Therefore, why not Fanmail in the pop cd classification? If effectively sent through LaFace as well as Arista Records as well as approval entry thoroughly examined by the Recording Academy, this substitute technique might possess offered Greatest R&B Cd opponents that year like Whitney Houston as well as Brian McKnight their greatest odds at an R&B win.

As mainstream lady musicians like Ariana Grande and Taylor Swift remain to bring in inroads on pop graphes along with their regular plunges in the different pond of styles, specifically R&B, the Recording Institute should definitely look at rebranding the very best Pop Voice Cd classification to its own initial name: Best Contemporary Album.

The audio of The Cougar King: The Present, which includes a lot of global music A-listers, is actually explained through Beyonce as a "sonic movie house." She noted that this selection of tunes is actually a "blend of styles as well as collaboration that isn't one sound. It is affected through everything from R&B, pop, hip-hop, and also Afrobeat."

Taking into consideration the soundscape of The Gift doesn't appear on one broad songs formula, an upgrade to the pop cd type's current title as well as explanation might give Beyoncé and also various other females of color the past due focus they truly are entitled to as primary interject this market.

By doing this, strolling the fine of pop and city audios is actually no more a tightrope when it pertains to them being actually chosen along with champions.

To determine if Beyoncé possesses good enough roar for The Cougar King: The Present to gain Finest Pop Voice Album, make certain to check out the 62nd Annual Grammy Awards, hosted through Alicia Keys, on Sunday, Jan. 26, 2020, at 8 p.m. EST/ 5 p.m. PST on CBS.

Perform you presume Beyoncé can hold back her fellow pop titians and also take home this Grammy on Sunday? Tweet Antwane at @ 9thwonderofPR.

This content was originally published here.

[dilettantereviews]

2016 Favorites

1) Rihanna- Anti

Before Anti, I thought the best thing Rihanna would put her name on was Reb’l Fleur, a perfume I tried out at Sears once (okay, her last three moments had fleeting moments of greatness that were undoubtedly the result of no quality control and rushing to get them out quickly). This campaign didn’t get any help at all from the bad pre album singles and the messy Diary whatever. I honestly thought Rihanna was just exhausted and wanted a break, explaining moments like making fun of a fan’s Rihanna inspired prom outfit in 2014 (I know it was a long time ago and a single incident but for me, that sticks out as especially messy). When this album came out, and I heard that Tidal was giving it away for free, I was confused, rolled my eyes, and downloaded it anyway. I was in shock by how much I liked the album when I listened to it on my commute the next morning. Although very little was immediate, you could tell there was way more focus and effort on this. Even months later, awkward duds that could’ve sink Loud or Unapologetic like Sex with Me have grown and become enjoyable. I think what makes this album work the most, without a doubt, is the variety. I didn’t have to swap it out at all at any point in the year. While most of the songs are either about relationships or professional growth, the genres are everywhere. Dancehall, dub, doo wop, acoustic, psychedelic, 80’s power ballads, regular ballads, and neo soul all are found throughout the album, even on the same song.

2) Kristin Kontrol- X Communicate

This is the best of the 80’s inspired indie albums post Emotion. She’s probably between Carly Rae Jepsen and Kitten on the “dance vs indie” scale (so maybe Tegan and Sara?). Sure, Kristin is a Sub Pop musician with a background in indie rock, but this solo album has all her pop influences shining through. I can listen to the album constantly without getting bored. Also, if you have a chance to see her, you should definitely go. I’m biased because I did see her (lol) but we met her after the show and talked and she’s so nice and cool. It was my first meet and greet (can you call it that if that’s the merch stand?) but she talked with us and was enthusiastic and helped count my change lol. The title track, Skin Shed, and White Street (aka the Tom’s Diner of our generation) are my personal favorites.

3) Jessy Lanza- Oh No

Electronic whisper queen. Reinvents her sound through minimal 80’s inspire arcade noise bops. It’s hard to describe all the songs individually but this time she skipped the ballads and downtempo for something with more of a pulse. The title track, sarcastic VV Violence, and It Means I Love You are my personal stand out tracks. 

