THE FEEL FREE ARTZ GROUP
Tuesday, March 31, 2015
Art Renderings Inspired by Your Favorite Sneakers
Kat DeLuna Feat Trey Songz – Bum Bum
New York R&B singer/songwriter Kat DeLuna makes her return with her brand new single called Bum Bum featuring Trey Songz.
ENTERTAINMENT NEWS: Bow Wow talks CSI: Cyber on The Social / Jay Z Talks Tidal, Jimmy Iovine, Rewriting the Music Business Rulebook / Get Ready for Big Changes to Facebook Messenger and Video
He was the youngest solo rapper to ever hit number one on the Billboard charts and now Bow Wow (a.k.a Shad Moss) is starring in CTV’s new hit show, CSI: Cyber, as a hacker who goes from cracking codes to catching bad guys.
Shad started his visit off on the right foot by expressing love for Toronto and shared the secret behind the hat he was wearing. (Hint: It involves his best friend.)
The actor also discussed the transition from Bow Wow to Shad Moss and what it was like growing up in the entertainment business. He talked about his role on CSI: Cyber, how it has made him more paranoid about technology and the scary situation he recently found himself in when he was playing a video game.
Jay Z doesn’t give many interviews. In conversation, he often pauses mid-sentence, considers, rewinds, slices and reshapes his answer, choosing a more appropriate word or analogy that draws a finer point before revealing it to the interviewer. What’s commonly assumed is a mistrust of the press may just be that unlike his work in the studio or onstage, Jay Z doesn’t ultimately control the final result of an interview, and therefore treads more carefully while giving one.
Jay Z’s Tidal Teaser Video Features Madonna, Beyonce, Jack White, & More
And yet on the occasion of his recent $56 million purchase of Aspiro, a publicly traded Swedish tech company, and the blockbuster announcement that he is partnering in the venture, in both the spiritual and financial sense of the word, with music’s biggest names — including giants from the world of hip-hop (Kanye West, Nicki Minaj), R&B (Beyoncé, Rihanna), dance (Madonna, Calvin Harris, Daft Punk), rock (Jack White, Coldplay) and country (Jason Aldean) — he sat with Billboard a few days before the March 30 announcement in an effort to explain his motives for a purchase that the industry has greeted with a raised eyebrow.
Jay Z’s Tidal Planning Flashy New York Event
While it would be easy to dismiss the idea that a small company with 500,000 subscribers and a twice-the-price high-definition capability could ever compete on a cursory level with Goliaths like Spotify (60 million subscribers, 15 million of them paid) and the soon-to-relaunch Beats Music, one must consider the possibility that what he’s proposing isn’t a get-rich-quick scheme. According to Jay Z, and judging from the #TIDALforALL social media campaign that launched in March 30’s early morning hours, his primary goal is to change a broken compensation system and to bend the accepted limits of what’s offered for streaming, including song snippets, loose ideas and video. And by offering more money he will, in theory, force other streaming companies to follow suit. Much like his music that has occasionally served as a social agitator, Tidal, which is initially a playground for A-list performers, is Jay Z’s way of resetting music’s value proposition. None of the top-tier artists, who all reportedly own an equal share of the company, need the money, which make them the perfect delivery mechanism for his message: that musicians have had enough of streaming’s microscopic payouts and the labels’ helpless shrugs. Whether the industry itself has had enough is another story remains to be seen.
When did it first occur to you to get into the streaming business?
A year-and-a-half ago. We saw the movement and how everything was going and figured that this could possibly be the last music format that we see in this lifetime. We didn’t like the direction music was going and thought maybe we could get in and strike an honest blow and if, you know, the very least we did was make people wake up and try to improve the free vs. paid system, and promote fair trade, then it would be a win for us anyway.
Musicians have long complained that streaming has rendered music virtually worthless. It doesn’t sound like you’re solely driven by financial reasons, but also by a desire to reset the value proposition of music.
That’s correct, absolutely, and when I spoke to every single person involved that’s what I said. Music is … imagine your life without music. It’s a very valuable part of your life, and like I said, that’s why we got in this business. It seems to be going the other way. People are not respecting the music, and [are] devaluing it and devaluing what it really means. People really feel like music is free, but will pay $6 for water. You can drink water free out of the tap, and it’s good water. But they’re OK paying for it. It’s just the mind-set right now.
