Tuesday, September 12, 2017

GIGI HADID at Anna Sui Runway Show at New York Fashion Week

GIGI HADID at Anna Sui Runway Show at New York Fashion Week 09/11/2017:



GIGI HADID at Anna Sui Runway Show at New York Fashion Week 09/11/2017


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ANGELINA JOLIE at First They Killed My Father Premiere at 2017 TIFF in Toronto

ANGELINA JOLIE at First They Killed My Father Premiere at 2017 TIFF in Toronto 09/11/2017:



ANGELINA JOLIE at First They Killed My Father Premiere at 2017 TIFF in Toronto 09/11/2017


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ADRIANA LIMA at Fenty Puma by Rihanna Spring/Summer 2018 Fashion Show at NYFW in New York

ADRIANA LIMA at Fenty Puma by Rihanna Spring/Summer 2018 Fashion Show at NYFW in New York 09/10/2017:



ADRIANA LIMA at Fenty Puma by Rihanna Spring/Summer 2018 Fashion Show at NYFW in New York 09/10/2017


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CANDICE SWANEPOEL Night Out in New York

CANDICE SWANEPOEL Night Out in New York 09/09/2017:



CANDICE SWANEPOEL Night Out in New York 09/09/2017


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VANESSA HUDGENS in Women’s Health Magazine, Germany Oktober 2017

VANESSA HUDGENS in Women’s Health Magazine, Germany Oktober 2017:



VANESSA HUDGENS in Women’s Health Magazine, Germany Oktober 2017


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PENELOPE CRUZ at Loving Pablo Photocall 2017 Venice International Film Festival

PENELOPE CRUZ at Loving Pablo Photocall 2017 Venice International Film Festival 09/06/2017:



PENELOPE CRUZ at Loving Pablo Photocall 2017 Venice International Film Festival 09/06/2017


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MICHELLE MONAGHAN at Oscar De La Renta Fashion Show at NYFW in New York

MICHELLE MONAGHAN at Oscar De La Renta Fashion Show at NYFW in New York 09/11/2017:



MICHELLE MONAGHAN at Oscar De La Renta Fashion Show at NYFW in New York 09/11/2017


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Monday, September 11, 2017

AMANDA CLAPHAM at TV Choice Awards in London

AMANDA CLAPHAM at TV Choice Awards in London 09/04/2017:



AMANDA CLAPHAM at TV Choice Awards in London 09/04/2017


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ZOEY DEUTCH in Instyle Magazine, July 2017 Issue

ZOEY DEUTCH in Instyle Magazine, July 2017 Issue:



ZOEY DEUTCH in Instyle Magazine, July 2017 Issue


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JENNIFER LAWRENCE at Mother Photocall at 74th Venice International Film Festival

JENNIFER LAWRENCE at Mother Photocall at 74th Venice International Film Festival 09/05/2017:



JENNIFER LAWRENCE at Mother Photocall at 74th Venice International Film Festival 09/05/2017


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ELLE FANNING for Tiffany & Co. Fall 2017 Campaign

ELLE FANNING for Tiffany & Co. Fall 2017 Campaign:



ELLE FANNING for Tiffany & Co. Fall 2017 Campaign


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LILY JAMES in Grazia Magazine, Italy September 2917

LILY JAMES in Grazia Magazine, Italy September 2917:



LILY JAMES in Grazia Magazine, Italy September 2917


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MARGARITA LEVIEVA at Special Screening of American Assassin in New York

MARGARITA LEVIEVA at Special Screening of American Assassin in New York 09/06/2017:



MARGARITA LEVIEVA at Special Screening of American Assassin in New York 09/06/2017


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RIHANNA at Fenty Beauty Launch Party in New York

RIHANNA at Fenty Beauty Launch Party in New York 09/08/2017:



RIHANNA at Fenty Beauty Launch Party in New York 09/08/2017


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HAILEE STEINFELD for W Magazine, October 2017

HAILEE STEINFELD for W Magazine, October 2017:



HAILEE STEINFELD for W Magazine, October 2017


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CAROLINE LOWE at E!, Elle & Img Host New York Fashion Week Kickoff Party

CAROLINE LOWE at E!, Elle & Img Host New York Fashion Week Kickoff Party 09/06/2017:



CAROLINE LOWE at E!, Elle & Img Host New York Fashion Week Kickoff Party 09/06/2017


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RACHEL BILSON Out and About in New York

RACHEL BILSON Out and About in New York 09/07/2017:



RACHEL BILSON Out and About in New York 09/07/2017


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BARBARA PALVIN at Harper’s Bazaar Icons Party in New York

BARBARA PALVIN at Harper’s Bazaar Icons Party in New York 09/08/2017:



BARBARA PALVIN at Harper


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GIGI HADID at Harper’s Bazaar Icons Party in New York

GIGI HADID at Harper’s Bazaar Icons Party in New York 09/08/2017:



GIGI HADID at Harper’s Bazaar Icons Party in New York 09/08/2017


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BELLA HADID at Jason Wu Runway Show at New York Fashion Week

BELLA HADID at Jason Wu Runway Show at New York Fashion Week 09/08/2017:



BELLA HADID at Jason Wu Runway Show at New York Fashion Week 09/08/2017


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BELLA HADID at Max Mara Boutique Reopening at New York Fashion Week

BELLA HADID at Max Mara Boutique Reopening at New York Fashion Week 09/08/2017:



BELLA HADID at Max Mara Boutique Reopening at New York Fashion Week 09/08/2017


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KATE UPTON at House of Z Screening in New York

KATE UPTON at House of Z Screening in New York 09/08/2017:



KATE UPTON at House of Z Screening in New York 09/08/2017


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SELENA GOMEZ at Business of Fashion Celebrates #bof500 in New York

SELENA GOMEZ at Business of Fashion Celebrates #bof500 in New York 09/09/2017:



SELENA GOMEZ at Business of Fashion Celebrates #bof500 in New York 09/09/2017


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KENDALL JENNER at Daily Front Row’s Fashion Media Awards in New York

KENDALL JENNER at Daily Front Row’s Fashion Media Awards in New York 09/08/2017:



KENDALL JENNER at Daily Front Row


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MADISON BEER at Harper’s Bazaar Icons Party in New York

MADISON BEER at Harper’s Bazaar Icons Party in New York 09/08/2017:



MADISON BEER at Harper’s Bazaar Icons Party in New York 09/08/2017


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ELLE FANNING at hfpa & Instyle Annual Celebration of 2017 TIFF

ELLE FANNING at hfpa & Instyle Annual Celebration of 2017 TIFF 09/09/2017:



ELLE FANNING at hfpa & Instyle Annual Celebration of 2017 TIFF 09/09/2017


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KENDALL JENNER at Alexander Wang Fashion Show in New York

KENDALL JENNER at Alexander Wang Fashion Show in New York 09/09/2017:



KENDALL JENNER at Alexander Wang Fashion Show in New York 09/09/2017


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SUKI WATERHOUSE at Alexander Wang Fashion Show in New York

SUKI WATERHOUSE at Alexander Wang Fashion Show in New York 09/09/2017:



SUKI WATERHOUSE at Alexander Wang Fashion Show in New York 09/09/2017


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IRINA SHAYK at Harper’s Bazaar Icons Party in New York

IRINA SHAYK at Harper’s Bazaar Icons Party in New York 09/08/2017:



IRINA SHAYK at Harper’s Bazaar Icons Party in New York 09/08/2017


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JESSICA CHASTAIN at Woman Walks Ahead Premiere at 2017 Toronto International Film Festival

JESSICA CHASTAIN at Woman Walks Ahead Premiere at 2017 Toronto International Film Festival 09/10/2017:



JESSICA CHASTAIN at Woman Walks Ahead Premiere at 2017 Toronto International Film Festival 09/10/2017


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GIGI HADID at Prabal Gurung Fashion Show at NYFW in New York

GIGI HADID at Prabal Gurung Fashion Show at NYFW in New York 09/10/2017:



GIGI HADID at Prabal Gurung Fashion Show at NYFW in New York 09/10/2017


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ELLE FANNING at Entertainment Weekly’s Must List Party in Toronto

ELLE FANNING at Entertainment Weekly’s Must List Party in Toronto 09/09/2017:



ELLE FANNING at Entertainment Weekly


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LILI REINHART at Christian Siriano Fashion Show at New York Fashion Week

LILI REINHART at Christian Siriano Fashion Show at New York Fashion Week 09/09/2017:



LILI REINHART at Christian Siriano Fashion Show at New York Fashion Week 09/09/2017


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DEVON AOKI at Jeremy Scott Runway Show in New York

DEVON AOKI at Jeremy Scott Runway Show in New York 09/07/2017:



DEVON AOKI at Jeremy Scott Runway Show in New York 09/07/2017


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JESSICA CHASTAIN at hfpa & Instyle Annual Celebration of 2017 TIFF

