I got my first taste of the hairstylist life at the age of 10, when I worked at my sister’s salon for a week in Santa Cruz, California. I instantly knew that doing hair was my passion, and when I was 13 she hired me to be her assistant/salon receptionist/housekeeper.
Turning 16 couldn’t come soon enough — I wanted to follow in my sister’s footsteps and start the Regional Occupational Program in high school, then attend beauty school. But even before I went to beauty school (I started at 16, the youngest age that they accepted), I was working with a photographer to build my portfolio. It was a good thing, because not only did I use it to graduate from school early, but it also helped me book my first freelance gig.
My favorite part of beauty school was working on the clientele — who were all little old ladies. This is where I learned how to do wet sets, which have been a great asset throughout my career. Though they’re not as popular now, knowing this technique is the foundation to great hairstyling.
My big break was when I was 18 and went to Los Angeles to interview at Privé Salon. My good friend was working there and had me come up to check it out, and I got the job! It gave me a chance to work with celebrities like Britney Spears, Jenny McCarthy, and Courteney Cox. This is where I became a celebrity cutter of hair, and began my journey to becoming a celebrity hairstylist. There, I also started working with studio head executives and a roster of celeb clients including Lindsay Lohan, Mischa Barton, Nicole Richie, and Sam Ronson.
When these girls’ careers blew up, so did mine. They booked me for the biggest covers, and my looks were in all their paparazzi shots. Word got out. Madonna saw my portfolio with my work on Rebecca Romijn, and we started working together and have been ever since. It was around 2003 or 2004 when I started to become the fashion and editorial hairstylist I am today.
On The Job
Starting out, I was mainly cutting and styling; now, I’m a jack-of-all-trades. My weeks are crazy! I jump from magazine shoots, to styling celebrities for music videos, to behind the chair at the salon. I was on tour with Madonna since July 2015 — I just returned this past month. Touring is the most stable part of my job because, normally, my life is a roller coaster.
I’ve met a lot of interesting and exciting creative people. Tina Turner’s life story inspired me. Madonna inspired me to believe in myself. I remember watching Truth or Dare before I met her. Her message helped me be fearless and go after my dreams, and know that I could achieve anything. So it’s not a surprise that I later became her hairstylist.
It’s All About Timing…
The craziest situations are when I have to book jobs back-to-back with no breathing room and little time to prep — something always seems to go wrong. One time, I was shooting a music video for Fergie in L.A. and had to go straight to the airport to go shoot V magazine for Madonna in New York. There was no room for error, but my flight was cancelled. As a repercussion, I had no time to prep for a Steven Klein production that required a ton of wig options. My hotel room turned into a hair studio, with myself and my assistants working all day and all night. No sleep and crazy hours.
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In 2001, Madonna was still riding high on the wave of the release of her eighth studio album, Music. Though it came out on September 18, 2000, the video for “What It Feels Like For A Girl,” directed by then-love, current nemesis Guy Ritchie, resuscitated a conversation about the record.
Saturated with Ritchie’s particular brand of “laddish” imagery throughout the four minute, thirty second video, we’re bombarded with a dual message about the nature of womanhood: 1) you’re put out to pasture as soon as you appear sexually dried up and 2) only a female version of Death has the balls to come and actually put you in said pasture.
As Madonna prepares herself for a joy ride to the Ol Kuntz Guest Home (markedly, not “Rest Home”–as though to play up the concept that the old woman is a mere guest in the home we call sexual desirability), she dons an earring that says “LADY” and hastily packs a suitcase to put in her car. Before Tarantino’s “Pussy Wagon,” there is Madonna’s “Pussy… Cat” personal license plate on the yellow sports car she rides to pick up her target–this woman is clearly not her grandmother.
In fact, everything about the old woman screams, “This is my last hurrah,” with Madonna playing the Death role in a post-modern ode that reinvents the faceless male version by transforming him into a debauchery-loving girl who wants to take her “charge” out to see the best the world has to offer the way a youthful person would.
