Wednesday, February 20, 2019

Alessia Cara's "Trust My Lonely (Andrelli Remix)" Will Get The Right Gas In Your Groove!

Alessia Cara unleashed a super far out sunny yummy Caribbean remix track of her latest single, Trust My Lonely the Andrelli Remix. This hot pocket number comes from Alessia's most recent album "The Pains Of Growing Up".

Now off a freshly singles EP entitled Trust My Lonely ( The Remixes) comes this bubbly groovy  updated version from the house of Andrelli Remix. It immediately elevates the original studio version to a level 10!

Adding a spicy island flair and a razzle-dazzle aura, don't waste another tailfeather moment and get sunkissed with the latest offering from the dynamic and lyrically inquisitive Alessia Cara and the starburst in your ears tunes, 'Trust My Lonely (Andrelli Remix)'!

Thalia Chit Chats Being Of Mexican Culture In Truth Spilling 'Growing Up Latino' Latest Installment Episode

Spanish icon Thalia chit chats with of Mexican heritage and culture in a truth spilling episode 'Growing Up Latino' latest installment.

Thalia spills the tea recalling her many adventures while living in Mexico City, a neighborhood that was quite like living on The Brady Bunch show. It was very cheerful and colorful, bold and dynamic, with many musical genres that manifested from the neighbors' windows. "Musically, my neighborhood was rich," Thalia recounts.

Also sharing that her favorite time of the year was and is Christmas. She says that in her home, during the winter wonderland season, her family spent incredible time cooking during the festive season.

Thalia divulged that she loves food. “I’m like Pacman,” she hilariously with impeccable comedic timing said. As for her favorite Mexican dishes? Mole, sopes, garnachas and so much more. Dig out the spicy interviews and scope out the new episode of "Growing Up Latino" with the one and only Thalia.

8 Queer Trailblazers to Celebrate During Black History Month (& Beyond)

Here ye, here ye, here's to the vital and neccessary artists in the world of musique from memory, present, and future! We celebrate and pay homage to the following movers and shakers:

"What is a hero? And who is afforded that moniker? The month of February is delegated to honor the bustling legacy and history of Black people; however, the specifics of one's gender identity and sexuality tend to be expunged from the larger narrative. By axing such crucial information, the idea of contemporary anomaly is forever implied as emerging Black artists embrace their wholeness as people of the LGBTQ experience.

Modern artists like Frank Ocean, RuPaul and Janelle Monรกe are breaking down barriers in their own ways, but Black LGBTQ musicians have existed as long as music has existed -- and they've spearheaded the rise of ever-morphing genres for generations. Queer Black artists are among the pioneers of several genres, from blues to disco to house. From dancefloor diva Sylvester to jazz legend Billie Holiday, here are eight artists to celebrate during Black history month and beyond.


Sylvester was the muse of a boisterously eccentric time. His undeniable presence and melodious voice landed him with multiple recording contracts, a plethora of records sold and a key to San Francisco. His immeasurable tunes like “Do You Wanna Funk” and “(You Make Me Feel) Mighty Real” (the later hit No. 36 on the Billboard Hot 100) outlined the experimental beauty of disco music, which subsequently influenced the contemporary electronic genre. Sylvester’s backup singers -- known then as the Two Tons 'O Fun -- went on to become The Weather Girls (of “It’s Raining Men” fame).

Ma Rainey

Ma Rainey sang the blues like no other, and she wore the electrifying melodies like glistening garbs. The undisputed Mother of Blues shifted the landscape of music with her deeply introspective voice and her subversive lyrics. On “Prove It On Me Blues,” she implicitly brought attention to her experiences as a queer woman: “I went out last night with a crowd of my friends/ It must've been women, 'cause I don't like no men/ Wear my clothes just like a fan/ Talk to the gals just like any old man.” Rainey was unapologetic in every sense of the term.

Willi Ninja

If you’ve seen Paris is Burning, you may be familiar with the illustrious dancer, choreographer and icon, Willi Ninja. Nicknamed The Godfather of Vogue, Ninja was a crucial presence in the ballroom scene. To him, voguing was an effective tool implemented to alleviate violence. He reeled in inspiration from the worlds of fashion and music to plant the base for the increasingly revered dance style. Much was in Willi’s grasp, as he released his house-infused track “Hot” and gave riveting performances in two of Janet Jackson’s music videos, “Alright” and “Escapade.” From Jackson to Madonna, Ninja’s liberating dance style influenced a throng of entertainers.

