ItsNotYouItsMe Blog: 2018-11-04

Saturday, November 10, 2018

Emily Blunt Is Mary Poppins On Vogue Cover!

Actress extraordinaire Emily Blunt is truly this generation's nuevo Mary Poppins and might we add an impeccable looking one at that. So from here on forward, we shall recognize her as Mary Poppins during her related press tours. An OG magical story of letting one's imagination run wild, creative, and free. As the cover woman of Vogue‘s December 2018 issue, which unleashes on newsstands everywhere November 23,  Poppins had the following tea to spill with thee publication:

Blunt on Mary Poppins... “She’s a superhero. You could say she’s some sort of angel. She recognizes what people need, and she gives it to them, yet they discover something about themselves in the process. … I don’t think she concerns herself with what she is. There’s nobody else like her—which she quite likes.”

Miranda on filming in the wake of the 2016 presidential and Brexit...“I couldn’t believe that, given all that was going on, this is what we got to put into the world…It’s so clichéd, but we got to make this enormous present, this beautiful, uplifting, joyous family movie that makes you cry, that made even my stone-hearted-scientist wife cry when she saw an early rough cut of it. I feel really grateful that that’s what we spent our year doing.”

Anna Wintour is away, so Emily Blunt ' fills her shoes and takes charge at the Vogue office while answering 73 questions. As Emily fulfills her duties as Vogue's Editor-in-Chief, she talks about the pizza in New York City, becoming Mary Poppins, and what she's learned about fashion from her movie roles.'

The Number Ones: The Doors’ “Hello, I Love You”

According to one of our preferred musical sources:

The Doors – “Hello, I Love You”

HIT #1: August 3, 1968

STAYED AT #1: 2 weeks

The Doors saw themselves as apocalyptic doomtellers, as the band that blew rock music wide open and turned it into a gothic Dionysian head-trip. And in a lot of ways, that’s what they were. But that way-out sensibility wasn’t what made them stars. The Doors were famous for a lot of reasons, but in pop-charts terms, their greatest success came with two pop songs where Jim Morrison wails about how horny he is. As you could probably imagine, this drove Morrison nuts.

A year after “Light My Fire” launched the Doors, they came out with their third album, Waiting For The Sun, a piece of nerve-frazzled gobbledygook so indulgent that it’s practically unlistenable today. The Doors, or their handlers, must’ve known that the album would’ve been a tough pill to swallow. So the album’s opener was the panting pickup banger “Hello, I Love You,” the one song on the album that was even remotely accessible.

“Hello, I Love You” was older than the Doors. Jim Morrison wrote the song in 1965. Morrison had seen a girl walking down Venice Beach, and he was smitten. (She was black, which is why he calls her a “dusky jewel” in the song. Pretty gross!) Morrison was too shy to talk to the girl. Instead, he went home and wrote a poem about how sidewalk crouches at her feet. That poem became a song, and Rick And The Ravens, the pre-Doors band that included every member of the band other than guitarist Robby Krieger, recorded a shambling, harmonica-honking demo of the song back then.

When the Doors brought the song back three years later, they turned it into a wild, fuzzed-out post-garage stomper. Krieger came up with a riff that sounded a whole lot like the one from the Kinks’ “All Day And All Of The Night” (which peaked at #7 in 1964 and which would’ve been a 9). The two riffs were so similar, in fact, that Ray Davies claims that the Kinks’ and the Doors’ publishers came to an out-of-court agreement that gave the Kinks royalties for the Doors’ UK single. For their part, the Doors claimed that they weren’t trying to take the Kinks’ riff and they they were instead hoping to replicate the feel of a different British rock song, Cream’s “Sunshine Of Your Love” (which peaked at #5 in 1967 and which would’ve been an 8).

