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Thursday, 17 July 2014
These Are The Inbetween 'Star Wars' Scenes You Never Saw
Deep down, is Darth Vader a big jerk, or is he smiling underneath that breathing apparatus? Does he ever pee? What was happening on the Death Star when we the audience wasn't looking in?
UCB and the Nerdist give us the answers in "Between the Scenes: Star Wars." (Spoiler: Darth Vader does pee.)
UCB and the Nerdist give us the answers in "Between the Scenes: Star Wars." (Spoiler: Darth Vader does pee.)
NBC Says Title Character Of 'Constantine' Is Straight. Fans Disagree.
NBC's "Constantine" isn't hitting small screens until October, but already the show has fans agitated. The drama, based on the DC comics franchises "Hellblazer" and "Constantine," centers on the adventures of con man and supernatural detective John Constantine. Some fans are concerned about the accuracy of the character, not because of the costume or the power, but because of the title character's sexuality.
In the "Hellblazer" comic books, John Constantine is shown as having both male and female lovers, though his sexuality is never explicitly labeled. NBC's version, however, has only planned female love interests for the character. Executive producer Daniel Cerone told Entertainment Weekly at the Television Critics Association’s press tour on Sunday that the character's sexuality was not integral to the character, stating, "In those comic books, John Constantine aged in real time. Within this tome of three decades [of comics] there might have been one or two issues where he’s seen getting out of bed with a man. So [maybe] 20 years from now? But there are no immediate plans.”
While it is true that the majority of Constantine's conquests have been female, many fans feel that this is straight-washing, or changing a LGBTQ character into a straight one. Voicing their concerns on social media over the past few days, comic fans have argued that bisexual men are an underrepresented group in the media and changing the sexuality of a queer character is erasure. Fans have flooded Tumblr and Twitter with the hashtag #BiBlazer, calling for people to contact NBC on their social media pages and request that Constantine be written as bisexual.
The character's sexuality hasn't been a big plot point in his latest solo series, "Constantine." But there are at least two instances from Constantine's decades-long history that seem hard to ignore. The first is in "Hellblazer" issue #51, in which Constantine thinks to himself (in this panel), "Girlfriends, the odd boyfriend... they all have a nasty habit of walking out on me." The other is a sexual relationship between Constantine and wizard S.W. Manor that occurs during the "Hellblazer: Highwater" arc (though Constantine was conning the wizard at the time). The 2005 film "Constantine," starring Keanu Reeves, does not explicitly state the character's sexuality.
With a character who appears in multiple comics over several decades, it's hard to pin down consistent character traits and details. But do the few notable examples make the character bisexual? Is his sexuality fluid or is he perhaps even pansexual? Fans may differ on what it means in terms of his characterization, but NBC has seemingly already decided their interpretation.
In the "Hellblazer" comic books, John Constantine is shown as having both male and female lovers, though his sexuality is never explicitly labeled. NBC's version, however, has only planned female love interests for the character. Executive producer Daniel Cerone told Entertainment Weekly at the Television Critics Association’s press tour on Sunday that the character's sexuality was not integral to the character, stating, "In those comic books, John Constantine aged in real time. Within this tome of three decades [of comics] there might have been one or two issues where he’s seen getting out of bed with a man. So [maybe] 20 years from now? But there are no immediate plans.”
While it is true that the majority of Constantine's conquests have been female, many fans feel that this is straight-washing, or changing a LGBTQ character into a straight one. Voicing their concerns on social media over the past few days, comic fans have argued that bisexual men are an underrepresented group in the media and changing the sexuality of a queer character is erasure. Fans have flooded Tumblr and Twitter with the hashtag #BiBlazer, calling for people to contact NBC on their social media pages and request that Constantine be written as bisexual.
The character's sexuality hasn't been a big plot point in his latest solo series, "Constantine." But there are at least two instances from Constantine's decades-long history that seem hard to ignore. The first is in "Hellblazer" issue #51, in which Constantine thinks to himself (in this panel), "Girlfriends, the odd boyfriend... they all have a nasty habit of walking out on me." The other is a sexual relationship between Constantine and wizard S.W. Manor that occurs during the "Hellblazer: Highwater" arc (though Constantine was conning the wizard at the time). The 2005 film "Constantine," starring Keanu Reeves, does not explicitly state the character's sexuality.
With a character who appears in multiple comics over several decades, it's hard to pin down consistent character traits and details. But do the few notable examples make the character bisexual? Is his sexuality fluid or is he perhaps even pansexual? Fans may differ on what it means in terms of his characterization, but NBC has seemingly already decided their interpretation.
An Interview With Directors of Huicholes: The Last Peyote Guardians
FIRST OF TWO INTERVIEWS
See also: Interview with the Last Peyote Guardians: Marakame José Luis "Katira" Ramírez and son
When Argentine filmmaker Hernán Vílchez made his way up into the remote Wixarika community of San Andrés Cohamiata Tateikie high in the Western Sierra Madre of Mexico, he knew he would be entering another world. What he didn't know was how deeply it would change his own life.
The movie tells the story of the Wixarika or Huichol people, one of the most intact precolonial people remaining in the Americas, and their battle to save the sacred site upon which their cosmovision depends from Canadian gold and silver mining operations. It's a story emblematic of a horrifically destructive industry at work all over the world, and at the same time unique to this time and place and culture, and it's a story that's very much alive.
Huicholes: The Last Peyote Guardians, a beautiful and profound new film just released on demand at http://ift.tt/1kR2QyC, breaks new ground on many fronts. First there was the making of the film, which revolves around the pilgrimage of a single family, that of the marakame or shaman José Luis Ramírez, or Katira by his Wixarika name, to the sacred desert of Wirikuta and to the Cerro Quemado, the Birthplace of the Sun. Other films have been made exploring the colorful and deeply spiritual traditions of the Wixarika people, but none that has covered with this level of depth and professionalism the spiritual traditions of this people and the existential threat that culture now faces.
The film crew, accompanied by numerous members of the Ramírez family, has also pioneered a new approach to distribution in an era of self-publishing and artistic independence. Rather than premiering the film at a prestigious film festival and then concentrating their efforts on audiences and festivals in major cities, the crew premiered the film in a way that most resembles the ancient Wixarika pilgrimage, but in reverse. The first two showings were in the pilgrimage destination, the threatened sacred site itself, the remote mountain range and desert valley of Wirikuta. The next stop was a two-day caravan up into the even more remote Wixarika territories. Only then did they take their tour to overflow crowds in Mexico's two largest cities, Guadalajara and Mexico City.
Now, due to the urgency of the message, they are trying to raise the money to go on tour with the movie: first, beginning in August, in South America, followed by Europe in September and October, and the U.S. and Canada in November.
Film director Hernán Vílchez introduces the film at its world premiere in Real de Catorce, in Wirikuta, the contested ceremonial territory of the Huichol people. (Credit: José Andrés Solórzano)
I caught up with the film's director, Hernán Vílchez, and producer, Paola Stefani, and Katira and his son Clemente at the producer's home in Mexico City recently as they recovered from the eight-day marathon. Here is the interview.
Hernán: We've just recovered from the Five Colors of Corn and Five Functions movie release tour, and the Ramírez family is here with us. The world premiere of Huicholes: The Last Peyote Guardians was very well received and really exceeded our expectations. We're feeling very grateful to the Mexican people but especially those who attended and also supported us. It's been three and a half years since I began this work, almost as a mandate from the Elder's Council of San Andrés Cohamiata. They asked me to do a film to tell the story of their struggle to save their most sacred site, and this is the result.
Tracy: Speaking of the movie release tour, let's talk about that first. What stood out the most for you as you traveled with this film, what surprised you, in terms of the way it was received? In particular, the different reactions of the very different audiences you were able to reach?