4) Tinashe- Night Ride

My fall 2016 professional album. It chronicles her struggles at RCA throughout the making of Joyride with edgy, dark, electronic R&B. Lots of people say this but this is genuinely for her fans. Someone pointed this out on PopJustice, but the first track is named Lucid Dreaming, aka the process of learning how to control your dreams. This is a callback to her 2015 post Aquarius mixtape Amethyst, which started with a song called Dreams Are Real. This album consists of Tinashe coming to terms that combining artistic integrity and success will be more difficult than she initially imagined, through songs like C’est La Vie, Sunburn, Sacrifices, and You Don’t Know Me. She managed to find a home for all of the fake lead singles over the last year, like Party Favors, Ride of Your Life, and Company, but updated them to make it more relevant and at least serve us something a little more fresh (all the instant grat single people can learn from Tinashe). I even love High Speed Chase (she needs to make a full length version as a lead single for the next Teen Dystopian movie soundtrack. Maybe even Passengers?). There are still more (somber, electronic) bops like Spacetime and Touch Pass. This won’t be the album to end Tinashe’s commercial problems or get her into RCA’s priority promotion agenda, but at least fans are reassured that even after songs like an insipid Chris Brown duet, she can still make great music that stays true to herself.

5) Solange- A Seat at the Table

My taste in Solange was informed by others. I never knew she put music out until 2014, maybe, and I just assumed it wasn’t worth listening to so I never did. Last year, I really got into True, which she somewhat doesn’t like because Blood Orange overshadowed her during the creative process and has the flack of being her “hipster album” instead of the “real” Solange (okay, but if none of your albums are that similar and you take 4 year breaks in between each cycle, it’s too hard to notice a trend). I didn’t expect another album from her for a while and I was surprised when it came out. Obviously, it’s a little similar on its first listen, but each song has a lot of weight to it. Cranes in the Sky, a song about coping mechanisms, is the stand out single, but my personal favorites include Don’t Wish Me Well, a song with fuzzy guitars (are they guitars? I never was good in music class. I’m calling them guitars) that alludes to people who are unhappy with you growing and changing in your life (aka us Blood Orange hipsters), and Borderline, a song about taking time off for your own sanity. (Also, to avoid speaking over Solange, I’ll avoid what I’ve seen every reviewer do so far and not try to interpret the album’s racial message in my own way)

6) Garbage- Strange Little Birds

Strange Little Birds was true to its advertising of dark, creepy,and cinematic music. Besides Empty, nothing is a first time listen. Really, I think it was a smart strategy to have the most generic song as the lead single so people would be shocked by how it turned out to be. I don’t think their first album could happen today because of how expensive recording is and that style of production with heavy sampling and mixing everything possible being expensive/outdating, but this was basically an album full of more downtempo stuff (I guess more generic versions of Milk and Queer). Magnetized is probably the happiest song on the album. Night Drive Loneliness feels like a Halloween soundtrack song that lives up to its title. Teaching Little Fingers to Play, another random favorite of mine, can be used for any supernatural show that has a Wizard/Witch/Slayer academy. Sometimes feels like a lost film noir intro that becomes into a heartbeat noise.

7) Kilo Kish- Reflections in Real Time

Left wave alternative R&B. Reinvents herself from “basic” alt R&B (Locket is still iconic though) to spoken word minimalism. Her lyrics reflect a lot of existential, unique, and personal insights. Titles like “The Fears of a Dilettante”, “Existential Crisis Hour”, and “Age + Self Esteem: Fun House Mirror” let you know you’re in for a ride not unlike The Bell Jar. Hello, Lakisha is the only name song I’ve heard that isn’t gimmicky or celebratory.

8) Childish Gambino- Awaken, My Love!

I didn’t even know this album was dropping until I decided to listen to it while procrastinating for finals and I loved it. It sounds like it’s right out of the 70’s with Baby Boy, Zombies, and other songs. I never listened to Childish Gambino (The Community fandom was insufferable and it took me until early 2016 to stop rage scrolling any mention of Childish Gambino. It’s weird because I almost entirely forgot about this when I started watching Atlanta in September) before but this is a pastiche album that I’ll listen to for a while

9) Britney Spears- Glory

Just like Obama, Glory had the unfortunate placement of following an extremely mishandle mess and needing to bring it up to speed with its Scandinavian counterparts. Fortunately, Britney did everything short of reinventing herself as an IDM queen (although I still stan the fan made album Bare from last year) to deliver a solid album that takes risks. Is every song on it perfect? No, but there’s like 18 tracks from this era so you can have a solid 10-12 track album regardless of your tastes. Critics might say it’s a Justin and Julia by the numbers abum. Just like Revival, it has lots of vague tropical house and club bangers, but unlike Revival, Glory is aware of Britney’s vocals and don’t subject her (or us) to such humiliation. Just stay away from unaminous flops like Private Show, Clumsy, and What You Need and you’ll be set. Thanks to Karen Kwak for having more musical taste than Will.I.Am. 

