Celtics At Home: Danny Ainge has a great Michael Jordan-Dennis Rodman story

One way Danny Ainge benefited from being Michael Jordan's golf buddy? He accumulated some great stories, like the one he told on the latest "Celtics at Home" episode.

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Buffy! Friday Night Lights! M*A*S*H: 11 Movies That Turned Into Great TV Shows

Snowpiercer, Movies Turned TV ShowsMost movies don’t even have a plot that holds up for two hours, let alone has enough gas in the idea tank to power multiple seasons of television. Even great films usually have exactly the…

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Great, not perfect: Michael Jordan the flawed guy

Whether it is reliving memories or learning something new about MJ, the sports world is glued to 'The Last Dance.' Our NBA writers address some talking points.

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Great, not perfect: Michael Jordan the flawed guy

Whether it is reliving memories or learning something new about MJ, the sports world is glued to 'The Last Dance.' Our NBA writers address some talking points.

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Brassic: ‘Peter Kay’s a fan – it would be great to get him in the show’

Brassic writer Danny Brocklehurst has told Sky News he would love Peter Kay to play a part in the show.
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Beauty Is Pain? The Great Lengths Kim Kardashian and More Went to Perfect Their Met Gala Looks

Kim Kardashian, 2019 Met Gala, Painful Met Gala LooksIt was a dress Kim Kardashian was willing to pee herself in.
When it came time for the 2019 Met Gala, the world practically let out a collective gasp when the then-Vogue cover girl set…

E! Online (US) – Fashion Police

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Beauty Is Pain? The Great Lengths Kim Kardashian and More Went to Perfect Their Met Gala Looks

Kim Kardashian, 2019 Met Gala, Painful Met Gala LooksIt was a dress Kim Kardashian was willing to pee herself in.
When it came time for the 2019 Met Gala, the world practically let out a collective gasp when the then-Vogue cover girl set…

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Drake Says It Felt ”Great” to Share His Son Adonis With the World

DrakeDrake feels “great” about deicing to share his 2-year-old son Adonis with his fans and the rest of the world.
As fans may recall, the “In My Feelings” rapper shared the…

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Assistant GM says Saints a great fit for Jameis

Jameis Winston and the Saints have yet to finalize their pending deal, but assistant GM Jeff Ireland made the case for why it’s a good fit for both sides during a radio appearance Monday.
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Great apes ‘at risk of catching coronavirus from humans’

Gorillas, chimpanzees and other great apes are at serious risk of catching coronavirus from humans, a leading conservationist has warned.
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These Budget Gaming Headsets Are Great and Won’t Weigh on Your Wallet

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Demi Lovato: ‘Selena Gomez and I were never great friends, but I love Miley and Ariana’

Demi and Ariana share manager Scooter Braun.
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John Prine in Memoriam: A Friend Celebrates the Playful Heart of America’s Great Campfire Poet

John Prine had a night off before playing Miami’s historic Gusman Theater. After dinner, he wanted to do something, and thought a movie might be good. I told him there was a small mom ’n’ pop filmhouse called the Surf just up the way showing Rodney Dangerfield’s “Back to School.” Having just started seriously dating […]

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Timmy Brown, ‘an all-time great Eagle,’ dies at 82

Timmy Brown, a running back and kick returner who won an NFL championship with the Philadelphia Eagles in 1960, died Saturday. He was 82.
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Rosetta Stone Has a Great Deal on Lifetime Unlimited Language Learning Right Now

There’s no time like the present to start learning something new, and while the absolute best time to learn a new language is when you’re a toddler, those carefree days of juice boxes and nap times are long gone. The second-best time to learn a new language, though, is right now.

Fortunately for you and your new-language-learning needs, Rosetta Stone is running a sale on lifetime subscriptions and offering free live coaching between now and June 30 on select languages. That means you can get an actual human to help you learn a new language. Pretty great in my opinion.

And yes, Japanese is one of the languages offered as part of the lifetime deal.

Rosetta Stone Deal

[poilib element=”commerceDeal” parameters=”slug=rosetta-stone-lifetime-subscription-deal”]

The lifetime Rosetta Stone deal is normally $ 299, but right now you can get it for $ 199. That amount is due right now, but if you want to sign up for a plan on monthly payments, that’s totally fine. Rosetta Stone has 3-month plans for a single language starting at $ 11.99 per month with $ 35.97 due at purchase.

Twelve-months of unlimited languages is $ 95.88 down and $ 7.99 a month after that, and 2 years of unlimited language learning access is marked down from $ 249 due to $ 143.76 and then $ 5.99 a month after that.

Now is a great time to learn new skills, with some places offering free online courses, as well as discounts. If you’d rather spend your time relaxing, we put together a list of free trials for streaming movies, TV shows and even comics.

[widget path=”ign/modules/recirc” parameters=”title=&type=articles%2Cvideos&tags=us-shopping&count=3&columnCount=3&theme=article”]

Seth Macy is IGN’s tech and commerce editor and just wants to be your friend. Find him on Twitter @sethmacy.
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I played college basketball against Michael Jordan and here’s what made him great

Jay Bilas played five games against Michael Jordan at UNC. Here’s what makes Jordan worthy of the college hoops Greatest of All Time tag.
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Take a Load off in One of These Great Budget Gaming Chairs

Whether you’re into a bean bag, racing chair, or one that doesn’t look out of place in the office, here’s our list of the best gaming chairs for folks on a budget.
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Funeral for ex-Habs great Richard closed to public

The Canadiens said the decision to close Henri Richard’s funeral to the public was made in response to measures put in place by the Quebec government to prevent the spread of the COVID-19 virus.
www.espn.com – NHL

Matt Lucas announced as new Great British Bake Off host

Matt Lucas has been announced as the new host of Great British Bake Off.
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Matt Lucas announced as new Great British Bake Off host

Matt Lucas has been announced as the new host of Great British Bake Off.
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Stream Like a Pro With One of These Great Capture Cards

If you’re looking to jump-start your streaming career, these are the best capture cards.
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LeBron has been great, but pump brakes on MVP

The NBA world is abuzz about LeBron James' MVP odds in his 17th season, but let's be real: He's a distant second, at best, to Giannis Antetokounmpo.

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OT Solder: CBA ‘great deal for the core players’

Nate Solder explained to NBCSports.com why he will vote yes on the proposed CBA, saying it’s a “great deal for the core players” and cited a poll of some of his teammates that they supported the deal.
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Competition committee: PI review rule ‘not great’

Despite skepticism about the pass interference review implemented before last season, the NFL competition committee members are not yet ready to recommend an end to the rule.
www.espn.com – NFL

Giannis Antetokounmpo continues to level up and be decisively great

While Joel Embiid declared himself the best player in the world, Giannis Antetokounmpo did what he has done all season in another dominating performance.
www.espn.com – NBA

"Very Cavallari" Ventures Into the Great Outdoors Thursday

Welcome to Jay's world! Jay Cutler is the king of camping…so how will Kristin Cavallari cope in the wild? New episode this Thursday at 9|8c on E!
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Klay’s rehab ‘going great,’ but return still unclear

Warriors swingman Klay Thompson says his rehab from a torn ACL in his left knee is ‘going great,’ but it remains unclear if Thompson will return at all this season.
www.espn.com – NBA

Stream Like a Pro With One of These Great Capture Cards

If you’re looking to jump-start your streaming career, these are the best capture cards.
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Bridget Foley’s Diary: Ed Filipowski, A Great Guy

The office phones almost never ring anymore. On Friday afternoon, Rachna Shah, partner and managing director of p.r. and digital at KCD, called my landline. Ed Filipowski was dead. Over the years, I’d gotten three similarly ominous calls from Ed, about Stephen Sprouse, Alexander McQueen and Ingrid Sischy, each one gone way too early. Now Ed.
 
Ed was a pillar of the industry, a wellspring of strategic innovation and an epicenter of calm and common sense through the subtle evolutionary waves and cataclysmic disruptions of the past 30 years.
 
Those who worked for him, directly or indirectly, noted his incredible investment in their careers. Rachna said that, from the moment he hired her out of school, he was interested in “challenging me and helping me grow.” Charlotte Blechman, now Tom Ford’s chief marketing officer, who never worked at KCD, met Ed when she was at Gucci, a KCD client. “I was blessed enough to have had his magic in my life for the past 25 years,” she said.

Coach’s president Joshua Schulman, also a Gucci alumnus, said that Ed shared valuable lessons on topics as disparate as how to seat a show and where to find July Fourth apple pie in Paris. “But mostly,” Schulman said, “he taught

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Clips booed amid rout: ‘We’re not a great team’

After an embarrassing 140-114 loss to the Grizzlies on Saturday that elicited boos from the home crowd, Montrezl Harrell said the Clippers are “not a great team” and need to “wake up.”
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Great Scott! Practice-squad guys fuel Eagles’ run

Decimated by injuries at skill positions, Philadelphia heads into the playoffs relying on players like RB Boston Scott — who have been thrust into the spotlight.

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Get a Great Picture for Less With the Best Budget Gaming TVs

Looking for the best budget gaming TV? We’ve picked out a diverse list of cheap HD, Full HD, and even 4K TVs to meet your needs.
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Seahawks RB Lynch: Being back ‘a great feeling’

Despite the recent pickups of Marshawn Lynch and Robert Turbin, Pete Carroll said Seattle “will lean” on rookie sixth-round pick Travis Homer at running back.
www.espn.com – NFL

These Budget Gaming Headsets Are Great and Won’t Weigh on Your Wallet

You want a sweet gaming headset but only have $ 50 (or less) to spend? We’ve got you covered.
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Iowa great, Hall of Fame coach Fry dies at 90

Hayden Fry, the College Football Hall of Fame coach who led Iowa for 20 seasons and produced one of the sport’s most important coaching trees, died Tuesday after a lengthy battle with cancer. He was 90.
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Not a Great View, Jay's Got Bey's Back & On-Point Kimpressions

Another day, another showdown on "The View." Plus, don't ever mess with Jay's lady, those "KUWTK" impressions hit too close to home & more on "Nightly Pop"!
E! Online Videos (US)

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Ex-Saints LB great Vaughan Johnson dies at 57

Vaughan Johnson, a four-time Pro Bowler and a member of the Saints’ legendary “Dome Patrol” linebacking corps, died Thursday night at age 57. Johnson had been battling kidney disease and, most recently, lung failure.
www.espn.com – NFL

Dan Levy Calls the Schitt’s Creek SAG Awards Breakthrough a Great Way to Begin the End of the Series

Schitt's CreekDan Levy was startled awake by an early morning phone call on Wednesday, Dec. 11, but there was no need to worry.
“I got a phone call at like 7 a.m. and I was like, ‘What the hell…

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Stream Like a Pro With One of These Great Capture Cards

If you’re looking to jump-start your streaming career, these are the best capture cards.
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Canadiens great Lafleur has additional surgery

Montreal Canadiens great Guy Lafleur had additional surgery just two months removed from quadruple bypass heart surgery in late September.
www.espn.com – NHL

Gary Rhodes: ‘He was stubborn… the mark of a great craftsman’

The sudden death of celebrity chef Gary Rhodes aged just 59 has shocked people around the world.
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Monday Night Football: the once great NFL show is now the worst on television

The NFL has a real problem when the marquee match-up for its most famous broadcast is best enjoyed on mute. This week, Lamar Jackson eviscerated the Rams on Monday Night Football in one of the most impressive individual performances in recent memory. The only problem: the experience of watching Jackson's genius was made worse, not better, by ESPN's announcing crew, Joe Tessitore and Booger McFarland.

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The Lowdown on Great Auk Outfitters, Ministry of Supply’s New Ethical Luxury Brand

Today, the Boston-based technical apparel brand Ministry of Supply launches “Great Auk Outfitters,” in the name of engineering a more ethical, environmentally responsible luxury brand.
While vegan winter jacket alternatives exist from the likes of Matt & Nat, Nanushka and Ganni, Great Auk Outfitters positions itself against Canada Goose and Moncler in terms of performance.
“Our jackets perform just as well without any animal products,” said Geraldo Aldarondo, cofounder of Great Auk Outfitters. Aldarondo cofounded the brand with Brian Kennedy, with Ministry of Supply acting as an incubator.
Great Auk Outfitters will launch with a hero product — a winter parka that is free of fur and down — that instead uses recycled materials (nylon and polyester). The Downless Parka is produced by Bluesign-certified garment manufacturers, which also produce arctic expedition gear and Olympic uniforms.
Its touted to be a “fully sustainable jacket that can withstand extreme temperatures, without any animal products,” and it does so with an insulation combining recycled polyester (which acts like feathers) and NASA-invented Aerogel (that mimics lofty down).
The waterproof shell is created from 100 percent recycled nylon, and the insulation is comprised of 52 percent post-consumer recycled polyester and 48 percent polyester with Aerogel. The lining is made of

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Manchester United: Sir Matt Busby film tells ‘one of the great football stories’

A new documentary shows how Sir Matt Busby led Manchester United through tragedy and on to glory.
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Malone rips Nuggets: ‘We’re a great talk team’

Head coach Mike Malone went off on the Nuggets’ “embarrassing” effort in a 122-107 loss to the Pelicans on Thursday night and challenged his players to do more than talk about being a title contender. “Don’t tell me about it, show me,” he said.
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Mic’d up Bill Belichick made a great in-game adjustment in Patriots-Browns

As Tom Brady explained to us earlier this week, part of what makes Bill Belichick a great head coach is his ability to "trim the fat" on the wealth of information he's obtained game-planning for a team. The New England Patriots head coach also is one of the league's best at making in-game adjustments. Cleveland Browns running back Nick Chubb gashed the Patriots' defense in the first half Sunday, finding particular success on outside runs.