JESSICA CHASTAIN at hfpa & Instyle Annual Celebration of 2017 TIFF 09/09/2017:



JESSICA CHASTAIN at hfpa & Instyle Annual Celebration of 2017 TIFF 09/09/2017


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NICKI MINAJ at Philipp Plein Fashion Show at New York Fashion Week

NICKI MINAJ at Philipp Plein Fashion Show at New York Fashion Week 09/09/2017:



NICKI MINAJ at Philipp Plein Fashion Show at New York Fashion Week 09/09/2017


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RACHEL MCADAMS at Variety Studio at 2017 Toronto International Film Festival

RACHEL MCADAMS at Variety Studio at 2017 Toronto International Film Festival 09/10/2017:



RACHEL MCADAMS at Variety Studio at 2017 Toronto International Film Festival 09/10/2017


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TAYLOR HILL at Business of Fashion Celebrates #bof500 in New York

TAYLOR HILL at Business of Fashion Celebrates #bof500 in New York 09/09/2017:



TAYLOR HILL at Business of Fashion Celebrates #bof500 in New York 09/09/2017


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Saturday, September 2, 2017

'The Compleat Beatles': 10 Takeaways From Great, Overlooked Fab Four Doc

'The Compleat Beatles': 10 Takeaways From Great, Overlooked Fab Four Doc:

If you're looking for documentaries on the Beatles, you don't have a shortage of options, with two of the splashier offerings being, of course, the Anthology series, and Ron Howard's Eight Days a Week.

The latter is blessed with rich, high-quality, color footage of the years when the Beatles went global, a band as world-brightening rocket that would sometimes pause itself to blast out 30 minutes' worth of songs on a stage. The Anthology boasted amusing, fulsome commentary from the surviving Beatles, with John Lennon piped in from archival recordings. It was as close as you got to the four men sitting down for a repast, post-1970, and sharing what it had all been like.

But one Beatles doc you might not know – and its cause has not been helped by not having an authorized DVD release yet – is 1982's The Compleat Beatles, written by David Silver, directed by Patrick Montgomery, and narrated by Malcolm McDowell, chief droog from Stanley Kubrick's A Clockwork Orange. Clocking in at two hours – and titled in the spirit of The Compleat Angler, England's definitive book on fishing, from 1653 – The Compleat Beatles tells the band's entire story, from pre-fame days, with checkpoints at each album, right up through the breakup. It's brimming with keen musical analysis, and a coterie of voices you normally don't get with a Beatles documentary.

For a long time, in the VHS era, it was a staple of high-school music teachers, starting 35 years ago in the summer and fall of '82. If you were lucky enough to have had the TV set wheeled in by a Beatles-mad instructor, you know this is a special film.

Here are 10 reasons to check out this overlooked masterwork of the Beatles' cinematic canon.

1. Writer David Silver had a pitch-perfect understanding of the Beatles' career arc – and importance in their time and beyond."Poets of a generation, heroes of an era," The Compleat Beatles begins, with Malcolm McDowell reciting Silver's lines with Shakespearean gravity. This is to be a proper assessment of a band that was so much more than a rock & roll collective, something we're made to feel immediately. "Like all poets and heroes, they reflected the spirt of their times." The early sequences in the film present footage of a bygone Liverpool, which looks pretty grim, as if nothing mercurial could emerge from this seaport. When the opening chords of the Beatles' cover of Chuck Berry's "Rock and Roll Music" kick in, the film itself seems to pop with possibility, as if infused with Beatle-esque spirit. There was nothing the band couldn't do, and now there will be nothing this movie can't do.

2. Gerry Marsden was an ace witness to what the Beatles were doing.The leader of Gerry and the Pacemakers, perpetual Liverpudlian also-rans, Gerry Marsden was always broad-spirited when it came to talking about the band that so outpaced his own, but you don't get to hear him very much on film. Here he explains how the Liverpool acts were able to transform skiffle into something far grittier from what he terms the "ackky dacky" sounds of Lonnie Donegan. First he whips out a guitar to show how Donegan would play "Jambalaya," before remarking "we'd get the record and we'd rock it up a little bit," entering forth into a cool little demonstration. It's a great primer for how the Northern bands were able to develop their own sound from what was a reductive, chipper genre in skiffle.