10) Beyonce- Lemonade

Here’s a disclaimer, I went from being anti Beyonce’s stans to appreciating and recognizing her talent after her self titled. I like songs by her, but let’s put it this way. Lemonade isn’t on Spotify and I waited until December to rent it from my local library. I listened to it and it’s definitely the best performance of 2016, musically and visually. That being said, I don’t care for the ballads so it knocks the album down for me. Is it still great? Yes, the uptempos (and All Night and Love Drought) are all at least 8/10’s for me, so that’s still good. My favorite parts of her self titled are the experimental (**for Beyonce) moments. After 2 albums of ballads and midtempos, songs like No Angel, 7/11 and Haunted (does Partition count?) stood out to me as courageous and bold, and I’m glad you can see that in Six Inch, Sorry, Formation, and Don’t Hurt Yourself. I realize this is more of an “it’s okay I GUESS” review and I have it more here for fear of backlash but yeah. I’m sure Sorry and Don’t Hurt Yourself will supply my next FOMO induced rage, while Six Inch will sound great while I shovel.  

[world9x9]

  The Grammy Recording Academy have released the nomination list for the 62nd Grammy awards. The award which would be taking place on the 20th of January, 2020, has had several international superstars nominated including our dearest African Giant, Burna Boy, who made it to the World Music Album category. See full list below: Record of the Year “Hey, Ma” – Bon Iver.“Bad Guy” – Billie Eilish.“7 Rings” – Ariana Grande.“Hard Place” – H.E.R.“Talk” – Khalid.“Old Town Road” – Lil Nas X ft. Billy Ray Cyrus.“Truth Hurts” – Lizzo.“Sunflower” – Post Malone & Swae Lee. Album Of The Year”i,i ”— Bon Iver”Norman F—– Rockwell!” — Lana Del Rey”When We All Fall Asleep, Where Do We Go?” — Billie Eilish”thank u, next” — Ariana Grande”I Used To Know Her” — H.E.R.“7? — Lil Nas X”Cuz I Love You (Deluxe)” — Lizzo”Father Of The Bride” — Vampire Weekend Best New ArtistBlack PumasBillie EilishLil Nas XLizzoMaggie RogersRosaliaTank and the BangasYola Song of the Year”Always Remember Us This Way” — Lady Gaga“Bad Guy” — Billie Eilish”Bring My Flowers Now” — Brandi Carlile”Hard Place” — H.E.R.“Lover” — Taylor Swift”Norman F—— Rockwell” — Lana Del Rey”Someone You Love” — Lewis Capaldi”Truth Hurts” — Lizzo Best Pop Solo Performance”Spirit” — Beyonce”Bad Guy” — Billie Eilish”7 Rings” — Ariana Grande”Truth Hurts” — Lizzo”You Need to Calm Down” — Taylor Swift Best R&B Performance”Could Have Been” — Daniel Caesar featuring Brandy”Could’ve Been” — H.E.R. featuring Bryson Tiller”Exactly How I Feel” — Lizzo featuring Gucci Mane”Roll Some Mo” — Lucky Daye”Come Home” — Anderson Park featuring Andre 3000 Best Country Song”Bring My Flowers Now” — Brandi Carlile, Phil Hanseroth, Tim Hanseroth & Tanya Tucker, songwriters (Tanya Tucker)“Girl Goin’ Nowhere” — Jeremy Bussey & Ashley McBryde, songwriters (Ashley McBryde)“It All Comes Out In The Wash” — Miranda Lambert, Hillary Lindsey, Lori McKenna & Liz Rose, songwriters (Miranda Lambert)“Some Of It” — Eric Church, Clint Daniels, Jeff Hyde & Bobby Pinson, songwriters (Eric Church)“Speechless” — Shay Mooney, Jordan Reynolds, Dan Smyers & Laura Veltz, songwriters (Dan + Shay) Best Rap Album“Revenge of the Dreamers III” — Dreamville”Championships” — Meek Mill”I AM > I Was” — 21 Savage”IGOR” — Tyler, the Creator”The Lost Boy” — YBN Cordae Best Pop Vocal Album”The Lion King: The Gift” — Beyonce”When We All Fall Asleep, Where Do We Go?” — Billie Eilish”thank u, next” — Ariana Grande”No. 6 Collaborations Project” — Ed Sheeran”Lover” — Taylor Swift Best Rock Album”Amo” — Bring Me The Horizon”Social Cues” — Cage The Elephant”In The End” — The Cranberries”Trauma” — I Prevail”Feral Roots” — Rival Sons Best Dance Recording”Linked” — Bonobo”Got To Keep On” — The Chemical Brothers”Piece Of Your Heart” — Meduza featuring Goodboys”Underwater” — Rufus Du Sol”Midnight Hour” — Skrillex & Boys Noize featuring Ty Dolla $ign Best Jazz Vocal Album”Thirsty Ghost” — Sara Gazarek”Love & Liberation” — Jazzmeia Horn”Alone Together” — Catherine Russell”12 Little Spells” — Esperanza Spalding”Screenplay” — The Tierney Sutton Band Best Gospel Album”Long Live Love” — Kirk Franklin”Goshen” — Donald Lawrence Presents The Tri-City Singers”Tunnel Vision” — Gene Moore”Settle Here” — William Murphy”Something’s Happening! A Christmas Album” — CeCe Winans Best Latin Rock, Urban Or Alternative Album“X 100PRE” — Bad Bunny”Oasis” — J Balvin & Bad Bunny”Indestructible” — Flor De Toloache”Almadura” — iLe”El Mal Querer” — Rosalia Best Americana Album:”Years To Burn” — Calexico And Iron & Wine”Who Are You Now” — Madison Cunningham”Oklahoma” — Keb’ Mo’“Tales Of America” — J.S. Ondara”Walk Through Fire” — Yola Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling)“Beastie Boys Book” — (Various Artists) Michael Diamond, Adam Horovitz, Scott Sherratt & Dan Zitt, producers”Becoming” — Michelle Obama”I.V. Catatonia: 20 Years As A Two-Time Cancer Survivor” — Eric Alexandrakis”Mr. Know-It-All” — John Waters”Sekou Andrews & The String Theory” — Sekou Andrews & The String Theory Best Music Film:“Homecoming” — Beyonce”Remember My Name” — David Crosby”Birth Of The Cool” — Miles Davis”Shangri-La” — Various Artists”Anima” — Thom Yorke

