Rocker Iggy Pop has designed a collection for a clothing line inspired by legendary tattooist Sailor Jerry. The punk icon has teamed up with Sailor Jerry Clothing to create its 2014 The Flash Collection, which comprises of three items designed by the star, including a denim vest.
Iggy Pop says, "When I was asked to be involved with the latest Flash Collection, I was intrigued right away. Bringing Sailor Jerry's stuff to life for a collection of limited edition clothes was something I totally wanted to be a part of."
The collaboration will be available online in October (14).
Former The Clash rocker Paul Simonon previously designed a collection for the brand.
Beastie Boys star Adam 'Ad-Rock' Horovitz stunned fans by performing a mini gig at a New York bar on Sunday (08Dec13). The hip-hop icon made a guest appearance at Joe's Pub to perform with a spoof rapper called Champagne Jerry.
The duo took to the stage to deliver a rendition of Yo Kev!, a song penned by Jerry, to which Horovitz has contributed a guest verse and production.
The Specials founding member Jerry Dammers has paid tribute to Nelson Mandela with a unique instrumental performance of his 1984 track, Free Nelson Mandela. The song, originally performed by The Specials AKA, became a rallying call for the global movement demanding Mandela's release from prison, which was granted in 1990 amid civil unrest in his native South Africa.
Dammers gathered his current ensemble, the Spatial AKA Orchestra, to perform a special rendition of the track on Britain's Channel 4 news on Friday night (06Dec13), a day after the political hero passed away at the age of 95.
Writing in the Daily Mirror newspaper following Mandela's death on Thursday night (05Dec13), Dammers stated, "I hope Free Nelson Mandela is still a rallying cry and people can relate to what it stood for, because one of the best ways we could remember Nelson Mandela is to listen to what he actually said. A lot of politicians are going to pay tribute to him, but if they actually listened to what he said, about freeing people from the prison of poverty, and acted on it, that would be the best tribute of all."
The civil rights icon served 27 years in prison after he was convicted of conspiracy to overthrow the government following a sabotage campaign calling for an end to apartheid.
Former The Clash rocker Paul Simonon has turned fashion designer to create a collection for the clothing company inspired by legendary tattooist Sailor Jerry. The guitarist has joined the team at Sailor Jerry Clothing to work on a limited edition range of items for its The Flash Collection, a collaboration between the retailer and famous artists.
Simonon's designs will appear on leather jackets, T-shirts and neckerchiefs.
The musician says, "This is my first design collaboration and what's been really interesting is interpreting Norman 'Sailor Jerry' Collins' art and making my own version, adapting the jacket and customising it."
Global brand director Enda O'Sullivan adds, "Paul has produced some amazing designs for The Flash Collection by Paul Simonon. We wanted to raise the bar for Sailor Jerry Clothing and partnering with Paul has certainly done that. He's a true icon and a talented artist."
Tattooist Norman Collins was dubbed Sailor Jerry after becoming renowned for his body art designs during his time in the U.S. Navy.
My theory is that you don't have a good show unless years later people are wondering what the characters they grew to love are doing in the present day. That's why people so desperately want reunion shows; they have this need to find out if the characters turned out okay. (I'm looking at you, Friends.)
In an interview with The Hollywood Reporter, Jerry Seinfeld revealed that Jerry, George, Kramer, and Elaine would probably all be doing, well, the same thing they always do: getting into awkward situations. And more specifically for George? Well he'd be hating life, per usual.
"They're going to be somewhat dysfunctional as we remember them," says Seinfeld in the interview. "I imagine there will be some kids, some divorces, social situations is what I would image for the four of them. George would probably have a wife and kids, very normal, suburban and he would be tortured."
However, for real life Jerry, things are looking up. Seinfeld has seamlessly transitioned from the small screen to the even smaller screen with his current web series, Comedians in Cars Getting Coffee.
In each episode, Seinfeld picks up a guest in a vintage car and cruises the roads with them while they chit chat. And as you can imagine, when you lock two comedians in a car and put a camera on them, things can get pretty silly. The series just finished it's second season with guests Chris Rock, Seth Meyers, Don Rickles, David Letterman, Sarah Silverman, and Gad Elmaleh (Jack and Jill).
And how is Seinfeld adapting to the new video format? He loves it. "It's instantly everywhere," says Seinfeld. "You go right into someone's pocket, wherever they are. And I really love that."
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"In our family, we're definitely 'more is more' when it comes to beauty! My mother also always tells me to drink lots if water and make sure to get enough sleep. It sounds simple, but if really works." Sir Mick Jagger's model daughter Georgia May Jagger shares the best piece of beauty advice she received from her fashion icon mum, Jerry Hall.