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The Great British Bake Off crowns its 2019 winner

After 10 gruelling weeks in the tent, Alice, Steph and David discover which of them has won.
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Maybe Clemson isn’t as great as we thought

The No. 1 Tigers narrowly escaped North Carolina on Saturday, raising some serious questions about the vaunted Clemson offense.

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The $399 Sonos Move is pricey and heavy, but it's a great portable speaker

The $  399 Sonos Move is pricey and heavy, but it's a great portable speakerThe Sonos Move is the company's first portable speaker. And while it's heavy and pricey, it still offers a great listening experience



Yahoo Tech

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Bachelor in Paradise’s Katie Morton Says She and Chris Bukowski Are Doing ”So Great”

Katie Morton, Chris Bukowski, Bachelor In ParadiseAfter that shocking Bachelor in Paradise season finale ending, Katie Morton and Chris Bukowski are in a much better place.
Speaking to E! News at the Lulu’s Pop-Up in Los Angeles, the…

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Bachelor in Paradise’s Katie Morton Says She and Chris Bukowski Are Doing ”So Great”

Katie Morton, Chris Bukowski, Bachelor In ParadiseAfter that shocking Bachelor in Paradise season finale ending, Katie Morton and Chris Bukowski are in a much better place.
Speaking to E! News at the Lulu’s Pop-Up in Los Angeles, the…

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Trick Out Your Galaxy S10 With These Great Accessories

From protecting the screen to maximizing your music-listening, these are the best accessories for the Samsung Galaxy S10.
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Here are Six Great Liquid CPU Coolers For Your Next PC Build

Given how awesome and affordable a bolt-on liquid cooler is, there’s no reason you shouldn’t consider running one in your gaming rig.
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Downton Abbey stars: ‘It’s great to escape all the nonsense’ of today

It’s been years since it was first talked about, but the long-awaited and highly anticipated Downton Abbey film – a continuation of the hit ITV drama – is out on Friday.
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Kano on making ‘great art’, knife crime and Drake’s Top Boy

The MC talks timeless music, knife crime and how Drake brought the Top Boy team back together.
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5 Great Girls’ Trip Resorts to Book ASAP

E-Comm: 5 Great Girls Trip ResortsWe love these products, and we hope you do too. E! has affiliate relationships, so we may get a small share of the revenue from your purchases. Items are sold by the retailer, not…

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Great British Bake Off contestants revealed for 2019

A new batch of contestants get ready to battle it out in front of the cameras for the Bake Off crown.
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In fighting deep fakes, mice may be great listeners

A Las Vegas cyber-security conference hears the latest, unusual techniques to fight “deep fake” videos.
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Francis welcomes ‘great chance’ to be Seattle GM

Ron Francis has all kinds of eye-popping statistics attached to his Hall of Fame career. He averaged more than point a game, is second in NHL history in assists behind Wayne Gretzky and is fifth in career points.
www.espn.com – NHL

Matt Ryan: Falcons have ‘a great chance’ to return to Super Bowl

The Falcons are 17-15 since their 2016 Super Bowl run, but QB Matt Ryan seems to have more swagger regarding his team’s contender status this year.
www.espn.com – NFL

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Writing Great Books for Young Adults: Everything You Need to Know, from Crafting the Idea to Getting Published

Writing Great Books for Young Adults: Everything You Need to Know, from Crafting the Idea to Getting Published


Break into the Bestselling Young Adult Market with this IndispensableGuide!

Whether you''re just getting started or are on the hunt foran agent or publisher, Writing Great Books for Young Adults is your completeinsider source on how to succeed in the flourishing world of YA fiction andnonfiction. In this updated and revised edition, veteran literary agent ReginaL. Brooks offers invaluable advice for YA writers on everything from shapingyour novel to crafting the perfect pitch for your book.

Learn How To:

-Develop an authentic, engaging voice and writing style
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-Avoid common pitfalls related to tone and point of view
-Navigate the emerging genres of YA nonfiction and New Adult
-Create an exceptional query letter and proposal that willgrab the attention of agents and publishers

You''ll also discover how successful film adaptations likeHarry Potter and The Hunger Games have broadened the market for your book.Filled with tips and advice from agents, editors, and popular YA authors,Writing Great Books for Young Adults is your ticket to an incredible YA career!

Brooks offers writers who are serious about attractingteen readers solid guidance through the creation process of writing YA fiction.-LibraryJournal
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‘Hamilton’ and ‘Game of Thrones’ Are Great, But When Will We See the Next Oscar Sweep?

Recent awards dominance by “Hamilton” and “Game of Thrones” reminds us that awards dominance can be an exciting thing.

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The 3 Changes You Need to Make for Great Spring Skin

For Allure, by Lauren Hubbard.

2016-04-08-1460131374-1595039-springskincareninaricci.jpg
Photo: Leslie Kirchhoff/Allure (Photographed At The Nina Ricci Fall 2016 Show)

If you’re a dedicated Allure reader, it won’t come as a shock that you need to switch up your skin-care products with the seasons: lighter, more sheer for summer; pile on the moisture in winter. But what about the in-between seasons, like now-upon-us spring, when the temperature and humidity start to rise but you’re still pulling on a jacket instead of sweating literally everywhere? Here are the changes to make to stave off the great weather-changing skin freakout.

Lighten up. The low humidity levels and bracing winds of winter call for a heavy-duty moisturizer, even for oilier skin types. But as warmer weather rolls in with those famous April showers, December-appropriate lotions start to feel pore-smothering. Try switching to a lighter gel-cream formula, like Neutrogena Hydro Boost Water Gel or Philosophy Take a Deep Breath Oil-Free Energizing Oxygen Gel Cream Moisturizer. The magic combo of lightweight hyaluronic acid and occlusive glycerin pulls in water from the air and locks it into skin so you stay hydrated without feeling like you’re wearing a blanket on your face.

Related: 50 New Drugstore Beauty Products We’re Obsessed With

Scrub down. The sudden influx of moisture out in the world can also mean a sudden excess of moisture on your skin, which can in turn lead to totally unspringy dullness and clogged pores. While you have to be careful with overexfoliating delicate winter skin, spring is the perfect time to step up your regimen slightly. Since you’re not in full-on summer mode yet, try an exfoliator that uses salicylic acid, like Paula’s Choice 2% BHA Liquid, instead of a harsh scrub. “Salicylic acid is excellent at removing pore-clogging oil, and it doesn’t traumatize the skin like a physical exfoliant,” says Joshua Zeichner, a dermatologist in New York City.

Do some spring cleaning. As with your moisturizer, you need to tone it down when it comes to your daily cleanser. If you’ve been favoring a skin-coddling cleansing balm or cream cleanser for the harsh winter months, swapping it out for a foaming gel will help clear away any excess oil from the naturally shine-prone T-zone. We like Eau Thermale Avene Cleanance Gel Cleanser, which cleans thoroughly without stripping skin and also has oil-controlling monolaurin to help your skin stay balanced.

More from Allure:

The One Thing Hairstylists Really Wish You Would Stop Doing

The 10 Best Drugstore Mascaras Under $ 20

20 Celebrities Who Look Surprisingly Different Without Their Signature Looks

Find the Best Haircut for Your Face Shape

The Sneaky Way You’re Probably Ruining Your Hair

2016-04-08-1460131496-1496622-Allure_logo.png

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Low-fat Low-cholesterol Chinese Cookbook: 200 Delicious Chinese & Far East Asian Recipes for Health, Great Taste, Long Life & Fitness

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Carters Baby Boys 3-pc. Great Catch Bodysuit Set

Carters Baby Boys 3-pc. Great Catch Bodysuit Set


Carter’s offers cute and comfortable clothing with soft, durable fabrics! This 3-pc. set includes a Mommy’s First Mate bodysuit, long sleeveI’m Really A Great Catch whale bodysuit, and a coordinating pair of pull-on pants with turn-me-around whale applique. Cotton.

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Carters Baby Boys 3-pc. Great Catch Bodysuit Set

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Carter’s offers cute and comfortable clothing with soft, durable fabrics! This 3-pc. set includes a Mommy’s First Mate bodysuit, long sleeveI’m Really A Great Catch whale bodysuit, and a coordinating pair of pull-on pants with turn-me-around whale applique. Cotton.

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Hulu’s 11.22.63 Is Great, But It Makes No Sense

Hulu’s 11.22.63 Is Great, But It Makes No Sense

As the Hulu miniseries comes to a close, the “Geek’s Guide to the Galaxy” panel debates its merits in this week’s podcast. The post Hulu’s 11.22.63 Is Great, But It Makes No Sense appeared first on WIRED.
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The Great iOS-Android Emoji Divide Narrows Ever So Slightly ?

The Great iOS-Android Emoji Divide Narrows Ever So Slightly ?

Android phones are finally getting emoji that look like people. Imagine that! The post The Great iOS-Android Emoji Divide Narrows Ever So Slightly ? appeared first on WIRED.
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Home Theater Week at tigerdirect.com ...Your Source for High-definition Entertainment

Stars Say Goodbye To ‘Great Guy’ Ronnie Corbett

Four candles burned at the back of the altar as stars including Jimmy Tarbuck and David Walliams paid respects.
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Is The Broad a Great Public Collection or “The Largest Vanity Project of Our Lifetime”?

The Broad museum on Grand Avenue in downtown Los Angeles. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Iwan Baan.


Eli and Edye’s Gift to Los Angeles: The Broad Museum

“I have always worked on a public collection,” said Joanne Heyler, Chief Curator of The Broad Art Foundation and Founding Director of The Broad, to an assembly of international, national, and local media gathered in front of the much-anticipated new contemporary art museum and permanent home of the art collection of Eli and Edythe Broad a few days before its opening. Heyler has been with the Broads since almost the beginning, working with them for over 20 years to develop the collection and their philanthropic projects, culminating with the establishment of the impressive Broad museum. Heyler’s emphasis of the word “public,” however, might seem curious, considering that the collection belongs to just two people. But, as Heyler explained, the idea of “the public” is crucial to the museum’s mission of reaching the widest possible audience for its collection of contemporary art, and to that end, The Broad, situated in the heart of Downtown Los Angeles, offers free admission. “This is Eli and Edye’s gift to Los Angeles,” Heyler stated proudly.

The Broad’s “cool storage” room showing a work by Paul Pfeiffer. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Iwan Baan.

The practical matters of opening the collection to the widest possible audience, however, extend beyond the borders of Los Angeles. The Broad Art Foundation, which was founded in 1984, was established as a lending program, making the collection’s works available to museums and galleries worldwide. Over 8,000 loans have gone out to more than 500 museums and galleries over that period of 30 years. Now that the Broads’ collection has coalesced under the roof of the new museum, this dedication to lending will continue as a primary function of the museum, and has even been built into the building’s design.

The Broad museum’s lobby with interior veil. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Iwan Baan.

The building, designed by Diller Scofidio + Renfro, is predicated on the concept of “the veil and the vault”: the vault being The Broad’s large storage area for the collection, taking up most of the museum’s second floor; the veil, a porous exterior structure forming a diaphanous cover over the interior vault, allows a diffuse natural light to penetrate the 50,000 square feet of exhibition spaces, located on the first and third floors. Approaching the museum from the street, the visitor is essentially invited under the veil, into a cavernous space with the grey mass of the vault hovering overhead. A pod-like elevator, stairway, and long ascending escalator pierce the vault’s interior, allowing the visitor to pass through it, and, from windows in the stairwell, offering an unprecedented glimpse into the inner workings of the museum. As lead architect Elizabeth Diller pointed out, the design “turned a liability into an asset,” transforming the usually hidden storage area into a main attraction.

Installation of works by Christopher Wool and Jeff Koons in The Broad’s third-floor galleries. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Bruce Damonte.

In the expansive space of the third floor galleries, the viewer is initially greeted by a large open space, full of diffuse filtered natural light, surrounded by massive works by Jeff Koons, Christopher Wool, Mark Bradford, Marlene Dumas, Julie Mehretu, and El Anatsui. For The Broad’s first hang, Heyler took a “straightforward, wide-lens, chronological approach,” beginning with a room devoted to Warhol, whose Pop-Art presence is felt throughout the collection. Standouts of the inaugural exhibition include an eye-popping enclave of Ellsworth Kelly works; Anselm Kiefer‘s historic epic Deutschlands Geisteshelden (1973), whose evocations of receding woodgrain are echoed in a Mike Kelley piece (Infinite Expansion, 1983) on the opposite end of the museum; and alternately, life-like and imposing human figures by John Ahearn and Charles Ray. Areas of darker subject matter contrast with the Pop influences–animal bones in glass cases and a dead sheep suspended in formaldehyde by Damien Hirst share a room with a photograph of the Hong Kong Stock Exchange by Andreas Gursky, evoking themes of death and despair, interrupted by the obligatory inclusion of one of Hirst’s spot paintings. Works by certain artists, particularly John Baldessari, Cy Twombly, and Jeff Koons, recur to a great extent throughout the museum.

Installation of works by Neo Rauch, Robert Longo and Mark Bradford in The Broad’s first-floor galleries. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Bruce Damonte.