http://world9x9.blogspot.com/2019/11/grammy-organisers-release-nomination.html

[songwriternews]

New Post has been published on SONGWRITER NEWS

New Post has been published on http://songwriternews.co.uk/2017/11/the-songwriting-academy-november-17-showcase-night/

The Songwriting Academy - NOVEMBER 17 Showcase NIGHT

The November Songwriting Academy Showcase at Pianoworks London – Went down a STORM !!

Every  Artist was Professional, Focused and Totally Stepped-Up !!

The evening kicked off with open mic spots and debuts from songwriters Hapi Reeping (accompanied by Brian on guitar) and Sabine Maya (with Percy Sheppard on keys – who also performed solo) –

These were Great Opening Performances from a group of essentially novice songwriters and performers who stepped-up like TRUE PROFESSIONALS with a mixture of covers and original songs providing a Great Prelude to a Great Night (notice the abundant use  the word GREAT there !)

With the audience engaged and  ready for more –

the Showcase section of the night began with Songwriter Performer Robbie Garden – all the way from Aberdeen Scotland. Robbie has a great personality which reflects in his songs, his confident stage-presence and very capable guitar skills keeping the audience both attentive and entertained… and a big round of applause from the audience always reflects the quality of any performance.👍🎶🎙

Up Next – the Songs of Holly Berry.

Like many songwriters, Holly loves to write songs but like many professional songwriters, doesn’t perform her own work, instead, preferring to pitch her material – which, after last night’s debut, is undoubtedly going to bring her much success !! Showcased by fellow songwriters and performers, Parisa , Abi Louise , Charlie Austen and JT Perez Gautreau, there is no doubt that Holly has done an awesome job in crafting a repertoire of hooky, contemporary, tunes, notably “Like Water”, “You Got Me Feeling” and.. “All Out”, “Boomerang” and “Skydiving” which whether in collaborative or solo writing sessions, definitely spotlight her skills and talents – and this is fully illustrated by the collaborative support and calibre of the artists who stepped-up to perform ! Congratulations Holly !!