Jermaine Stewart

Jermaine Stewart left a searing inferno everywhere he went. He first entered the homes of Americans as a performer on renown television program, Soul Train. Whilst working on Soul Train, Jermaine and his peers, Jody Watley and Jeffrey Daniel, decided to embark on a joint effort; after an immersive audition, the three became members of the Don Cornelius-formed group Shalamar. Though the endeavor didn’t take off, it gave way to Jermaine’s solo stardom. Jermaine’s electric hit “We Don’t Have To Take Off Our Clothes,” which was an overt ode to taking it slow, became the most impactful record of his career. The record soared to a No. 5 peak on the Billboard Hot 100.

Jackie Shane

Black transgender stage chameleon, soul singer and 2019 Grammy nominee for best historical album, Jackie Shane blazed the musical scene of Toronto, Canada like no other. Her soulful voice brought folks from all walks of life to the dance floor to put their array of dance moves on display. She was an enigma, disappearing from the musical scene in 1971 until her surprising re-emergence in 2014. The adored pioneer has since been gifted a colossal musical history mural in Toronto alongside other instrumental figures of the 1950s and the 1960s like B.B. King and Ronnie Hawkins.

Gladys Bentley

Pianist and blues extraordinaire, Gladys Bentley is Harlem Renaissance royalty. As a lesbian crossdresser, she headlined theaters and nightclubs such as The Apollo, where she was known to be accompanied by a chorus of drag queens. Despite being an openly gay trailblazer (she even reportedly married a woman during a civil ceremony in New Jersey), Bentley began wearing dresses later in life and claimed to be “cured” of her homosexuality by taking female hormones.

Billie Holiday

Rock and roll hall of fame inductee, winner of four posthumous Grammy awards and the voice of jazz, Billie Holiday organically garnered notoriety by performing in local clubs before trotting her way across larger stages. Billie’s approach to performance art was highly regarded, which allowed her to continuously sell out notable venues like Carnegie Hall throughout the 1950s. As an openly bisexual woman, Holiday was severed, conceivably blacklisted, from certain opportunities. Billie’s rendition of “Strange Fruit,” a poem written by Jewish poet and educator Abel Meeropol, was blacklisted in the United States for being too controversial. The profound legacy of Billie was beautifully captured in the 1972 Diana Ross led biopic, Lady Sings The Blues.

Frankie Knuckles

Without the incalculable creative efforts of Frankie Knuckles, the now revered EDM genre wouldn’t exist. The legacy of EDM, which roots in house music, is often stripped of its very queer and very Black origin. Knuckles and a legion of eclectically talented DJs frequently gathered at a Chicago nightclub called The Warehouse. Who would’ve known that the fusion of widely opposite genres such as soul and gospel would give viability to a history-changing sub-genre? In a city festering with racism, the presence of house music established community for a plethora of Black queer folks." -

Legendary Portrait Photographer Annie Leibovitz Looks Back With L.A. Show of Early Wor

In today's queen of photography news:

"Her new exhibition at Hauser & Wirth in downtown Los Angeles includes shots of John Lennon, the Rolling Stones, Michael Jackson, Meryl Streep and the photographer's late partner, Susan Sontag.
A celebrity photographer who is a celebrity herself, Annie Leibovitz, who chronicled the 1970s through her work with Rolling Stone and later provided indelible portraits of entertainment's biggest names for the covers of Vanity Fair and Vogue, was feted last night at Hauser & Wirth, where her show Annie Leibovitz. The Early Years, 1970-1983: Archive Project No. 1 runs through April 14. VIPs from entertainment and the art world, including Demi Moore — whom Leibovitz photographed nude and pregnant for the cover of the August 1991 issue of Vanity Fair — turned out to honor the artist. 50 Shades of Grey director Sam Taylor-Johnson was on hand, as well as celebrated chef Wolfgang Puck. Fellow artists Larry Bell, Paul McCarthy and Diane Thater also raised a glass to Leibovitz. Mayor Eric Garcetti and his father, former mayor Gil Garcetti, joined them in a celebration that included dinner and a performance by Patti Smith, who is featured in the exhibit from a photo session in the late 1970s.

"All these people, and so many of them gone and all shot by one girl, one girl!" Smith plied the crowd as Leibovitz looked on. "They fill you with a sort of hopeful sorrow because so many of our people are gone. So this is for all the people, many of who you will see on the walls. Our friends, people we loved and admired, people who we pinned our hopes on but are gone. And we still remember them."