What emerges from the Broad collection is largely a paean to painting and sculpture, a majority, unavoidably it seems, devoted to male artists. This tendency is somewhat disrupted by the inclusion of some major installations on the first floor: a wool tapestry by Polish artist Goshka Macuga, complemented by two performers clad in the artist’s digital-printed Lycra designs; a powerful and elegiac musical video installation by Ragnar Kjartansson (The Visitors, 2012); Takashi Murakami‘s epic mural-sized painting In the Land of the Dead, Stepping on the Tail of a Rainbow (2014); and the experiential and existential Yayoi Kusama Infinity Mirrored Room – The Souls of Millions of Light Years Away (2013), which purports to plunge the viewer to an endless space of reflection among a quiet riot of blinking LED lights.

Yayoi Kusama, Infinity Mirrored Room – The Souls of Millions of Light Years Away, 2013. © Yayoi Kusama, Courtesy of David Zwirner, N.Y..

Waiting for my minute alone with the infinity of Kusama’s installation, I overheard an outspoken journalist denouncing The Broad as “the largest vanity project of our lifetime,” a sentiment that, given the rise of private museums and foundations established by prominent art collectors in recent memory, is not an unusual one to hold. While the Broad’s collection is by no means a complete, unbiased view of the developments of contemporary art (and who can rightfully claim that, regardless of their private or public affiliations?), this sanctimonious attitude willfully ignores The Broad’s potential outreach to the widest possible public, and the benefits that can be derived from it. The Broad’s location, as a new jewel in a downtown revitalization project that Eli Broad has helped orchestrate, is not entirely without self-serving attributes, but it also makes the museum accessible to a much larger proportion of Los Angeles residents, particularly those from lower income, inner city areas. The other notable free admission museums in Los Angeles–the Getty and the Hammer Museum–are located a metaphorical stone’s throw from each other in the exclusive neighborhoods of Westwood and Brentwood on the west side of Los Angeles. The Broad, on the other hand, is right in the heart of the city, easily accessed by public transportation coming in from all across the Southern California region.

Installation of works by Jean-Michel Basquiat, John Ahearn and Robert Therrien in The Broad’s third-floor galleries. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Bruce Damonte.

Los Angeles Mayor Eric Garcetti also addressed the crowd at the press preview that morning, boldly proclaiming “Los Angeles the contemporary art capital of the world.” Nodding to the mayor, Diller acknowledged that The Broad’s construction in Downtown Los Angeles is part of a “larger urban effort,” and heralds the increasing concentration of cultural attractions in the city center. If one were looking for a popular mandate for the new museum and for Downtown’s greater art presence, The Broad has certainly proved it, booking over 85,000 free tickets in advance of its opening. But if it truly wants to fulfill its mission to serve the public, as one of the most accessible free-entry institutions in Los Angeles, it should recognize this as a unique opportunity to introduce the wide lens of contemporary art, in all its facets, to a public that may not have the opportunity to experience it elsewhere. One can hope that through special exhibitions and new acquisitions (it estimates that it averages one new acquisition a week), The Broad will discover, and embrace, its obligation to the public to truly represent the art of our time.

Aerial photo of The Broad museum in downtown Los Angeles. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Jeff Duran / Warren Air.

–Natalie Hegert

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




Arts – The Huffington Post
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What This CEO Did Proves That Introverts Make Great Leaders

 

In this video, Susan describes one quiet leader you may not have heard of — a former CEO whose shyness and introversion guided, rather than inhibited, his leadership style.

The results were nothing short of remarkable: during his tenure, his company’s employee engagement, which had been among the lowest in the Fortune 500, rose to among the highest-ranked.

Have a question for our Chief Revolutionary? Email us via the Contact Susan page. You can also ask via Twitter with the hashtag #AskSusanCain.

 

2015-02-04-Joni_Blecher_150x150.jpg
This article originally appeared on QuietRev.com.

You can find more insights from Quiet Revolution on work, life, and parenting as an introvert at QuietRev.com.

Follow Quiet Revolution on Facebook and Twitter.

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




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The Best You Guide to Women's Health: Eat Well, Look Great, Embrace Life, Live Longer

The Best You Guide to Women's Health: Eat Well, Look Great, Embrace Life, Live Longer


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Great Northern Popcorn Black Old Time Popcorn Popper Machine with Cart, 8 Oz

Great Northern Popcorn Black Old Time Popcorn Popper Machine with Cart, 8 Oz


These commercial quality machines feature an innovative drop-down kettle, stainless steel food-zones, easy cleaning stainless steel kettles, heated warming decks, old-maid drawers (for un-popped kernels), tempered glass panels and an industry leading 8 ounce kettle operating on 860 watts. A couple of conveniences worthy of note include our exclusive old-maid drawer and convenient storage compartment. Our machine was designed with small perforations in the bottom stainless tray to allow the un-popped kernels to fall into the drawer. Simply “rake” the popped corn with a scoop and the “old-maids” disappear. We have sold thousands of these units to churches, schools, businesses, day care centers, varsity/PTA clubs, and more. Of course, our #1 customer is the home owner looking to add a theatrical effect to their home theater. BONUS! We include FREE 3 plastic serving cups, 50 popcorn serving bags, measuring cups and a popcorn scoop with every popper! Features: Deluxe model with 3 control switches instead of the 2 switch design and 860 watts instead of 640. Switches include: spot light warmer, stirrer and pot heater. Built-in warmer light. Drop down kettle design. Popcorn supply storage in base. This model can also be used as a tabletop model without using the cart. 18″ Ball bearing wheels for smooth mobility. Optional Hand lift and push rail is included free of charge. Popcorn scoop is included. Reject kernel tray. Kernel and oil scoop is included. 8″ wide working platform shelf. Heavy-duty powder coated steel and stainless steel construction. Cleans up with water. Makes roughly 3 gallons of popcorn per batch. Minor assembly is required. Additional Features: Works on standard 110 volt 860 watts (Commercial Quality). Large 18″ diameter bicycle style wheels. Measures roughly: 5 feet high x 20″ wide (30″ wide with shelves and push bar) x 21″ deep. Top Machine is 17.5″L x 20.5″W X 25.25″H. Cart is 18.25″L x 30.5″W x 36″H.

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Writing Great Books for Young Adults: Everything You Need to Know, from Crafting the Idea to Landing a Publishing Deal

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From a top young adult literary agent, the only guide on how to write for young adults

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Great Book of Woodburning, Book

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Unbelievably Good Deals and Great Adventures That You Absolutely Cant Get Unless Youre Over 50, 2007-2008

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Back-to-school Style: 10 Great Dresses

A great dress is an easy back-to-school option — paired with sandals, sneakers or boots and a cross-body or hobo bag, it’s instantly, effortlessly chic. As the weather cools, layering with tights and a fitted denim jacket or a slouchy boyfriend sweater will give any of these styles months of staying power.

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Win and Win Again: Techniques for Playing Consistently Great Golf

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The Great Explorers of the Nineteenth Century

The Great Explorers of the Nineteenth Century


This forms the third and concluding volume of Verne’s Celebrated Travels an Travellers. One is struck with the great mass of interesting matter, geographical, ethnological, and other, which is here compacted together; bespeaking as it does no small amount of research, an still more afiording fresh evidence of that instinctive perception of the popular which is, to a large extent, the secret of the author’s success in his numerous works. A preliminary chapter is devoted to a general survey of explorations by Seetzen, Burckhardt, Webb, an others in the East in the early part of the century-a survey very interesting so far as it goes, but superficial. The value of the work, however, grows as it advances, the story of African travel evidently drawing out the author’s enthusiasm more successfully; and the expeditions of Clapperton and the Landers are narrated with greater fulness, and with more sympathy. The whole of the second part of the book is devoted to Polar Explorers and Circumnavigators, and the stirring careers of Kotzebue and Krusenstern, of Bougainville and Freycinet, as well as of James Clark Ross and John Ross, Parry and Franklin, are concisely and graphically recorded.

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Prepare For a Literary Shopping Spree: There Are So Many Great Books By Women Coming This Fall

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Lift, Laugh, Love: Another Helping of Tips, Tricks, and Uncomfortable Overshares from The Great Fitness Experiment

Lift, Laugh, Love: Another Helping of Tips, Tricks, and Uncomfortable Overshares from The Great Fitness Experiment


Charlotte Hilton Andersen is the author of the book The Great Fitness Experiment: One Year of Trying Everything. She runs the popular health and fitness website of the same name, where she tries out a new workout every month, specializing in exercise, body image and oversharing. She was named one of Demand Media''s top 3 bloggers for 2010, one of Fitness Magazine''s favorite fitness bloggers and a fitness expert by Experience Life Magazine''s A Revolutionary Act.On a regular basis she writes for The Huffington Post, Redbook Magazine, iVillage, Men''s Fitness, Shape Magazine and BlogHer. In addition, she has been featured on ABC''s 20/20 and Fox''s morning show and interviewed on Fox, NBC and many radio stations. Her writing has appeared in several health and fitness magazines as well as the online content of The Washington Post, USA Today, Fox News, and Livestrong among others. A former professor, her night job is grading the SAT essay where she gets to grade 500 high school essays each answering the same prompt, causing her to curse any time The Scarlet Letter is mentioned in her presence. She is a mom of five currently going crazy in Minnesota.
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America's Financial Apocalypse: How To Profit From The Next Great Depression

America's Financial Apocalypse: How To Profit From The Next Great Depression


For nearly three decades, America has been gradually losing ground to the developed world in many critical areas. The result is that the American standard of living has been in decline for over two decades, with the middle class having been affected the most. Meanwhile, the rich have gotten wealthier and now America is a nation controlled by corporate America. Hidden by two-income households and open access to credit, declining living standards have gone unnoticed by most Americans. Spending beyond one''s means has become the American way of life and is encouraged by the government. In contrast, saving is almost unheard of in America. As a result, this once power nation has changed from the world''s largest creditor to the world''s largest debtor. Decades of over consumption by Americans can only last so long before a day of reckoning occurs. The deflation of the Internet Bubble resulted in the paper loss of over trillion dollars, yet most people seem to have already forgotten the most scandalous charades in U.S. history by Wall Street and corporate America. And now, as the retirement assets of tens of millions of Americans are in question, an even larger number are caught up in the largest real estate bubble in our history. As we enter the two next decades, 76 million baby boomers will retire, most of them in poverty. Thus, the generation that was responsible for creating the greatest bull market in U.S. history may, through no choice of its own, also be the same group that causes an economic meltdown due to decades of government mismanagement, inadequate planning, and overconsumption. During this same time frame, many expect the global oil production is gradually decline due to whatis known as the peak oil theory. Obviously, this has enormous consequences of its own. Today, America is in the final preparatory stages that will lead to a massive economic meltdown resulting in the Next Great Depression, as over 46 million Americans already have no healthcare insurance, Social Security will be inadequate for the 76 million baby boomers who will retire over the next several years, energy prices will remain high for some time, and for the first time ever, Americans can no longer live with the comfort knowing that they are safe on their own soil. These issues will only get worse and when the appropriate triggers are set off, a domino effect will commence, sending the stock and bond markets into a downward spiral. This book claims to represent the most detailed and exhaustive analysis of America''s current and future economic plight, as well as that of its capital markets. Rather than making bold claims supported by scant data, this book makes use of several hundred figures, tables, and charts, as well as over 700 references to support the premise that a depression is inevitable for America. Finally, the final three chapters address economic and market risks and provide investment guidance and strategy for investors to position themselves to profit before and during America''s next great depression.
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America’s Financial Apocalypse: How to Profit from the Next Great Depression (Condensed Edition)

America’s Financial Apocalypse: How to Profit from the Next Great Depression (Condensed Edition)


For nearly three decades, America has been gradually losing ground to the developed world in many critical areas. The result is that the American standard of living has been in decline for over two decades, with the middle class having been affected the most. Meanwhile, the rich have gotten wealthier and now America is a nation controlled by corporate America. Hidden by two-income households and open access to credit, declining living standards have gone unnoticed by most Americans. Spending beyond one’s means has become the American way of life and is encouraged by the government. In contrast, saving is almost unheard of in America. As a result, this once power nation has changed from the world’s largest creditor to the world’s largest debtor. Decades of over consumption by Americans can only last so long before a day of reckoning occurs. The deflation of the Internet Bubble resulted in the paper loss of over trillion dollars, yet most people seem to have already forgotten the most scandalous charades in U.S. history by Wall Street and corporate America. And now, as the retirement assets of tens of millions of Americans are in question, an even larger number are caught up in the largest real estate bubble in our history. As we enter the two next decades, 76 million baby boomers will retire, most of them in poverty. Thus, the generation that was responsible for creating the greatest bull market in U.S. history may, through no choice of its own, also be the same group that causes an economic meltdown due to decades of government mismanagement, inadequate planning, and overconsumption. During this same time frame, many expect the global oil production is gradually decline due to whatis known as the peak oil theory. Obviously, this has enormous consequences of its own. Today, America is in the final preparatory stages that will lead to a massive economic meltdown resulting in the Next Great Depression, as over 46 million Americans already have no healthcare insurance, Social Security will be inadequate for the 76 million baby boomers who will retire over the next several years, energy prices will remain high for some time, and for the first time ever, Americans can no longer live with the comfort knowing that they are safe on their own soil. These issues will only get worse and when the appropriate triggers are set off, a domino effect will commence, sending the stock and bond markets into a downward spiral. This book claims to represent the most detailed and exhaustive analysis of America’s current and future economic plight, as well as that of its capital markets. Rather than making bold claims supported by scant data, this book makes use of several hundred figures, tables, and charts, as well as over 700 references to support the premise that a depression is inevitable for America. Finally, the final three chapters address economic and market risks and provide investment guidance and strategy for investors to position themselves to profit befo
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The Great Escape

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Digital Photography for Beginners: How to Create Great Photos for Fun or Profit

Digital Photography for Beginners: How to Create Great Photos for Fun or Profit


This book will help you become a digital shutterbug. It explains everything in plain, non-technical terms. You now have an incredible array of digital cameras to choose from and the question is what are the differences and which are the best cameras for your needs?This book reviews features of the less expensive point and shoot cameras. Then, it covers interchangeable lens cameras and explains some of their superior qualities. It points out the differences between mirrorless cameras and reflex cameras. You are then taken inside a digital darkroom where software programs let you alter and touch up your photos, crop them, enlarge them and print them. If you are looking to earn money by taking pictures, you will learn about setting up a studio and the equipment youll need. You will learn about wedding photography, taking product shots, repairing damaged pictures, news and sports photography as well as selling your pictures to stock photography agents. Find out how to share your photos using photo repository sites. Take a look at software programs which will help you store and organize your collection.