PARISA – our next Artist – PARISA totally #NAILEDIT

As you will see in the video  PARISA has got it all Goin’On .in true professional style .. a confident relaxed stage presence, a stellar vocal delivery and a current, contemporary vibe which just shouts out… “Destined for the Spotlight” 

 The SHOWCASE included a  brand new selection of Her Own awesome original Songs and the bonus of  a cover of NEW RULES – Dua Lipa would be in awe ! – clip below.

Parisa closed to tumultuous and enthusiastic applause – as our next act asked … “How am I gonna Follow that ?”

ROB NICKLAS – closed the evening with a showcase of eclectic self written songs and a cover of 70’s mega hit “Nights in White Satin” which is actually about bed sheets (take note Ed Sheeran). Rob is a born entertainer and needn’t have worried about following PARISA (unless he was planning on doing Beyonce songs) His originality and congeniality show through and he never fails to get the audience engaged and smiling. Rob was accompanied in parts by the lovely Anne-Marie Shevlin who was AWESOME on the keys Here’s one of Rob’s originals

To be able to say that literally everyone gave the evening their full 110% is still an understatement !! these are the RISING STARS and WRITERS to the STARS of tomorrow – so take note of who’s WHO – because YOU could soon be telling your friends – YOU DISCOVERED THEM FIRST !!! 

and.. everyone of them gave a BIG SHOUTOUT to Tom the Pianoworks Soundguy.- who always does a TOP JOB for the PERFORMERS !! 

[thehiphoprviewclub]

4:44 : A Track-by- Track    Breakdown

By C.D.

*** The following are my own opinions and analysis. Read at your own risk.***

TRACK #1- Kill Jay Z: He got very personal very fast. Not that getting personal isn’t already part of his trademark, but he is definitely letting his guard down. He shows remorse/regret. He tries to due away with the ego and tries to be vulnerable to his shortcomings. The fact that he admitted that the fame  got to him is kind of surprising because though he has rapped about fame’s addictive nature in other songs, he has always sort of separated himself from it. In “Lost One”, he raps:

“And I ain't even want to be famous/Niggaz is brainless to unnecessarily go through these changes/And I ain't even know how it came to this/Except that fame is

The worst drug known to man/It’s stronger than heroin/When you could look in the mirror like, "There I am"/And still not see, what you've become/I know I'm guilty of it too but, not like them/You lost one”

I feel like he admits that maybe fame did get to him the way it did the people he was talking about in the above lyrics. I very much appreciate the classic Jay Z wordplay with the KumbaYe and Saint Pablo references ( Major dragging here!! *insert the YAAAS* emoji here!!)  And the line about “Let go your ego over your right shoulder/Your left is sayin’, “Finish your breakfast!”/You egged Solange on” That whole line is brilliant because not only does he have a play on words with “Leggo my eggo”, his ego, and “egging” Solange on, but he also manages to reference “Public Service Announcement” with “Finish your breakfast!” So kudos on that! Oh and then he dragged Future with that football reference! COLD!

TRACK #2- The Story of O.J.: He gets more political on this track. Using that Nina Simone sample and the beat of this song made its message more powerful. I feel like the chorus is a commentary on how it doesn’t matter how successful you get or how unsuccessful you become, if you are black , all society will see is the color of your skin. I feel like the rest of the song is about moving forward as a culture and being able to save up for a better future. It reminded me of Kanye West.  Kanye West sort of touched on this in “Can’t Tell Me Nothing”, but while Kanye talks about the fact that because he was born with nothing, he is being reckless with his money now that he has some to spend, Jay is like invest in the future for a more profitable future. This song is Anti-Fast Cash and Pro-Credit. And he manages to call out the “fake rapper” who are flashing their money on social media for likes. I should mention that I really liked the style in which he rapped. It’s almost like an adlib or a conversational tone when he says, “I could bought a place in Dumbo before it was Dumbo/ For like 2 million/ That same building today is worth 25 million/ Guess how I’m feelin’? Dumbo” and I like the Dumbo reference with his word play.