In some ways music is probably closer to priceless than worthless.
Yes. The experiences that I’ve had growing up with music, you know, I couldn’t trade them for any money in the world. Dancing in the living room to enjoy myself. “Enjoy Yourself,” Michael Jackson. Those moments and just that feeling of joy, it’s priceless, like you said.
Someone of your stature can make this case to the other streaming services. Did you try that before you decided to buy in?
Yeah, we talked to every single service and we explored all the options, including creating a white label with a service. But at the end of the day we figured if we’re going to shape this thing the way we see it then we need to have independence. And that became a better proposition for us — not an easier one, mind you.
The list of your partners is going to surprise quite a few people. How did you get them involved? Was it as simple as going out and saying, “This is our chance to turn the tide against this thing that’s happening”?
Yeah, pretty much. I talked to everyone one on one about music and about what they would like to see in a service, and how would they like this to go. I wanted to know if they were willing to take a chance, since everyone’s names are attached and their reputations, too.
And I just believe as long as we’re on the side of right, and we’re in this for the right reasons, it will work. It’s just a big opportunity for everyone — not a thing that belongs to any one person. That’s not fair, that’s not a democratic process, and that isn’t the idea behind it.
Isn’t another of your goals to make sure the revenue makes its way down the food chain to content creators?
Definitely. For someone like me, I can go on tour. But what about the people working on the record, the content creators and not just the artists? If they’re not being compensated properly, then I think we’ll lose some writers and producers and people like that who depend on fair trade. Some would probably have to take another job, and I think we’ll lose some great writers in the process. Is it fair? No. If you put in work, everyone else, you go to work you get paid. That’s fair trade. It’s what our country is built on.
I’m just saying the producers and people who work on music are getting left out — that’s when it starts getting criminal. It’s like you’re working hard and you’re not receiving. In any other business people would be standing before Congress. They have antitrust laws against this kind of behavior. It almost seems like when it applies to music no one really cares who’s cheated. It’s so disorganized; it’s so disconnected from reality.
What made Aspiro the company to help you make this statement? Was it anything to do with the fact that it’s a smaller, foreign company that you could buy more quietly?
That had a bit to do with it. We had to move pretty quietly because we wanted to do it right without interference. But … the service [also] offers high-quality audio and video. Again, we’re talking about respecting the music and respecting the art … and we can’t play around with that, so we need something that’s authentic and honest. That made it pretty attractive pretty quickly, that the sound quality was so high, and I would know, because I’ve personally heard 70 mixes of a single record, you know what I’m saying? So the least I can do is try to present that to the public the way that the artist intended.
Are you going after the high-end audiophile or just people who care enough about music to pay almost twice as much for the service?
We want it to be open to everyone. So yeah, that would be part of it, but the pricing will be tiered, because we want to present it to as many people as possible. But it definitely appeals to people who really care about the music and want to hear it the way it’s intended. And hopefully some day with technology we figure out how to deliver that high-def sound, maybe even in a $9.99 model. Who knows what the future holds.
Do you think video is going to play a big part in separating you from the other streaming services?
That’s certainly a differentiator, and we’ll have high-quality videos and hopefully we’ll see something that we haven’t seen before.
Have you been talking to a phone carriers and audio partners? We’ve heard AT&T and Skullcandy?
We’ve been speaking to a lot of people. To single someone out wouldn’t be fair for them or us.
So, Tidal launches today. Creatively, what do you hope happens, beginning tomorrow?
Artists come here and start making songs 18 minutes long, or whatever. I know this is going to sound crazy, but maybe they start attempting to make a “Like a Rolling Stone,” you know, a song that doesn’t have a recognizable hook, but is still considered one of the greatest songs of all time, the freedom that this platform will allow art to flourish here. And we’re encouraging people to put it in any format they like. It doesn’t have to be three minutes and 30 seconds. What if it’s a minute and 17, what if it’s 11; you know, just break format. What if it’s just four minutes of just music and then you start rapping?