3. Early manager Allan Williams was quite the character.Williams liked his tall tales, and the Beatles basically screwed the guy over after he hooked them up with Hamburg and they jumped ship for Brian Epstein, but Williams clearly loved reminiscing about his relationship with the band, which would continue on for a while still. (And resurface later when the legality of the Hamburg Star Club tapes was in dispute.) He describes a letter from Howie Casey of Derry and the Seniors begging him not to send "that bum group the Beatles" over to Hamburg, for fear that this would mess up everyone else's good thing. Williams then goes on to (accurately) describe the style of then-drummer Pete Best as not very clever. Hardly a feeling-sparer, which is probably why the likes of John Lennon liked him – at least for a while.

Alan Williams The First Manager Of The Beatles Seen In An Empty Cavern Club In Liverpool 26 Jan 1973
Allan Williams at the Cavern Club, 1973 Daily Mail /REX/Shutterstock

4. George Harrison's mom deserves serious props.The Compleat Beatles does an excellent job of synthesizing how the Beatles came together in their pre-fame years (complete with an image of John Lennon's report card decrying his "insolence"), with a clear, concise chronology, and valuable insight directed towards the subject of George Harrison and his mother. Most Beatles studies focus, in terms of maternal subjects, on Lennon and his mother, Julia, and Paul McCartney and his late mother, Mary, but Mrs. Harrison knew a thing or two about rocking out. "To his classmates, George Harrison was the boy whose father drove the bus they all rode to school," McDowell states. "His mother sat up with him night after night as he taught himself how to play Buddy Holly songs," with his inclusion in the Quarrymen assured because "his mother could tolerate their noisy rehearsals." Way to go, Mrs. H.

5. Reeperbahn mainstay Horst Fascher was one badass MF.The Compleat Beatles makes commendable use of the underrated Star Club material to soundtrack several scenes, and it's a delight when self-professed Beatles protector Horst Fascher turns up on camera. He made sure that they didn't get in too much distress on their first Reeperbahn forays, or, as he puts it in the film, "If you are in trouble with some girls who are prostitutes, and you don't know the girls are prostitutes, and the pimps find out, you can get in a lot of trouble," which made Horst the guy to seek out to cure your ills and keep your ass intact, given that he was a former boxer who had been booted from competition for killing a sailor in a street fight. Ah, Hamburg.

6. The Litherland Town Hall show from December 27th, 1960, was the watershed gig of the Beatles' career.The film also features a number of segments with Bill Harry, a friend of the band who was instrumental in spreading the good word about them in Liverpool – even before they deserved it – with his Mersey Beat magazine, which documented the comings and goings of life on the local beat scene. Harry gives the backstory for the gig that would change the Beatles' career. "They came back from Hamburg still as an unknown band," Harry remembers, but he promoted they hell out of them, "because they were close friends of mine." This got a promoter to book them at Litherland Town Hall, shortly following Christmas in 1960. Allan Williams was there, too. "The moment the Beatles struck up and did their stomping, every kid froze, and then they ran to the stage and started screaming." That would be the gist of a lot of what was to follow.

7. According to George Martin, "Yesterday" was the crucial pivot point for the band's sonic development.Martin is eloquent throughout The Compleat Beatles: erudite, dapper, utterly sure of himself, being interviewed in a recording studio by his console, with no Beatles intruding with misremembered bits of info, something that dogged the Anthology. It's just Martin, holding a master class in what it was like from his end to work with these guys. "They always wanted to have new ideas and sounds coming through. I found that they were almost more inquisitive than I was. In fact, in the end, it kind of exhausted me. Sometimes they knew what they wanted to do, but more often than not, they didn't," coming across like Yoda both frustrated and blown away by the gifts of Luke Skywalker. Regarding "Yesterday": "It isn't really a Beatles song," Martin remembers saying to McCartney, then goes through how he made his pitch for the Beatles to forsake their standard drum-bass-guitar attack, which would become, through various methods, the mode of the future.

Rock and roll band 'The Beatles' pose for a portrait in the studio with their producer George Martin in cicra 1964.
Michael Ochs Archives/Getty

8. The doc features the coolest, trippiest, most cost-effective visual evocation of "Tomorrow Never Knows" ever filmed.McDowell's narration intones that "Two of John's songs 'She Said She Said' and 'Tomorrow Never Knows' were the results of his recent experiments with drugs" – fair enough – as a quick tour of Revolver begins, but what follows is brilliant: Using only the cover of the album, director Montgomery, through a series of sweeps, pans and fast dissolves, gives us something of a visual acid trip, as "Tomorrow Never Knows" blasts from the soundtrack. Once you see the effect, it's hard to disgorge it from your mind each time going forward that you hear that mindblower of a track.

