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Jennifer Lopez Re-Creates “Love Do not Value a Factor” Video

Jennifer Lopez Re-Creates "Love Don't Cost a Thing" Video

Jennifer Lopez takes us back to 2001 in honor of her album J. Lo20 years. On January 23rd, the singer recreated a moment from the “Love Don’t Cost a Thing” music video to celebrate the past two decades. “As I ponder the fact that it’s the # JLo20thAnniversary, I just wanted to thank you all for being with me, loving me, and supporting me through all the ups and downs,” Lopez wrote a second post. “Thank you for all the love over the past 20 years !! I love you so much !!”

Lopez has achieved a lot since its release – most recently she played “This Land Is Your Land” at the President’s inauguration in 2021. We can expect a lot more in the years to come, including a new rom-com called Marry me with Owen Wilson coming soon. Lopez sure knows how to deliver for her fans.

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Salt-N-Pepa, Hip-Hop Duo That Spoke Up for Girls, Inform Their Personal Story

Salt-N-Pepa, Hip-Hop Duo That Spoke Up for Women, Tell Their Own Story

While selling washing machine warranties from a Sears call center in Queens, friends Cheryl James and Sandra Denton came together as a hip-hop duo called Super Nature with the 1985 staccato track “The Show Stoppa (Is Stupid Fresh)”. When they first heard it on the radio, they were dancing together on a car. It was just the beginning: James became Salt and Denton became Pepa; The group changed their name and scored 10 hits on the Hot 100, including the 80s dance classic “Push It” and the 90s sex anthem “Shoop,” which became one of the few female superstar acts in male-dominated hip -Hop-Golden became epoch.

The two, who have played on the I Love the 90s tour in recent years, tell their story in a new Lifetime biopic, “Salt-N-Pepa,” which was released on Saturday and both the onslaught of world tours and Capturing the conflicts that have erupted, the group’s longtime DJ Spinderella is also a character in the film, but the biopic doesn’t cover their unsuccessful lawsuit against the duo, filed in 2019. The film – which they co-produced with Executive Queen Latifah and others – begins and ends on a note of unity, showing their reunion in 2005 for a VH1 event.

“It was something I and Pep bought,” Salt said. “Pep called and said, ‘Girl, we have to do our film before someone else does it.’” Latifah, an old friend, attended meetings where they met the director (Mario Van Peebles) and the screenwriter (Abdul Williams from “The Bobby” chose Brown Story ”).

The duo-style partnership “Laverne & Shirley” – Salt calm and precise, Pepa relaxed and exuberant – continues despite a dispute with the man who helped them, their start, abuse, divorce and simple old conflicts between Salt and to reach Pepa. “We can tell a 36-year life in two and a half hours,” Pepa said in a group Zoom interview. These are edited excerpts from the conversation.

For a film about the journey of two women, your producer and manager Hurby Azor, known as “Luv Bug”, plays a major role as a decisive creative force, especially at the beginning. How much did you come to terms with the decision to emphasize his character?

SALT Well the truth is the truth. And Hurby was our type. He started to be my friend. Being an artist was something that he embodied and transferred to us. My mother took me to all the Broadway plays, and I took singing and dancing lessons, and I did productions for my aunts at home with my cousins. But I didn’t know how to sing. I didn’t play an instrument. When hip hop came along, it was an opportunity to do something that got me excited – and that was through Hurby.

In an early scene, we see Hurby (played by Cleveland Berto) boring Pepa (played by Laila Odom) to rap without her Jamaican accent, and Salt (played by GG Townson) trapped in the middle. How frustrating were those early days?

PEPA For me, hip-hop was a way of life – we had those parking jams where the turntables draw power from the light poles. When Hurby felt that I was who Pepa was going to be, I was thrown into the studio. Hurby had his vision. He wanted it to be said, done – this way and no other way. In the beginning I had a difficult time jumping to the beat. I finally got it.

SALT Pep always says, “Hurby is our third,” and the chemistry between the three of us was explosive on so many levels. Pep and Hurby fought like cats and dogs. It was just an explosion of creativity, passion, drama that resonated in a sound, a music, a movement.