It sounds more like you’re envisioning it as a creative collective, or a salon, where artists can try things out and let the audience decide if that’s a direction they should continue in.
That’s right.
That’s a pretty persuasive sort of pitch to make to an artist. Did the first tier immediately get it, or was there some resistance?
I think there was a bit of nervousness because of how things work: This is something new and unknown. But at the core everyone was super-excited at the idea. Like “Yes, let’s do this. Let’s not only create a place that has great music — let’s protect the future generation of artists.” I think this thing changes the world for them. It makes everything different, you know? Between those things it was like, “We have to do this, we are almost charged in this position to do it.”
So, you’re an owner and a musician. Are you hoping that the other services will begin to adopt this attitude, or are you content because if they don’t adopt this you’ll have your own point of differentiation?
I think the goals are the same. Like when the tide rises, all the boats rise. That’s the first thing I said to the group was, “If for nothing else, then we just caused people to look inside their organization and say, ‘Yeah, let’s work on this, let’s work on audio, and let’s work on a pay system.’ ” I already see the conversations, I already see how it’s changing — and it may have changed anyway because that’s just the natural process when things are wrong — but I think we sped it up already, and we’re not even out yet. I already see the discussions and the scrambling. And we haven’t even begun.
Each first-tier person has equity in the company?
Yes.
Is it the same equity across the board?
Yes. We’re super-transparent, and I think that’s part of it. We want to be transparent, we want to give people their data; they can see it. If somebody streams your record in Iowa, you see it. No more shell games. Just transparency.
So the founding members all got the same equity, and now we have a second round and everyone gets the same in that one as well, but it’s not as large as the first tier. We want to keep it going. We want to make this thing successful and then create another round and another round. That’s the dream, that’s the utopia. Everyone is sharing in it; everyone is some kind of owner in it in some kind of way.
What’s been the response from the labels?
I think the labels were a bit suspicious that we were creating a record company. It’s not a record company; if anything, it’s a record store. I have a record company. I don’t want another label. I’m happy with what I’m doing. But some were suspicious. We had talks, like, “Man, you guys also ought to bless this talent. We want you to be involved in this thing as well.” Again, we’re not even against other streaming companies. We want everyone to do well. We just want to carve out our section and let our voice be heard.
So yeah, I think there is a bit of paranoia in the beginning and there may still be, and I think we’ll work through that because it will be a very difficult thing for a label to tell artists when they’re streaming their music everywhere else that they won’t stream it on an artist-owned platform. I don’t see how any label can stand in front of anyone and justify that.
The stature of artists you have aligned with virtually assures that freedom. Are the artists going to provide exclusive tracks or release windows on future work?
Well, it’s up to the artist. You know, there’s a thing now, it’s called the album cycle. You put your single out, promote it, then another single — I think that now for an artist an album cycle doesn’t have to end. They’re on Instagram and Twitter and all these things, so we’re just talking about ways of extending that album cycle, and it could be anything. What if it’s a video offering tickets to the next concert, or what if it’s audio or video of the recording process? It could be anything. It could be them at home listening to songs that inspire them. Anything they want to offer, you know; just be as creative as possible, that’s the only charge, really. Make it look really good and make everyone that consumes it think, “Man, I got something really great.” Treat the people with respect; make it memorable.
The music industry is obviously cynical. When you came out with your vision, musicians aside, what was the response from the business community?
I think they were receptive but thought that there was no way I could pull it off. You know: “That’s what’s supposed to happen, but no way you’re going to do that.”
Still, today I can’t imagine that [Creative Artists Agency] is not having a meeting with their artists [and saying], “Let’s figure out how to do something together.” But I think it’s so hard to get done. I think it’s so hard because of ego.
I think it just was a moment in time and we felt like, “Yes, this is the thing that if it works we’ll be successful, but if it worked, then the music business will also be successful.” And I think that was so appealing. But the answer was yes, people are like, “That’s what should happen, but you’ll never get it done.”
Is that part of what’s driving you? When was the last time you were the underdog in a fight?