There’s a bit of both the Kinks and Cream in “Hello, I Love You.” The riff is crisp and propulsive and catchy, but Krieger muddies it up with so much fuzz that it becomes this weird lurching monster. In the middle of the song, everything stops, Krieger’s guitar makes a cartoonish anvil-falling noise, and then the band surges back in in a completely different key before the song dissolves into straight-up chaos. (The Doors realized the benefit of stereo before most of their peers, making sure the 45 was pressed up in stereo and making all those effects phase from one speaker channel to the other.) So they had it both ways: a catchy and sexy pop song that still found ways to sound freaked-out and unhinged.

Morrison is, of course, what makes the song work. On paper, his lyrics are sophomoric and ridiculous, the work of a guy trying to make his boner sound profound. And yet he delivers them with so much pent-up intensity, growling and drawling and yelping, that he sells them. He’s peacocking, doing whatever he can to be noticed, but he also sounds like he can only barely contain his own sense of need. That urgency, more than the band’s psych-rock trickery, is what elevates the song.

The Doors would only land one more big hit: “Touch Me,” another horny pop song, which came out later in 1968, sounded a lot like Tom Jones, and peaked at #3. (It would’ve been a 5.) After that, they’d never get another single into the top 10. And three years later, Morrison died of heart failure in Paris.

GRADE: 7/10

BONUS BEATS: Here’s the Cure’s 1990 cover of “Hello, I Love You”:

(The Cure’s highest-charting single was “Lovesong,” which peaked at #2 in 1989 and which would’ve been a 9.)

(You’re not going to believe this, but Anal Cunt never once charted.)

THE NUMBER TWOS: Mason Williams’ endearingly weird instrumental novelty “Classical Gas” peaked at #2 behind “Hello, I Love You.” It would’ve been, I don’t know, a 7? Don’t ask me to rate “Classical Gas.” Here it is:" -

Nile Rodgers Can’t Stop

You know there are certain authentic people in this world that just have that little it, that xtra pizazz that just attracts you to their supreme talent...Nile Rodgers is all that and a bag of jolly ranchers.

“I cannot believe the amount of times that I’ve cheated death and was aware of it. So many close calls, from cancer twice to boating accidents to my heart stopping eight times in one night. I can’t imagine how many times I’ve cheated death and didn’t even know it.”

Nile Rodgers, the disco pioneer and Chic mastermind turned hitmaker-for-hire, is sitting in the New York office of high-end watchmaker Bulova, stoically reminiscing about death and time. He is, as always, impeccably dressed and impossibly suave — a born charmer living the next chapter of his Behind the Music–ready life.

Technically speaking, Rodgers’ actual Behind the Music episode would’ve ended the second Daft Punk’s “Get Lucky,” the 2012 worldwide hit recorded by the group, Rodgers and Pharrell Williams, became a smash — the late-in-life swan song that caps off the career of one of music’s most successful producers. In reality, it kickstarted a career resurgence that has made Rodgers, again, a perpetually in-demand producer and musician, giving him the capital to release, for the first time in 26 years, a new Chic album called It’s About Time.

Death and time have surrounded Rodgers in recent years, two inextricable forces that both delayed and inspired him. In early 2015, Chic released “I’ll Be There,” a retro-disco track that sampled some of the band’s most famous songs like “Good Times” and “Everybody Dance” and digitally incorporated numerous voices, both living and dead, of past Chic vocalists. The song’s most fitting line — “I don’t want to live in the past, but it’s a nice place to visit” — showed Rodgers’ forte, a musical time traveler who, as a producer and songwriter for others, always imbued Chic’s up-with-life positivity and ardent disco traditionalism with whatever genre he was experimenting with that day. (Exhibit A on It’s About Time: Lady Gaga’s growly update of Chic’s 1978 mega-classic “I Want Your Love.”)

It’s About Time also started as a thank you to Rodgers’ friend and musical collaborator David Bowie, who at the time was still working on his final studio album, Blackstar, while battling liver cancer. In Rodgers’ perfect world, “I’ll Be There” would have been the album’s lead single, kicking off a series of songs that doubled as musical gratitude for Rodgers’ influences and friends.