9. The band's final world tour was pure terror, and no film better evokes it.With a collage of on-the-street interviews, footage from Beatles record burnings and people getting hurt at shows as frantic MCs plead for calm, The Compleat Beatles provides a strong sense of why touring had to stop for the band. As the footage unfurls, there's a low droning figure in the soundtrack, sort of like the protracted hum of the final chord on the Sgt. Pepper album stretched out for several minutes. We also get a self-righteous cop in Minneapolis who goes on at some length about how much he hates the Beatles: "As far as Beatle music, I could care about it not one bit personally ... one of their group, with the British accent, told us they would never come back to Minneapolis, and I told him that would be too soon for me."

10. In Martin's view, the Beatles were fated to become huge.George Martin has a lot of key lines regarding his four upstarts and their career. At one point he states, "Without Brian Epstein, the Beatles wouldn't have existed," by which he means that success would not have come to them and they would not be the galvanic entity we all know. But Martin is in downright Socratic mode, though, when he ventures towards a larger explanation for that success. "I think that the great thing about the Beatles was that they were of their time, their timing was right. They didn't choose it – someone chose it for them. But the timing was right, and they left their mark in history because of it."

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Taylor Swift Unveils Album Title 'Reputation,' Release Date Ahead of First Single

Taylor Swift Unveils Album Title 'Reputation,' Release Date Ahead of First Single:

Taylor Swift has announced her long-awaited follow-up to 1989, Reputation. The singer's sixth album will be released on November 10th.

Swift teased fans with an imminent announcement when she recently wiped all of her social media, including her Twitter, Instagram and Tumblr. Over the last few days, the pop star has been posting glitch-y, short, silent videos of a snake slithering in darkness. On Wednesday, a video showed the snake coming towards the camera.

Along with the title, Swift debuted the album cover, which features a much darker look than the bright neons of her 1989 era alongside her name in various newspaper-style fonts. Swift also confirmed that she would release an as-yet-untitled first single on Thursday evening.

Mert & Marcus

Swift released 1989 in 2014, and the time before Reputation is the longest break she has taken between albums in her entire career. Of course, even after she wrapped her world tour to promote her most pop-leaning album yet, Swift dealt with a handful of controversies, including the resurgence of her feud with Kanye West, this time involving his wife Kim Kardashian, that occurred following an inappropriate line in West's single "Famous." The return of their feud — which began in 2009 when West interrupted Swift's MTV VMA acceptance speech — led to fans of Kardashian to send Swift a flood of snake emojis on social media, a potential reference the pop star is making with her snake videos.

Musically, Swift mostly moved to the background over the last few years. She co-wrote songs for Little Big Town and Calvin Harris. She had a hit last winter with "I Don't Wanna Live Forever" with Zayn Malik, which appeared on the Fifty Shades Darker soundtrack.

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Rare Prince Concert Film 'Sign o' the Times' to Air on Showtime

Rare Prince Concert Film 'Sign o' the Times' to Air on Showtime:

Prince's 1987 concert film Sign o' the Times, which has been out of print in the U.S. since 1991, will be available to watch once again this summer. Showtime has acquired the right to the film and will debut it on September 16th at 9 p.m. EST.

The artist decided to make the movie as a companion piece to his double-album of the same name, which was also released in 1987 but had stalled in sales at mere platinum status. He shot much of the film at his own Paisley Park Studios and on tour in the Netherlands and Belgium. It features performances of many of the LP's now-classic songs – including the title track, "I Could Never Take the Place of Your Man," "Hot Thing," "If I Was Your Girlfriend" and "U Got the Look" – as well as the hit "Little Red Corvette" and a cover of Charlie Parker's "Now's the Time."

His band at the time featured musicians from both the Revolution, who'd backed him on Purple Rain, and the group that would become the New Power Generation. Sheila E. played drums, including an extended solo, and Sheena Easton sang "U Got the Look" with the artist.

The film got a theatrical release in late 1987, but it wasn't a box-office hit, attracting only $3 million in revenue, per Box Office Mojo, despite critical praise. Nevertheless, the 1988 home video release was also certified platinum two years later. Despite its popularity, and a VHS reissue in 1991, it has remained out of print in the States since then, though many countries internationally, including Canada, have seen the film come out on DVD in recent years.