I don’t know; I feel like that all the time. I feel like I’m always pushing envelopes. I feel like I couldn’t get a record deal; I feel like, you know, when Hot 97 [New York] was the big station, I was the first one on Power 105 [New York]. When The Source was the biggest magazine, I was first one on the cover of XXL.
Twelve months from now, what would be your definition of success with Tidal? It doesn’t sound like it’s a financial benchmark.
If everyone says, “Wow, so many things have changed. This has gotten better. I like what’s happening.” If Aloe Blacc and his writers, the guys he wrote with, are not seeing a $4,000 check from 168 million streams.
They did their job, they worked, they done it. The people loved it, the people consumed it. Where’d it go? People didn’t pay or stream Aloe Blacc’s music for it to turn into vapor and go into the air. Where is it?
If in 12 months everyone is having that discussion and a dialogue, and everyone is understanding that streaming’s not a bad thing, I’m happy. Let’s embrace what’s coming up next. When the biggest distributor of downloads says they’re going to start a streaming company, I mean, I don’t know what more you need to know that it’s the next format.
You have a long-standing relationship with Jimmy Iovine. Have you been in contact with him since the news has started trickling out?
Yeah, of course. My thing with Jimmy is, “Listen, Jimmy; you’re Jimmy Iovine, and you’re Apple, and truthfully, you’re great. You guys are going to do great things with Beats, but … you know, I don’t have to lose in order for you guys to win, and let’s just remember that.” Again, I’m not angry. I actually told him, “Yo, you should be helping me. This is for the artist. These are people that you supported your whole life. You know, this is good.”
Have you heard the rumor that he’s trying to lure people from your first-tier group by offering them more money upfront?
I think that’s just his competitive nature, and I don’t know if he’s looking at the bigger picture: That it’s not about me and it’s not about him; it’s about the future of the music business.
When you were starting your career, if streaming was the pre-eminent revenue vehicle for recorded music, would you have still pursued music?
Maybe. But I think that the people that work behind the scenes maybe wouldn’t have.
Can you say definitively that they are going to make more money from Tidal than Spotify?
It’s not me against Spotify, but for us, you know, just the idea of the way we came into it, with everyone having equity, will open the dialogue — whether it be with the labels, the publishers or whoever,
I think it’s those sorts of conversations that need to be had, and again, not by forcing anyone to do it. We’re not forcing anyone to do anything, we’re just introducing ideas, and I don’t know, maybe someone else comes up with the idea. Maybe someone from the label comes up with the idea, maybe a lawyer; someone finds a bunch of different things that we think will work.
Will artists make more money? Even if it means less profit for our bottom line, absolutely. That’s easy for us. We can do that. Less profit for our bottom line, more money for the artist; fantastic. Let’s do that today.
Changes are coming at Facebook.
As you might imagine, apps are a huge business for the company. Facebook drove an astounding 3.5 billion app installs last year. At Facebook’s keynote at its annual F8 conference today, CEO Mark Zuckerberg committed to making Facebook a more stable and bug-free platform for developers and gave us a glimpse at a few of the changes in store for the rest of us.
Big changes to Messenger
Facebook Messenger was the star of today’s keynote, with the biggest news being the addition of apps to the platform. Similar to how you might swap to an emoji keyboard on your phone, apps within Messenger will allow you to access a certain app directly within Messenger and add content from it. Facebook has already partnered with 40 apps, and is opening it up to more at today’s conference.Apps like JibJab and Dubsmash are some of the already supported apps, and allow you to do things like create short videos to send to friends over Messenger. People who have Messenger can also install apps they like through links directly in Messenger. Additionally, the messaging app now supports GIFs and has an app for creating your own animated messages to send to friends.
Related: Facebook’s Foray Into Payments: Should PayPal be Worried?
Facebook also is looking to make Messenger a tool for businesses, particularly online commerce. Now brands can offer an option for shoppers to sign up for updates via Facebook Messenger. As a customer, that means that when you buy something your receipt will be sent to you via Messenger, as well as shipping information so you can track a package’s arrival. If you change your mind about a particular purchase, you can also interact with the brand directly within Facebook Messenger, just like you might have a conversation with a friend.