The part of you portrayed in the film that attracts opposites is based on reality?

PEPA One hundred percent.

SALT I am an introvert and a little lonely. What I love about the artist is the creative process. I love taking something out of nowhere and making it a reality, I love the audience reaction, but I don’t necessarily love everything that comes with it – the attention and the chatter. But Pep loves everything.

PEPA I’m an extra-extra extrovert.

SALT When we first met someone asked us what fascinated us about each other. What interested her in me is that she thought, “Who is this girl who doesn’t pay any attention to me?”

PEPA When we were in college I came into the dining room and was talking crazy and I saw Cheryl in the corner and noticed her. It was a chemistry. I was drawn to her.

How much did you both write for the script and did you work separately or together?

PEPA Separately.

SALT Many changes have been made. What I found frustrating – I’m just keeping it real – there were some limitations with making a movie that I wasn’t ready for.

PEPA Keep it real, salt!

SALT Legal restrictions that violate other people’s rights that people had to sign off, budget restrictions. What became important in the end was the story of two women in a male-dominated industry who were first friends, became business partners, who struggled with many difficulties to be heard, to be taken seriously – from the record company to our producer Hurby. We had problems in our relationships and kept picking the wrong men.

PEPA We can take her back to college when it all started and we’re making $ 200 a show.

SALT And split it up.

There was a long time after Salt-N-Pepa’s greatest hits and before Nicki Minaj and Cardi B, when the route for women in hip-hop was limited. How much did you pay attention to it?

SALT I remember this question was asked many times when there was a big empty room with no women. I have no idea why, other than this is a male dominated music and business genre and we had to get through a hurby. There was a time when you had to vouch for a camp – a men’s camp. That is starting to change with social media and all the ways people have to stand up there without belonging to a Jay-Z or whoever.

How many of the original “Push It” video eight-ball jackets, originally designed by your friend Christopher Martin (Play of Kid ‘n Play), do you each own?

PEPA The original was stolen during a performance backstage.

SALT I remember it was Brixton in London and someone broke in the back door of our dressing room. We came in and the door was open and the jackets were gone.

PEPA Everything else remained – the paperbacks, everything.

In the film, Salt says at the time of the breakup: “I have to work out a space that has nothing to do with you.”

SALT Absolutely. When I left I had to deal with many of my own problems, my own demons. It is healthy when you are in a group so that you can also preserve your individuality. We’d been doing this since we were 18, 19, and I didn’t get a chance to find out who I was but Salt-N-Pepa. After a while, I felt a lot of separation, a lot of resentment, a lot of anger from Pep, whom I didn’t understand. I felt like I was in a spiral trying to prove myself to her: “Girl, I have your back. Girl i’m here for you “Nothing I did or said could remedy what she was feeling. I feel like there was a lot of miscommunication.

PEPA [vigorously playing with her hair] The point is, you and I have never spoken to each other – you keep telling me how I feel and say and think. When did you and I talk?

SALT I feel upset with you. And your answer –

PEPA It feels like I never had to talk to her. It’s all her feeling with everything. I have to do with your friend being the manager! I also go through a whole situation. We were there together. When you feel all of this, I feel it too.

How uniform is Salt-N-Pepa these days?

SALT Relationships go through different phases. I know one thing: I love Sandy, and I know Sandy loves me. It is difficult to be friends and business partners, and anyone in this position can relate to it. Sometimes we’ll be married and sometimes we’ll raise the brand together and sometimes I’ll sleep on the couch.

PEPA However, communication is the key to all successful relationships.

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Walter Bernstein, Celebrated Screenwriter, Is Useless at 101

Walter Bernstein, Celebrated Screenwriter, Is Dead at 101

“Suddenly the blacklist for the writer had reached what he had only been aiming for before,” joked Mr Bernstein in “Inside Out”. “It was deemed necessary.”