Legendary country star Cowboy Jack Clement has died at the age of 82. The revered singer/songwriter and producer passed away at his Nashville, Tennessee home on Thursday morning (08Aug13) after a long illness, reports CMT.com.
Born Jack Henderson Clement in Memphis, Tennessee, he joined the U.S. Marines when he was still a teenager and served his country for four years before embarking on a career in music.
He formed his first band, a bluegrass group called Buzz and Jack & the Bayou Boys in 1953, but soon found fame as a producer and songwriter, picking up work at the Tennessee-based Sun Records, where he collaborated with a young Jerry Lee Lewis, Johnny Cash and Roy Orbison.
He went on to work at RCA Records and then teamed up with the likes of Dickey Lee, Allen Reynolds and George Jones, who he convinced to record a cover of Lee's She Thinks I Still Care, which became a big hit in 1962.
Clement also produced Cash's signature tune Ring of Fire, and both tracks have since been inducted into the Grammy Hall of Fame.
His other producer credits include songs by Dolly Parton, Ray Charles, Elvis Presley, Cliff Richard, Charley Pride, Tom Jones and Waylon Jennings.
He was inducted into the Nashville Songwriters Hall of Fame in 1973 and has also been immortalised in the Rockabilly Hall of Fame online and the Music City Walk of Fame in Tennessee.
In April (13), Clement was announced as a member of the Country Music Hall of Fame's Class of 2013.
Disney's $225 million blockbuster The Lone Ranger may have tanked on its opening weekend, but there's no denying it was quite visually beautiful. Before the film's July release, Hollywood.com spoke with one of the masterminds who brought the movie's look to life: costume designer Penny Rose. Rose has made a name for herself in the wardrobe world with her work on films like The Parent Trap, Evita, and the Pirates of the Caribbean franchise. Here's what she had to say about the new Western:
What were your influences in creating the wardrobe for this film? I tried to do it authentically: 1850, mid-America. I might have exaggerated a bit, i.e. Helena Bonham Carter's character, but I would say I've done it authentically.
How was designing for such an iconic character?I just started from scratch to be honest. When they cast Armie Hammer, that tells me a lot because he's a handsome young man, six foot six. I hope we have created the 2013 iconic Lone Ranger, because he's different. He doesn't bare any resemblance to the original television version. Even our mask is a new and improved mask in every way. The two things are like like chalk and cheese.
What was the process of designing the mask?Joel Harlow, the makeup designer, has to take all the credit for the mask. Instead of using a kind of joke shop Halloween mask, we have a mask that's molded to his face. There was obviously a lot of discussion about a long action movie with an actor whose face you hardly ever see, so it was a complex and involved process because we wanted it to be sexy and attractive.
How was working with Johnny Depp again?It's always a great pleasure.
There was a little bit of controversy over the casting of Johnny Depp as a Native American. Did that affect the way you chose to dress his character? First of all, he does have Native American blood, and secondly, he was adopted by the tribe during filming. I have to say, during the whole year we worked on the movie, I never heard a whisper of it, so I'm surprised it's reared its head now. I don't think any controversy is legitimate. He's an actor playing a part, so that would like be like saying Sir Ben Kingsley can't play Gandhi because he's not an Indian. I mean an Indian from India, not a Native American Indian.
Were you involved very much in the makeup design?We worked together, but I have to say he does deserve all the credit because Joel Harlow is a genius. You may quote me.
How long did it take to transform Johnny Depp into Tonto? Some days an hour, some days a bit longer. If he was working consecutive days, I don't think they took it all off, so the next day they kind of had to go over it rather than start from the beginning.
Was there a lot of work in choosing the cowboy hat design? Yes, but based on logistics rather than anything else, because the set of rules in front of us were: handsome man, in a mask, with a hat. So if you take those three environments we had to work with, the hat couldn't be too wide. It couldn't be too tall because of his height. I didn't want the hat to wear him — I wanted him to wear the hat, so we tried on maybe 20. And we ended up with this hat from Stetson because the color was right, the fabric was right, they were really helpful in getting the shape right, and it worked with the mask.
Were there any other logistical problems, shooting in the desert for example?Well, there's always a logistical problem about keeping the actors cool. Clearly, in 1850 people didn't have summer wear and winter wear, so when you see the Lone Ranger, he kind of needs to have his jacket on. He doesn't look as powerful and interesting in shirt sleeves. So then I made an effort to make the jacket really, really lightweight. With Tonto, it's slightly the reverse because at one point when we were shooting it was below two, which meant that he was bare chested in very cold conditions. It's really the climatical difficulties, that I want the actors to be comfortable.