Paola: For us it was very important to take the film in the first place to Real de Catorce and to the populations of the desert, and likewise to the Huichol territories in the mountains. Our first interest is to take the film to the people who are affected by this conflict by the mine in Wirikuta, and so the first would be those who live in the desert, and of course to the Wixaritari.
As Hernán already said, the first response was to have in attendance more than 500 people, in Real de Catorce as in Estación Catorce and in the Huichol territories. In Guadalajara, we could never have imagined that 800 people would show up and that more than half would be left outside. So obviously Wirikuta is a subject that interests many people. In Mexico City, where there was a last-minute change of venue and then it rained, about 2,500 people turned out - and what was very moving also is that the majority were young people.
In the case of the Guadalajara function, there was an enormous diversity in the kinds of people who came. I think the public response - it was a very quick tour, no? In eight days we did five events and traveled more than 2,700 kilometers. So we didn't have the opportunity to stay for a long time in each place after the function but immediately after finishing the film what we most received were words of profound thanks; in Estación Catorce we were talking to kids between 16 and 18 years old, and they were saying, 'We've always seen the Wixaritari with their pilgrimages and we've never really understood what it was about; now we understand.'"
In Real de Catorce we had the chance to speak with ejidatarios (collective landowners, mostly small farmers) from the mountains as well as the valley, and they were grateful to be able to have access to serious information, and also something that kept coming up in the comments was the importance of making it very clear that the Wixárika people have no intention of depriving anyone of their land or their ability to make a living. One of the comments too was that it was really touching for many inhabitants of Wirikuta that the Wixárika people were there, looking in their eyes concerning the effects of the mining on their territory and how it would affect the water.
In Mexico City the film ended with a light sprinkling of rain (considered as a benediction among the Wixárika people and their supporters) and applause and shouts of Viva Wirikuta, very moving as well. I think if it hadn't rained as it did, I think we could have ended up with 5,000 people. It's not the film, it's the subject; I think the people are really sensitized to the subject of Wirikuta.
Read the full interview at Intercontinental Cry.
The film can be viewed online for $3.99 at huicholesfilm.com.
Anyone who is interested in organizing a film screening or supporting the effort may contact the director at hernanton@gmail.com.
Drake Impersonated Manny Pacquiao, And We Can't 'Let It Go'
Manny Pacquiao can't be a pro boxer for the rest of his life, so ESPYs host Drake gave us a glimpse of what Pac-Man will do when he decides to "Let It Go."
During Wednesday night's ESPY Awards, Drizzy sang that famous "Frozen" song while doing his best Pacquiao impression, and it was amazing. It's a good thing sour notes never bothered us anyway, because this video is full of them.
Nevertheless, it goes without saying that we'd watch this clip "Forever."
During Wednesday night's ESPY Awards, Drizzy sang that famous "Frozen" song while doing his best Pacquiao impression, and it was amazing. It's a good thing sour notes never bothered us anyway, because this video is full of them.
Nevertheless, it goes without saying that we'd watch this clip "Forever."
Dog Interrupts Weather Report To Take Care Of Business
A beautiful beach and an adorable dog playing in the water-- sounds like the perfect background for a morning weather forecast.
Unless the dog decides it needs to take care of a few things in the middle of the report.
"Upstaged by a dog," BBC Breakfast's Carol Kirkwood said after she realized what was happening. "It's the story of my life."
(h/t: TIME)
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Unless the dog decides it needs to take care of a few things in the middle of the report.
Soooo... that was awkward. Rest assured: our sources tell us it was a number one. #bbcbreakfast http://ift.tt/1zLI1PL
— BBC Breakfast (@BBCBreakfast) July 17, 2014
Someone's looking a bit guilty... http://ift.tt/1rk8scM
— BBC Breakfast (@BBCBreakfast) July 17, 2014 "Upstaged by a dog," BBC Breakfast's Carol Kirkwood said after she realized what was happening. "It's the story of my life."
(h/t: TIME)
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via IFTTT
Lea Michele Relaxes Poolside In A Summery White Bikini
Lea Michele soaked up some sun in a white bikini.
The 27-year-old spent some time swimming and lounging by the pool in Santa Barbara, California, this past weekend with her new boyfriend, dancer Matthew Paetz.
Michele began dating Paetz earlier this summer, shortly after meeting him on set of the music video for her new single "On My Way."
The track comes off her debut studio album "Louder," which was released earlier this year.
"I didn't want to find songs that I had to change myself for," Michele told Billboard of the tracks on the album. "I wanted to find songs that would only highlight my sound and were unique to me. I didn't want to fit any mold. I wanted it to be something that couldn't be replicated by anyone else."
"Sharing a part of yourself in your music is really important," she continued. "That's just what I'm trying to do.
from Style - The Huffington Post http://ift.tt/1stpZQ5
via IFTTT
The 27-year-old spent some time swimming and lounging by the pool in Santa Barbara, California, this past weekend with her new boyfriend, dancer Matthew Paetz.
Michele began dating Paetz earlier this summer, shortly after meeting him on set of the music video for her new single "On My Way."
The track comes off her debut studio album "Louder," which was released earlier this year.
"I didn't want to find songs that I had to change myself for," Michele told Billboard of the tracks on the album. "I wanted to find songs that would only highlight my sound and were unique to me. I didn't want to fit any mold. I wanted it to be something that couldn't be replicated by anyone else."
"Sharing a part of yourself in your music is really important," she continued. "That's just what I'm trying to do.
from Style - The Huffington Post http://ift.tt/1stpZQ5
via IFTTT
Robin van Persie and Thomas Vermaelen hit beach as Manchester United manager Louis van Gaal trains
Louis van Gaal's arrival at Manchester United's Carrington training ground has hailed the dawning of a new era at England's biggest club, but the man that knows him best is relaxing in the knowledge he'll be top of the boss's team-sheet.
Gaza Redux: Déjà Vu in Occupied Palestinian Territory
The names of four children jutted out from my computer's screen like daggers on the list of the dead by name as I refreshed it. Memories of children laughing while flying kites on a beach in Gaza flooded my mind. Are these the same Bakr children I knew, and are they now among the 211 dead in Gaza?
Of course, it doesn't matter if I heard the laughter of Ahed (10), Zakaria (10), Mohammed (11), and Ismail (9) when I spent time with the Bakr family known so well in Gaza's fishing community. It matters that their parents and loved ones knew their laughter by heart, and will likely spend a lifetime trying to recall the innocent ring of it.
My work in development and policy has brought me around the world, and some of my most eye-opening encounters have taken place with the Palestinians of Gaza, such as the Bakrs. I have visited the coastal enclave several times over the past few years, many of those trips in my previous capacity as program coordinator at Grassroots International.
The most heart wrenching of those journeys took place in 2009 just weeks after more than 1,300 Palestinians -- the overwhelming majority civilians -- lost their lives in the Israeli military's notorious Operation Cast Lead. Palestinian human rights activists and grassroots movement leaders were eager for outsiders to witness the damage and bring findings to their respective countries. The destruction was palpable, vivid.
I had trouble describing the scene until a year later when I visited Haiti in the wake of the devastating 2010 earthquake. Gaza looked as if an earthquake had hit it. Much like an earthquake, the military operation did not spare the vulnerable -- we visited hospitals, schools, and entire apartment buildings that had been leveled.
This time around is no different.
"My mom told me that it feels and looks like a tsunami has hit the neighborhood," wrote Safa' Abdel Rahman-Madi from Ramallah in an action alert for U.S.-based Jewish Voice for Peace. The Israeli government has continually denied Safa' the permits necessary to visit her family in Gaza. She phones several times a day to hear her mother's updates. "I thought if it was a tsunami, maybe the international community would have acted fast to save innocent lives," Safa' reflected.