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Demi Lovato Announces New Album 'Tell Me You Love Me'

Demi Lovato Announces New Album 'Tell Me You Love Me':

Demi Lovato has announced her sixth studio album. The follow-up to 2015's Confident, Tell Me You Love Me will be released on September 29th. The singer also teased the title track to preview the LP.

In the black-and-white clip for "Tell Me You Love Me," Lovato is seen in a close-up shot while she's singing the song in a recording studio. "Tell me you love me/ I need someone on days like this, I do," she belts. "On days like this/ Oh, can you hear my heart say, 'Oh, whoa-oh, oh, oh.'"

As the camera pulls back in the teaser, her eye is revealed. The shot eventually pulls back to unveil her presumable album cover, which features a black-and-white photo of the singer with her hands on her head. Tell Me You Love Me will be available for pre-order beginning at midnight on Wednesday.

New Album: Tell Me You Love Me coming September 29th. Pre-order tonight at Midnight ET!! #TellMeYouLoveMe pic.twitter.com/MWJwVGUJPj
— Demi Lovato (@ddlovato) August 23, 2017
Beyond her new album announcement, the singer will be making some high-profile appearances this weekend. On Saturday, she has been tapped to sing the National Anthem during the highly anticipated boxing match between Floyd Mayweather and Conor McGregor, which airs on Showtime. Lovato will also perform her Song of the Summer-nominated "Sorry Not Sorry" remotely from Las Vegas during the MTV Video Music Awards on Sunday, as MTV reports.

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See Katy Perry's Goofy, Cameo-Filled Video for Basketball-Themed 'Swish Swish'

See Katy Perry's Goofy, Cameo-Filled Video for Basketball-Themed 'Swish Swish':

Katy Perry leads a misfit band of uncoordinated, out-of-shape basketball players to a come-from-behind victory in the cameo-loaded new video for "Swish Swish."

Perry's team, the Tigers, is unable to dribble, pass or shoot, and the game's announcers (real-life commentators Rich Eisen and Bill Walton) predict that their showdown with the Sheep will be "the most unwatchable, eye-gouging blowout of the season." After a lackluster first half, Nicki Minaj appears as the game's halftime performer, rapping her tightly wound, dismissive verse from "Swish Swish." Importantly, she also gives Perry a quick pep talk: "Get it together, Katy." Minutes later, Perry dunks so hard she breaks the backboard, and the Tigers run away with the game.

The clip, which comes full of famous faces, is a testament to Perry's reach: Game of Thrones' Hafþór Júlíus Björnsson, Stranger Things' Gaten Matarazzo, the Patriots' Rob Gronkowski and several actresses from the Netflix series GLOW all appear in the video. The Tigers are coached by former Saturday Night Live cast member Molly Shannon, while their opponents are overseen by the versatile actor Terry Crews.

"Swish Swish" is the third single from Perry's Witness album. It was co-produced by the English house music producer Duke Dumont, and it reached Number One on the Billboard Dance Club Songs chart.

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Inside Green Day's Epic New East Bay Punk Doc

Inside Green Day's Epic New East Bay Punk Doc:

On any given weekend during the late Eighties and early Nineties, the craziest and most diverse live shows in the Bay Area were usually happening at 924 Gilman, West Berkeley's legendary all-ages punk venue.

"Gwar and Operation Ivy – I was at that show!" says Green Day frontman Billie Joe Armstrong, recalling one particularly infamous pairing from 1989. "We played on some of the strangest bills, too. We were kids in this little pop-punk band, and we played with the Dwarves, one of the world's most dangerous bands at the time. There would be some avant-garde artist that would come up and make this Yoko Ono type of noise. And then there was the Church of Frank Moore, which was this quadriplegic guy in a wheelchair, and naked people basically having sex onstage. And they were the opening act," he laughs. "But under the roof of Gilman, it all made sense!"

The rich legacy of 924 Gilman – a nonprofit, devoutly DIY club which has spawned, nurtured and inspired a dizzying array of punk and punk-influenced artists since first opening its doors on New Year's Eve 1986 – is the central focus of Turn It Around: The Story of East Bay Punk, a sprawling new documentary produced and directed by Corbett Redford, and executive-produced by Green Day. Now showing at select theaters nationwide, the two-and-a-half–hour film features narration by punk godfather Iggy Pop, animation directed by Tim Armstrong of Rancid, interviews with such world-famous East Bay scenesters as Green Day, Rancid, Michael Franti and Miranda July – as well as lesser-known but crucial figures like Kamala Parks and Robert Eggplant – and tons of previously unreleased live footage.