But Bowie’s death in January 2016, followed by Rodgers’ other close friend Prince three months later, devastated him and changed the album’s entire arc. (Rodgers recorded, but has yet to release, the tribute song “Prince Said It.”) “Bowie was a real shock. It was twice as shocking to me because I knew all the people working on the record and they weren’t saying anything to me,” he says. “Then Prince passed away and it was just like, ‘This is crazy. I have to change the concept of this album, because it’s just not working. I had to have a new narrative.’

“It started out as a real love letter to the people that have helped me get to where I am now,” he adds. “But what it wound up being was a snapshot of my life. It turned from me saying thank you to the people who changed my life, to me saying thank you to the [collaborators] who are in my life. So I did an album that’s a reflection of my life.”

In light of compounding tragedies, Rodgers did what he’s always done for the past 40 years when faced with hardship: He went back to work, revisiting some musical ideas from before 2014 and enlisting a combination of superstars (Elton John, Lady Gaga), rappers (Vic Mensa, LunchMoney Lewis) and rising singers and producers (Mura Masa, Nao) to reconfigure the album. “I said, ‘What do I mainly do? I mainly make records with people I never made records with before,’” says Rodgers. “So, let me make them part of this wonderful thing, called the Chic Organization. Let me bring them into my world.”

The demand for Rodgers may have ebbed and flowed depending on the musical climate, but that world is anchored by a tireless work ethic and nearly pathological need to play music and perform. More than 40 years after co-founding Chic, Rodgers & Co. remain constant road warriors, with a typical Chic set blending the group’s classics (“Everybody Dance,” “Le Freak,” “Good Times”) with Rodgers’ biggest songs for other artists (Sister Sledge’s “We Are Family,” David Bowie’s “Let’s Dance,” Madonna’s “Like a Virgin,” “Get Lucky”). It’s Rodgers as ringleader, leading ebullient crowds into “All killer, no filler” greatest-hits sets that double as multi-generational dance parties. Onstage, he walks the line between humble and arrogant — the guy who prefers to cede the spotlight to his more famous collaborators but recognizes his massive contribution to dance, pop and rock.

Like any Chic album, It’s About Time mainly aims for the dance floor but happily strays, the result of Rodgers’ restless mind and diverse musical upbringing. The New Jack Swing ode “Sober” meshes with the smooth jazz of “State of Mine,” while the poignant R&B ballad “Queen,” featuring Elton John and Emeli Sandé, eschews any party vibe for Rodgers’ tribute to friend and collaborator Diana Ross and Philadelphia soul producer Thom Bell.

Ross famously helped launch Rodgers’ solo production career with Diana, her 1980 album featuring future classics “Upside Down” and “I’m Coming Out.” Despite clashes over that album’s mix, the two remained close, with Rodgers recalling a 1984 Julio Iglesias show he attended with Ross in which the Spanish crooner called Ross onstage via the title “My Queen.”

“A lightbulb went off in my head,” Rodgers says. “The first thing [bassist and Chic co-founder] Bernard [Edwards] said when we first saw Diana Ross in Santa Monica Civic Auditorium was, ‘Is that Diana Ross? Holy shit, she’s like a queen to me.’ So I thought, what if this is a song where a queen really can be a hero.”

As work continued on the album and guest stars appeared, disappeared, reappeared and disappeared again — Miley Cyrus, Janelle Monáe and Chaka Khan were all reportedly set to pop up on the album — Donald Trump’s win also inspired Rodgers.

“Chic music is happy music and the world feels really negative to me right now,” Rodgers says. Beneath the debaucherous rock-star lifestyle he espoused for years before becoming sober in 1994, he remains a steadfast and genial hippie at heart. “So many of my friends are moving to other countries. I was socialized and taught to care about people. It wasn’t looked down upon to be nice to people, you know? It was like, you were cool if you helped people out. And now it just doesn’t feel like that; people are much more entertained by bad stuff. Our president is just wack. He was wack the first time I met him.” The current divisive climate inspired the album’s lead single “Til The World Falls,” a blend of apocalyptic imagery with an uptempo dance-pop hook.