The United Nations Office for the Coordination of Humanitarian Affairs, OCHA, estimates that 76 percent of Gaza's dead in this current military operation are civilians. Its report also indicates that 12 percent's status is unknown, easily bringing the civilian death toll to more than 80 percent.
Last week, a friend wrote on his Facebook page that six of his family members had been killed in an Israeli drone attack on their home, three of them women, and one of those women a grandmother. "And they are still bombing everywhere. I want to scream my heart out," he posted just 30 minutes after finding out.
Earlier this week, the IDF hit a center for the disabled -- killing three patients and their nurse. These attacks, like the strike that killed the four Bakr children, continue despite the IDF's insistence (and mainstream Western media complacency) that it strives to minimize harm to civilians. By all means, Hamas and other militant groups are not free of blame. An Israeli family is mourning a civilian who was hit by a rocket on Tuesday, the first casualty in Israel since the IDF launched Operation Protective Edge.
My experiences in Gaza, not to mention the eyewitness accounts my Palestinian friends and colleagues there update in real time have given me insights that I wish mainstream news outlets would better report. As a U.S. citizen living in the EU, both my present and more permanent homes are implicated each time an Israeli missile flies, whether through military funding or preferential trade agreements. Framing this current crisis as solely a 'cycle of violence' or 'Israeli retaliation' is unethical journalism with undesirable consequences for all involved.
The Palestinians I know in Gaza are tireless, even under these unthinkable circumstances. In between smartphone videos captured from living room windows of buildings mushrooming into fireballs, and countless funeral processions from the streets below, they offer glimmers of hope -- of humanity.
"My mom wants to give blood to the wounded, and we wanted to ask you where to go," someone recently posted to a young female doctor friend's Facebook wall. She offered advice, careful to point out the times of day when passers-by are subject to shelling on the main road leading to the hospital. "Go in the morning, between 8:00 and 10:00," she suggested.
An old colleague uploaded a photo where he was standing on the beach with his son, both beaming, with waves foaming in the background. "It's a tough day in Gaza," the caption read in Arabic, "but these days are not without moments of joy, pride, love, and family."
I wish you could know these amazing individuals, too.
from Media - The Huffington Post http://ift.tt/1mRbVwF
via IFTTT
Of course, it doesn't matter if I heard the laughter of Ahed (10), Zakaria (10), Mohammed (11), and Ismail (9) when I spent time with the Bakr family known so well in Gaza's fishing community. It matters that their parents and loved ones knew their laughter by heart, and will likely spend a lifetime trying to recall the innocent ring of it.
My work in development and policy has brought me around the world, and some of my most eye-opening encounters have taken place with the Palestinians of Gaza, such as the Bakrs. I have visited the coastal enclave several times over the past few years, many of those trips in my previous capacity as program coordinator at Grassroots International.
The most heart wrenching of those journeys took place in 2009 just weeks after more than 1,300 Palestinians -- the overwhelming majority civilians -- lost their lives in the Israeli military's notorious Operation Cast Lead. Palestinian human rights activists and grassroots movement leaders were eager for outsiders to witness the damage and bring findings to their respective countries. The destruction was palpable, vivid.
I had trouble describing the scene until a year later when I visited Haiti in the wake of the devastating 2010 earthquake. Gaza looked as if an earthquake had hit it. Much like an earthquake, the military operation did not spare the vulnerable -- we visited hospitals, schools, and entire apartment buildings that had been leveled.
This time around is no different.
"My mom told me that it feels and looks like a tsunami has hit the neighborhood," wrote Safa' Abdel Rahman-Madi from Ramallah in an action alert for U.S.-based Jewish Voice for Peace. The Israeli government has continually denied Safa' the permits necessary to visit her family in Gaza. She phones several times a day to hear her mother's updates. "I thought if it was a tsunami, maybe the international community would have acted fast to save innocent lives," Safa' reflected.
The United Nations Office for the Coordination of Humanitarian Affairs, OCHA, estimates that 76 percent of Gaza's dead in this current military operation are civilians. Its report also indicates that 12 percent's status is unknown, easily bringing the civilian death toll to more than 80 percent.
Last week, a friend wrote on his Facebook page that six of his family members had been killed in an Israeli drone attack on their home, three of them women, and one of those women a grandmother. "And they are still bombing everywhere. I want to scream my heart out," he posted just 30 minutes after finding out.
Earlier this week, the IDF hit a center for the disabled -- killing three patients and their nurse. These attacks, like the strike that killed the four Bakr children, continue despite the IDF's insistence (and mainstream Western media complacency) that it strives to minimize harm to civilians. By all means, Hamas and other militant groups are not free of blame. An Israeli family is mourning a civilian who was hit by a rocket on Tuesday, the first casualty in Israel since the IDF launched Operation Protective Edge.
My experiences in Gaza, not to mention the eyewitness accounts my Palestinian friends and colleagues there update in real time have given me insights that I wish mainstream news outlets would better report. As a U.S. citizen living in the EU, both my present and more permanent homes are implicated each time an Israeli missile flies, whether through military funding or preferential trade agreements. Framing this current crisis as solely a 'cycle of violence' or 'Israeli retaliation' is unethical journalism with undesirable consequences for all involved.
The Palestinians I know in Gaza are tireless, even under these unthinkable circumstances. In between smartphone videos captured from living room windows of buildings mushrooming into fireballs, and countless funeral processions from the streets below, they offer glimmers of hope -- of humanity.
"My mom wants to give blood to the wounded, and we wanted to ask you where to go," someone recently posted to a young female doctor friend's Facebook wall. She offered advice, careful to point out the times of day when passers-by are subject to shelling on the main road leading to the hospital. "Go in the morning, between 8:00 and 10:00," she suggested.
An old colleague uploaded a photo where he was standing on the beach with his son, both beaming, with waves foaming in the background. "It's a tough day in Gaza," the caption read in Arabic, "but these days are not without moments of joy, pride, love, and family."
I wish you could know these amazing individuals, too.
from Media - The Huffington Post http://ift.tt/1mRbVwF
via IFTTT
Lea Michele Relaxes Poolside In A Summery White Bikini
Lea Michele soaked up some sun in a white bikini.
The 27-year-old spent some time swimming and lounging by the pool in Santa Barbara, California, this past weekend with her new boyfriend, dancer Matthew Paetz.
Michele began dating Paetz earlier this summer, shortly after meeting him on set of the music video for her new single "On My Way."
The track comes off her debut studio album "Louder," which was released earlier this year.
"I didn't want to find songs that I had to change myself for," Michele told Billboard of the tracks on the album. "I wanted to find songs that would only highlight my sound and were unique to me. I didn't want to fit any mold. I wanted it to be something that couldn't be replicated by anyone else."
"Sharing a part of yourself in your music is really important," she continued. "That's just what I'm trying to do.
The 27-year-old spent some time swimming and lounging by the pool in Santa Barbara, California, this past weekend with her new boyfriend, dancer Matthew Paetz.
Michele began dating Paetz earlier this summer, shortly after meeting him on set of the music video for her new single "On My Way."
The track comes off her debut studio album "Louder," which was released earlier this year.
"I didn't want to find songs that I had to change myself for," Michele told Billboard of the tracks on the album. "I wanted to find songs that would only highlight my sound and were unique to me. I didn't want to fit any mold. I wanted it to be something that couldn't be replicated by anyone else."
"Sharing a part of yourself in your music is really important," she continued. "That's just what I'm trying to do.
Gwyneth Paltrow May Have A New, Younger Man
Has Gwyneth Paltrow already moved on from Chris Martin? A witness tells Page Six he or she spotted Paltrow at a New York restaurant Tuesday, apparently on a date.