It was the now largely forgotten “This kind of woman” (1959) with Sophia Loren that restarted Mr. Bernstein’s “official” career. The director of the film was Mr. Lumet, who hired Mr. Bernstein under his own name and thus effectively put him back into the ranks of the employees.

In the blacklisted years, Mr. Bernstein worked regularly for Hollywood, although he continued to live in New York. His films include the westerns “The Wonderful Country” (1959) and “Heller in Pink Tights” (1960), the Harold Robbins adaptation “The Betsy” (1978) and the Dan Aykroyd-Walter Matthau comedy “The Couch Trip” “. (1988). He received an Emmy nomination for the television drama “Miss Evers’ Boys” (1997), based on the true story of a 1932 government experiment in which black test subjects were allowed to die of syphilis, and wrote the television game for the live broadcast of “Fail Safe “in 2000.

In addition to his wife, a literary agent, a daughter, Joan Bernstein, and a son, Peter Spelman, survive in Bernstein from his first marriage to Marva Spelman, who was divorced. three sons, Nicholas, Andrew and Jake, from his third marriage to Judith Braun, who also divorced, as well as a brief second marriage; his stepdaughter Diana Loomis; five grandchildren; two great-grandchildren; and a sister, Marilyn Silk.

Six decades later, Mr. Bernstein gave a warmly nostalgic look at the Red Scare era, an era that has become synonymous with intolerance and fear.

“I don’t know if it’s true that other people get older,” he said, “but in some ways I look back on that time with a certain fondness for relationships, support, and friendships. We helped each other during this time. And in a dog food dog store that was pretty rare. “

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Charlene Gehm, Protean Dancer With the Joffrey, Dies at 69

Charlene Gehm, Protean Dancer With the Joffrey, Dies at 69

Charlene Gehm, a dancer who delighted audiences and critics alike with her excellence in an unusually wide range of roles with the Joffrey Ballet and other troupes, died on January 10 at her Manhattan home. She was 69 years old.

Her husband, Gary MacDougal, said the cause was cancer.

The audience, who saw Mrs. Gehm perform at the Joffrey from 1976-1991 when it was based in New York (it’s now in Chicago) knew that she could give as best as she could while she pulled in combat, dragged and thrown around knockdown duets from William Forsythe’s “Love Songs”.

In contrast, when she worked with Rudolf Nureyev as a guest artist on Joffrey’s 1979 revival of Nijinsky’s “L’Apres-Midi d’un Faune”, she was an expert on silence, minimalism and poses with an archaic profile. He was the mythical fawn, and she was the wonderfully dead nymph that aroused him.

In “Les Patineurs” by the English choreographer Frederick Ashton, Frau Gehm was able to demonstrate her strong classical technique; In his “wedding bouquet” her presents could be seen as a funny comedian. As Jennifer Dunning wrote in the New York Times, Ms. Gehm’s appearance as a tipsy wedding guest could make you laugh, even though she appreciates its “subtlety, grace and a touch of bittersweet.”

In the 1970s she danced in a variety of other works as a member of the Washington National Ballet, including George Balanchine’s ballets, a production of “The Sleeping Beauty,” and a version of “Cinderella” choreographed by Ben Stevenson. her early mentor. On the way, Jerome Robbins, who had seen her in his works for ballet companies, hired her for the Broadway revival of his 1980 musical “West Side Story”.

For all of her success in different styles, Ms. Gehm (pronounced with a hard G) had her own distinctive stage presence. As a willowy blonde, she was “beautiful” in Mr. Stevenson’s words and was “not like Marilyn Monroe, but Grace Kelly”. For Mr. Stevenson, Mrs. Gehm’s versatility was a perfect match for the new, small American forces of the 1960s and 1970s.

As co-director of the National Ballet with Frederic Franklin, Mr Stevenson needed dancers “who can do anything,” he said in a telephone interview, adding, “I only had 28 dancers.”