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Great Conversations: Robert Evans

I interviewed legendary Hollywood producer Robert Evans in 2002 for Venice Magazine, in conjunction with the release of the documentary “The Kid Stays in the Picture,” adapted from his iconic autobiography and audiobook. Our chat took place at Woodlawn, Evan’s storied estate in Beverly Hills, in his equally famous screening room, which mysteriously burned down a couple years later. Evans was still physically frail, having recently survived a series of strokes, but his mind, his wit and his charm were sharp as ever, with near total recall for people, places and stories. Many, many stories. Here are a few of them.

ROBERT EVANS: THE KID IS ALRIGHT

It’s a widely-held belief that the years 1967-76 represent the “golden age” of American cinema. Just look at a few of these titles: Rosemary’s Baby, Medium Cool, Romeo and Juliet, True Grit, Catch-22, Love Story, The Godfather I & II, Don’t Look Now, Harold and Maude, Chinatown, Shampoo, Marathon Man, to name a few. These films, as well as others from the era, helped reshape our world, redefine us as people, and remain timeless touchstones to which millions born and unborn will return probably for as long as man continues to inhabit this crazy mess of a planet. If you were asked, “Who’s responsible for giving life to these masterpieces?” most would respond: “Uh, well, let’s see there’s Roman Polanski, Haskell Wexler, Franco Zeffirelli, Francis Ford Coppola…” Whoah. Slow down there, Shell Answer Man. You’re leaving one guy out. One guy who was responsible for giving all those titles life. One guy who refused to play by the rules. One guy who picked up the dice, had the prettiest dame in the room give them a lucky breath of air, and let them fly, outcome be damned. Hell, he knew it was gonna come up 7. His friends, both real and those who think they are, still call him “The Kid,” a moniker bestowed upon him by the legendary Darryl F. Zanuck. Civilians know him as Robert Evans.

Robert Evans was born Robert J. Shapera on June 29, 1930 in New York City, the second son of a dentist who had the first integrated practice in Harlem. The family later adopted the last name Evans as a tribute to their paternal grandmother, whose maiden name was Evan. Young Bobby Evans had a comfortable middle class upbringing, being bitten by the acting bug at an early age, finding work as a radio actor in his early adolescence, already blessed with a distinctive, adult-sounding voice. Forgoing college, Evans joined his older brother Charles in running the elder Evans’ highly-successful women’s clothing label Evan-Picone, making Robert Evans a millionaire before his 25th birthday.

While visiting the west coast to open Evan-Picone boutiques, Evans was discovered poolside at the Beverly Hills Hotel by Norma Shearer, a silent, and early talkie, screen star and widow of the legendary boy mogul Irving Thalberg. Thinking him perfect to portray her late husband in Fox’s Lon Chaney biopic Man of a Thousand Faces (1957), Evans suddenly found himself playing opposite his childhood idol James Cagney, and voted “Most Promising Newcomer” by Photoplay magazine. His next role, as bullfighter Pedro Romero in the screen adaptation of Hemingway’s The Sun Also Rises (1957), earned Evans his ubiquitous nickname. So incensed were most of the cast and crew that this young upstart was cast in a pivotal role, a telegram was sent to studio head Darryl F. Zanuck demanding that Evans be replaced. It was signed by Hemingway, Ava Gardner, Tyrone Power and Eddie Albert. Furious, Zanuck flew down to Mexico. Arriving on the set the day a bullfighting scene was being shot, Evans displayed such panache in the sequence, Zanuck, all 5 foot 4 of him, stood up gripping a bullhorn, and intoned: “The kid stays in the picture, and anyone who doesn’t like it can quit!” At that moment, Evans realized it was Darryl Zanuck, as opposed to James Cagney, that he wanted to emulate. Thus a moniker, and a legend, was born.

A fair to middling actor by his own admission, Evans’ career as a thespian fizzled out as quickly as it started. Evans returned to “being in women’s pants,” as he likes to joke, running Evan-Picone with brother Charles, but he longed to try his hand at producing movies. In the mid-60’s, he saw his chance, optioning a novel by Roderick Thorpe called The Detective, attaching Frank Sinatra to play the lead. This led to a multi-picture development deal at 20th Century Fox. Evans was getting ink again on the entertainment page, most notably, a piece in the New York Times by a young scribe named Peter Bart. The piece caught the eye of Gulf + Western chairman Charles Bluhdorn. Impressed by Evans’ moxie, Bluhdorn summoned “the kid” to Gulf + Western’s New York offices, offering Evans the position of head of European production for Paramount Pictures, one of G+W’s subsidiaries. Paramount, which at that time was “ranked 9th out of 8 studios in town,” was in dire straits, most of its investors pressuring the board to sell the lot for a tidy sum to the Jewish cemetery that bordered it. Bluhdorn refused to let this happen, quickly recognizing Evans’ solid-gold instincts, and promoting him to head of production back in LA. Evans just as quickly hired Bart to be his right hand man. This was 1966. By 1972, Evans had taken Paramount from the basement to the penthouse: the top studio in town.

Among Evans’ legendary accomplishments during his tenure at Paramount was during the production of Marathon Man, Evans was set upon getting Laurence Olivier to play the role of villainous Nazi war criminal Christian Szell. However, because Olivier at the time was riddled with cancer, he wasn’t insurable, so Paramount refused to use him. In desperation, Evans called his friends Merle Oberon and David Niven to arrange a meeting with the House of Lords (the upper body of the British parliament). There, he urged them to put pressure on Lloyd’s of London to insure Britain’s greatest living actor. The ploy succeeded and a frail Olivier started working on the film. In the end, not only did he net an Oscar nomination for Best Supporting Actor, but his cancer also went into remission. Olivier lived on for another 13 years and never stopped working.

Evans’ other legacy has been his propensity for surrounding himself with the world’s most glamorous and desired women, a list of names that would make Hugh Hefner green with envy. His male friends included Hollywood stalwarts Jack Nicholson and Warren Beatty, statesmen like Henry Kissinger, and behind-the-scenes powerbrokers, like the legendary and secretive Sidney Korshak. Married and divorced five times (his exes including Ali MacGraw, and former Miss America Phyllis George), Evans personified the glamorous movie mogul of the 70’s: blessed with the looks and wardrobe of a male model, architect of some of the most groundbreaking movies in history, his Beverly Hills estate, Woodland, the site of glamorous parties, precedent-setting business deals, and storybook romances. By the end of the decade, Robert Evans was approaching the sort of Hollywood omnipotence that people like Steven Spielberg and George Lucas achieved a decade later.

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In 1980, however, everything came crashing down. Implicated in a high-profile cocaine bust (even though he was 3,000 miles away when it occurred), Evans name was tarnished almost beyond repair, in spite of never being formally charged with any crime. In addition to a worsening cocaine problem, Evans’ biggest professional debacle was the ill-fated film The Cotton Club (1984) a labor of love for Evans, which turned into a literal nightmare. To add insult to injury, the murder of Roy Radin, an acquaintance Evans met as a potential investor in the film, was dubbed “The Cotton Club Murder Case” by the press, further tarnishing his once-spotless image. By the end of the decade, Evans was virtually destitute, a pariah in the town he loved, and the business that he helped shape.

Deciding to pull himself up by the bootstraps in 1990, Evans embarked on what would be his comeback project. The Kid Stays in the Picture was Evans’ life story, a Hollywood memoir that not only became an international best-seller, but also became required reading for a new generation of filmmakers and studio execs. The audio version of the warts-and-all tale became even more legendary, with Evans himself reading from the book, and acting out his life. Soon the phone started ringing again. Old pal Stanley Jaffe, now head of production at Paramount, offered Evans a place back at his old home, setting up a production deal. “The Kid” was back in the picture…with another hurdle around the corner.

In 1997, while hosting a party for filmmaker Wes Craven at Woodland, Evans rose to toast his guest, then dropped to the floor, the victim of a massive stroke. Once hospitalized, two more strokes followed, paralyzing the right side of Evans’ body. Doctors told him he would be wheelchair-bound for the rest of his life, if he were lucky. Determined to prove them wrong, Evans spent the next two years undergoing painful physical and speech therapy, rebuilding himself and his life.

Meanwhile, the book and audio of The Kid Stays in the Picture just kept growing in popularity. Approached by old pal Graydon Carter, Editor of Vanity Fair, Carter suggested turning Kid into a film, a self-narrated documentary about Evans’ surreal, rollercoaster of a life. The result: Nanette Burnstein and Brett Morgen’s documentary The Kid Stays in the Picture. A huge hit at this year’s Sundance Film Festival, Kid the movie is a fascinating, sad, hilarious, thrilling self-portrait of a man who refuses to be anyone but himself. The Focus Films release is currently playing in LA and New York, with a wider release planned for late Summer and early Fall. As Evans himself said, “I got to have a third act, and it’s been the greatest of my life.”

Robert Evans sat down with Venice recently in the screening room at Woodland, a place where more Hollywood history has been made than all the boardrooms at Paramount, telling the tale of how he has managed to stay Hollywood’s version of the mythical bird the Phoenix, rising up from the ashes that surround him, to be reborn.

What precipitated your writing the book “The Kid Stays In the Picture”?

Robert Evans: I wrote this book not knowing if it would be published or not. I could have cared less. I didn’t care if anyone even read it, just one person: my son, Josh. From the time Josh was seven years old until he was 17, his old man went from royalty to infamy. And kids can be very cruel. Unfortunately, royalty fades and infamy stays. The day Josh graduated from high school, the headline on the front page of the L.A. Times read: “Robert Evans Involved in Murder.” There all the kids were, dressed in their caps and gowns. Bob Daly was there. Terry Semel was there. Both their kids were graduating as well. And in spite of everything I accomplished in my life, I felt so low. Josh came up to me, hugged and kissed me, and I was just crying. Afterwards we all went to lunch, just me, Josh, and his mom, Ali MacGraw. Then I went home by myself and just cried some more, thinking “Why should Josh have to go through all this shit because of me and my mistakes?” So I wanted to write a book that would tell Josh who his old man really is. You can’t lie to a kid. You have to tell the truth. So I disappeared for four years while I wrote this book. And it wasn’t cathartic at all. It was painful to write about your fuck-ups, because then you’ve got to rewrite them and rewrite them and rewrite them. This book was the only legacy I could leave to him. I had no money. I lost my house. It was the most humble, purest endeavor of my life.

One could also argue that it’s been the most successful endeavor of your life.

Absolutely, more so than any film I ever produced. When I was finished with the book, every publisher wanted it, and it became an international bestseller. It also got me the best reviews of my life. Then when I did the audio version, it became a bestseller as well. One day (Vanity Fair Publisher) Graydon Carter came to me and said he wanted to make a film of it. I said ‘Graydon, you can’t make a film of an audio recording.’ (laughs) ‘I don’t want actors playing all these real people from my life. I don’t want George Hamilton playing me!’ (laughs) He said “We’ll figure a way of doing it.” Graydon spent two-and-a-half years getting releases from people who we never thought we’d get releases from: Jack Nicholson, Dustin Hoffman, Warren Beatty…out of 256 releases which we needed, we got 255! So it took two and a half years to make the picture. When I went to the screening at Sundance earlier this year, it was the first time I saw it all put together. It was a hallucinatory experience for me because it hurt. It hurt bad. When the picture was over, I got a 15 minutes standing ovation. I’d never had a two-minute standing ovation in my life. All this from a book I wrote for my kid. And the interesting thing is we’ve never discussed the book. We’ve never discussed the audio. We’ve never discussed the movie. He knows and I know and he’s the closest friend I have.

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Robert Evans and son Josh Evans.

There’s a very touching note you wrote to Josh that’s in the book.

Yeah. Would you like me to read it?

Sure.

(Reading from the book) “Hey Runt! Spent over three years writing this. It hurt. Hurt bad. Reliving your fuckups ain’t easy. Then writing ’em and rewriting ’em, that’s the killer. Did it for you. Yeah you, you little runt. You deserve it! I wouldn’t be today if it weren’t for you. I know it. You know it. Fuck it! I ain’t ashamed. Why keep it a secret? Knew the pain you were goin’ through, too. Showed all over your face. Them pimples you thought of squeezin’? That’s how many sleeping pills I thought of takin’. You pulled one hell of a hat trick, kid. That tightrope, you balanced it like a pro. Your strength stopped my fall. We’ve never talked about it, so I’m writin’ it. Set the record straight. Talkin’ disappears. That’s why it’s on paper. For better or worse, at least you’ll know who your ole man really is. How much he loves you. It’s all that matters. Pop.”

That’s a beautiful letter.