Cory Monteith's Mom Opens Up About Actor's Death, Previous Overdose
In an emotional interview with "Good Morning America," Cory Monteith's mom speaks out publicly for the first time since the loss of her son.
Ann McGregor, 63, said that up until just a few days ago she has not been able to look at a photo of her son, who died of a mixed drug toxicity of heroin and alcohol on July 13, 2013. He was 31 years old.
While she still can't talk about the night of his death, she is willing to discuss his past, including his first "Code Blue." Code Blue is a hospital emergency code indicating that an individual needs immediate medical attention, typically relating to cardiac arrest.
"[When] Cory was 15, he did a Code Blue," she said. "I think that was the turning point. He had a lot of emotional things he was trying to figure out. A lot of it was he really wanted a relationship with his father. I think when a child gets invalidated they keep reaching even harder. They want to find out why. I remember after Cory's first OD, the drive we took, and all we did was stare into his eyes and hug him and look at him, because I had this feeling: I really wanna know him because I'm not going to have him my entire life. That was way back then."
The "Glee" star was estranged from his father, Joe Monteith, for most of his life following his parents' bitter 1989 divorce, People magazine previously reported.
Also in the interview, McGregor revealed she still speaks with Lea Michele, who was Monteith's girlfriend at the time of his death.
"She texts me and emails me," she told "GMA." "She's hurting, too. You see the sadness. I know her pain."
Michele posted a tribute to Monteith on the anniversary of his death last weekend. She tweeted a photo of her with him, writing: "We hold you in our hearts today, and every day we remember your smile. We will love you and miss you always."
Ann McGregor, 63, said that up until just a few days ago she has not been able to look at a photo of her son, who died of a mixed drug toxicity of heroin and alcohol on July 13, 2013. He was 31 years old.
While she still can't talk about the night of his death, she is willing to discuss his past, including his first "Code Blue." Code Blue is a hospital emergency code indicating that an individual needs immediate medical attention, typically relating to cardiac arrest.
"[When] Cory was 15, he did a Code Blue," she said. "I think that was the turning point. He had a lot of emotional things he was trying to figure out. A lot of it was he really wanted a relationship with his father. I think when a child gets invalidated they keep reaching even harder. They want to find out why. I remember after Cory's first OD, the drive we took, and all we did was stare into his eyes and hug him and look at him, because I had this feeling: I really wanna know him because I'm not going to have him my entire life. That was way back then."
The "Glee" star was estranged from his father, Joe Monteith, for most of his life following his parents' bitter 1989 divorce, People magazine previously reported.
Also in the interview, McGregor revealed she still speaks with Lea Michele, who was Monteith's girlfriend at the time of his death.
"She texts me and emails me," she told "GMA." "She's hurting, too. You see the sadness. I know her pain."
Michele posted a tribute to Monteith on the anniversary of his death last weekend. She tweeted a photo of her with him, writing: "We hold you in our hearts today, and every day we remember your smile. We will love you and miss you always."
The Curious Mechanics of EDM and How It Became Distinct From Electronic Dance Music
Over the next two weekends, the People of Tomorrow will witness floating stages, pyrotechnic phenomena, fountains, flamethrowers and flowers dropped by helicopters. They will camp in DreamVille, push buttons on their bracelets to keep in touch, and find the mythical key to happiness. They are 360,000 deep, they hail from 220 countries, and they are here for the largest electronic dance music (EDM) festival in Europe. Their stories will live on in the Book of Wisdom, and in the photos and videos they are statistically more likely to share before, during and after an event than their non-EDM peers.
The 10th anniversary of Tomorrowland will bring approximately 400 DJs to 20 stages. But according to many, the festival experience far eclipses the music: a phenomenon unique to EDM. The smoke and mirrors (often literally) of lasers, lightshows, projections; the neon aesthetic of rave culture; the associated drugs and alcohol, the tutting, twerking, and the PLUR handshaking kandi kids -- all these things constitute an attraction of their own. The music isn't always center stage. This year, Electric Daisy Carnival (the largest EDM festival in the world) sold out before the lineup was even released. According to a 2013 Eventbrite study, over a quarter (28 percent) of EDM fans don't listen to the music but still like going to the events. And a significant percentage of fans considered the event venue and promoter to be just as important as the artist performing when it comes to purchase decision (80 percent and 38 percent of fans, respectively).
These facts, along with dispensable income and social networking tendencies of EDM fans have bolstered the global EDM market to the tune of $6.2 billion dollars (with some valuations as high as $20 billion). As Diplo told SPIN , "A band plays, it's 45 minutes. DJs can play for 4 hours." In Vegas, that will turn a crowd over twice -- in the middle of the day. Nightclubs there are giving casinos a literal run for their money: XS, a club inside the Encore Resort brings in between several hundred thousand and a million dollars a night. And consequently, DJs, promoters and venues are making out with tens of millions annually for their efforts.
The commercialization of EDM has embittered fans and DJs alike, causing Deadmau5 to rename the genre "Event Driven Marketing" at the 2013 South by Southwest festival. Inevitably, things are sacrificed for the spectacle and there are many who believe music quality is one. "It's so big now it's just getting milked," Avicii told the Guardian . "Originality is definitely missing from EDM." "I feel like I've heard 10,000 DJs playing the exact same sets," DJ & producer Porter Robinson told Do Androids Dance last summer. And the ever inflammatory Deadmau5 chimed in this spring: "EDM all sounds the same to me."
However, the demand for the genre remains relentless. Tomorrowland is rumored to have sold out in seconds. As the International Federation of the Phonographic Industry (IFPI) 2014 Digital Music Report revealed, urban and dance music "consistently 'over index' on streaming services, which means that record companies are striving to sign more artists performing in these genres."
As musicians and fans alike begin to dissociate their electronic dance music from the mainstream commercial glow of the acronym EDM, and simultaneously more EDM is produced, the proliferation of the genre has been remarkable. Take, for example, the absurdity and multiplicity of the following tracts: brostep, techstep, drumstep, luvstep, thugstep, two step, darkstep, funkstep, hardstep, jazzstep, breakstep -- all are subgenres of either Dubstep, Garage, or Drum and Bass.
To be fair, genre lines are always amorphous at best, but within the realm of electronic dance music, the distinctions are especially weak. House, techno and trance all conform to a static 4/4 time signature, kick drum on every beat, high hat click to the off-beat (16th note), a repetitive structure and similar harmonic/melodic construction. We can talk semantics around trance's tendency to build up and break down its repetitions, or the tweaked instrumentation that seems to accompany techno -- but those slights of character would never make or break a category in classical, jazz, or rock.
In any case, as subgenres flood the scene, and commercial interests continue to inflate the EDM bubble, the People of Tomorrow will descend unperturbed. They're there for the experience. And in Tomorrowland, there's little a bubble wand can't solve.
Amerigo Gazaway: For Love of Hip Hop
Music has a funny way of imprinting a time period in the listener's head. And maybe that's why we like it. As a work of both art and performance, listening to music becomes more than a passive experience. The audience participates in different, and now evolving ways. Technology has drastically changed the way we enjoy and consume the music we love, as well as changed the way it's produced. This evolution has come at a cost, however, and there are various schools of thought as to who is on the side of good or not. In 1979, The Sugar Hill Gang's "Rapper's Delight", incorporated nearly note for note, Chic's "Good Times", and went on to become an international hit. It was a defining moment in what would come to be known as hip hop. It wasn't however, a new phenomenon.