TRACK #3- Smile:Longest song on the album and the lyrics are insane. Some of my favorite lines are: “Hall of Fame HOV, I did it all without a pen” It reminds me of the opening lines from D.O.A.( Death of Autotune)[ “First rapper to rewrite history without a pen/ No I.D. on the track let the story begin”] “A loss aint a loss, it’s a lesson/Appreciate the pain, it’s a blessin’” “Fuck a slice of the apple pie, want my own cake” - I feel like he could either be talking about Apple Music here and how he wants to be in charge of his own music so now he owns Tidal or he could be referring to running the city of New York (the Big Apple). There is a part of the song where I feel he references Beyonce’s “Run the World (Girls)” where he raps “Fuck you, pay me” which is a lyric in the Beyonce song. He talks  a lot about financial freedom and freedom in general  for the black community  in this one too like in the previous song. Sample line: “Fear for you, bro, we know the system don’t work/ Take a young n****’s freedom over some dirt” and he mentions Black entrepreneurs and free enterprise, so again a politically charged song. I like the last line and his mom’s poem. So overall, great song!

TRACK #4- Caught Their Eyes: I love the chorus and beat of this song. He really takes people to task here. Like the Prince estate making profit off him after his death. It’s additional commentary on the commodity of black bodies, black artists, and black art. I liked all of the allusions to eyes in the second verse. He references Prince, Biggie, colorblindness, shutting his eyes. Line after line. It’s brilliant. And it all ties into the song title and the idea that one has to be vigilant of the people that you surround yourself with. I also like the way he ties in image of hair with lines like, “I seen eyes wide as they’re about to shoot/ You can be a hairpin off and you can trigger your Roots”. Not only does he connect hairpin with the Roots (band/hair), but he also connects the image of someone shooting a gun to the trigger in the next line. He is a true wordsmith!

TRACK #5-4:44: People call this his response to Lemonade. His “apology letter”  or whatever. The sample track is fye. He really takes you through his relationship though and calls himself out on his shortcomings as a father and husband.  I could see where it could be juxtaposed against Lemonade. While Lemonade is an album meant to empower black women and take you on a journey of her relationship, this does something similar with the journey of a man in that same relationship. His lyrics are incredible though. Let me point this out here, he is still a piece of shit husband/man for stressing his wife out so much, she lost her baby. He may be an incredible artist, but he should be held accountable for that shit!

TRACK #6- Family Feud: I love that Beyonce’s vocals were used as a backing track. Throughout the album, you get these references to his past work like when he says “Hovi’s home”, it reminds me of “U Don’t Know.” He drags some of the new rappers with his 2Pac line. I also found it funny how he referenced Steve Harvey because the song title is “Family Feud” and he is the host of “Family Feud.” Brilliant. But what is even more brilliant is that he features Beyonce in this song, because he is referencing their marriage troubles in a very subtle way. “Ain’t no such thing as an ugly billionaire, I’m cute” You’re killing me Jay! He references “Row Row Your Boat” with “And we merrily merrily eatin’ off these streams”. I also liked the line “What’s better than one billionaire?Two/ ‘Specially if they’re from the same hue as you”. Beyonce gave me life with those ‘Amens’ too! I came across an article that explains the “Dos Equis reference as him calling out new rappers because it is a reference to XXL’S Freshmen Class. It’s a very subtle jab, but a powerful one.

TRACK #7-Bam: I like how he presents himself as two people here. In the song, he is talking as HOV, his alter ego. It could be a subtle nod to Beyonce, although HOV predates Sasha Fierce. In this song, he seems to be calling out those rappers who pretend to be hard. With lines like, “I’ve never seen a worker rock so many jewels/ I’ve never seen a runner with so many cars/ Y’all couldn’t stop me, you’re not as tough as you say you are”, he establishes that these “new rappers” are all talk. They didn’t come from the projects, they never sold drugs. They didn’t live in a dangerous and impoverished situation like he did. He establishes his precedence over them. He reiterates this when he says, “N***** could not be further, I fathered your style.” One of my favorite lines include, “ Uh, n***** is skippin’ leg day just to run they mouth/ I be skippin’ leg day, I still run the world.” This song establishes Hova’s dominance over the rap game, making sure that new rappers know who the G.O.A.T. is and is further emphasized by Damian Marley’s outro where he indicates that it is hunting season.