Toward the end of 2016, tragedy continued to permeate Rodgers’ life. Rodgers had been working closely with George Michael and saw him two days before the singer succumbed to liver disease on Christmas Day, while Soundgarden frontman Chris Cornell, who Rodgers calls a “personal friend,” took his own life four months later. A cousin would drop dead of a coronary “with no prior warning” around the same time, as Rodgers wrote on his blog, and Rodgers’ mother had just been diagnosed with Stage 4 Alzheimer’s.

Rodgers, who was diagnosed and treated for an aggressive form of prostate cancer in 2010, had been mourning his friends when his own maladies caught up to him. In August 2017, in the middle of a Chic tour with Earth, Wind & Fire, he was hospitalized with E. coli. “During my brief stay in the hospital … the doctors discovered a mysterious growth on my right kidney which looked like cancer,” he wrote on his blog last December. “Unlike my reaction to my first Big-C diagnosis seven years ago, I was more relaxed, analytic and calm.”

Rodgers is in remission now and feeling healthy, but the recovery would delay It’s About Time yet again. Ultimately, the diagnosis spurred him to work even harder, a reminder to Rodgers that he is — or at least feels like he is — living on borrowed time. “[The diagnosis] didn’t have a big effect on my mindset other than the fact that it kickstarted me to hurry up and get this done,” he says. I ask him if he’s talking about the album specifically or the cancer as potential wishful thinking.

“I can’t stop playing music. I don’t know how. Music is not just my job. It’s my entertainment.”

“A little of both, I guess,” he says. “Life is important, and also life is unimportant in that it continues in a strange way. I just had a very optimistic view when it came to a recovery from cancer. Because I believe that we’re just part of the universe, and it’s an ongoing, fast, wonderful thing that just exists. We’re just small, microscopic fragments. But it’s those small microscopic fragments that make it important.”

But as our conversation veers from present to past, I wonder which one of us will bring up the overlooked elephant in the room when discussing Nile Rodgers’ career with Chic. For as influential, ubiquitous, successful and world-famous as the group was in the late Seventies, they never scored a massive hit after their third album, 1979’s Risque. Rodgers, Edwards & Co. released five more albums, but the Disco Sucks backlash crippled the band’s chances for future success.

“When Chic in its earliest form existed, we really only had two years. We started in ’77 and basically in ’79 we were over, we were done,” Rodgers says, laughing. “’77, yay! ’78, yay! ’79 well, hold on. We had two good years, that was it. After ‘Good Times,’ we never really had another big hit.”

The group’s last album, 1992’s Chic-ism, was maligned by critics, though it didn’t seem to have any long-term effect on Rodgers’ confidence or decision to record another Chic album. “Are you telling me that those last five albums, every song was bad?” he asks. “That we wrote all bad songs? It’s impossible.”

At one point during our second interview, while talking about his most recent cancer diagnosis, I ask Rodgers the simplest question: “How are you feeling?” His answer is telling. “I feel great! I was in four countries in the past 24 hours.” For Rodgers, wellness and productivity are more than synonymous. The idea of not working not only doesn’t register for the 66-year-old who’s been forced to think a lot recently about death and time. It’s anathema to his own idea of well-being and happiness.

If Rodgers has his way, it will not be 26 more years for another Chic album. A follow-up to It’s About Time featuring Debbie Harry and Haim is almost done — “I could put it out next week if I wanted to,” Rodgers says — but the musician wants to wait until Valentine’s Day to release it when Chic wrap up the first leg of their upcoming tour with Cher.

Rodgers turned 65 last year; technically speaking, he is now of retirement age. I ask what the word “retirement” means to him and the answer is immediate and resolute.

“Honestly, I think of death. I can’t stop playing music. I don’t know how. Music is not just my job. It’s my entertainment. So, what, I wouldn’t be able to entertain myself?”