DJs of those days would play popular records, often-times, the extended 12" mixes, accompanied by an MC, (then also known as "master of ceremony") who would rhyme along to the music with prearranged lines and call-and-response chants. This was a building block of the culture from the days of basement parties in the Bronx. But, alas, the party would eventually have to stop. As the phenomenon turned from a regional happening to a marketable commodity, the publishing companies, and original artists took notice, and wanted due compensation. There is a long list of specific legal cases, many of which were pioneered in the realm of hip hop, that brought us to where we are today: De La Soul, Public Enemy, The Beastie Boys, Luther Campbell, and just recently, producer, Easy Mo Bee losing a suit regarding a Notorious B.I.G. song using sample from The Impressions, to name but a few. It's likely the trend of pursuing legal claims will continue as more copyright holders discover their songs have been used. Considering the personal relationship listeners have with music, where does this bring the conversation regarding ownership and fair use, and the love of hip hop?
I spoke with DJ/producer, Amerigo Gazaway, late of Gummy Soul Music, about these ideas, as well as his process in creating new works using samples from well known artists. His responses have been edited for length and clarity.
I think the idea of a "mashup", the combining of two or more songs together to form a new song, has been around (in a mainstream way) in force for about ten years. Your projects take on two or more artists to create a whole album experience. That's a bigger undertaking. What is your motivation or ambition?
My ultimate motivation with the projects is to create something that sounds authentic and organic enough that it maintains the integrity of the original work. Most people consider the artist and work I re-imagine to be untouchable so I'm driven by the challenge to do the original work justice. That can sometimes involve a lot of re-worked vocals/samples with other outside elements or it can involve just one sample that's been manipulated in a cool and interesting way. It really depends on the tone I'm trying to convey at that particular moment in the album. People tend to think that's what sets me apart from other mashup producers- that I use a lot of samples. But that's not necessarily the case, and sometimes less is more. Not to say there isn't a distinction between what people might typically consider a "mashup" album and the type of conceptual collaborations I create but they're just two different approaches to the art of sampling.
In the so-called "Golden Age" of hip hop, the art of sampling was established, with some artists making their biggest hits by appropriating the works of others. One of the results was the now hyper-vigilance of publishing companies seeking out copyright violators. After years of precedent deciding in favor of the copyright owners, what compels you to do what you do?
Aside from my personal belief that sampling is a legitimate and viable art form (and should be recognized, accepted and treated as such), the support and encouragement I get from the fans is more than enough to compel me to keep creating. I want to help move us towards a more creatively free culture. Not only for me but for all the artists and producers who want to express themselves creatively but are afraid to because of overly restrictive and unconstitutionally long copyright laws. The irony is that DJ/producers are one of the most valuable assets a publishing company or label can have in terms of promotional tools. We're bringing attention to material that more often than not, was released years or decades ago. Why not embrace and leverage what we're doing as opposed to shutting down a free project that's bringing awareness to that material? The good news is that more and more labels, artists, and estates are starting to recognize the potential value in opening up their catalogues for producers like myself to re-imagine. There is still a lot of money to be made from those catalogues, and there are entirely new markets of potential fans/listeners out there waiting to be reached.
I know that you come from a family background steeped in music. Who were your influences coming up?
My mom is from Rio de Janeiro and plays a bit of bossa nova guitar so there was always Brazilian jazz, funk, rock, and bossa nova (Carlos Jobim, Gilberto Gil, Milton Nascimento, etc.) playing around the house growing up. And my father is a jazz horn player and composer too, so I'd spend entire summers at his house just going through his huge record collection, discovering everything from Weather Report to Otis Redding. He listened to a lot of world music and more obscure stuff so all of those elements molded the way I approach music today.
Fela Kuti and De La Soul? How does that happen?
It's funny because I had the idea for Fela Soul way before I decided to actually go through with it. I had been a big fan of both artists and thought that bringing them together would be a really dope concept. But then I ended up forgetting about the idea and it didn't re-surface until a couple of years later when I was working on something else. For some reason, I started humming the horns from Fela's "Water No Get Enemy" while listening to De La's "Breakadawn" and the combination of the two ended up being the first track I produced for the project.
Without considering any legal hurdles it would involve, what would be the project you'd most want to work on, and why?
If there weren't any legal hurdles, I'd love to re-release "Bizarre Tribe" but that's a whole other story. When we first got the cease and desist, I had this crazy idea of hiring real musicians to recreate the beats live instead of using the original samples that Tribe had flipped but I ended up not being able to do it. I've wanted to do a project with Digable Planets' first couple of albums for a while too, but can't seem to get my hands on any of their acapellas or multi-tracks. Would love to do something with all the Outkast albums, Stevie Wonder, Rick James, Prince... I could literally go on for days with this one.
Part of the DJ culture has always been the selection and use of "white labels" - records with unmarked labels, to obscure the source information from the eyes and ears of other DJs. In your Yasiin Gaye project, you made use of alternate vocals, b-sides, rehearsals - material the majority of Marvin Gaye or Yasiin Bey listeners had never heard before. You even speak about it some during that project. Can you explain that process a little further?
There's a long research process I go through before starting on the music itself and I can sometimes search for weeks and not find what I need to flush out a full project. With Yasiin Gaye, there were a lot more resources out there so I was able to get my hands on a lot of acapellas and multitrack sessions which allowed me more creative freedom in the studio. Also, the Trouble Man soundtrack reissue has lots of cool outtakes and unreleased material, which I utilized on both sides of the Yasiin Gaye project.
For this album (and a lot of my other projects), I worked closely with The Goodwill Projects to create do-it-yourself acapellas. This process uses phase Inversion to isolate and extract just the vocal track of a particular song. Most of the songs you hear on side two wouldn't have been possible without using that technique. I also like to find and use elements that haven't been used in the same way I'm presenting it. On "There Is a Way", for example, I pulled vocals from a video clip of Mos (Yasiin Bey) spitting a verse from "Auditorium" while he's walking the streets of Tokyo. "Anna's Love Song" is another good one where I took a snippet from an interview Mos did about Marvin Gaye and incorporated that into the hook.
One of the earliest songs to be classified as hip hop was Afrika Bambaataa & The Soul Sonic Force's 1982 rework of the Kraftwerk song "Trans Europe Express". Largely unknown to American listeners, that song and technique helped to lay the foundation for hip hop for years to come - still echoing today. As someone carrying on that tradition, where do you see hip hop, and popular music as a whole going in the next decades?
I'm definitely seeing a return to physical media, particularly with vinyl and even cassette tapes. I get emails every day from people asking if I'll release the projects on vinyl. Music is a very personal thing for people and there's an emotional connection that the listener has with a physical record that can't be replaced with an iTunes or Spotify playlist. Because of social media, I'm also seeing a lot more direct artist-to-fan interaction with fans participation playing a role in the direction of the music itself. I try to encourage my fans to send me samples, stems, ideas etc. to remix or use in future productions because I think that dialogue is important to the process.
Your latest project, The Big Payback, Vol. 3, is an exploration and mashup of James Brown recordings with other hip hop sources. James Brown is, and has been an elemental part of hip hop. Tell me what his music means to you as a DJ and producer.
In my opinion, James Brown paved the way for people like Afrika Bambaataa and Soul Sonic Force, guys like Busta Rhymes and some of the other artists I sampled on "The Big Payback." I consider artists like James Brown, Fela Kuti, and Lee Scratch Perry to be some of the very first emcees and pioneers of hip-hop culture. These guys were rapping, dj-ing and remixing tracks before we even knew what those words meant.
You've got a pretty lengthy list of releases since you got started in 2011. How have you been so prolific, and what's up next for you?