Ms. Gehm was “very valuable and choreographers always wanted to use her in new ballets,” he said. “She was a good classical dancer with a confident technique and beautiful line, more of a soloist than a prima ballerina. She had a very positive personality. “

Denise Charlene Gehm was born on December 14, 1951 in Miami to Verna Mae (Wiley) Gehm and Charles William Gehm. Her mother was a waitress who became a caterer, and her father was a high school chemistry teacher. Her older daughter Jeannie died in a car accident in 1962 at the age of 18.

At the age of 6, Charlene was enrolled in the Marion Lorraine Dance School by her local mother, which taught various genres. When she was 8 years old, a booking agency arranged for Charlene to appear on evening shows at Miami’s tourist hotels. Her mother made costumes for her acrobatic routines, and her father created the props. In one act she was a sea urchin emerging from a clam; in another she was a jockey on a horse jumping over small hurdles. The music came from her mother’s record player.

Charlene also studied ballet with the nationally known teachers Georges Milenoff and Thomas Armor. She received a scholarship to the Harkness Ballet School in New York and began her professional career in 1969 with the Harkness Youth Dancers, directed by Mr. Stevenson. The troupe was funded by Rebekah Harkness and converted into the Harkness Ballet.

In 1971, Ms. Gehm followed Mr. Stevenson to the National Ballet, which closed in 1974. Ms. Gehm spent that year with the Chicago Ballet, where Mr. Stevenson was brief co-director with Ruth Page. After performing with the Ballet de Caracas in 1975, she joined Joffrey.

She married Mr. MacDougal in 1992; As managing director, he was director general of the New York Ballet, which was active in the Republican Party in Illinois and was appointed by President George Bush to various posts, including as a US delegate to the United Nations. They also had a home in Chicago.

In addition to her husband, Mrs. Gehm’s survivors also include her step-sons Gary MacDougal Jr. and Michael MacDougal.

After retiring from the Joffrey Ballet in 1991, Ms. Gehm received a bachelor’s degree in arts administration from New York University. She became interested in medieval studies and received a Masters degree in Columbia in 1998 with the title “History of Stained Glass in Canterbury Cathedral”. She also participated in the MacDougal Family Foundation’s scholarship programs, where she served as president.

After Mr. MacDougal became the founder and chairman of the Bulgarian-American Enterprise Fund, an American government program to promote free markets in Bulgaria – now called America Foundation for Bulgaria – in 1991, Ms. Gehm accompanied Mr. MacDougal on 25 trips to Bulgaria focused on the visit families in the Roma population who receive help from the Foundation Sometimes she took ballet classes at the Bulgarian National Ballet to keep in shape.

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The place Is the Moesha Solid Now?

Where Is the Moesha Cast Now?

Wow how was it really 25 years ago? Moesha first broadcast? It seems like I just saw Moesha sneaking around with Q behind her father’s back yesterday. Oh wait, that was yesterday. I forgot the show is now on Netflix. However, a lot has changed since the show premiered on January 23, 1996 on UPN. For starters, the performers are all adults now – and most of them are parents! Some of the stars have even ventured into the music world, and you’ve probably already heard their songs. To celebrate the show’s 25th anniversary, let’s take a walk back in time to see what the Moesha The cast lasted until the end of the show.

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What Defines Home Abuse? Survivors Say It’s Extra Than Assault

What Defines Domestic Abuse? Survivors Say It’s More Than Assault

As destructive as these behaviors may be, they are not often viewed as inappropriate by law enforcement or the courts, adding to the belief that victims must be beaten and hospitalized before their accounts can be taken seriously. Doubts about how the judicial system would treat them are not unfounded: around 88 percent of the survivors surveyed by the ACLU said the police did not believe them or held them responsible for the abuse.