Were there a lot of extras to outfit for this movie? Yes, I don't know the grand total but maybe a couple of thousand. We had between four and five hundred on a third of the days.
This new version of the Lone Ranger seems a little less colorful than the original? Is that a decision that went into the costuming as well?We took the position that we wanted to make our own Lone Ranger, so I didn't decide that I wanted to make it not colorful — it just turned out that it was simpler because it looked more elegant.
The original Lone Ranger wears a bright red scarf, for example.Well, Armie wears a red scarf but it's more wine-colored than bright red, and that was nothing to do with the two things, it's just the way it worked.
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J.J. Abrams turned to Cameron Crowe for advice on working with Tom Cruise before they began filming Mission: Impossible Iii in a bid to calm his nerves about directing the acting icon. The 2006 action epic marked Abrams' feature debut as a director and he was so worried about butting heads with the superstar, he called on Crowe - who helmed Cruise's Vanilla Sky and Jerry Maguire - for tips on how to manage the hunk on set.
He tells Playboy magazine, "Before I started, I called Cameron Crowe, whom I know, and asked him his advice, since he'd made two movies with Tom. He just said, 'Brother, you are going to be spoiled.' I was like, 'All right,' not quite knowing what he meant."
Abrams was pleasantly surprised by Cruise's professionalism and he's now got nothing but praise for the actor.
He says, "I now know he (Crowe) was right. Tom is the hardest-working, most focused, generous, passionate-about-the-form collaborator I could imagine. He's someone who gave me my first shot directing a movie. No one would have done that but him.
"It was a huge first movie to do, but I was never scared. I was always excited about it because I felt everything I had been working on was sort of preparing me for that. And Tom made it an amazing experience. I was a first-time feature director, and before we started shooting Tom said, 'I'm your actor; you're the director.' I remember being warned by a number of very experienced people in the business that a producer-star with a first-time director gets really ugly, so get ready. I'll tell you that there was not a day on that movie when Tom was not supportive, encouraging, collaborative, excited. He never mandated anything. He never insisted on things going a certain way. There was nothing I ever asked him to do that he wouldn't do. There were things I asked him not to do because he was so willing to put himself physically in danger. I would be like, 'There's not a f**king chance you're going through that window. If you get cut...' But he was always about the better idea."
And despite Cruise's controversial allegiance to Scientology, Abrams insists the actor never pushed his personal beliefs on others while on set: "He has never in any way mandated or tried to push any of that. You heard stories that there were Scientology tents and things on War of the Worlds. That never existed in my experience with him, ever. All I will say is that he's got a huge heart, and he's a generous and good guy."
It’s widely known that when Larry Hagman donned the ten-gallon hat once again for the first table-read of Cynthia Cidre’s pilot script for the 2012 TNT reboot of Dallas, he introduced himself thusly: “Larry Hagman. Icon.”
It’s hard to quibble with that. The relaunched Dallas sure hasn’t. Its hour-long farewell to J.R. Ewing Monday night was poignant, funny, and, above all, reverent for the character in its irreverence. For the actors involved, including Patrick Duffy, who considered Hagman his best friend, it must have been doubly painful because they, in essence, had to bury the man twice: once, after Hagman died of complications from cancer in November 2012, and again when they had to give his infamous alter ego J.R. an equally worthy send-off. Rather than the usual Dallas fanfare of a credits sequence, the theme music was stripped down to a few mournful, “Taps”-like horns before the montage settled on one last lingering close-up of J.R. as Hagman most recently portrayed him on the show—stern, wily, and sporting the wildest pair of eyebrows on TV since Andy Rooney.
In his old age on the new Dallas, J.R. once said “bullets don’t seem to have an effect on me.” Of course he was referencing the most buzzed-out cliffhanger in TV history: when he was shot by an unknown assailant at the end of the spring 1981 season. He survived that assassination attempt. But not this one. Indeed, it was a bullet that ultimately claimed J.R.’s life, when he was gunned down inside a Mexican hotel room after possibly having dealt with a cartel representative and definitely having had relations with a señorita of shady repute. Once again we have to ask the immortal question: “Who shot J.R.?”