Firstly, I've been really lucky to have tons of support from my team, my family, my friends, and my fans - without their help, I wouldn't be able to do what I do. I think hip hop truly is a universal language and I'm incredibly grateful for the opportunity to share the collective experience of music with so many others around the world. As far as next steps, the logical progression is for me is to start working with more artists, labels and publishers directly. There's an untapped opportunity for labels and remix artists to work to together in a situation where everybody wins. The demand for bootleg vinyl alone is proof that people will pay good money to hear their favorite artists re-worked or remixed. It's important for me to keep getting these projects out there and heard so people will open their eyes to the potential of sample-based music and hip hop. I want to remind people why they fell in love with those classics it in the first place by taking them on a journey that's somewhat familiar yet feels completely new.
Fashion and the Market for Curated Identities
Nothing beats the excitement of having something made for you and you only. Marjorie's atelier is a one room shack behind an internet cafe in Labone, a residential enclave in Accra, Ghana. Her work is neat, precise and, though she'll sometimes push the envelope with jabs peppered with sexual innuendo, reflects a keen understanding of and respect for the boundaries of personal style. It's the perfect marriage and, after four days waiting in anticipation, I am ready for the great unveil of our latest mutual creation -- a wide-legged white linen jumpsuit whose minimalist design is matched by perfect fit and the holy grail of stylish comfort: lined pockets. Correction: Nothing beats the rush of having something made for you and made well -- for roughly $20.
The concept of a curated identity is nothing new, but there has been notable resurgence in recent years particularly when it comes to fashion retail. The underlying economics of this may be said to boil down to three values: Functional Value (clothes are needed for basic human survival), Differentiation Value (clothes can be used to highlight certain aspects of one's identity) and Social Value (clothes have the power to set us apart from others and manipulate others' perspectives of ourselves). Stemming from the latter and the hyperconnected consumerism of recent times, a fourth has also emerged: Cultural Value. The demand for handmade, artisinal, carefully embroidered in [insert remote faraway or exotic land here], is growing and evidenced by outlets such as Maiyet, Muzungu Sisters, OfaKind.com, ShopSoko.com and more, all offering a covetable line-up of handcrafted limited edition pieces you won't find 80 other people wearing in a five-mile radius. And they're charging a premium for it, too.
I would describe these as Culturally-luxe. While bearing similarities to luxury in that they mainly operate on limited supplies of high quality and often handmade goods as selling points, this new-yet-not-so-new crop of outlets has some notable differentiation points:
Online Operations
Dot com is the new black. By limiting operations to online (with limited distribution mainly via smaller speciality brick-and-mortar stores), these companies are able to keep costs and barriers to entering the space significantly low. They also maintain more control and flexibility when it comes to inventory production and distribution.
The New Social
Focus tends to be on production in emerging markets, highlighting traditional techniques that are often both time and labor-intensive, emphasizing the concept of an item that has been carefully and lovingly made. Makers are introduced anecdotally and their stories matter as much as the finished product.
Branding at Both Extremes
There's seldom a spectrum to scale here: Design tends to be either daringly graphic or extremely minimalist. But that's a good thing. It reflects a brand concept that encourages buyers and wearers to focus on the how and why of a product as opposed to the what and when (which fast-fashion's trend machine could be said to be ultimately based on). Advertising tends to be relatively unassuming (notable exception here being Maiyet who have featured celebrities in some campaigns), shot in natural light and often in a streetstyle aesthetic. The apparel is shown as flexible, wearable and most importantly, curatable.
Perhaps owing to a strong online presence, venture capital interest in culturally-luxe outlets has also grown in recent years. Not only are most major VC firms now said to have at least one fashion-related investment in their portfolio, but the emergence of venture capital specialization in fashion tech as seen with firms like Burch Creative Capital, is indicative of the arena's growing importance and payout value. Though fast-fashion options like H&M and Zara undoubtedly still dominate (and, if H&M's recent global store opening plans are anything to go by, will continue to do so for some time), these expansions have been more so in emerging markets, with noticeably falling growth rates in more mature markets like the U.S., UK and Canada, where the culturally-luxe concept appears to be gaining a stronger following by the day.
One possible extrapolation, is that consumers in more mature markets are increasingly overconnected and saturated with a popularized aesthetic that has somewhat extinguished the fun of curation from fashion. By virtue of being more connected, consumers are also becoming increasingly conscious of what they are wearing, where it was made, who made it and how much that person was paid. Inasmuch as they are in the market for a more personalized look, they are also looking for a more personal relationship with the maker and are willing to pay more for that added sense of proximity -- active, anecdotal or otherwise. Renewed interest in craftsmanship may also come from a desire to control and be part of the making process, mirroring a general surge of interest in entrepreneurialism. The ability to design a custom shoe online or buy one of just 30 ethically-sourced gold necklaces (featuring three conflict-free white diamond studs might I add), being just two of the plethora of examples that exist today.
But despite the growing demand, challenges still exist. Culturally-luxe companies often walk a thin line when marketing a product for its cultural authenticity versus an opportunity to make a difference in the makers' lives. Basically, avoiding poverty porn is an art and probably best approached by focusing on just that -- the artistic value endemic in the painfully etched detail on a sustainably-farmed cowskin leather cross-body bag. In addition, the premium consumers pay doesn't exclusively stem from the uniqueness of product, but more often talent. Few today are interested in or able to produce merchandise that incorporates highly labor-intensive traditional techniques. Even with those that do, issues such as product consistency, lead times and general quality assurance tend to arise when commercialization is introduced.
Yet culturally-luxe outlets have carved an undeniably important niche in fashion retail that is producing jobs, wealth and talent in markets that previously had significantly less visibility and patronage for them. The future is brimming with possibility for companies that can take advantage of technology's ability to streamline inasmuch as it disrupts, and leverage legislative opportunities like the Africa Growth and Opportunity Act (AGOA), which significantly expanded U.S. market access for apparel goods made in Africa.
The concept of a curated identity is nothing new, but increased connectivity and consumer conscience has certainly paved the way for what is now a burgeoning market, that ultimately serves to give us more choice, control and flexibility when it comes to what we wear. As to why we feel the need to curate or if that should even be something we consciously do, well, that's fodder for another post.
from Style - The Huffington Post http://ift.tt/1ywQ55n
via IFTTT
The concept of a curated identity is nothing new, but there has been notable resurgence in recent years particularly when it comes to fashion retail. The underlying economics of this may be said to boil down to three values: Functional Value (clothes are needed for basic human survival), Differentiation Value (clothes can be used to highlight certain aspects of one's identity) and Social Value (clothes have the power to set us apart from others and manipulate others' perspectives of ourselves). Stemming from the latter and the hyperconnected consumerism of recent times, a fourth has also emerged: Cultural Value. The demand for handmade, artisinal, carefully embroidered in [insert remote faraway or exotic land here], is growing and evidenced by outlets such as Maiyet, Muzungu Sisters, OfaKind.com, ShopSoko.com and more, all offering a covetable line-up of handcrafted limited edition pieces you won't find 80 other people wearing in a five-mile radius. And they're charging a premium for it, too.
I would describe these as Culturally-luxe. While bearing similarities to luxury in that they mainly operate on limited supplies of high quality and often handmade goods as selling points, this new-yet-not-so-new crop of outlets has some notable differentiation points:
Online Operations
Dot com is the new black. By limiting operations to online (with limited distribution mainly via smaller speciality brick-and-mortar stores), these companies are able to keep costs and barriers to entering the space significantly low. They also maintain more control and flexibility when it comes to inventory production and distribution.
The New Social
Focus tends to be on production in emerging markets, highlighting traditional techniques that are often both time and labor-intensive, emphasizing the concept of an item that has been carefully and lovingly made. Makers are introduced anecdotally and their stories matter as much as the finished product.