As dusk turns to night, the duo finds themselves at a stoplight. Leering men in the car next to Madonna and the old woman present the former with the opportunity to claim vengeance for all the times the latter was forced to put a lid on it while gawked at, especially back in the prime of her life, presumably sometime in the 50s and 60s. After winking at the bobbing headed men, Madonna guns the vehicle and then turns it around to smack right into them–she has quelled the representation of every man who ever made the old woman feel inferior with the mere look of lechery. And yet, they say a woman is invisible once she gets those first few wrinkles and men stop acknowledging her in any capacity, since the only reason to would be for sexually initiating purposes.
Madonna’s next act in the role of Death/feminist extraordinaire standing up for discarded old women everywhere is to Taser a man getting money out of an ATM and steal his, ahem, wad. The symbolism in this act stems from the notion that women are reliant upon men for money, financial well-being. But to simply take it from him, as though this is the extent of all he’s worth, exhibits that Madonna knows the true value of a woman does not derive from the money she can take possession of, but how she chooses to do so.
The next pair of men Madonna aggravates includes policeman who become irritated when she sideswipes their car at a drive-in (also an emblematic homage to the old woman’s heyday) and then threatens them with a gun that spurts out water into their faces, possibly a reference to the disappointment of a man’s own “gun.”
Smiling with diabolical pleasure, Madonna continues on her rampage through a team of recreational nighttime hockey players that run for cover as her car barrels through their game. She enjoys eating the rest of her fries from the drive-in (a gesture that makes sense when considering the song was written while she was pregnant with Rocco Ritchie, and succumbed to the temptations of cravings) as she nearly injures a few more men, making sure to stop in front of a trash can to deposit her refuse, iterating the point that women are still always careful and considerate in their recklessness.
As the video draws to a close and Madonna transitions the old woman into a different car upon stopping at a gas station and stealing an unsuspecting man’s while he’s distracted at the pump, the buildup to the final self-destruction mounts. Madonna has shown the old woman enough of a good time now, and the moment has come to end her life as she acts the part of Death, emphasized by the smash cut image of her slamming her hotel door shut and the numbers on the door shifting from 669 to 666, the mark of the beast, the devil, Death, whatever you want to call him. She must bring the old woman’s life to a close in one grand finale.
But more than that, Madonna as Death accents the point that when you’re day old bread as a woman, it is a form of death in our society. The fact that Madonna completed the song before giving birth to her second child highlights her own constant fear of irrelevancy, and being deemed not worthwhile simply because she is of a certain age.
And yes, sure, we’ve come a long way in the world of female “acceptance.” As Madonna noted at the time, “Our generation certainly has been encouraged to grab life by the balls, be super-independent, get a great education, follow our dreams, kick ass, all that stuff…” But there is a tradeoff that no one tells you about, the price you have to pay for doing all the things a man is allowed to do without incident. Madonna concluded of the message behind the song, “…and I feel like I woke up one day holding the golden ring and realized that smart, sassy girls who accomplish a lot and have their own cash and are independent are really frightening to men. I felt like, ‘Why didn’t somebody tell me? Why didn’t somebody warn me?’ And that’s also what that song is about–swallowing that bitter pill.” For some women, getting old helps to swallow it, because no one wants your mouth near them anyway.
Source : CulledCulture
The Top 20 Global Concert Tours ranks artists by average box office gross per city and includes the average ticket price for shows Worldwide. The list is based on data provided to the trade publication Pollstar by concert promoters and venue managers.
