Did you know that there is actually a celebrity apology index that calculates the most offensive celebs? Hollywood is full of surprises and with that have we got one for you today. New research has counted every public celebrity apology to find out the most apologetic celebs and industries.
“Justin Bieber” by MissCasanova is licensed under CC BY-ND 2.0
Justin Bieber, Chris Brown and Kevin Hart top the charts, having apologized the most for insensitive comments and behavior
Celebs spend most of their time apologizing for racially ‘offensive’ remarks (25%) and insults (26%)
Disparaging remarks about mental health issues (14%) and offending the LGBT community (12%) are also high on the list
It’s never been more dangerous to be a celebrity. With cancel culture in full swing, one clumsy social media post or one drunken mistake can condemn your career before it’s even begun.
From Keri Hilson blaming COVID-19 on 5G, to Ryan Reynolds apologizing for having a plantation wedding, the data team at CasinoHex decided to track every single public celebrity apology that’s been published on the Internet, to find the most scandalous celebs.
The Top 10 Most Apologetic Celebrities:
Sum of All Apologies
“Kevin Hart Mugs It Up” by yausser is licensed under CC BY-NC 2.0
In total the entertainment industry has made the most public apologies at 29%, followed by sports stars (21%) and musicians / artists (18%).
With regards to what celebrities are apologizing for, the data shows comments and actions relating to insensitivities over racial issues (25%) and insults (26%) dominate. This is followed by offensive comments relating to mental health issues (14%) and the LGBT community (12%).
Bieber Most Offensive Celeb
Despite only being 26, it is Justin Bieber who’s crowned the king of celebrity apologies, racking up a total of seven public apologies across the themes of: racial offense (4), breaking the rule of law (1) and being insensitive to mental health issues (2).
Closely following behind in joint second are Chris Brown and Kevin Hart, racking up 5 public apologies each, with the apologies due to LGBT offense, violence, insults to fellow artists, cheating and being insensitive to mental health issues. Snoop, Kanye and 50 Cent are close behind with 4 apologies.
The data shows that celebs are slow to learn their lesson with many being repeat offenders, so who will the next #isoverparty be for? For more insights and to view the complete dataset, please visit: https://onlinecasinohex.ca/celebrity-scandals/.
We hope you liked our research driven article on the most offensive celebs in entertainment, sports and music. We won’t ever know whose apologies were sincere or not but we’ll keep tracking them. Excited to find out who will make the next updated list.
For the Bands Interviewing Bands series, we have Owen-Glass (RIYL: Tom Petty, Dave Matthews Band and Sufjan Stevens) and Saint Spicer (RIYL: Erykah Bau, India.Arie, Sade).
From the Piney Woods of East Texas, singer-songwriter Kelly Wayne Conley and his trusty sidekick, guitar prodigy Cole Humphrey, are having fun and making a splash with their indie folk rock project Owen-Glass. In a highly saturated indie rock market, Owen-Glass stands out not only with its smart lyrics and tight harmonies, but also with its textured soundscapes and crazy multi-instrumental solos. Wild rock violin, big alto saxophone, ’70s-style keys and electric mandolin are held together with a master rhythm section comprising Conley, David Beck and Dees Stribling. The debut album The Rope & The Rabbit defies the conventions of genre and maintains an alarming degree of stylistic cohesiveness and high levels of broad-audience listenability.
Also based in Texas and influenced by the artistry of innovative female industry icons like Nina Simone, Beyoncé, and Lady Gaga, Saint Spicer combines funk and soul with silky vocals and fiercely honest lyrics to convey the realities of life—however brutal they may be—with elegance, dignity, and sincerity.
Both being from Texas, check out what they talk to each other about in the interview below.
Owen-Glass: So where does the artist name “Saint” Spicer come from? Is there a story behind that?
Saint Spicer: That’s a great question. Saint is just a name I chose. I chose it for many reasons; it’s a relatively gender neutral name and I like the religious connotations, but most of all it’s pulled from some of Kanye West’s work. Kanye West was one of my musical inspiration when I was getting started in performance.
Saint Spicer: I really enjoy the cover art you have for your upcoming album. Can you speak a bit about the stylistic inspiration as well as some of the symbolism behind that?