Branding at Both Extremes
There's seldom a spectrum to scale here: Design tends to be either daringly graphic or extremely minimalist. But that's a good thing. It reflects a brand concept that encourages buyers and wearers to focus on the how and why of a product as opposed to the what and when (which fast-fashion's trend machine could be said to be ultimately based on). Advertising tends to be relatively unassuming (notable exception here being Maiyet who have featured celebrities in some campaigns), shot in natural light and often in a streetstyle aesthetic. The apparel is shown as flexible, wearable and most importantly, curatable.
Perhaps owing to a strong online presence, venture capital interest in culturally-luxe outlets has also grown in recent years. Not only are most major VC firms now said to have at least one fashion-related investment in their portfolio, but the emergence of venture capital specialization in fashion tech as seen with firms like Burch Creative Capital, is indicative of the arena's growing importance and payout value. Though fast-fashion options like H&M and Zara undoubtedly still dominate (and, if H&M's recent global store opening plans are anything to go by, will continue to do so for some time), these expansions have been more so in emerging markets, with noticeably falling growth rates in more mature markets like the U.S., UK and Canada, where the culturally-luxe concept appears to be gaining a stronger following by the day.
One possible extrapolation, is that consumers in more mature markets are increasingly overconnected and saturated with a popularized aesthetic that has somewhat extinguished the fun of curation from fashion. By virtue of being more connected, consumers are also becoming increasingly conscious of what they are wearing, where it was made, who made it and how much that person was paid. Inasmuch as they are in the market for a more personalized look, they are also looking for a more personal relationship with the maker and are willing to pay more for that added sense of proximity -- active, anecdotal or otherwise. Renewed interest in craftsmanship may also come from a desire to control and be part of the making process, mirroring a general surge of interest in entrepreneurialism. The ability to design a custom shoe online or buy one of just 30 ethically-sourced gold necklaces (featuring three conflict-free white diamond studs might I add), being just two of the plethora of examples that exist today.
But despite the growing demand, challenges still exist. Culturally-luxe companies often walk a thin line when marketing a product for its cultural authenticity versus an opportunity to make a difference in the makers' lives. Basically, avoiding poverty porn is an art and probably best approached by focusing on just that -- the artistic value endemic in the painfully etched detail on a sustainably-farmed cowskin leather cross-body bag. In addition, the premium consumers pay doesn't exclusively stem from the uniqueness of product, but more often talent. Few today are interested in or able to produce merchandise that incorporates highly labor-intensive traditional techniques. Even with those that do, issues such as product consistency, lead times and general quality assurance tend to arise when commercialization is introduced.
Yet culturally-luxe outlets have carved an undeniably important niche in fashion retail that is producing jobs, wealth and talent in markets that previously had significantly less visibility and patronage for them. The future is brimming with possibility for companies that can take advantage of technology's ability to streamline inasmuch as it disrupts, and leverage legislative opportunities like the Africa Growth and Opportunity Act (AGOA), which significantly expanded U.S. market access for apparel goods made in Africa.
The concept of a curated identity is nothing new, but increased connectivity and consumer conscience has certainly paved the way for what is now a burgeoning market, that ultimately serves to give us more choice, control and flexibility when it comes to what we wear. As to why we feel the need to curate or if that should even be something we consciously do, well, that's fodder for another post.
from Style - The Huffington Post http://ift.tt/1ywQ55n
via IFTTT
It's hard to sign a Kroos or a Pogba... but Herrera is a bonus, says United coach Butt
Nicky Butt has backed Ander Herrera to
become a success at Manchester United but admits the Spanish midfielder
is not yet at the same level as the likes of Toni Kroos or Paul Pogba.
The 24-year-old became new manager Louis van Gaal's first signing after joining from Athletic Bilbao for £28.4million.
But according to Butt, Herrera is not yet as good as Kroos, who on Thursday moved from Bayern Munich to Real Madrid, or former Old Trafford youth team graduate Pogba, who has been quoted at £60m to leave Juventus.
Butt, now on the coaching staff at Old Trafford, admits that Herrera needs time to reach the same standard as that duo.
'He [Herrera] was at the level where you just had to take note of this player because there are not many top midfielders you can get,' Butt told the Manchester Evening News about the player he spent time scouting last season.
'You can all talk about Pogba or Kroos but these kind of players are not easy to get. So you have to widen your net and Herrera is a bonus.
'He is at a level where he can play at a club like United and given a bit of time he can excel.
I watched Ander a few times last season on scouting trips. He impressed me. He can become a star player for us. He can become a big influence on our midfield [but] you will have to be patient with him.'
Kroos was mooted as a potential target during David Moyes ill-fated reign before it became clear he was moving to the Bernebeu - while United will rue letting Pogba leave the club in search of first-team football.
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The 24-year-old became new manager Louis van Gaal's first signing after joining from Athletic Bilbao for £28.4million.
But according to Butt, Herrera is not yet as good as Kroos, who on Thursday moved from Bayern Munich to Real Madrid, or former Old Trafford youth team graduate Pogba, who has been quoted at £60m to leave Juventus.
Midfield man: Ander Herrera became Louis van Gaal's first signing in a £28.4m deal
Benchmark: Herrera is not at the same level as Toni Kroos (left) or Paul Pogba (right)
Butt, now on the coaching staff at Old Trafford, admits that Herrera needs time to reach the same standard as that duo.
'He [Herrera] was at the level where you just had to take note of this player because there are not many top midfielders you can get,' Butt told the Manchester Evening News about the player he spent time scouting last season.
'You can all talk about Pogba or Kroos but these kind of players are not easy to get. So you have to widen your net and Herrera is a bonus.
'He is at a level where he can play at a club like United and given a bit of time he can excel.
I watched Ander a few times last season on scouting trips. He impressed me. He can become a star player for us. He can become a big influence on our midfield [but] you will have to be patient with him.'
Kroos was mooted as a potential target during David Moyes ill-fated reign before it became clear he was moving to the Bernebeu - while United will rue letting Pogba leave the club in search of first-team football.
Patience: Nicky Butt (centre) insists Herrera will become a star given time at Old Trafford
Real Madrid pull off transfer coup as they seal Kroos on £24m deal from Bayern as World Cup winner signs six-year deal
Toni Kroos has completed his £24million move to Real Madrid from Bayern Munich.
The
German champions announced on Thursday morning that an agreement had
been reached between the clubs and he would make an immediate transfer.
Kroos’ contract was due to expire next summer and the World Cup winner has penned a six-year deal at the Bernabeu.
Real deal: Toni Kroos has signed for Real Madrid from Bayern Munich for £24m
Champions: Kroos (18) celebrates Germany's World Cup final victory over Argentina
Battered: Kroos scored twice against Brazil as Germany crushed the hosts
TONI KROOS TROPHY CABINET
1 World Cup (2014)
1 Champions League (2013)
1 Club World Cup (2013)
1 UEFA Supercup (2013)
3 Bundesliga (2008, 2013, 2014)
3 German Cup (2008, 2013, 2014)
2 German Supercups (2010, 2012)
1 Champions League (2013)
1 Club World Cup (2013)
1 UEFA Supercup (2013)
3 Bundesliga (2008, 2013, 2014)
3 German Cup (2008, 2013, 2014)
2 German Supercups (2010, 2012)
And Bayern chairman Karl-Heinz Rummenigge said: 'We would like to thank Toni Kroos for his time here in Munich.
'We enjoyed great success here together. We would like to wish him and his family all the best in Madrid and with Real.'
Kroos
won three Bundesliga titles in four seasons with Bayern, clinching the
DFB-Pokal three times and being part of the historic treble-winning side
of 2012/13.
That year they also clinched the Champions League, before winning the UEFA Super Cup and FIFA Club World Cup last season.
In
total, Kroos made 173 Bundesliga appearances, scoring 23 goals, 13 for
Bayern and 10 during an 18-month loan spell at Bayer Leverkusen.