1. Madonna; $3,928,805; $212.39.
2. David Gilmour; $3,113,475; $108.97.
3. Bruce Springsteen & The E Street Band; $2,289,068; $129.36.
4. Maroon 5; $2,198,012; $58.39.
5. Justin Bieber; $1,538,582; $101.36.
6. Ricky Martin; $1,255,474; $75.76.
7. Iron Maiden; $1,205,080; $57.64.
8. Muse; $1,096,393; $60.64.
9. The Who; $1,034,024; $91.94.
10. Kevin Hart; $997,235; $75.56.
Take A Bow (Rough #2)
Take A Bow (Rough #6 Vox Outtake)
Take A Bow (Rough #6 Vox Outtake & Babyface)
I met Prince when I was 12 years old. I asked for his autograph. He wrote “Love God”… My walls were covered with prince posters.. I lived in a two bedroom apartment with my dad and you could see my Prince posters from the street.. Many many years later I connected back with Prince.. And we have remained friends.. I called him a few years back with the idea of @Madonna and Prince going on tour together. I pitched it to Madonna and within a second she said “I like it, we can call it the Royalty Tour… The Queen and The Prince”…. I love the way she thinks… When I told Prince the idea he said: “the world isn’t ready for this, it’s too big”.. I always felt like one day I would pull it off.. @Madonna performed in #stpaul last year and Prince was generous enough to host us and perform for us after that show at his home #paisleypark ..
He didn’t go on stage until 3am, and per usual the show performance was mindblowing.. He joined me this last New Years in St Bart’s and performed for my friends party at what will now be the last time I saw him.. It’s the one and only time I was able to actually work with him directly.. I won’t forget that electrifying performance.. Or the smile on his face that night.. And the love that he gave me.. He always treated me with kindness.. We didn’t always agree.. We would argue for hours… But he understood that I respected him dearly and cared for him.. I tried my best to help him on record business matters.. And even in his passing I’m here to help.. I would have done anything I could and wish I achieved more for him on his very clear issues.. The man had the strongest of opinions on contracts and on artists rights.. This photo was taken summer of 1999.. Yes.. “1999”.. You can see from the photo that I’m focused on one thing… Prince!!.. I have the original lyrics to “purple rain” on my wall and I was always too embarrassed to tell him.. Maybe he would think I was crazy for paying so much years back for those lyrics or maybe he would just take it off my wall and say “thank you, I was looking for this”.. Who would stop him?.. Not me.. Today not only will doves cry, we all cry.. You will be missed.. I love you.. Rest in peace..
01 Star Wars: The Force Awakens “March of the Resistance”
02 Jah Won’t Pay The Bills Sublime
03 Hoist Phish
04 I Dig Everything – The Pye Singles 1966 David Bowie
05 Liberté, Egalité, Fraternité, Metallica! – Live at Le Bataclan
06 Like A Virgin & Other Hits Madonna
07 A Sailor’s Guide to Earth Sturgill Simpson
08 The Diary J Dilla
09 Kiss My Amps II Tom Petty & The Heartbreakers
10 B-Sides and Rarities
For as much as early ’90s Madonna was all about the sex, she was perhaps even more about the sensuality. Sure, 1992’s Erotica had its moments, in particular “Bye Bye Baby” and the title track. But the record more acutely explored things such as the physical ecstasy of letting loose on a dance floor (the disco-riffic “Deeper And Deeper,” a slinky take on “Fever”) or the irresistible seduction of bad habits and vices (“Bad Girl”).
Perhaps the apex of Madonna’s sensual period was Erotica’s fifth single, “Rain,” which ended up peaking at No. 14 on the Billboard Hot 100. Co-written and co-produced with Shep Pettibone, the song compares rain to the idea of falling in love: Both are cleansing elements that “wash away” past heartache and pain. Appropriately, the tune’s instrumentation and arrangements mimic this purifying effect, in a New Agey sort of way. The song’s rhythmic pattern conjures the steady hum of raindrops on a roof, while the sleek, keyboard-heavy production is indebted to the downtempo electronica and tranquil trip-hop seeping out of the U.K. at the time.
Yet in Madonna’s world, even turbulent elements associated with rain (e.g., thunder) eventually clear and produce clarity and happiness. “Rain” captures this as well, notably with orchestral stabs that invokes crisp lightning bolts, and a surging bridge segue driven by what sounds like electric guitar snarls. After this brief hint of strife, the song clears up again: Madonna trills “Here comes the sun” several times, a signal that the clouds have parted, the storms are gone, and what’s left is a glorious sense of renewal.
Source : A.v Club