"It took a lot of digging to put together," says first-time director Redford, who began work on the film nearly four years ago. "We ended up compiling 35,000 archived photos and flyers, 500 hours of vintage live footage and another 500 hours of interviews with over 185 people."

The project first began to take shape in September 2013, when Armstrong called up Redford in search of particular Green Day live footage from 1991. "There was this guy from a band called Public Humiliation, and he always had a video camera with him," Armstrong explains. "I remember him taking some great backyard party stuff of us in West Oakland, and I asked Corbett to get in touch with him. Not only did Corbett get that, but he suddenly started getting all this other footage; there was some stuff from Operation Ivy that came in, and it started to snowball, so I talked to him and said, 'Why don't we try to do a real documentary capturing the scene?' We just started talking, and coming up with different key people that we should talk to."

"Billie said, 'We're looking to make a movie about our early days, and I'm wondering if you know anyone who could do it,'" Redford laughs. "And I said, 'Yeah – me!' They had kind of a grasp on what I was capable of doing, since I had been making underground art and music for close to 25 years, and I'm kind of known for taking on wild projects with little to no means. I'm so happy they gave me the shot!"

Redford, a presence at the Gilman collective since the mid-Nineties as a musician – he co-founded the long-running folk-punk band Bobby Joe Ebola and the Children McNuggets – and volunteer, was tapped to direct the film precisely because of his long-running involvement in the East Bay scene. "For years, I've been watching other documentaries about punk rock scenes," says Armstrong, "and I always thought, 'Man, it would be really cool to do a documentary capturing what it was like to be in our scene.' But I was always ambivalent, because our scene is so unique; it's very underground, and people were very protective of that culture.

"When Green Day first got big, it was always so hard for me to talk about this. People would say, 'So, you're into the Buzzcocks and the Clash.' Well, yeah, of course – who isn't? [Laughs] Those are wonderful bands, but that's not my scene; that's not where I come from. But when they'd ask me to explain, I always thought of that Germs song, 'What We Do Is Secret' – I can't really talk about that. It's like Fight Club, you know?

"So I told [Redford], 'You're the perfect guy to do this, because you come from our community and people trust you; it's not a Hollywood thing, it's not an MTV thing. All voices will be heard.' I felt that, if you're a Green Day fan, you're going to find out more about Green Day by hearing these people's stories, not ours."

Green Day at Gilman, 1990 Murray Bowles

Armstrong felt it was important to capture the spirit of the scene, as well as its music. "It was such a great thing to come from," he says. "Not only Gilman, but the people throwing parties in their backyards and garages. There was a time period with punk rock where it was practically illegal, where no clubs would book bands because they were always afraid of violence and being shut down. Punk had a reputation for being nihilistic, but this scene was more about, 'Let's keep it going and keep it together.' It was about all these different contributors – people who wrote these great fanzines, like Aaron Cometbus and Janelle [Hessig] from Blarg and Miranda July. Those people were actually more important to the scene than the bands were, because they were the ones that kept us all glued together in a lot of ways."

One such pivotal figure highlighted in Turn It Around is writer, activist and musician Robert Burnett, better known around the Gilman scene as Eggplant. Guitarist of the band Blatz, Eggplant also wrote and published the influential fanzine Absolutely Zippo, and put on some legendary shows in his Pinole backyard, including the one where Sweet Children (Armstrong and Mike Dirnt's pre–Green Day outfit) first really caught the ear of the local scenesters.

"All roads lead to Eggplant for me," says Armstrong. "We were high school buddies, and he was the guy who said, 'Come play my backyard party.' He was always going to shows, always writing his fanzine, and really involved with Gilman; and he was always the guy who would come up and say, 'How's your band doing?' These guys were pushing for you to create something and get involved. And it wasn't like, 'I'm going to promote your band.' It was, 'I want your band to be involved in what we're doing, to make our scene cooler, more diverse and more interesting.'"

While the documentary makes room for everyone from fanzine writers and club bookers to hardcore progenitors Fang and the feminist rap trio Yeastie Girlz, there's still plenty of Green Day in the mix, including live footage from the band's early days, and stories of them locking horns with Gilman co-founder Tim Yohannon, who initially thought the band was too "poppy" to play the venue.

"We definitely had our grievances with Tim Yohannon and [his fanzine] Maximum Rocknroll," says Armstrong, "and they definitely had 'em about us. But he gave me a place to play music when I was a 16-year-old, and I'm eternally grateful for that."