The new laws to combat compulsive behavior have raised some concerns from advocates who fear that – in trials that local lawyers claim are already piled up against survivors – the standard of evidence may be too high, especially when officials don’t have the Tools are in place to identify and prove patterns of risky behavior. “Researchers understand obsessional control as something that can help predict the outcome of a dangerous situation that will become fatal,” said Rachel Louise Snyder, author of “No Visible Bruises: What We Don’t Know About Domestic Violence Can Kill Us.” “But she added,” Law enforcement doesn’t necessarily recognize that. “

While coercive control has been illegal in England and Wales since 2015, 2018 saw the largest number of domestic violence-related homicides in five years, according to the BBC. The Center for Women’s Justice, a UK surveillance group, filed complaints in 2019 and 2020 alleging a “systematic failure” by the police to protect victims. “The officers on site do not understand the coercive control,” said Harriet Wistrich, the center’s director. Although some training was provided, she stressed that the police, social workers, and courts must have a common understanding of how emotional abuse can become criminal for the law to be most effective.

Others fear that the passing and enforcement of new laws in the United States could draw resources from urgent logistical needs of survivors or from other avenues to justice. A growing number of proponents say the best answer is not with the criminal courts, with their racial and economic inequalities, but with dialogue-based alternatives like restorative justice.

Judy Harris Kluger, a retired New York judge who is the executive director of the nonprofit Sanctuary for Families, agreed that coercive control is important as a concept. As a judge, however, she said, “I would rather put energy into enforcing the laws we have,” she said, “but focus on other things besides litigation to combat domestic violence,” such as funding prevention, Housing and employment programs for survivors.

Proponents say, however, that legal recognition of the harmfulness of the problem will make the fight easier – and will help force a reckoning of its spread.

You point to Scotland as a potential model. Domestic abuse laws passed in 2019 focus on coercive control and include funding for training. Much of the police and support staff have taken compulsory courses to understand the problem, said Detective Superintendent Debbie Forrester, Police Scotland’s director of domestic violence. The judiciary also received lessons. In addition to a public campaign in which it was declared that the control of the behavior is illegal, the authorities made the perpetrators aware that they were being scrutinized: “We will talk to previous partners,” warned a police statement.

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‘One Night time in Miami’ | Anatomy of a Scene

‘One Night in Miami’ | Anatomy of a Scene

Hello, my name is Regina King. And I’m the director of One Night in Miami. So this is in the movie we just saw our quartet Malcolm, Jim, Sam, and Cassius come down from the roof for a breather. It really is the beginning of the debate we are going to see between Malcolm and Sam. “” You know what’s going on around us, it should make everyone angry. You know, you bourgeois negro, you are too happy with your scraps to really understand what this is about. “Malcolm is really in this room and feels urgently that we as a people don’t have time to joke around or take life easy. And he has a feeling that Sam didn’t use his voice the way it should be. They all have strong voices. But Sam has the greatest reach. “And therefore, Brother Sam, this movement that we are in is called a struggle. Because we fight for our lives. “” My goal at that moment was to determine how we can debate passionately and disagree. But while we can get heads like this, it still comes from a place of love. This film is not told from a person’s perspective. It’s the fly from the perspective of the wall. And while Malcolm throws kicks, Sam throws kicks. And we as viewers just jump from different perspectives as each of them makes a really valid point. And this is the setup for all of these points. “” Wow, Sam, your music is a deep brother. ” “Hey man, I love her songs.” “You have a lot of conversations that just remind Leslie that Sam and Malcolm have a lot of respect for Malcolm while they are having this debate. And to hear those words from Malcolm, that kind of mirror, maybe some thoughts he had himself are a minor blow. And what you play in the quiet moments when you are not speaking is just as important as when you are actually in dialogue. “

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‘Slowing Right down to Really feel’: Transferring Our Minds Round Our Our bodies

‘Slowing Down to Feel’: Moving Our Minds Around Our Bodies

In a class where I focused on the feet and legs, Davis repeatedly told us to stay within a 5 percent zone of reach and effort. It turned out that this was impossible. It’s like my muscles are laughing at me. Trying to do less is a harsh, humiliating act.

“When I say, ‘Now slowly tilt your legs to the right,’ what comes out of people is definitely not my idea of ​​slow,” Davis later said. “We have to re-calibrate the stimulation and timing because this is the kind of work we are interested in the sensory details. If you slow down and take other care of yourself, it can really change things.”