Well. I wanted to show him my life, warts and all. This is my legacy to him. And by doing that, it opened up doors that changed my entire life. It’s funny, not long ago I was completely washed up. Then to make matters worse, I had a stroke. I was half paralyzed. I had to learn how to walk again, talk again, hold a fork again. My right side was paralyzed, including half my tongue. But for some reason, the guy upstairs gave me a second pass. I heard the fat lady sing, literally. I heard Ella Fitzgerald singing It’s a Wonderful World. I saw the white light, then I passed out. When I woke up in the hospital, I thought I was in heaven at first. But when I really regained consciousness, I found myself more like Quasimodo than myself. I really felt like a freak. I took speech therapy for three years to learn how to use my tongue again. The real pain was the physical therapy, though. I used to be a pretty damn good tennis player, and I couldn’t even hold onto a ball. It was tough, but I did it because I wanted to prove them doctors wrong! I’ve never lived by the rules. I ain’t corporate. I’m not a good executive and I’m a lousy businessman, and I’ve never kept the hours that other studio heads did. I learned t his from Zanuck: when he ran 20th Century Fox, he showed up to the studio at 2 o’clock and left at midnight. So when I ran Paramount, I never had breakfast meetings. I can’t help it. I’m just not good in the morning. I’d show up at 11:30 and work until midnight. Everyone resented it, the idea being that you have to show up at 9. I’m not a 9-to-5 guy.

You always did most of your business from home, right?

More Hollywood history was made in my screening room during the late 60’s and 70’s than anywhere else. Chinatown was born here.The Godfather was born here. Francis Coppola and I practically fought WW III here during that time. Dustin Hoffman and Larry Olivier both lived here during Marathon Man. Olivier lived here for six months. Larry Olivier couldn’t get a job at the time, because he had cancer and no one would insure him. He was destitute. He couldn’t afford to send his son to college. Through my good friends David Niven and Merle Oberon, I was able to go before the House of Lords, and persuade them to get insurance for the greatest actor of our time through Lloyd’s of London. Olivier threw his arms around when it was over and said “You saved my life, old boy.” Not long after that, his cancer went into remission and he was able to live his last 13 years doing some of the most brilliant work of his career. That’s one of the proudest moments my life. It’s funny, I’ve led a very blessed and a very cursed life.

I think you’ve had more extreme ups and downs than almost anyone in Hollywood history.

I’ve touched magic as much as anyone, and I’ve been scandalous as much as anyone. And the strange thing is, all my “scandals” were non-truths. I’ve done a lot of wrong things in my life, but the two things that really brought me infamy: the coke bust and the so-called “Cotton Club murder” of Roy Raydin, I had nothing to do with. How can I get busted for something when I’m 3000 miles away? My nose ain’t that long. (laughs) But, I get ink. If you live by the sword, you die by the sword. People made careers over my carcass. I’m afraid to walk past the Hustler store on Sunset, forget about going in it! Someone takes a picture, boom! There I am on the front page: “Bob Evans, porn fiend!” (laughs) That’s why I rarely leave my house anymore. I’d get in too much trouble! (laughs)

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Out on the town with Ava Gardner, circa mid-’50s.

Yeah, but you were fodder for the scandal sheets way before your tenure at Paramount.

Oh yeah, going back to when I was dating Ava Gardner and Lana Turner at the same time, in the mid ’50s. I was getting headlines before most of today’s studio executives were even born. I have clippings of me with Terry Moore while she was secretly dating Howard Hughes.

Not bad!

In my teens, I was being kept by four women. I always had a knack for getting myself in trouble! I guess you could say that I’ve been leading a high profile, sometimes notorious existence for a long time. That’s what Jack Nicholson said I should call my book: “Notorious”! (laughs)

With John Frankenheimer on the set of Black Sunday, 1976.

You’ve worked with many amazing directors in your career. In 1977, you produced Black Sunday, which was directed by John Frankenheimer, who recently passed. What are your memories of working with him?

John, to me, is one of the best directors I ever worked with. He’s very unappreciated, too, I think. John went through a very bad period of alcoholism, which made him more than a few enemies. But I loved working with him, thought he was a terrific guy. Black Sunday turned out to be a terrific picture, but one of the big disappointments of my life. When that picture came out, they thought it would do more business than Jaws, that’s how big they thought it would be. I turned down an offer of $ 6.6 million to buy my points in it. I owned 57% of the film. You know how much business it wound up doing? Nothing. It tanked, due to a lot of factors. First, Arab groups claimed we were anti-Arab because the villains in the piece were Arab terrorists. Jewish groups claimed we were anti-Semitic because we tried to explain why someone would join a movement like Black September. I wound up spending a fortune of my own money to hire private security to protect myself because I was receiving death threats. Then, a few months before the film came out, Universal released Two Minute Warning, a film about a sniper in the LA Coliseum during a football game. Even though Two Minute Warning got awful reviews and Black Sunday got raves, and the two films couldn’t have been more different, people associated the two and stayed away. You just never know.

In almost every show business biography and autobiography I’ve read, their subjects are portrayed having one amazing success after another, almost to the point of omnipotence, only to self-destruct just when things seem like they’re perfect. What causes that tendency, do you think?

Gambling. Most successful filmmakers and producers are gamblers at heart. I mean, literally. Darryl Zanuck had such a bad problem he had to borrow money from Howard Hughes. And let’s face it: what’s a bigger risk in life than making films? And when you gamble, you don’t always win. David O. Selznick died broke. I wanted to be Selznick, that’s why I did The Cotton Club, and wanted to own it. But I wasn’t as smart as he was.

You write so well, it’s surprising that you didn’t have a career as a writer at one time.

Well, I co-wrote more scripts than you can possibly imagine, although I never took credit for them and didn’t want to.

But you are working on a sequel to The Kid Stays in the Picture.

Yes, it’s called The Fat Lady Sang. I open it with my stroke, when I was hosting a party for Wes Craven. I’m about halfway through it now. It’s about my life post-Kid, post-stroke, told in flashbacks, also a lot of things from my earlier life that weren’t covered in Kid. It’s all about the third act of my life that I didn’t have before. I’ll tell you, I can’t believe I’m here talking with you now. I should be dead. The guy upstairs is keeping me here a little longer to do something else. I’ve also got a new picture in production, called How to Lose a Guy in 10 Days, starring Kate Hudson and Matthew McConaughey. It’s shooting in New York and Toronto.

You seem to be completely recovered from the stroke. If I didn’t know what had happened, I’d never have guessed.

I had three, actually. One here and two in the hospital. I’m about 90% recovered, I’d say. The three most important things in my life before the stroke were the three S’s: sun, sex and sports. I can’t take the sun anymore because of all the pills I’ve got to take. I used to be a good tennis player. Now I’m in the paraplegic league, but I can play. Sex wise, let’s just say I’m not as dexterous as I was before, but I’ve got my libido at least. Sex will always be important to me. It always has been. That’s why none of my marriages lasted. (laughs)

I think any man who was in your position would have had a hard time being monogamous.

I haven’t been since I was 17. That’s why Frank Sinatra wanted to meet me so badly, when he saw me with Lana and Ava at the same time! He was very curious, to say the least. I actually didn’t dig Lana that much because she was a terrible alcoholic, in public places, too. She was a very unhappy lady, as was Ava. Terrible alcoholic. Very unhappy with her life. In fact, most actresses I’ve known are very unhappy with their lives.

Let’s talk about your days at Paramount. You came there at such a unique time. You even convinced the board to give you complete autonomy in running the studio.

Yeah, but that didn’t happen right away. I thought I was about to be fired. So I had Mike Nichols shoot this 40 minute film for me, which I presented to the unsmiling, 18 member board of Gulf and Western (Paramount’s then-owner) in New York, convincing them at Paramount would be the No. 1 studio in town after the release of Love Story and The Godfather. I signed resignation papers when I arrived in the office, saying they could keep the $ 300,000 it would cost them to buy out the rest of my contract if they’d just watch this 40 minute film. They agreed. After I screened it, Charlie Bluhdorn, my boss, called me into his office and told me to go back to work. I said “But Charlie, I resigned.” He said “Whaddya want, more money?” I said “I don’t want another dime from you. What I want is to be in a position were not a single one of those 18 motherfuckers can come on my lot, interfere with my films, or bother me in any way. I want complete control.” He says “Evans, are you crazy? I can’t do that? It’s against all corporate rules.” I said “OK, I’m going. Goodbye.” He said “Get back here!” So Charlie goes back in before the board. After an hour, he comes back. “Okay Evans, you got what you want. It’s your shop. You better have a lotta mazel, Evans! Now get to work!” So that’s how I got my autonomy. I wasn’t a fence straddler. I gambled with my 300 Gs and that’s what took Paramount to 140 nominations and that’s what made history. What do you think most studios would have said to me if I went to them and said “I want to make the story of 18-year-old boy who falls in love with an 80-year-old woman, to be directed by an acid head (Hal Ashby) and written by a guy who cleans swimming pools (Colin Higgins)”? They’d throw it out the window! (laughs) And that’s how we touched magic.

That’s one of my favorite films, Harold and Maude.

I show it every Valentine’s Day! It’s such a romantic film.

Tell us about Hal Ashby.

I loved Hal. A sweet, sweet man, and a great director. He died way too early. He was a brilliant film editor and had a good reputation for that, but his first picture (The Landlord) hadn’t even come out yet when we were prepping Harold and Maude. Colin Higgins worked for (producer) Eddie Lewis as a pool boy! I think it’s a classic that’ll last forever. Every film that the so-called “suits” didn’t want to make were all hits, and the pictures that they did want to make were all flops. No one wanted to make The Godfather. With Chinatown, they begged me “It’s Chinese, nobody’ll understand it!” They didn’t want to release it. They didn’t understand it. Then after it came out, after all the accolades, suddenly they understood it.

You mentioned how much the studio world has changed since you began in the mid-60s. Could Bob Evans happen today, or was it great timing: the right man for the job at the right time?

It could happen. I’ve always been fortunate enough to meet people who have been mentors me. Some people didn’t. Some people did. Fortunately, most people who did were at the top. I think it could be done again. Joe Roth has done it, very successfully. I didn’t much earlier age, though. I’m a huge gambler. My attitude always was if I get fired, I get fired. Big deal. So I took chances. I did things people said couldn’t be done. If someone came into my office and said “I’ve got a great idea for this picture. It’ll be so commercial and everyone will love it!” I’d say “Get outta here!” But if someone came in my office and said “I’ve got a really weird story to tell you. It may not work, but I think it’s really terrific and I’m in love with it.” That’s what happened with a film called Don’t Look Now (Nicolas Roeg, 1973). Nic Roeg went to everyone in town. No one wanted to make it. I did. Now it’s regarded as a classic. If you pick one hit out of three, you doing great. If a ballplayer bats one in three, he’s a star. If you hit a homer or two, you’re a big star. I always went by the percentages. With Roman Polanski, everybody told me I was crazy to hire this weird Polack to direct this high-profile movie (Rosemary’s Baby). I said “That’s why I’m doing it: it’s crazy!” You’ve got to risk to do something different, something original. If you don’t do what’s original, all you care about is keeping your job. Rules were made to be broken. Break them!

That’s one thing about this new generation of directors that’ve been pulled from commercials and music videos: they’re not in the filmmaking business, they’re in the advertising business and at the end of the day: they turn in these $ 150 million mouthwash ads.

Exactly. Everything is MTV-ized. There’s no scenes. There’s no texture. It’s cut, cut, cut! No one has the patience to sit and listen. You gotta have boom, boom, boom! Gotta have shoot ’em up! Gotta have a happy ending! Know what? I don’t believe in happy endings! I think they ruin things. I don’t believe in the boy getting the girl in the end. I believe in unrequited love. There’s nothing more mesmerizing than unrequited love. And real. Waterloo Bridge, Love Story, Chinatown.

Best last line of a movie ever, in Chinatown!

“Forget it Jake, it’s Chinatown.” Yeah, it’s a great one.

One thing that your book and the film really drive home is how mercurial relationships in Hollywood are. It would drive most people mad. How do you keep your sanity in that environment?

I’ll tell you how: I keep my circle very small: Jack Nicholson, Warren Beatty, Sumner Redstone, Peter Bart, a few others. When I was at my lowest, I didn’t lose my friendships.

Now you’ve become a hero and mentor to a new generation of young actors and filmmakers. Track record aside, I think it must be your candor that draws them to you.

People ask me “What’s the most important thing in your life.” I always answer “It has nothing to do with morality, it’s always telling the truth. Because then you never have to remember what you’ve said.” That way I can walk into any room at any time, and just tell it like it is. People may not like you for it, but there’s an asterisk to it: omission ain’t lying. (laughs)

Sidney Korshak, “The Godfather.”

The most fascinating character in your book was your late attorney and mentor Sidney Korshak.

I’m working with Billy Friedkin right now on the Korshak story. He was the ultimate power, my godfather. I spent every day with him for 40 years. A big bear of a guy, six foot five, former boxer. He was totally legitimate, never had a misdemeanor against him, but was the most powerful man I ever met. Seymour Hersh spent three years writing an article for The New York Times on Sidney and in three years, could find nothing out about him! Nothing!

And there was the secret of his power: anonymity. Prior to reading your book, I’d never heard of him.

Exactly.

Do you think your opposite profile, a very high one, is what made you such an easy target?

Yeah, absolutely.

Another lesson I learned in the book is to not be shy about approaching people, if you want to be in show biz.

And the bigger the person, the more approachable they are! I could reach George W. Bush easier on the phone than I could a junior agent at William Morris.

It sounds like The Cotton Club was the biggest professional disappointment of your life.