"She was a poet, and she was special, and always so sensitive but tough, this weird combination of being this tough girl. And I could never take my eyes off of her," Leibovitz tells The Hollywood Reporter of Smith, who performed an acoustic set for the crowd, including "Ghost Dance" and her classic "Because the Night." "I remember her wandering the streets of New York and calling me up, up in my studio, and she came up. And she was in her leather jacket, and I said, 'C'mere, lemme shoot you.' And it became one of her album covers."

Gil Garcetti, an amateur photographer, brought a photo Leibovitz took while covering the O.J. Simpson trial to have signed. "Annie has chronicled American history, and so much of it is L.A.," his son, Eric Garcetti, explains. "So much of it is California, the creativity, the ferment that she was given this window on the world while she was a student here in California. People think just of the portraiture, but they forget what an amazing documentarian and journalist she was."

Originally shown in 2017 at LUMA Foundation’s Parc Des Ateliers in Arles, France, the exhibit features more than 4,000 photographs laid out in stream-of-consciousness fashion, as if pinned to a studio wall. Highlights include the 1972 election, in which her images were paired with legendary gonzo journalist Hunter S. Thompson's reporting that eventually became the seminal book Fear and Loathing in Las Vegas. Shots of Mick Jagger in his prime and Keith Richards doped up on the 1975 Rolling Stones tour were part of an assignment Leibovitz regards as a turning point.

"That was such a lesson for me as a young photographer, 'cause I was still throwing myself completely into something, giving yourself up completely in every way," she recalls. "It's not meant to glorify the Rolling Stones, it's meant to explain that this is the moment where I realized I cannot always do that."

Another benchmark, and perhaps her most famous portrait, is a shot of a nude John Lennon lying next to Yoko Ono clad in black, an image taken a mere five hours before he was shot to death in 1980. "I was supposed to go meet John and Yoko at the recording studio and I opted not to do it," she recalls. "Then I got a call from [Rolling Stone co-founder and publisher] Jann Wenner saying someone matching John's description was taken to the hospital, and I was just in shock."

The lessons she took from her fieldwork were essential to the studio work that followed, though it took some adjusting to the absence of spontaneity and the rigors of a controlled environment. "Having an appointment with someone to take their picture was so intimidating. The first thing that happens is the subject says, 'What do you want me to do?' I’m like, 'I don’t know. Go stand against the wall. I have no idea what you should do!'"

She's reluctant to talk about photographing celebrities (a term she loathes), though she shared her thoughts on performers who started when they're very young. "When I was working with people who were child actors, like Michael Jackson or Sammy Davis, Jr., their sense of reality is they were out in space. They weren't on the ground. It's a danger in the industry when you start as a child actor and don't have a sense of a kind of reality. So I always had great empathy for that kind of situation."

In the show's final galleries, the work moves beyond the black-and-white candids taken in the field to the shots that most fans generally associate with her: theatrical studio shots of Steve Martin, Lily Tomlin, Bruce Springsteen and Meryl Streep, among others. "Meryl Streep cannot stand to have her picture taken. She just really wants to play her roles. She's not interested in who she is outside the role. And I respect that so much. Vanessa Redgrave is very much like that. Daniel Day-Lewis seems very protective of his roles." -

The Number Ones: Al Green’s “Let’s Stay Together”

According to one of our musical sources:

"Al Green – “Let’s Stay Together”

HIT #1: February 12, 1972

STAYED AT #1: 1 week

When Al Green recorded “Let’s Stay Together” — arguably his masterpiece, definitely his sole #1 hit, generally one of the greatest soul singles of all time — he was singing to a roomful of drunks.

The producer Willie Mitchell, who had discovered Green and who had helped Green discover his own voice, knew that Green did his best work onstage, when he was able to play to an audience. So that’s what Mitchell gave him. Mitchell rounded up a few dozen neighborhood drunks, bought a bunch of wine for them, and got them all to sit quietly and watch Al Green record “Let’s Stay Together.” Decades later, Mitchell still had a gleam in his eye when he remembered it: “All the winos, they’re drinking wine, laying on the floor while we cut the record.”

Whatever Mitchell did to get that performance out of Green, it worked. It’s possible that Mitchell understood the miracle of Al Green’s voice better than Green himself did, and “Let’s Stay Together” is a pure showcase of that voice, of the feats it can accomplish and the feelings it can evoke.

Albert Greene was born in Arkansas. His ultra-religious parents were sharecroppers, and he was one of 10 siblings. When Greene was a kid, his family moved to Grand Rapids, Michigan, where he sang in a family gospel band. One day, when Greene was a teenager, his father found him listening to a Jackie Wilson record and kicked him out of the house. That’s almost a mythic origin story: a gospel singer persecuted for listening to pop, one who would later unite his worlds by bringing gospel-level transcendence to pop.