Yohannon, who died in 1998, was a both a galvanizing and polarizing figure on the scene.

"There's a lot of love for Tim Yohannon in the film," says Redford. "People have told me, 'If you knew him, you loved him – and if you knew him, you fought with him,' During our cast-and-crew screening a few months back, someone in the film mentioned Tim's name, and someone in the audience yelled out, 'Fuck you!'"

While Armstrong stipulated that Turn It Around should avoid any internecine bickering ("I said, 'I don't want to hear anybody's grievances; all I want to see is contribution'"), he wasn't shy about having the film touch upon the backlash that Green Day and other East Bay bands received from the staunchly independent scene after signing with major labels. Founded on a platform banning all drugs, alcohol, violence, racism, sexism and homophobia from the venue, 924 Gilman additionally banned all major-label bands following Green Day's defection from local indie Lookout Records. "In an early cut, Corbett sort of played down the part about the major labels coming," Armstrong recalls. "And I said, 'No, no, no – I want more of it! Bring it on!'"

Even so, Armstrong believes that the East Bay scene's anger over his band signing to Warner Bros. wasn't as widespread or virulent as it was portrayed at the time. "There was a very vocal few that sort of blew it out of proportion and we felt it," he says. "But I think the majority of the people in the scene were wrapped up in their own lives, and doing their own thing, you know? Most people were just like, 'You're going your way, and I'm going my way.'"

Rancid at Gilman, 1992 Murray Bowles

Redford says that the film really gained momentum once Rancid/Operation Ivy leader Tim Armstrong got involved. "Rancid hadn't done press in ages," he explains. "Tim and Billie have a friendship, but I didn't really task Billie with booking people for the film; so I wrote to Tim's managers, and they had some questions for me. But I'm also on the fundraising board at Gilman Street, and Tim's brother Jeff is a financial officer there. He had heard about the project and was excited about it, and I said to him, 'We're trying to get in touch with your brother about participating – Operation Ivy is kind of the flagship band of early Gilman.' He said, 'I'll put in a word,' and suddenly I got a phone call from Tim.

"So Tim came in, and then slowly people like Robert Eggplant and Kamala Parks, Jesse Michaels, Dave Mello – all of these people who helped make that early scene were suddenly working on the film as production assistants, helping us go through archives. If I had questions about accuracy or stuff that happened, they were in the office doing clerical work or drawing or whatever. So suddenly, the purveyors of this culture are helping me bring this thing into the world."

Lending additional punk-rock gravitas to the documentary are the dulcet tones of Iggy Pop, who serves as the film's narrator. "That was pretty awesome," says Redford of working with the legendary Stooges frontman. "We had a five-hour cut of the film, and Billie and I were debating whether to do it as a series; we decided no, our hearts were set on a film. So I thought that, in order to condense five hours [down into a film], we'd need a narrator. We didn't want someone from within the scene; we wanted to get an outsider. I thought of Tom Waits, because he was a Santa Rosa guy; but a couple of days later Billie Joe said, 'What about Iggy? We were his backing band for a few songs on [2003's] Skull Ring – let me reach out to him.'

"Before I knew it, I was on the phone with him, and we were collaborating on the script. He had some ideas about the phrasing, and he listened to a lot of this music that he hadn't heard before. He was the perfect guy for it."

The film is currently "on tour" with Green Day through September 18th, with special screenings scheduled to coincide with the band's live dates. "The idea is that people can go see Green Day and rock out," says Redford. "And then, if they want to know more about how this band came to be, as people and as artists, they can hit up a theater and watch this film."

"I don't think this could have been made 10 years ago," says Armstrong of Turn It Around. "I think this is the right time, where people really wanted to share. And I think that people know that we have the best interests of the scene at heart. And I think what's really cool and unique about this is that everybody's still involved, and people are still doing stuff. People are still musicians and they're playing, and they're doing it for reasons that are not about getting paid or trying to be a struggling rock star. There's so many people from the scene who have become painters or educators or activists. There's still vitality from the older people, and it's still about trying to get younger people involved at the same time. So I think that's what sets us apart from what's happened in other scenes.

"What I've always got from documentaries [about punk scenes] is, 'The scene came, the scene died, and nothing else existed after that.' I think this is one of the first documentaries that truly inspires the next generation to take it and do their own thing with it. And it's their own thing: It's like, 'You don't owe us anything – you owe it to yourself.'"

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