It was the worst single mistake I ever made in my life. I wanted it to be The Godfather with music. It took up six years of my life. I did more research on that than any picture I’ve ever done. Originally I was going to produce and direct it, and dedicate it to my late father, who had the first integrated dental practice in Harlem: “For you Pop, wherever you are. Your son, Bobby.” We even had a great poster drawn up for it. It read: “Its violence started the nation. Its music startled the world.” It was the single worst experience of my entire life. In 1979, when I began work on the project, I was worth $ 11 million. In 1989, I was worth $ 37.00. That was the 80’s for me. Not a fun time.

I’ve heard rumors that a longer version was going to be released.

It should be. Eleven musical numbers were cut out. I think it was done on purpose. All those guys that put the money up lost a fortune. I put my house up, too. But no, no, I doubt it. I think Francis had a score to settle with me after The Godfather. He was resentful, feeling I took too much credit for the film.

You’d think he’d be grateful to you.

No. No. (long pause) Francis is the most charming, seductive man I’ve ever met. I think he’s a direct descendent of Prince Machiavelli. Once you leave his kitchen, you’re enamored by him. (laughs) He’s so talented, so brilliant, and a dreamer. And I think rather self-destructive. We’ve only spoken once since that time, at the 25th anniversary screening of The Godfather. We all went down to the front of the theater afterwards, to tremendous applause. Francis started to pass me. Then he stopped, put his arms around me and whispered in my ear “We did something right.” That about sums it up.

How do you keep rising from the ashes like the Phoenix? What’s your secret?

Very simple: I wanna stay in the picture, because once you’re outta the picture, you’re out.

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Fors Clavigera Volume 3-4; Letters to the Workmen and Labourers of Great Britain

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New – This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1886 Excerpt: …Devon Line, near Plymouth. A luggage train was set on fire, and a van laden with valuable furniture completely consumed. Sept. 30.–The London and Glasgow express came up at full speed near Motherwell Junction, and dashed into a van which was being shunted on the main line: the engine

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Why Marriage Equality Is Great For The Economy

Thanks to marriage equality, this could be a big year for Sophie Pyle’s company.

The founder of Tweet The Bride — a service that posts live Instagram and Twitter updates during clients’ weddings — expects the Supreme Court’s Friday decision legalizing same-sex marriage across the country to be a major boon for business.

“It just makes the wedding industry and the number of people getting married that much bigger,” Pyle told The Huffington Post on Friday morning. “There are that many more customers and weddings. I’m very excited about it.”

Pyle’s year-old business is based in Virginia, which was one of 37 states (and Washington, D.C.) that recognized same-sex marriage prior to the Supreme Court’s new ruling. Her clients don’t always live or marry nearby, and she often travels to attend ceremonies in other places. She has worked only one same-sex wedding — all the way in Denmark! — but she expects more in the future.


Just married in Copenhagen! #hamiltondevoss

A photo posted by #HAMILTONDEVOSS (@hamiltondevoss) on


The #HamiltonDevoss wedding in February was the fist same-sex wedding Pyle worked at.

Aside from the obvious benefits to the wedding industry, marriage equality could have a positive impact on the economy overall.

In the first three years of nationwide marriage equality, spending on same-sex weddings could add $ 184.7 million in tax revenue and 13,058 jobs to states’ economies, according to a report from the UCLA School of Law’s Williams Institute. The U.S. economy could get a $ 2.6 billion boost over the next three years.

New York, which legalized same-sex marriage in 2011, has already benefited from same-sex weddings, as data-driven news site Vocativ points out. In the first year after New York passed its Marriage Equality Act, New York City alone received a $ 259 million economic boost as 8,200 marriage licenses were issued for same-sex weddings and more than 200,000 guests traveled in from out of town to attend the ceremonies.

For those in the industry who have already worked with gay couples, the value of same-sex marriages is apparent.

“Those who embraced it benefited from it,” Chris Jaeger, a wedding industry marketing consultant, told HuffPost. “It’s a real positive thing.”

He recalled struggling to convince one of his a clients, a wedding officiant in California, to preside over same-sex unions. But that was five years ago, when the legality of same-sex weddings in California was complicated.

Times have changed.

“She [has] embraced it,” Jaeger said of the officiant. “Now there are pictures of her doing ceremonies with men marrying men and women marrying women.”

In the 13 states that had not recognized marriage equality before the Supreme Court’s new ruling, some business owners are just happy to finally have the opportunity to work with gay couples.

Jackie McGrath, owner of Sweet Treets bakery in Texas — where, until Friday, gay marriage was banned — said she was “ecstatic” to hear the news.

“We have a gay wedding this weekend. It wasn’t going to be official, but now it could be,” McGrath said, adding that she and her staff began working on a rainbow wedding cake on Friday, just after the ruling was announced. “We’ll probably give it out to customers to celebrate.”

Jenny Che contributed to this report.

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



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Why Marriage Equality Is Great For The Economy

Thanks to marriage equality, this could be a big year for Sophie Pyle’s company.

The founder of Tweet The Bride — a service that posts live Instagram and Twitter updates during clients’ weddings — expects the Supreme Court’s Friday decision legalizing same-sex marriage across the country to be a major boon for business.

“It just makes the wedding industry and the number of people getting married that much bigger,” Pyle told The Huffington Post on Friday morning. “There are that many more customers and weddings. I’m very excited about it.”

Pyle’s year-old business is based in Virginia, which was one of 37 states (and Washington, D.C.) that recognized same-sex marriage prior to the Supreme Court’s new ruling. Her clients don’t always live or marry nearby, and she often travels to attend ceremonies in other places. She has worked only one same-sex wedding — all the way in Denmark! — but she expects more in the future.


Just married in Copenhagen! #hamiltondevoss

A photo posted by #HAMILTONDEVOSS (@hamiltondevoss) on


The #HamiltonDevoss wedding in February was the fist same-sex wedding Pyle worked at.

Aside from the obvious benefits to the wedding industry, marriage equality could have a positive impact on the economy overall.

In the first three years of nationwide marriage equality, spending on same-sex weddings could add $ 184.7 million in tax revenue and 13,058 jobs to states’ economies, according to a report from the UCLA School of Law’s Williams Institute. The U.S. economy could get a $ 2.6 billion boost over the next three years.

New York, which legalized same-sex marriage in 2011, has already benefited from same-sex weddings, as data-driven news site Vocativ points out. In the first year after New York passed its Marriage Equality Act, New York City alone received a $ 259 million economic boost as 8,200 marriage licenses were issued for same-sex weddings and more than 200,000 guests traveled in from out of town to attend the ceremonies.

For those in the industry who have already worked with gay couples, the value of same-sex marriages is apparent.

“Those who embraced it benefited from it,” Chris Jaeger, a wedding industry marketing consultant, told HuffPost. “It’s a real positive thing.”

He recalled struggling to convince one of his a clients, a wedding officiant in California, to preside over same-sex unions. But that was five years ago, when the legality of same-sex weddings in California was complicated.

Times have changed.

“She [has] embraced it,” Jaeger said of the officiant. “Now there are pictures of her doing ceremonies with men marrying men and women marrying women.”

In the 13 states that had not recognized marriage equality before the Supreme Court’s new ruling, some business owners are just happy to finally have the opportunity to work with gay couples.

Jackie McGrath, owner of Sweet Treets bakery in Texas — where, until Friday, gay marriage was banned — said she was “ecstatic” to hear the news.

“We have a gay wedding this weekend. It wasn’t going to be official, but now it could be,” McGrath said, adding that she and her staff began working on a rainbow wedding cake on Friday, just after the ruling was announced. “We’ll probably give it out to customers to celebrate.”

Jenny Che contributed to this report.

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

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Why Are Dads So Great?

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Great Conversations: Brian Wilson

Singer/songwriter Brian Wilson, founder of The Beach Boys.

The release of the new biographical drama “Love & Mercy” got me thinking back a bit. During my time at Venice Magazine I was lucky enough to meet and interview most of my heroes from the world of film. Fortune smiled on me further when a few musical idols were thrown into the mix, as well (see previously-posted chats with Lou Reed, Quincy Jones and Robbie Robertson). When I learned in October of 2002 that I was going to interview legendary Beach Boys frontman Brian Wilson, I was elated. I had gotten to literally stand next to Wilson nearly a decade earlier, at the 1995 Sundance Film Festival, while he gave a private recital, just Wilson and a white Steinway, for a small gathering of people (including Robert Redford, who stood at my right elbow) in a Park City tavern, celebrating the premiere of Don Was’ documentary “Brian Wilson: I Just Wasn’t Made for These Times,” which took a candid look at Wilson’s tumultuous life. It’s one of those memories I know will flash before me during my final moments, if that cliché turns out to be true (and let’s face it, most of them do).

Wilson’s wife led me into the music room of their home in hills above Bel-Air, a lovely, but unpretentious place. The music room was equally elegant in its simplicity, just a baby grand in one corner and a couple chairs flanking a couch. Brian Wilson struck me then as he had in 1995: an intensely shy, private man, who was more comfortable behind a keyboard than interacting one-on-one with a stranger. Once he was in the safe zone of his music, however, his mood became lighter, and his personal style took on a sweet, almost child-like nature. A gentle soul, coupled with the heart and mind of a musical genius. Good vibrations, indeed.

BRIAN WILSON:
GOOD VIBRATIONS

Brian Wilson is America’s rock and roll wunderkind. Often referred to as the Mozart of pop, the Orson Welles of rock, the George Gershwin of his generation, Brian Douglas Wilson was born June 20, 1942 in Inglewood, California, the eldest of three boys. At the tender age of 20, the musical prodigy founded the legendary group The Beach Boys, comprised of himself, brothers Dennis Wilson and Carl Wilson, cousin Mike Love and family friend Al Jardine. The Beach Boys went on to become of the legendary groups of the 1960s, with their all-American songs about girls, surfing, and cars. Unlike their contemporaries, like Jan and Dan and other Southern California “beach bands,” Brian Wilson’s songwriting grew more complex with the passing years (In My Room, a major hit for the Boys in 1964, was years ahead of its time, as was Good Vibrations, the first pop song to utilize the obscure instrument known as the Theremin), reaching its zenith in 1966 with the now-legendary Pet Sounds album. Credited by the Beatles as the album that inspired them to conceive and record Sgt. Pepper’s Lonely Heart’s Club Band, Pet Sounds fused experimental music, complex sound mixing and engineering techniques influenced by the “wall of sound” designs of legendary producer Phil Spector, and some of the most memorable songs in the history of pop music: Wouldn’t it be Nice, Sloop John B, and God Only Knows, among them.

While Wilson soared professionally, his personal life was like something out of Dante’s Inferno. Described in detail in Wilson’s harrowing 1991 autobiography Wouldn’t it be Nice, his father Murry, himself a composer, musician, and longtime manager of The Beach Boys, was abusive to his wife and three sons to an almost psychotic extent, a volatility that lasted until his death in 1973. Brian Wilson started doing drugs in the ’60s, along with most of his contemporaries, but indulges so heavily in narcotics, drink and food, that by the time the mid-’70s rolled around, his weight had ballooned to over 300 pounds, and he’d become a virtual recluse, rarely leaving his house. The drug abuse, mental illness, and his general erratic behavior caused him to be fired by the Beach Boys, divorced by his first wife, and become virtually persona non grata in the music world he had helped shape.

Following intensive therapy in the late ’70s and early ’80s, Brian Wilson got sober, shed the excess weight, and went back into the studio, recording a series of critically-lauded albums. Wilson’s comeback was documented in Don Was’ film I Just Wasn’t Made for These Times, a hit at the 1995 Sundance Film Festival. To prove that the acorn never falls far from the tree, daughters Carnie and Wendy Wilson became best-selling pop artists themselves, teaming with fellow rock and roll offspring Chynna Phillips, daughter of Mamas and the Papas’ John and Michelle Phillips, forming the band Wilson-Phillips in the 1990s.

Although still not on speaking terms with the surviving Beach Boys (Dennis drowned in 1983 after years of drug and alcohol abuse; Carl succumbed to lung cancer in 1998), Brian Wilson is a major force again in the music world, having released the best-selling CD Pet Sounds Live earlier this year. Recorded during four sold-out performances in London, the disc features Wilson and his band performing the entire, legendary album from start to finish, sounding every bit as fresh as it did 36 years ago. Currently at work on a new album entitled Proud Mary, Brian Wilson sat down with Venice Editor Alex Simon to discuss his extraordinary life as one of rock and roll’s greatest survivors.

Tell us how you got the idea to perform the entire Pet Sounds album live.

Brian Wilson: Well, my wife, my manager and I were throwing ideas around one day, and it was just one of those off-the-cuff remarks that made sense. You know, “What if we did this…” And that was it. So we did four shows in London and we took the best of the four shows and made the album out of it.

Cover of the Pet Sounds Live CD.

Let’s go back to 1966 and talk about how Pet Sounds evolved.

Tony Asher, who was my collaborator, and I just sat the piano and we wrote spontaneously together. It was a fantastic process that took over a year, but was worth every minute of it. One of the great creative times of my life.

Rock music’s enfant terrible, Phil Spector, circa early 1960s.

It was very advanced in terms of how you mixed the sound and engineered the entire record. Who influenced your style?

One man: Phil Spector. I learned pretty much everything I know from listening to his stuff. He was a genius with rock and roll. I learned how to combine instruments to make a third sound, and also the use of echo, which was very important.

Pet Sounds was influenced by, and influential to, the Beatles.

Yeah, it was sort of my answer to Rubber Soul and their response to Pet Sounds was Sgt. Pepper. They really wanted to top us, and they did. It’s just the way it works; it goes two ways. But Paul McCartney, who’s a good friend of mine, says God Only Knows remains his favorite song to this day.