The future is video
Five years ago, the majority of the posts on Facebook were text. People have started to post more photos and video and are now watching more than 3 billion videos a day in Facebook’s News Feed. That number is only going to get larger.While Facebook sees video as our present, down the line it sees people sharing things like virtual reality and augmented reality content as well. To that end, today it has launched a spherical, 360-degree video feature in Facebook. It looks sort of like Google Earth, and gives you a much more immersive experience than you might get from a traditional photo or video.
Related: Say Hello to Mobile Payments Over Facebook Messenger
Starting today, Facebook is going to allow videos uploaded to the service to be embedded in other websites as well. You’ll be able to put a Facebook video wherever you want using an embed code, similar to how YouTube works.
Facebook Everywhere
Facebook also launched a new set of SDK’s for the Internet of Things during today’s conference. That means in the future we could see Facebook integration a lot more places, including our home and vehicles.The F8 conference continues tomorrow. You can see parts of the conference virtually, here.
NEW KICKS: Nike Air Diamond Turf 6/ adidas Adi-Ease Woven Black/Gum/ Nike LeBron 12 EXT "Wheat"/ Nike Air Pegasus Premium size? Exclusive Pack/ adidas Originals Tubular Runner "Hawaii Camo Lace" Pack
Nike has been taking from its archives again, now bringing back the Diamond Turf series, originally helmed by Deion Sanders with its last iteration introduced in 1998. The sixth iteration in the series sees an updated interpretation of the original Turf, with the leather on the upper replaced with synthetics and mesh except on the strap. Flywire has also been incorporated into the silhouette for extra support, as well as a back-loaded Max Air for sole support. The release was surprisingly under-the-radar, with the shoes showing up in Black/Chilling Red and Black/White-Hyper Punch-Volt at VILLA, retailing for $140 USD.
adidas has dropped its adi-ease sneaker in a woven black and gum rendition. The stitched, woven canvas has been done in a grim, tonal black appearance, which extends to the inner lining and shoelaces. A gum midsole adds a complementary touch to the simple colorway. Sneaker Politics has stocked a full run of sizes on its webstore for the retail price of $65 USD.
Nike is about to release its latest for the LeBron 12 line that takes heavy influence from yesteryear’s Nike Zoom Generation “Wheat,” an offering from The King that tilted heads within the sneaker world back in 2004. In this latest lifestyle rendition, the LeBron 12 EXT model gets an all-over tan treatment reminiscent of the Timberland boots, with metallic gold accents found on the Swoosh. The Nike LeBron 12 EXT “Wheat” in Wheat/Wheat-Metallic Gold is set to release on April 4 with a price tag of $250 USD.
Nike has teamed up with size? for an exclusive pack of Air Pegasus retro runners. First up is the Air Pegasus Racer which sports a teal and gray color-blocked premium suede construction. On the other hand, the Air Pegasus ’89 has been treated to a cool Ice Blue suede upper with a familiar gray canvas accent at the heel. Standout details include brown leather patches at the tongue of both pairs, which offer up a subtle hit of luxury. Underneath the spring-apropos uppers lie clean white midsoles and black rubber outsoles. The Nike Air Pegasus Premium size? Exclusive Pack is available now over at the retailer’s online store.
adidas Originals unveils yet another range of colorways of its Tubular Runner silhouette. Utilizing the hues from the Hawaii Camo pack that was released earlier in the month, the latest pack takes a more subtle approach, while applying the camouflage pattern to custom laces. The lightweight neoprene upper features black synthetic panels and welded overlays and the signature laser-cut heelcage, which sits atop of a contrasting EVA midsole. Offered in collegiate, light flash, and red colorways, the adidas Originals Tubular Runner “Hawaii Camo Lace” pack will be available for purchase starting April 1 at select adidas Originals retailers.