TRACK #8- Moonlight: The song title is an obvious reference to the debacle that happened at the 2017 Academy awards where LaLa Land was wrongfully awarded the Oscar meant for “Moonlight”. Jay Z might be touching on the fact that black artists are often discredited for their creative work. The first verse makes me think he is shading Future because I feel like he is mimicking his sound with “I’m in the skrt with ya…” Again, he goes after the new generation of rappers when he raps, “Stop walkin’ around like y’all made Thriller, huh?” He just has a real problem with people pretending to be something they are not and profiting off of that culture which goes back to the ways in which society profits off black culture, specifically the way that white people use black culture for profit. He even references Lauryn Hill and the way that her label limited her artistic freedom which again touches on the song’s theme.

TRACK #9-Marcy Me: This is a nostalgic song, looking back in the day to when Jay was at his prime. Again, I like his clever lines like “Streets in my artery, the vein of my existence”. It's word play with vain/vein to go with his artery imagery. The whole second verse is incredible. I like how he is able to draw parallels between his life then and now and how he connects his partying with Saudi’s to being able to speak Farsi. It’s a great song.

Track #10- Legacy :This song is pretty self-explanatory. Jay wants black excellence to strive for future generations.

[viralhottopics]

Susan Sarandon: ‘Its an easy place to put your frustrations, to blame me’

The actor discusses playing Bette Davis in the new small-screen drama Feud and why shes tired of people criticizing her for refusing to support Hillary Clinton

Susan Sarandon is here to talk about a much-publicized feud between two successful women. But, as the Oscar-winning actor and activist had made crystal clear the week before I spoke to her, during a tense interview on MSNBCs All In, shes not interested in talking about that feud.

Rather than yet another over-analysis of her role in Hillary Clintons shock election loss, shed rather turn the discussion to talk of Bette Davis and Joan Crawford, two women also pitted against each other, this time in 1960s Hollywood. In Feud: Bette and Joan, the latest FX show from Ryan Murphy, creator of American Horror Story and American Crime Story, the intricacies of their famed battle are brought to vibrant life with Jessica Lange as Joan Crawford and Sarandon playing Davis. Its a fun, snappy eight-episode behind-the-scenes reveal (the next season will focus on the feud between Prince Charles and Princess Diana) and provides a worthy reminder of the destructive influence that meddling men had in tearing the two women apart.

This is a really blatant example of trying to control two people by making sure they dont join forces, she tells me on the phone, dog yapping in the background. I think that mentality and lack of imagination you can see in all the reality shows. Thats the entirety of their plots: just turning women against each other and getting them drunk so that something dramatic happens, even if its a fight over nothing. Its always easier, I think, to suck people into drama when its negative as opposed to something thats constructive.

Susan Sarandon as Bette Davis and Jessica Lange as Joan Crawford in Feud: Bette and Joan. Photograph: FX

If thered been a Real Housewives of Hollywood in the early 60s, Bette and Joans on-set sparring while making Whatever Happened to Baby Jane? would have made for a ratings magnet. There was a pay dispute, nastiness in gossip columns, petty pranks and even physical violence. But over 50 years later, the business is different: studios no longer own stars in the way they once did and women are making headway towards equality. Competition is not what it once was.

I think that happened just in my generation, Sarandon says. I see examples of actresses just a little bit ahead of me who really saw women as their enemy and had no intention of forming any kind of alliance. Now, thats certainly not true. You might be envious of a part you didnt get but its switched to understanding that you need women as allies and that were stronger together, not divided.

Its an ethos thats been reflected throughout her career, with roles in a number of Bechdel test-smashing films, including The Witches of Eastwick, Thelma and Louise, Little Women, Stepmom and last years acclaimed comeback vehicle The Meddler. Shes also been keen to work with more female directors, having recently worked with a set of them on the production of Feud, but one area of equality that shes less sure about is that awkward matter of who gets paid what.

I dont think it matters that Jennifer Lawrence is paid 70 times more than what I am, she says. Its a business that is so subjective and I feel so lucky to be able to earn a living, and this is why to go after pay equality is a really chancy subject because if Tom Cruise has a leading lady thats in the movie as much as he is, should she get the same amount of money if shes been in the business a shorter amount of time? And should a character actor thats been in the business for 50 years not get paid more? Its a sin what happens to these supporting actors through the years where they can barely exist on the pay they get. Theres no equity in terms of value, and who knows how these decisions are made. So you cant apply that to feeling unfair because the whole fact that actors get paid as much as we do is ridiculous. I mean, what a fabulous life. I cant bitch about whatever my pay level is. I dont focus on that.