Wilson with longtime pal Sir Paul McCartney.

Tell us about Paul.

He’s just the greatest, one of my all-time favorite people and musicians. He’s a very open guy, very cool guy. Very real.

Do you like to write during a particular time of day?

Not really. I can write any time of day, although sometimes the night is more fun. I’m not sure why. (laughs)

Reading your book, it struck me that so many creative people have had incredibly dysfunctional childhoods. Do you see a connection between creativity and dysfunction?

Not really, no. I think that creative people are going to be creative, no matter what. I think how you’re raised can affect how that creativity comes out, but in the end, we all are who we are.

Wilson in the studio during the Pet Sounds sessions, 1965-66.

But if you had grown up in a “normal” family, do you think you would have become a musician?

(pause) Probably not. Who knows? It’s so hard to say. My dad put the fire of hell under my ass to be a musician. But I was definitely born to sing, to be an artist. I mean, from the time I was a little kid, I was banging away on that piano we had in the living room. That was the piano that I wrote Surfer Girl and Be True to Your School on. That was the greatest piano I ever played.

Do you fell like you’ve made peace with your father, finally?

I’m at peace with my dad, yeah. I can’t get him back, so I just let him go. I’m sorry I never spoke to my mom about him, now that she’s gone. My mom and I were never that close, and I feel kind of guilty about that. Once the Beach Boys took off, I just never talked to her that much, never called her that much. I regret that now.

The Beach Boys, circa 1964. L to R: Carl Wilson, Dennis Wilson, Mike Love, Al Jardine and Brian Wilson.

Do you and any of the surviving Beach Boys still talk?

No we don’t, unfortunately.

While I was watching I Just Wasn’t Made for These Times, the parts where Carl spoke about you led one to believe that you guys had reconciled.

We were just starting to get close again, and then he was diagnosed with cancer. Then (snaps his fingers) he was gone.

Cover for the original Pet Sounds LP, 1966.

Did you feel that after Pet Sounds came out and took the world by storm that you were almost competing with yourself?

I wanted to prove that I could write really great music, not just surfing songs, and not just rock. I just wanted to get a good pop album together.

I thought some of your most interesting stuff came after Pet Sounds, even though it wasn’t as well-received.

Yeah: Smile, Friends, Wild Honey. We made some really cool albums. But it’s true, they never got as big as Pet Sounds did. It was frustrating, because I thought those records, and a lot of my solo stuff, contains some of my best work, but it’s like so many people just wanted me to write about cars and girls, and after a certain point, you’re just now there anymore, you know? (laughs) I mean, I wasn’t there anymore since Pet Sounds, and that was 1966!

Since you’ve conquered your demons, and have had a very healthy and productive last 20 years, how has that changed your work as an artist?

I think I’m more aware of my singing now. I used to just sort of sing and not think about it. Now, I try to be more cautious about what I sing, and what I write, because lyrical content can be dangerous, if you’re not careful. If you write the wrong kind of song, you can set off a chain reaction. So I try to be very aware of my lyrics, as well.

When you write is it for yourself, your audience, or both?

Both, I think. And my new collaborator Steve Glennich is a total genius. We’ve written five songs together in the last half month. It’s unbelievable what’s been going on between him and me, just great creatively.

There’s a great story in your book about an encounter you had with Elvis Presley.

Yeah, around 1969 we were recording in the same place as Elvis, and I asked him if he’d come across the way to our studio. He shook my hand and goes “I’ve heard a lot about you. How you doin’, Duke?” He called me “Duke,” don’t ask me why. (laughs) So I figured okay, Elvis is like me, a joker, so I’m going to play a little joke on him. I knew he was a black belt, so I faked a karate chop and a kick at him. He blocked them both easily and I started cracking up, to show him I was kidding, but he didn’t think it was funny and said “Hey Duke, don’t do that.” I said “Hey man, I’m just kidding around.” So we talked about music for a few minutes, about “Good Vibrations,” and then the conversation sort of died down, so, to liven things up, I threw another karate chop at him. He backed up in his chair, says “I’m a little worried about you, Duke,” and then signaled to his boys that they were leaving. I never saw him again. I regret that. He was quite an artist.

It’s amazing when you look at the casualty list of all the musicians from the ’60s. You’re one of the last giants still standing. How does that feel?

Well, it’s good for my ego, I guess. It makes me feel good, feel proud. It’s inspired me a lot in my work. Most of all it’s made me realize that I still have things to accomplish before my time is up. That’s what it’s all about: savoring every moment.

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Great Conversations: Patrick Swayze

All films buffs have guilty pleasures. You know, those movies that high-minded cineastes love to turn their noses up at, especially critics for The New York Times, people with MFAs in some sort of film-related field, or just plain snobs who refuse to acknowledge anything released on celluloid that doesn’t have English subtitles and at least one reference to death, either as a character or a metaphor (and oftentimes both). Patrick Swayze was the undisputed King of the Guilty Pleasure. From his screen debut in Skatetown, USA in 1979, to his final appearance on television’s “The Beast” as a take-no-prisoners cop, Swayze was an unapologetic good ol’ boy who happened to be a classically-trained dancer, student of martial arts and Eastern philosophy, and possessor of an IQ that was nothing to sneeze at. In fact, he closely resembled Dalton, his character in this writer’s all-time guilty pleasure, Rowdy Herrington’s Road House (1989), as a bar bouncer with a Master’s in Philosophy from NYU, who could quote Confucius and snap necks in near-perfect synchronicity.

In June 2004, when I was asked by Venice Magazine to interview Swayze for his turn as pulp fiction icon Allan Quartermain in the Hallmark television production of “King Solomon’s Mines,” his star might have waned a bit since his mid-’80s heyday, but his stature as a reluctant pop cultural icon had only increased with each passing year, and his refusal to be anything but himself. Renowned for fighting against being typecast as a typical pretty-boy star/leading man, Swayze’s rep indicated not only that he marched to the beat of his own drummer, but was also known for not suffering fools. That said, I didn’t quite know what to expect when I went to meet Swayze at photographer Greg Gorman’s studio for our sit-down. I’d met more than my share of egomaniacs and narcissists in my ten years of entertainment journalism, living embodiments of “never meet your idols.” From the minute Patrick Swayze shook my hand, and for the next six hours we spent together, I was completely disarmed by his charm, honesty and just plain normalcy. After a half hour or so, I felt as though I was hanging out with a buddy from the old neighborhood (his Texas to my Arizona made us cultural cousins). Swayze was reflective, yet totally un-self-indulgent. He was engaging, but usually more interested in your opinion than expressing his own. He was close to the earth as a rancher and man who loved the outdoors, yet also a man of letters who could put most PhDs to shame with his knowledge of, from what I could tell, almost everything.

The only bad thing I can say about Patrick Swayze: goddamn, did he smoke a lot. Patrick must have gone through at least a pack and-a-half (a conservative estimate) of American Spirits during our talk. The only time he wasn’t smoking was when we were eating a magnificent sushi dinner. The minute those chopsticks went down, a lit nail was back in his hand. I knew he’d gotten sober after an ongoing battle with the bottle, one that had claimed his father and sister, but cigarettes continued to be a demon he wrestled with. When I asked him about the irony of such a fine athlete destroying his lungs with tobacco smoke, he smiled gently, looked at the cigarette in his hand and said “Yeah, I know, but I’ll beat this thing eventually. I’ve beaten worse, man.” He had, and for a while, he nearly did: Swayze’s self-described “peaceful warrior” attitude allowed him to survive nearly two years longer than doctors predicted he would, after being diagnosed with pancreatic cancer eighteen months ago. He lost the battle on Monday, September 14, 2009. He was 57.

At the end of our talk, Swayze took my hand in his, and said “Alex, I’d really like you to stay in my life.” Over the next few years, we shared some nice chats over the phone, a few emails, and almost worked together, when Patrick read the script for my AFI graduate thesis film, a Hollywood satire, and loved the part of an arrogant movie star. Scheduling conflicts dictated that collaboration was not to be, however, and eventually we lost touch, as people tend to do in Los Angeles. As Raymond Chandler wrote in The Long Goodbye, “To say goodbye is to die a little.”

Goodbye, Patrick. Thank you for always staying down to Earth, even when Hollywood tried to cast you out among the stars.

PATRICK SWAYZE: PEACEFUL WARRIOR

Patrick Swayze has always been his own man. As early as 1979, when the former dancer and stage actor made his big screen debut in the roller disco opus Skatetown, USA, Swayze easily could have let himself be packaged into that year’s teen idol. But despite his cover boy looks, Swayze refused to be pigeonholed as flavor-of-the-month, and persevered as a serious actor, until 1983, when Francis Ford Coppola cast him, along with a crew of other unknowns with names like Tom Cruise, Emilio Estevez, and Matt Dillon in a little picture called The Outsiders. When he landed the lead in the hit miniseries “North & South” two years later, his stardom was solidified, and Patrick Swayze became another “overnight success,” whose single night of paying dues lasted over a decade.

Patrick Wayne Swayze was born in Houston, Texas August 18, 1952 to Jesse Swayze, an engineer and former rancher, and Patsy Swayze, who would go on to become a world-renowned choreographer in her own right. Young Patrick was driven to be a success in everything he did, pushed by his mother in particular, excelling in sports, as well as music and dance. By then, Patsy Swayze had a thriving dance studio, with many attractive female students. One young lady, Lisa Niemi, caught Patrick’s eye and the two were married in 1975. It continues to be one of the most enduring marriages in show business.

After studying with the Harkness and Joffrey Ballet Schools, Patrick went on to act in dozens of Broadway and off-Broadway shows, before making the trek out to Hollywood, where he and Lisa lived on “a jar of peanut butter and oranges from our tree in the backyard” for more years than the actor would probably care to admit, before finally wrangling a secure career as an actor at age 30. Other notable films in the ’80s included Walter Hill’s Uncommon Valor and John Milius’ Red Dawn, but it was the year 1987 that truly solidified Patrick Swayze’s star in the Hollywood lexicon.

Dirty Dancing was a small film that became a cultural phenomenon, and Patrick’s turn as Catskills dance instructor Johnny Castle made young girls’ hearts skip a beat and young men by the hundreds suddenly sign up for Arthur Murray classes. The film, which was made for a meager six million dollars, went on to gross over $ 170,000,000 worldwide. With his name now on the top of the A-list, Patrick went on to star in such films as Road House (1989), Next of Kin (1989), and another cultural phenomenon, Ghost (1990). The ’90s also showcased Patrick in Katherine Bigelow’s Point Break (1991), Roland Joffe’s City of Joy (1992), and Three Wishes (1995). Recently, Patrick has lent his star power to such indie gems as Green Dragon (2001) and Donnie Darko (2001).

Patrick Swayze brings his bigger-than-life heroics to the small screen this month with the Hallmark Channel’s production of King Solomon’s Mines, based on H. Rider Haggard’s legendary pulp novel, with Patrick starring as its iconic hero, Allan Quartermain. Credited as being the inspiration for Indiana Jones, as well as dozens of other pop culture heroes, Quartermain is a 19th century adventurer who travels to Africa in search of a missing archeologist, a man who holds the key to untold treasures, and power. Patrick is given fine support from Alison Doody, Roy Marsden, John Standing and Sidede Onyulo in this full-throttle adventure that is must-see viewing for the whole family. It premieres on the Hallmark Channel Saturday, June 12.

Patrick Swayze sat down recently to discuss topics ranging from his impressive body of work, to spirituality, to the genius of Marlon Brando. Here’s what transpired:

Tell us about wearing the shoes of Allan Quartermain, one of the first heroes of pulp fiction.

Patrick Swayze: I think any kid who’s ever had an adventurous bone in their body, either read Haggard’s book or saw one of the film versions. It was a lot of fun for me because I felt like I was coming home, back to that kind of period hero role that I was born for, and in many ways I’ve lived my whole life, with all the training I’ve done in things like martial arts, horsemanship, stunt work, and just being a mountain man and survivalist. All these things that are passions in my life were great to bring to this character. It was also an interesting choice they made changing him from an Englishman to an American. There was a very specific reason for that; to try to bring it into a more contemporary feeling. “King Solomon’s Mines” helped launch an entirely new form of storytelling that evolved into films like the Indiana Jones trilogy and Romancing the Stone, although those films were all pretty tongue-in-cheek, and I think we take it much more seriously. We wanted to create a dramatic epic that had a sense of fun. What I also wanted to try to do with it was incorporate my passion for conservation and wildlife, to have Quartermain evolve from a great white hunter into a conservationist.

Swayze as the original pulp fiction hero, Allan Quartermain, in King Solomon’s Mines.

You spent five months in South Africa shooting this film. What were your impressions of the country?

I was there once before when I did a movie with my wife, Lisa, called Steel Dawn.

I loved that movie!

(laughs) Yeah, people love that movie. That cracks me up. It’s like I’m the king of cult followings, with Point Break, Road House, Next of Kin…but there is something about Africa, this ancient energy that just permeates your whole being, just standing on that earth. As I was there, and spending time with the lions and tigers and elephants–I actually became friends with this elephant named Harry that we used in the movie that was just amazing! He’s the huge, 15-foot elephant in the opening of the film. We actually used two elephants playing the same part: Harry and Sally. (laughs) I just decided to approach this elephant the same way I do my horses: with a lot of love and trust. It got to the point where he’d pick me up with his tusks and I’d shake him, and he’d shake back. On my last day, I was leaving the set in this Land Rover, and I stopped the vehicle, and there was Harry. I wanted to see if he’d come to me or not, so I yelled “Harry!” And he saw me, threw back his trunk, and started charging towards my vehicle! I thought “O-kay!” So he stopped right by the vehicle, stuck his trunk inside and wrapped it around me because he didn’t want me to go! I was ready to take a big part of my ranch back home and turn it into an elephant preserve after that.