Arvind to Pay $3.2 Million USD to Ralph Lauren After Decade-Long Legal Battle
Following a longstanding trademark dispute, Ralph Lauren Corp., the United States Polo Association and USPA’s Indian licensee Arvind Lifestyle Brands Ltd. have finally reached a resolution. After back-and-forth filings and rulings, Arvind Ltd. has agreed to pay $3.2 million USD to Ralph Lauren Corp. to settle the decade-long battle which began in 2003 following a dispute between the parties regarding apparel licensing. The dispute is based on a breach of agreement regarding printed disclaimers that USPA isn’t affiliated to Ralph Lauren on USPA items sold in India. Arvind Ltd. informed the Bombay Stock Exchange that the settlement followed “good faith discussions” between the parties, however, the settlement involved no admission of wrongdoing.
Monday, March 30, 2015
ALL WHITE SUMMER KICKS: adidas Originals Superstar "Pixel Camo"/ Air Jordan 5 Retro "Metallic Silver"/ Nike 2015 Spring/Summer "White & Gum" Pack/ New Balance 999 “Whiteout”/ Nike Air Max 1 Ultra Moire White/White/ Nike SB Eric Koston Huarache "Summit White"/ Nike Free Hypervenom Low "White"/ Nike Air Max 95 White/Black/ Nike Tennis Classic AC White/Pure Platinum-Liquid Lime
The adidas Originals Superstar gets a digital makeover in the “Pixel Camo” colorway. The silhouette sees an off-white premium leather upper with strategic perforations that form faint camo patterns on the whole. This is complemented by white Three Stripes branding, white laces and a white sole unit, accented only by dark navy hits at the heel tab and tongue. Pick up a pair for yourself now at select adidas stockists, including Titolo‘s online shop for €110 EUR (approximately $120 USD).
First released in 2000, the Air Jordan 5 Retro “Metallic Silver” is make a return this spring. The mid top basketball classic is outfitted in a crisp all-white leather upper with metallic silver accents taking on the midsole and “23″ heel tab. A reflective tongue continues the model’s bold motifs, and is complemented by an icy blue outsole. Priced at $190 USD, the Air Jordan Retro “Metallic Silver” will be available on April 4 from Nike.
Nike is set to release its 2015 spring/summer “White and Gum” pack later next month. Three of Nike’s iconic models, the revamped Nike Air Huarache, Nike Air Max 1 and Nike Air Max 90 have been reimagined in a simple white upper, gum bottom sole styling motif. White leather bodies, sitting atop rubber midsoles have been finished with a colored light brown bottom sole in each of the three distinct models for a clean look just in time for the warmer months of the year. Nike Sportswear’s “White and Gum” pack will be available from retailers like atmos beginning April 4.
New Balance has unveiled a clean all-white iteration of its 999 silhouette, dubbed “Whiteout.” Featuring a white leather upper with overlays to match, these retro runners offer up a dashing option for the summer months ahead. Standout details include the perforated paneling at the toe box and collar. The upper rests atop a matching proprietary ABZORB sole unit, which rounds out the look. The New Balance 999 “Whiteout” is available now over at Feature Sneaker Boutique for $140 USD.
Hot off the heels from Air Max Day, Nike continues to churn out iterations of its classic line of Air Max sneakers. Honoring the unique occasion, Nike has released a special pair of Nike Air Max 1 Ultra Moires, clad in a white/white colorway. Appropriate for the spring and summer months ahead, the minimalist clean-white sneaker features a perforated upper, with complementing off-white tones on its gum outsole. The sleek runners are available at Bows and Arrows now for $130 USD.
Bringing elements from the classic Huarache silhouette and incorporating them into a skateboarding shoe was a bold move by Nike, but the resulting product is one of the most intriguing skate designs in recent years. Here Nike SB unveils a new colorway of the skate-ready Koston Huarache, taking a more subtle approach with an off-white seamless suede upper, mesh paneling along the side, tongue and heel for increased airflow, in addition to the Huarache rubber heel strap in grey providing lightweight stability. Nike’s innovative Lunarlon sockliner ensures increased cushioning and a lightweight fit. Pick up the Nike SB Eric Koston Huarache “Summit White” colorway at select retailers like Flatspot.
Already a popular performance football boot, the Nike Hypervenom has joined the ranks of lifestyle runner for Spring/Summer 2015. Replacing the pitch-friendly studs is a Free midsole, topped by a perforated mesh upper and hyperfuse overlays to the heel counter, lace up and fore-foot. Finishing details include a set of tonal white laces and 3M details on the tongue and heel tab. The Nike Free Hypervenom Low is available now from Nike retailers around the world including size?.