Susan Sarandon in The Meddler. Photograph: Sony

But as content as Sarandon seems, theres no denying that shes been frustratingly absent from the spotlight in recent years. Shes not stopped working but more often shes been taking on small, little-seen roles. Its not simply a dearth of scripts for women of a certain age in the industry, its also Sarandon being understandably picky. Unlike many other Oscar-winning female actors, shes resisted the urge to take on thankless roles in franchise fodder. She chose not to play the doomed female president in last years Independence Day: Resurgence (When I read the script, I couldnt understand what was going on) and the only sequel youll see her in any time soon is John Turturros Big Lebowski spin-off (something she calls a crazy film that she still cant believe they got the money for).

After the success of Thelma and Louise, many thought it would be a game-changer, showing Holly-bros that theres a sizable audience for a film about female friendship but as Bridesmaids has since shown, these hits are often seen as unlikely exceptions and fail to cause the seismic shift predicted. I think that a woman can look at a story that has a male protagonist and can identify that she could do that or be in that situation, she says. But I think its harder for male executives to imagine that anybody is really gonna get into a female lead because its hard for them to imagine. I dont think its meant to be a mean thing, I just think its a lack of imagination.

Its meant that, while shes starred in a number of aforementioned female-fronted films, shes still been paired mostly with men throughout her career. Its been a generally harmonious time, but Sarandon recalls the closest shes got to having a Bette v Joan situation. There was one gentleman, she says. He hadnt really done films, I dont think, and he was in the midst of a very successful TV run and was a heart-throb. There were definitely some problems and hed developed some habits, because in the atmosphere where he was working, he wasnt used to women challenging him in any way and was spoiled by the rules that they set up. At one point, they allowed him to leave on my reverse at the end of the day, so I was suddenly expected to do my lines with the script supervisor and him gone for my close-up.

She wont give me a name but she counts it as a rare occurrence. I dont thrive on tension or any kind of aggression, she says. But its an unavoidable part of the job, especially, depressingly, for a woman who chooses to speak her mind. While men might still be seen as brave and refreshing, women who speak out are still often painted as difficult or bitchy. Sarandon knows this all too well.

I think it is more annoying to have a woman with opinions for a lot of people, she says. I couldnt give you any solid proof that has hurt my chances in the business. Today in the New York Times, they were talking about the Academy awards and the fact that I was one of the people who didnt get a nomination for The Meddler, and [it] mentions that it might have something to do with the Clintonized Hollywood, when I supported Bernie Sanders.

Bernie Sanders and Susan Sarandon in April 2016. Photograph: Brian Snyder / Reuters/Reuters

Which brings us to the elephant in the room (or over the phone). Sarandon was a vocal supporter of Sanders as he ran against Clinton to become the Democratic pick for president. When he lost out on the nomination, she expressed her frustration and publicly endorsed the Green candidate Jill Stein instead, stating that she did not vote with her vagina. She had previously called Clinton more dangerous than Trump.

I have had a huge amount of backlash, she says. Theres been a really strong blame for a lot of things that are obviously not my fault.

A cursory scan of Twitter shows a stream of bile all the way from the Will & Grace star Debra Messing to the author Kurt Eichenwald. Sarandon remains defiant, unapologetic and frustrated with Democrats who suggest that shes let the party down.

Theres no valid argument, she says. Its just an easy place to put your frustrations, to blame me. I mean, if you read the list of people who voted Hillary Clinton and then I think its me and Viggo Mortensen on the other side. Youd have to be delusional to actually think that Beyonc and Jay Z and George Clooney and Julia Roberts and Meryl Streep, and the list goes on, were actually overpowered by the two of us.

But shes unperturbed, still hyper-aware of the daily failings of Trumps government. And despite resistance, shes continuing to show up at Democratic events, such as a recent anti-Trump rally in New York. Im focusing on reaching out and forming a coalition not only with all of Hillarys people but with people I know that voted for Trump, because we have serious work to do now, and we cant indulge in blaming or depression or any of those things, she says. There isnt time any more to look back. We have to look forward.

Feud begins on FX on 5 March at 10pm with a UK broadcaster yet to be confirmed

Read more: http://bit.ly/2mnLjtT

from Susan Sarandon: ‘Its an easy place to put your frustrations, to blame me’