Not long after that, Greene and some friends formed a local band, Al Greene & The Soul Mates, and they scored a minor national hit with a simple and lovely song called “Back Up Train.” At some show or another, Willie Mitchell — a trumpeter and Memphis bandleader before he was a producer — heard that young Al Greene singing, and he recruited him to sing with Mitchell’s band at a Texas show where the promoter ripped both of them off. Mitchell heard potential in Greene’s voice, so he brought him to Memphis, got him to drop the last E from his name, and signed him to Hi Records, the label that Mitchell had started running.

Mitchell convinced Green to start exploring the things he could do with his falsetto, and that’s what we hear on “Let’s Stay Together,” the title track of the third album that Green recorded with Mitchell. Mitchell co-wrote the song’s music with Al Jackson, Jr., the Booker T & The MG’s drummer who became his main Hi Records collaborator. Green wrote the lyrics in about five minutes. Those lyrics are vague and universal and lovely, and they’d be nothing without that voice attached to them.

There are stories about how Green was never satisfied with the song, about how he kept demanding to record take after take, convinced his voice sounded too thin. And it does sound thin. That’s part of the magic. That voice glides and twists and spins with a rare unhurried grace. Green never howls or shouts or forces anything. He just lets that voice drift on the song’s currents. “I wanna spend my life with you,” Green breathes, as that voice radiates absolute joy and contentment and comfort. Green came from a gospel tradition, of course, and there’s grit in his voice, in the tiny subatomic rasp that creeps in when he dips into his lower register. But there’s no sweat. He never sounds like he’s trying.

A lot of it is the connection between Mitchell and his band. Mitchell knew how to make the beat work for him. Every element of “Let’s Stay Together” — the wafting organ, the lazily twirling guitar, the perfectly timed horn-bursts — is right there in the pocket. Even on a song as gentle as this one, Mitchell knew how to push the beat. Jackson’s drums have a horse-trot momentum. And maybe that’s what gives Green the room he needs to operate. Green can ascend heavenward and do triple-backflips with his voice; he knows that beat will keep him anchored.

And even when he’s pledging lifelong commitment, Green still comes off like he’s flirting. The idea of long-term unconditional love is a lot of things, but it isn’t necessarily sexy. On “Let’s Stay Together,” Green makes it sexy. Maybe the elegant simplicity of those words came from how quickly Green wrote them, or maybe he had that sentiment in him for years, just waiting for the right music to come along and unlock it. Because those words are so elemental that they seem like they’ve always been there: “You make me feel so brand new, and I want to spend my life with you.”

On “Let’s Stay Together,” Green would present himself as a simple man who only wants to be with one person forever, who has no use for any drama: “Why people break up, turn around and make up, I just can’t see.” His real life would not prove to be that simple. Three years after “Let’s Stay Together,” Green had a girlfriend who was married to another man, and she was furious that he wouldn’t marry her. When Green was in the bath, she threw a pot of boiling grits at him, burning him badly, and then took her own life with a gun.

And Green wasn’t just a victim, either. He was once arrested for beating a woman with a tree branch, and when his wife filed for divorce in 1981, she testified about severe beatings, including one particularly bad one when she was five months pregnant. Years later, Green admitted to spousal abuse. These days, Green is preaching in the same Memphis church where he’s been for years, and everyone who interacts with him speaks of him as a lovely man. I hope he is. We hate to think that someone capable of creating a work of surpassing and transcendent loveliness like “Let’s Stay Together” wouldn’t be worthy of his own song.

GRADE: 10/10

BONUS BEATS: A 1983 cover of “Let’s Stay Together,” produced by Heaven 17’s Martyn Ware and Greg Walsh, helped ignite Tina Turner’s ’80s comeback. (It peaked at #26 in the US and #6 in the UK.) Here’s the video:

BONUS BONUS BEATS: Here’s the scene from 1994’s Pulp Fiction where Ving Rhames tells Bruce Willis that he has to throw his next fight, as “Let’s Stay Together” thrums reassuringly in the background:

BONUS BONUS BONUS BEATS: Here’s President Barack Obama, at a 2012 Apollo Theater fundraiser where Al Green opened for him, singing a line from “Let’s Stay Together” astonishingly well:" -

Vivienne Westwood Fall/Winter 2019

"Vivienne Westwood unveiled her Fall/Winter 2019 collection during London Fashion Week." -

Presley Gerber by Ivan Bideac

"Taylor Brechtel featuring Presley Gerber groomed by Lindsey Williams and photographed by Ivan Bideac for GQ Style Russia." -

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