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Always a step ahead, it seems J.R. knew in advance who was gunning for him and even left a note for his brothers Bobby and Gary, to that effect. Oh, that’s right. Ted Shackleford’s Gary Ewing, the black sheep of the family who sought refuge in Knot’s Landing, returned! If ever there were an occasion to reenter the Dallas-verse, J.R.’s death was it. On hand were also Charlene Tilton as Lucy Ewing, Bobby and J.R.’s niece; Cathy Podewell as J.R.’s second wife Cally; Deborah Shelton as one of his more memorable mistresses, Mandy; Steve Kanaly as Ewing bastard, and Bobby and J.R.’s half-brother, Ray; and most important of all, a sweet bottle of bourbon in Sue Ellen’s supposedly sober hands.
Ah yes. The moment we’ve longed for/feared is at hand. Sue Ellen (Linda Gray) has resumed her drunken ways. Bourbon and branch water are tempting enough on their own. Bourbon and branch water in a bottle marked “J.R. Ewing” is more tempting still. Bourbon and branch water in a bottle marked “J.R. Ewing” to be imbibed after J.R.’s death and following the reading of a weepy note from him? Totally irresistible. She’ll be back to Betty Ford before the season is out. Her one possible saving grace? She’s at least honest about the fact she’s off the wagon. “I think I have never wanted a drink more than I want one now,” she said at the funeral reception.
Mind you, there was another undesirable return at that reception: Ken Kercheval’s supervillain, Cliff Barnes. He burst in with the fighting words, “I came to pay my disrespects, and good riddance!” then proceeded to call J.R. a “junkyard dog.” He was subdued quickly enough and kicked out, and with no fisticuffs. I suppose Christopher (Jesse Metcalfe) and John Ross (Josh Henderson) don’t have the stomach to fight an old man, even if he’s an old man hellbent on destroying their family. They didn’t feel the same way about a fellow (much younger) reception guest, however, who decided to call J.R. a “selfish prick.” That led to one of the best exchanges we’ve ever seen between Christopher and John Ross: the former backing off J.R.’s son with a gentle brush of his hand, saying “I got this, cousin,” then taking a slug at the foul-mouthed offender. What would a Ewing family gathering be without a few dislodged teeth? (Oh yeah, Cowboys owner Jerry Jones and Mavericks owner Mark Cuban were also there, but somehow we think they avoided the melee.)
The burial itself, set to the old spiritual “Down to the River to Pray,” was a more moving affair. J.R. was a military man in his day, so he lay in a flag-draped coffin. Everyone had an opportunity to say a few words, and Lucy teared up when it was her turn. She said everything he did seemed so horrible when he did it, but with hindsight it had become apparent that he was the most honest person of all—because he knew what had to be done and did it. Christopher, J.R.’s nephew, said that, since he was adopted, J.R. only let him into the Ewing inner circle once: after his mom, Pam (Victoria Principal, notably absent) walked out. “I don’t know why she left,” J.R. told the grieving boy. “But you’re a Ewing now, so stop crying and behave like one.”
Sue Ellen, soused as can be, said J.R. was “the most infuriating, charming scoundrel [she’d] ever known. He was enough to turn a woman to drink.” Then, admitting that she was drunk even then, read his final letter to her, in which J.R. said his greatest hope in life was the possibility of earning a second chance with her. To start, he asked her out to dinner, if she’d be available upon his return from Mexico.
Bobby was a tad more reflective. “It’s always been easy for me to do good, because I could always count on J.R. to do bad,” he said. “But those bad things were necessary.” Does this mean that one of the most goody-goody characters in all of TV will suddenly take a little walk on the Dark Side, to fill J.R.’s shoes?
After the funeral, Ray and Gary met with Bobby, John Ross, and Christopher to go through J.R.’s effects. It turns out J.R. had recently gone to Abu Dhabi to put together an oil deal that he felt would lure Pam out of hiding. Victoria Principal has repeatedly said she will never return to Dallas, so why the show would decide to throw this particular red herring out there was surprising. As part of his will, he left a handgun for John Ross to protect himself from Cliff Barnes, who surely will be gunning for him. And finally, he left a note for Bobby that presumably named his killer. Bobby, maybe already embracing that Dark Side, decided that they would further the idea that J.R. had been killed randomly by a mugger, while they settled the score against his real killer, in the family way. “I knew you’d have one more up your sleeve, J.R….And it is a good one.” Maybe it was so good, that’s why this episode was called “J.R.’s Masterpiece.”
This was the perfect note for the departure of one of TV’s all-time greatest antiheroes: a note of intrigue. J.R.—and probably Hagman—wouldn’t have had it any other way.
Follow Christian Blauvelt on Twitter @Ctblauvelt
[Photo Credit: Skip Bolen/TNT]
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