Davis, who teaches at Movement Research (her next classes are in February) and has an online program, walks you through the physical instructions that in turn develop a skill: you listen to both a voice and your body. As she makes small, detailed movements, she invites you to release the eyes, jaw, and forehead – places of parasitic exertion where parts of the body don’t have to work. It’s a way to calm ourselves down so that the sensory details of our experience become clearer. It’s like relearning yourself from within, and the breakthroughs are beyond.

“When your weight doesn’t fall on your spine, on your skeleton – when you don’t fall on yourself, when you figure out how to use your feet to get your weight up and through, it feels so good,” Davis said . “You are lighter. Moving it takes less work. “

But it also takes work to keep quiet. At the start of the pandemic, I found Yin Yoga, a practice that focuses on passive poses, and Kassandra Reinhardt, who has been teaching on YouTube since 2014. It can ease the memory of any miserable day, as can yin, which is not about stretching muscles but relaxing to release ligaments, joints, bones and fasciae. The poses are held for at least two minutes and usually longer.

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Hearken to Sabrina Carpenter’s “Pores and skin”

Listen to Sabrina Carpenter's "Skin"

Sabrina Carpenter is starting the year blessing her fans with a new single and damn it, we’re excited. The Work it The actress teased the release of her latest single, “Skin”, a few hours before it came out at midnight on January 22nd, with nothing but the time of waste in her caption. We love an artist who knows how to keep us on our toes with anticipation!

The song has that sultry tone we’ve heard from Carpenter before, especially on their recent EPs Singular: act 1 and Singular: Act II. But instead of longing for love like in “Almost Love” or enjoying the attention of her admirers in “Looking at Me”, the singer raves about the fact that someone gets under her skin. “You can try / get under my skin / while he’s on mine,” she sings in the emotional melody.

The singer has been telling fans that she has big news for her in the New Year and if this new single isn’t, we could be looking for another musical project! We are definitely ready for more of her music, so keep your fingers crossed that more is coming in 2021! Hear “skin” above.

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Elijah Moshinsky, Met Opera Director With Fanciful Contact, Dies at 75

Elijah Moshinsky, Met Opera Director With Fanciful Touch, Dies at 75

His anti-picture-book concept with a strong set turned out to be more effective for the powerfully voiced, dramatically volatile Mr. Vickers. The production (which can be seen on video) and the performance of Mr. Vickers were triumphs and changed the general understanding of opera.

The next year Peter Hall, director of the National Theater in London, invited Mr. Moshinsky to direct a production of Thomas Bernhard’s play “The Force of Habit,” which Mr. Moshinsky described as a comedic parable in the BBC interview with a “group of circus performers.” tries to play Schubert’s “Forellen” quintet, but can’t. ” The production was a dismal failure and only lasted six performances.

But that same year, Mr. Moshinsky found his booth with an acclaimed production of Berg’s “Wozzeck” for the Adelaide Festival, presented by the Australian Opera (now Opera Australia). In the following years he directed more than 15 productions for the company, including “Boris Godunov”, “Werther”, “Dialogues des Carmélites” and “Don Carlos”. At the Royal Opera he presented remarkable productions of “Lohengrin”, “Tannhaüser” and “The Rake’s Progress” as well as some Verdi rarities, including “Stiffelio” and “Attila”.

Mr. Moshinsky met Ruth Dyttman in 1967 during a Melbourne Youth Theater production of Brecht’s “The Caucasian Chalk Circle”. He designed the sets; She was in the cast. They married in 1970. Ms. Dyttman, a lawyer, survived him along with their two sons Benjamin and Jonathan and his brothers Sam and Nathan.

Mr. Moshinsky was an active theater director and worked at the National Theater, the Royal Shakespeare Company, and other institutions. He has directed several productions for the BBC television series of Shakespeare’s plays, including “A Midsummer Night’s Dream” with a cast of Helen Mirren, Robert Lindsay and Nigel Davenport.

It was an enchanting production, wrote John O’Connor in a 1982 review for The Times, that “fully captured every important aspect of the play, from royal romp to hilarious comedy, from threatening rumblings in the woods to joyful celebrations.”