Did you do most of your own stunts?

Normally what I do is let the stunt double do most of the rehearsals, the idea being that the less you do, the less chance you have of getting hurt. Although my stunt double didn’t ride horses, so all the horsemanship was up to me. But most of the stunts you see in my films are done by me.

It was nice to see Alison Doody acting again. I think every man who saw her in Indiana Jones and the Last Crusade has yet to catch his breath.

It’s a real pleasure working with a leading lady who knows exactly who she is. A lot of leading ladies, when they finally get to a certain point in their careers, get angry, and have an attitude, but Alison didn’t. She was a real pro and made it safe for us both, because she’s very happily married, and so am I, which helped us to establish this relationship set in the 19th century where you just didn’t cross a certain line with someone you weren’t married to, even though every fiber of your being is screaming to. Plus, it helped us to navigate around that predictable moment of “when is the guy gonna hook up with the girl?”

Of course, with this film, it was just that wonderful kiss between the two.

Which in the 19th century, was akin to a love scene! If there’s one thing I’ve learned in any love scene I’ve done in a film, it’s that it’s not about sucking face. It’s not about jumping someone’s bones. It’s about the connection between two human beings in the eyes, the idea that this person makes you whole and completes you. That’s what’s really sexy. And that’s what makes this relationship in the film really sexy: it’s all about working up to that kiss.

L to R: Patrick Swayze, Patsy Swayze and Patrick’s wife, Lisa Niemi, in Patsy’s Houston dance studio, circa 1977.

Let’s talk about your background. You were born and raised in Houston, Texas. Your mom is a legendary choreographer who started her own studio in Houston. What did your dad do?

Well, his dad was one of the foremen of the King Ranch, which was the biggest ranch in the world, at one point. So my dad was raised on a ranch. At one point, he was the state champion calf roper. Needless to say, he got me into that stuff from the time I was little. My dad was a really organic, kind of earthy man. He was one of those men that was full of loving energy and had a sweet, gentle nature, but he was also one of those men that you didn’t want to cross. He had that Southern man kind of energy to where if they ever lose that graciousness for one moment and that tone changes, you better run. There’s no warning. He really taught me so many things that in your younger years are kind of cliché, but as you get older, you realize their importance: like integrity, passion, in your work ethic. I now live my life by most of the things my dad taught me. I think my favorite saying of his would be: “All I got is my integrity. To this day, I ain’t never seen a hearse pulling a U-Haul.” (laughs) Really, playing Allan Quartermain was an opportunity for me to play my dad.

And your mother, Patsy, is world-renowned dancer and choreographer.

That’s the other side of me: the intensity, the passion, the drive, the belief in communicating something through the arts. It’s all those qualities of my mother’s that have really led me down all these tangential paths in my life. My parents were an amazing couple.

Swayze as Orry Main, in the ABC mini-series North & South (1985).

Your father was a man of integrity, and you seem to largely play men of integrity, going back to your character Orry Main in the miniseries “North & South,” the role that helped launch your career.

What sucks an audience in is that ticking clock of whether this character is going to achieve what it is that they want in their life and it’s usually not something physical. It’s usually something internal, some subtext that’s eating at them or haunting them like a demon. It’s a deep-seated thing that they may, or may not, get past in order to get to what they need to achieve. Who really cares how many things you can blow up and who wins? It’s how you get there. It’s the process that’s really the powerful thing in storytelling.

Clockwise: Patrick Swayze, Matt Dillon, Rob Lowe, Tom Cruise, C. Thomas Howell, Ralph Macchio, and Emilio Estevez in Francis Coppola’s The Outsiders (1983).

The Outsiders came out around the same time, and helped to solidify your stardom. Tell us about the experience of working on that landmark Coppola film, which made stars out of a huge cast of unknowns, with names like Tom Cruise, Rob Lowe, Emilio Estevez, and many others.

It was wonderful. Playing Orry really graduated me into playing the role of Darrel Curtis. And Francis was a great teacher for me. What I got from Francis was the true essence of what “organic” means. He would have us live in the house as a family, and be brothers. I would teach these kids how to jump freight trains and ride them. I used to jump freights in my surfing days, when I’d jump a freight leaving Houston for the Gulf Coast and then jump another one to get home. I taught these kids all the skills I knew: how to fight, how to do back flips and hand stands. I was teaching gymnastics classes to all the guys every day. The only one who was too cool to work with us was Matt Dillon. (laughs) He was much more into “I’m a New Yorker. I ain’t into that stuff. That’s pussy stuff.” (laughs) But (Tom) Cruise took to it like a magnet. That’s what I love about Tom, same thing with John Travolta. I love guys who are like sponges. No attitude, just “I want to learn.” And if you look at them now, those are the guys that have careers. When you come from “I don’t know,” your growth is limitless. When you come from “I know,” your growth stops. But Francis got so detailed. He didn’t want anything coming out that didn’t come from you as a person. No play-acting. No doing “words.” We rehearsed that film completely improvisationally. We really became this family of three boys who were too young to be left alone, but we had no choice, because our parents were dead. And we had to survive, and we had to maintain our dignity. If there’s a common thread among all the characters I’ve played, I think it’s the exploration of all our dignity as people. So Francis became a huge part of my life. We were all together at his winery up in Napa for the 20th anniversary of the film, and the director’s cut that’s coming out on DVD, and it was like old home week. It was like my father was in my life again. Francis will always be an inspiration to me, because he never gives up.

Swayze and Jennifer Grey in the smash hit Dirty Dancing (1987).

With Dirty Dancing, did you and the rest of the cast and crew have any clue that the film would become the phenomenon that it did?

Everyone always wants to say in hindsight, “Oh yeah, I knew it all along.” But Dirty Dancing was another one of those situations where we were just re-writing constantly, Eleanor Bergstein, Emile Ardolino and I, around the clock. When you find one of those projects where everyone jumps in with both feet, for me, those are the movies that make history. Dirty Dancing had that kind of energy. I would say it’s the only film in my life that made me realize I had to keep my dancing quiet, because if dancing had been the thing that had launched me initially, I would have always been “dancer turned actor,” and never been taken seriously as an actor. But what made that movie famous wasn’t me shaking my butt. It was the fact that the young, funky Jewish girl gets the guy not because she’s the hottest girl on the block, but because of what she’s got in her heart. That’s what’s worth falling in love with. I truly believe that’s why that movie continues to live on, like Ghost. I never used to believe in luck before, but when I think back on some of the films I’ve done, there’s got to be a little luck in there somewhere, you know? I mean, who gets to be involved with one movie that makes history? (laughs) It’s that mystical law of chance the Buddhists talk about called “miyoho.”

Let’s talk about some of your other films. One of your earliest films I really liked was Walter Hill’s Uncommon Valor, with Gene Hackman.

I come from a place where I want to be part of a collaborative, nurturing kind of energy. A lot of times you’ll have actors who just want to phone it in until their close-up, or just phone it in when they’re off-camera, and Gene never did that. It didn’t matter if he had an attitude about something that had made him angry on the set, always with the other actor; he was there 100% for you emotionally, no matter which side of the camera he was on. That made me realize that was the kind of actor I wanted to be. I’ve always been very lucky with those kinds of people. I was in this hardware store off Vineland one day, and somebody got out of a car next to me, and I just turned into a zombie, got off my motorcycle, and followed this guy into the story, without a clue as to who he was. All of the sudden, this big Indian puts himself between me and this guy, and I’m thinking “Oh my God, I’ve just finished “North & South” and The Outsiders and I’ve had this kind of stalking stuff happen to me. What am I doing?!” Then I realized it was Marlon Brando! So I did the typical fan thing and said the completely wrong thing: “I just finished working with Francis Ford Coppola on a movie. Then I thought “Oh my God, you dummy! Isn’t he in the middle of a lawsuit with Francis?!” (laughs) So I wound up following him around and talking to him, and felt like I was at a therapist’s, and he just listened to me talk. I finally stopped myself and said “I’m sorry; I’m really embarrassed by this.” He turned around as he was about to leave and said “Hey son, I see something in your eyes. Don’t give it up. Believe in yourself.” And that has stuck with me forever, through the worst times, that Marlon Brando saw something in my eyes.

Let’s talk about Road House, which might be my favorite film of yours. Your character Dalton wasn’t the typical action hero. He was quite complex.

The whole basis of Road House was a modern-day western with the lead character being quite a complicated man. It would have been very simple to go down the road of playing tough and acting intense. But just playing “tough guy” never really goes anywhere. It might go somewhere for a little bit in a certain genre of film, but then people get tired of that genre and tired of that actor. This was going to be possibly the one real fight film I did where a lifetime of training I’d gone through would be able to be put into one movie. In the fight scenes, none of us were pulling our punches, except for the ones to the face. We made sure that everyone who was fighting really knew how to fight, so that you’d lift people off the ground, but you didn’t break bone. We wanted to avoid the stuntman “biff, bam, bop” thing. In certain ways, I saw Dalton as Shane. And I liked the fact that it was one of the first opportunities for me to put out there my passion for being a peaceful warrior: to be highly-skilled, but to avoid violence or hurting another human being at all costs, unless you have no choice. But my complete concern in that film was to focus on the performance, and the fighting was secondary. The thing that continues to amaze me about Road House is the huge cult following it has, not only with male viewers, but with women, as well. I guess it’s that whole idea of the man who’s really mush inside. Women want men to get more sensitive, then they do, and women write songs like “Where Have All the Cowboys Gone?” (laughs)

Swayze and Demi Moore in Ghost (1990).

Speaking of “chick flicks,” let’s talk about Ghost.

That, for me, was another testament that when you get people believing they’re doing something special, something special happens. Jerry Zucker, being renowned for his comedic work, brought a wonderful thing to this project. And the writer, Bruce Joel Rubin, was a real gift because Bruce is a very spiritual man. When we’d be talking during the re-writes, we’d go into deeper topics about spirituality, but we finally came up with the idea that if you truly love someone and then you die, you take the love with you, because that’s all you can really take. By curbing the desire to try to say too much, and thus possibly alienating people, and going back to very simple truths, it just seemed to resonate with a lot of people around the world. It was one of those films that come along and an alarm goes off in my body, telling me that I have to do it. It passed what I call “the goosebump test.” When that happens, I know I have to do a film.

Patrick Swayze and wife Lisa Niemi at their ranch, Rancho Bizarro, in May 2009.

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11 Things You Need to Know About the Late Great Couturiere Madame Carven

WWD reports that Marie-Louise Carven-Grog (born Carmen de Tommaso, and later known as Madame Carven) died today in France at the age of 105. In the post-war era when Christian Dior, Pierre Balmain, and Cristobal Balenciaga were making headlines in fashion, Carven was one of the very few female designers of her time—and an innovator, as well, patenting the push up bra in 1950.

carven-fititng-model-1950

Madame Carven fitting a model in 1950.

Here are 11 of her most fascinating fashion achievements.

1. A couturiere for petite women: The designer launched her namesake house in 1945 with the aim of dressing petite women like her (she was 5’1″).

2. Au revoir corset: Carven wanted women to feel comfortable in her clothes and so she loosened haute couture‘s waist-whittling reins and offered billowing silhouettes that allowed women to move easily in her designs.

3. You can thank her for: Pink gingham!

4. She was into fast(er) fashion: In Carven’s day, Paris was all about haute couture—an exclusive, expensive made-to-measure business. Alongside fellow couturiers Jacques Fath, Robert Piguet, Jean Desses, and Jeanne Paquin, she pioneered prêt-a-portèr, or ready-to-wear. Customers were finally able to get high fashion, way, way, faster.

5. She took fashion shows on the road: Today, Chanel, Louis Vuitton, and Dior often take their collections out for a spin and show in different cities (think Seoul, Palm Springs, and Cannes). Carven, however, was the first to do so, presenting her collections in Egypt, Thailand, Morocco, Cuba, Brazil, Singapore and Mexico.

6. The OG It-girl brand: Iconic French singer Edith Piaf was a Carven fan, as was Brigitte Bardot, who wore Carven at her 1959 wedding.

7. She invented one of the first push-up bras: Carven worked with a lingerie maker to patent the Sylvène, a push-up bra.

8. She loved Hollywood: In 1954, Carven worked with legendary costume designer Edith Head to create costumes for Grace Kelly in Hitchcock’s Rear Window.

9. A national treasure of France: In 1978, she was named a Chevalier de l’Ordre des Arts et des Lettres and in 2009, she was made a Commander of the Legion of Honor, France’s highest distinction for civilians.

10. She designed for half a century: Madame Carven retired at age 84—48 years after she founded her fashion house.

11. She celebrated a century in style: French style icons Loulou de la Falaise and Claude Montana were among the luminaries who celebrated the designer’s 100th birthday in November 2009. Carven blew out the candles on a pistachio Laduree macaron cake while wearing a matching pistachio-green Carven suit.

Today, Carven is designed by artistic directors Alexis Martial and Adrien Caillaudaud. The collection still has the joy and exuberance the house’s founder. Carven’s former artistic director, Guillaume Henry has often said that Madame Carven was a constant presence—and that they had regular conversations, well into her 100th year. Madame Carven will surely be remembered, as will her impact on all of our wardrobes.





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