The midfielder was an ever-present for Germany at the World Cup, lifting the trophy in Rio de Janeiro last Sunday.
He joins compatriot Sami Khedira in Madrid and will be presented to the media later on Thursday after undergoing a medical.
Gunned down: Kroos celebrates after his superb goal against Arsenal in the Champions League last season
Chelsea could beat Arsenal for £20m Khedira as Mourinho is urged to make 11th hour bid
Chelsea
were encouraged to battle for the signature of Sami Khedira on Wednesday
night as his agent claimed no deal had yet been struck with Arsenal.
Blues
manager Jose Mourinho signed left-back Filipe Luis on Wednesday from
Atletico Madrid for £18million and then set his sights on Germany
midfielder Khedira.
Arsenal
were understood to have agreed a £20million fee with Real Madrid for
the 27-year-old but were struggling to match his wage demands of more
than £180,000 a week.
On the move: Sami Khedira has not signed a new deal at Real Madrid and is set to leave
However,
Khedira’s agent Jorg Neubauer said: ‘We are not in talks with Arsenal. I
don’t think a fee can have been agreed, otherwise I would have been
told.’
Khedira is a favourite of Mourinho’s from his time at Real and the coach is understood tothings. The same goes for Chelsea.’
Khedira
is a favourite of Mourinho’s from his time at Madrid and the coach is
understood to have tried to persuade him to move to Stamford Bridge.
Khedira is available as Real Madrid and his representatives have hit an impasse in negotiations over a contract extension.
Neubauer
added: ‘We are talking to Real Madrid about his contract, but nothing
is close to being decided. Sami has just returned from the World Cup and
has gone on holiday.’
World Cup winner: The German has been linked with a move to Arsenal and Chelsea
New era without Suarez starts with defeat as Rodgers' second-string side fall to Brondby after last minute winner
Liverpool's opening friendly of the
summer ended in defeat in Denmark on the day their relationship with
Luis Suarez officially ended.
As Barcelona spoke about signing Suarez for the first time since releasing a statement last Friday that they had agreed a £75million fee for him, Brendan Rodgers was overseeing a workout in Brondby for a squad that was high on enthusiasm but low on experience.
Rodgers’ were beaten 2-1 by a last minute goal in the Brondby Stadion, a result that was joyously received by locals – “we’ve never lost to Liverpool!” they sang at the final whistle – but it is not a result Rodgers will read anything in to.
None of his four new signings featured nor did any of the Liverpool players who have been on duty at the World Cup; this was simply an exercise to give a number of the younger members of his squad a run-out alongside established players such as Daniel Agger, Martin Skrtel and Lucas Leiva.
Pre-season matches used to be sedate affairs played out in relaxed atmospheres but the way football has changed was never more apparent than the greeting that was reserved for the two teams as they made their way onto the pitch.
With the Van Halen hit ‘Jump’ blasting through the speakers, the Brondby Stadium was full to capacity and awash with a sea of yellow and blue shirts at one end and red and white ones at the other; this was a scene you would expect for a European game, not a glorified training session.
Given the following they enjoy in Scandinavia, Liverpool were always guaranteed to receive a warm ovation and special acclaim was reserved for Daniel Agger, who moved to Anfield from Brondby in January 2006. He remains an icon in these parts.
Agger, fittingly, captained Liverpool in the first half and he almost gave the home supporters what they wanted in the 28th minute but, after exchanging passes with Philippe Coutinho following a surging run from his own half, his shot was saved by Brondby goalkeeper Lukas Hradecky.
Liverpool were behind at that point, trailing to a goal from Christian Norgaard. The midfielder had seized upon a mistake by Liverpool substitute Kevin Stewart, making his debut after joining from Tottenham, to sweep a drive past Brad Jones from 22 yards.
Rodgers’ side finished the first period strongest and Hradecky impressed with how he kept Liverpool at bay, making a smart double stop from Brad Smith and Philippe Coutinho on 31 minutes before denying Lucas and taking a chance of Fabio Borini’s toe in stoppage time.
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As Barcelona spoke about signing Suarez for the first time since releasing a statement last Friday that they had agreed a £75million fee for him, Brendan Rodgers was overseeing a workout in Brondby for a squad that was high on enthusiasm but low on experience.
Rodgers’ were beaten 2-1 by a last minute goal in the Brondby Stadion, a result that was joyously received by locals – “we’ve never lost to Liverpool!” they sang at the final whistle – but it is not a result Rodgers will read anything in to.
Homecoming: Daniel Agger captained Liverpool on his return to his first club
Swede dreams are made of this: Youngster Kristoffer Peterson celebrates his equaliser
Denied: Reds levelled shortly after half-time but couldn't hold out for a result
Boy from Brazill: Philippe Coutinho (C) glides past players at the Brondby Stadium
None of his four new signings featured nor did any of the Liverpool players who have been on duty at the World Cup; this was simply an exercise to give a number of the younger members of his squad a run-out alongside established players such as Daniel Agger, Martin Skrtel and Lucas Leiva.
Pre-season matches used to be sedate affairs played out in relaxed atmospheres but the way football has changed was never more apparent than the greeting that was reserved for the two teams as they made their way onto the pitch.
With the Van Halen hit ‘Jump’ blasting through the speakers, the Brondby Stadium was full to capacity and awash with a sea of yellow and blue shirts at one end and red and white ones at the other; this was a scene you would expect for a European game, not a glorified training session.
Given the following they enjoy in Scandinavia, Liverpool were always guaranteed to receive a warm ovation and special acclaim was reserved for Daniel Agger, who moved to Anfield from Brondby in January 2006. He remains an icon in these parts.
First blood: Christian Norgaard opened the scoring for the hosts on 23minutes
Yellow peril: Brondby players celebrate with Christian Norgaard after the opening goal
Best foot forward: Jaoa Teixeira of Liverpool (R) competes with Frederik Holst of Brondby IF
Guess his back: Fabio Borini returned to the side after spending last season on loan at Sunderland
Agger, fittingly, captained Liverpool in the first half and he almost gave the home supporters what they wanted in the 28th minute but, after exchanging passes with Philippe Coutinho following a surging run from his own half, his shot was saved by Brondby goalkeeper Lukas Hradecky.
Liverpool were behind at that point, trailing to a goal from Christian Norgaard. The midfielder had seized upon a mistake by Liverpool substitute Kevin Stewart, making his debut after joining from Tottenham, to sweep a drive past Brad Jones from 22 yards.
Rodgers’ side finished the first period strongest and Hradecky impressed with how he kept Liverpool at bay, making a smart double stop from Brad Smith and Philippe Coutinho on 31 minutes before denying Lucas and taking a chance of Fabio Borini’s toe in stoppage time.
Tat's the way to do it: Captain for the day Daniel Agger applauds the Danish hosts
Monday, 14 July 2014
Submit your Snapchat to a global World Cup story
There may have been only two teams in the World Cup Final today, but
Snapchat did something very interesting: the app manufacturer created a
global “Our Story” dedicated to this year’s final game.
Every single user was able to upload their Snap to the game, creating a huge photo album for everyone who has the app to view.
Fans around the world were able to share their photos during Germany’s victory over Argentina today. Under “Recent Updates” users were given the option to post their pictures to “RioLive2014″, where an aggregate of all photos and videos were shared and viewable to all users in their friend’s lists.
Every single user was able to upload their Snap to the game, creating a huge photo album for everyone who has the app to view.
Fans around the world were able to share their photos during Germany’s victory over Argentina today. Under “Recent Updates” users were given the option to post their pictures to “RioLive2014″, where an aggregate of all photos and videos were shared and viewable to all users in their friend’s lists.
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