Nike unveils a new white and black iteration of the classic Nike Air Max 95 silhouette. Sporting an eye-catching all-over white coating throughout the sneaker, the latest Nike Air Max 95 rendition features a breathable white mesh upper as tonal overlays along the side panel provide additional support and flexibility. Classic Nike Air Max branding adorns the nylon tongue and back heel unit as a speckled rounded lace equips the classic runner. A white midsole fitted with a visible Air unit provides essential cushioning as a black outsole finishes the silhouette. The Nike Air Max 95 white/black is available now at select Nike retailers including size?.
Nike returns with a new rendition of its minimalistic Tennis Classic AC sneaker just in time for the warmer months. This time around, the shoe features translucent side panels fitted with mesh netting that wraps around to the heel, complemented by a solid white toecap, heel tab and tongue. The distinct design is finished off with vibrant lime green branding at the tongue and heel. Priced at €89 EUR (approximately $97 USD), the Nike Tennis Classic AC White/Pure Platinum-Liquid Lime is available for purchase at select retailers like Titolo.
SUMMER STYLE: Tyra Banks Gets a Pixie Cut, See Her Shorter ‘Do / Megan Fox Shows Off Bronzed Tan for New Skincare Ads / ‘Game of Thrones’ Star Natalie Dormer on Wearing a Corset / Sarah Hyland Unveils Bob Hairstyle for Summer
Megan Fox stars in new advertising campaign from Korean skincare brand Belport.
‘Game of Thrones’ actress Natalie Dormer graces the April 2015 cover of Self Magazine in a sexy cut-out dress. The blonde beauty not only plays Margaery in GoT, but also has a role in ‘The Hunger Games’ as Cressida.
In her interview, she talks about her diet and keeping fit and wearing a corset as Margaery. “Being strapped into a corset with this long flowing skirt immediately changes the way you look in the mirror,” she says. “My way into Margaery is actually quite physical, even though she’s not a physical character in the way that Cressida is.”
‘Modern Family’ star Sarah Hyland is no stranger to switching up her hair. She recently went blonde and also debuted a lob hairstyle, but has changed her look once again by unveiling a summertime bob. “Summer hair! Thank you @nikkilee901 for always keeping my hair healthy and for givin (sic) me the freshest cuts,” Sarah captioned the image of her new crop. What do you think of Sarah’s bob hairdo?
Art Basel Hong Kong 2015 Recap
A truly international affair, 233 galleries from 27 countries took part, with a lineup that gained sales and attendance from the likes of Jenny Holzer, Tracy Emin, Keith Haring, Yayoi Kusama, Takshi Murakami, Anselm Kiefer and Ryan Gander. Exhibits from local and mainland artists such as Lui, Chun-Kwong, Wang Luyan and Xu Zhen also provided examples of China’s creative energy.
Sprawled across three floors, there was no denying the air of opulent present. Art filed into categories of elegance, thought-provoking and the gruesome, and attracted wealthy attendees that consisted of A-list celebrities like Tommy Hilfiger, David Beckham and Kate Moss. Despite its commercial nature as a trading hub, the event contributed to Hong Kong’s cultural institution, providing an opportunity for a closer look at noteworthy names in art to 60,000 public visitors. While much was on show by lucrative means – a painting by Chris Ofili at David Zwirner was sold at $1 million USD, while an installation by Damien Hirst at the White Cube for $1.1 million USD — a number of highlights were created to add atmosphere. Australian curator Alexie Glass-Kantor created 20 large-scale installations that scattered through the fair as part of this year’s “Encounters” section, while Chinese artist Cao Fei projected 10-minute Pac-Man-inspired lightwork onto West Kowloon International Commerce Center across the Victoria Harbor.
With many international galleries such as Gagosian, White Cube and Galerie Perrotin already holding outposts in Hong Kong, Art Basel 2015 only proves the city as a certified mainstay for art appraisal. Enjoy the photos above for a quick recap of this year’s event.
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