It doesn’t ever cross your mind even a little?

“You gotta be kidding me,” he says. I can practically see the side-eye through the phone. “Have you seen our show?”" -

Morrissey Cover The Pretenders On James Corden

Morrisey takes on The Pretenders..

"In Jonah Hill’s new directorial debut Mid90s, a movie I liked a lot, there’s a key emotional scene where two kids are skateboarding together and Morrissey’s Your Arsenal song “We’ll Let You Know” wafts onto the soundtrack. That moment, along with Hill’s freaked-out enthusiasm at having anything to do with Morrissey, might serve as a nice reminder for anyone who ever liked that guy. For all the strange right-wing ranting and show canceling that the guy has been doing lately, the man has been responsible for some incredible music, and it’s nice to have a reminder.

Last week, Morrissey shared a video for his cover of “Back On The Chain Gang,” the Pretenders’ 1982 new wave classic. Morrissey has been covering that song live for a while, but now he’s recorded his take on it, and he’s reportedly working on an all-covers album with producer Joe Chicarelli. And last night, Morrissey was on James Corden’s Late Late Show to perform that cover.

Playing the song, Morrissey wore his own T-shirt, which seems like an extreme violation of the rule that you’re not supposed to wear a band’s T-shirt while going to see that band. (In PCU parlance, Morrissey has an advanced case of being that guy.) He also got busy with the handclaps, which reminded me of my dad in church. But, I mean, it’s a great singer singing a great song, so what do you want? Watch it below." -

Saif Khorchid Models Oversized Looks for GQ Middle East November 2018 Issue

"The handsome Saif Khorchid teams up with fashion photographer Mannbutte for Fashion XXL story coming from the pages of GQ Middle East Magazine‘s November 2018 edition. In charge of styling was Keanoush Da Rosa, with casting direction from Dean Goodman, and grooming by Toni Malt." -

Reforma (CDMX), October 2018

"Photographer Ernesto Sampons Gonzalez and stylist Pol Moreno collaborated to capture some of the favorite looks we saw during the SS19 edition of Mercedes-Benz Fashion Week Mexico, in exclusive for Fucking Young!

Hair & Make-up: Alana Melina
Styling Assistant: Alan Jimenez." -

Hollywood Party by Fenton Bailey for Style Magazine November 2018 Issue

"Fashion photographer Fenton Bailey at Tonic Reps captured Hollywood Party story featuring Theo Neilson at Elite Models, Dylan Hartigan at I Love Models Management, Peter Finn at Brave Models, Sid Ellisdon and Louie Johnson at Why Not Models, Tommy Marr and Azim at Crew Model Management for Italian Style Magazine‘s November 2018 edition. Styling is work of Luca Roscini, with grooming from Marco Testa for Greenapple Italia using Frames and Lord&Berry.

For the session models are wearing selected pieces from Lardini, Ingram, Gabriele Pasini, Sartoria Latorre, Pal Zileri, Corneliani, Luigi Bianchi Mantova, Paolini, Alessandro Gherardi, Santoni, Tagliatore, Ermenegildo Zegna, Perofil, Frattelli Rossetti, Giorgio Armani, Boggi Milano, and Barrett. Discover more of the story below:" -


"Karl photographed and styled by Illa Bonany with pieces from Han Kjøbenhavn, Won Hundred, Arket, COS, Schott NYC, Neighbourhood, Acne Studios, Asics, and Nike, in exclusive for Fucking Young! Online." -

Friday, November 9, 2018

MMSCENE STYLE STORIES: Paul Hendrik & Ilja Sizov by Guillaume Malheiro

"Discover Twins in Town story featuring Paul Hendrik and Ilja Sizov at Sage Management captured exclusively for MMSCENE STYLE STORIES by fashion photographer Guillaume Malheiro. Beauty is work of makeup artist Laura Saada.

For the session models are wearing selected pieces from Zara, Paul Smith, Diesel, and Cerruti 1881. See more of the story below:" -

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