Owen-Glass: Thank you, we’re very happy with it. My friend Tyler Orsak did an incredible job on the illustration. We wanted something hand painted so the folky DIY aspect of our music would shine through. The Rope & The Rabbit allegorizes the theme of our album, and the painting really adds another layer of mystery and intrigue I think our fans will be drawn to.
Owen-Glass: Tell us about your songwriting process—do you write lyrics to your music, or the other way around? More free-flowing? Structured?
Saint Spicer: My songwriting process depends on the collaborator! In general though, I write lyrics to the first verse, and then I work with the producer to flex the music, add elements, swap things out, etc. The goal is to let people’s best talents shine through while still honoring the song. Sometimes that means I need to step back, other times, I take a larger role, but I write all my songs from start to finish.
Saint Spicer: I may be a bit biased, but “Saint” is my favorite song so far off your upcoming album, The Rope & The Rabbit. Lyrically and content-wise, how would you say this song fits into the album as a whole?
Owen-Glass: Yeah I guess you would be biased! Saint is a real turning point in the record where the character accepts his uniqueness and resolves to push ahead regardless of the consequences. We took that idea and applied it to the arrangement as well, giving every lead instrument a solo spot to bring out the style and character of each instrumentalist. I think its one of the most important, and best-sounding songs on the record.
Owen-Glass: In your mind, what does it mean to “make it” in the music industry of today?
Saint Spicer: For me, I have very specific goals. I know I want to be a full-time artist. I set expectations of what that looks like for me, how much I need to be making each week, and what my activities would look like. So I personally have a very specific idea of what my success in the industry looks like. But for artists at large, I would say “making it” means having a career goal set and then working to reach it. “Making it” is a journey and each person must choose their destination.
Saint Spicer: What does “making it” in the music industry mean to you?
Owen-Glass: That’s definitely a term that has evolved with the industry. I mean, ultimately, profitability defines your level of success in any marketplace. For me, I would be extremely happy just to have a self-sustaining independent music business. Just have a group of dedicated fans who will spend money with us and help us finance the next record time after time. That’s the goal, really.
Owen-Glass: You’ve talked about having a broad taste in music growing up. Is there a particular song that connects you with a specific moment in your life?
Saint Spencer:Asido by Purity Ring is my most played song on Apple Music. I’ve played it hundreds of times, mostly because I simply leave it on Repeat when I need to veg out and let my emotions wish over me.
Saint Spicer: Most artists have a “favorite part” about being a musician. What is your favorite part?
Owen-Glass: Mine is definitely the collaboration aspect. Both in pre-production and in the studio. I love piecing together the shell of a song and then hearing the guys feel it out and make it special. I work with some seriously talented people, and they make the art what it is. It’s all about having fun with friends, creating something you’re proud of.
Owen-Glass: If you could share the stage with any artist in the world, who would it be?
Saint Spicer: That’s a tough question, I’ve never thought about this before! I’d like to get back onstage with my friends, EagleBabel, MZZZA, and Eli Arbor. I miss performing together, and I can’t wait to collaborate more on upcoming projects.
Saint Spicer: If you could work with one artist alive today, who would it be?
Owen-Glass: Oh man, that’s tough! There are so many I’d love to work with… it’s a really tough choice between Thom Yorke, Glenn Kotche and Andrew Bird. Can you imagine those three together on the same record? You know what, I can’t choose. Gotta say all three.
Saint Spicer: What is one piece of advice you’d give anyone looking to start out in the music industry?
Owen-Glass:If you’re not passionate about your art, and you’re just looking to get famous, don’t bother. If you’re passionate, and you feel like you have no choice but to make a record, then do your homework, save your money
If you’ve been keeping up with social media lately, you’ve been probably been wondering the same thing: WTF is going on with Kanye? His antics, from posting photos wearing President Trump’s “Make America Great Again” hat to suggesting that slavery was a choice in his interview with TMZ, have led fans to question what’s going on in his head. Many celebrities, such as John Legend and Chance the Rapper, have spoken out on the situation, some in support of Kanye’s pro-Trump tweets and some against it. His new song entitled “Lift Yourself,” has left the public genuinely confused at his motives for his next big release. In his interview with TMZ, Kanye sheds light on the state of his mental health. He mentions his addiction to opioids after his on-stage breakdown in 2016.
In his recent feature on Travis Scott’s single “Watch,” Kanye addresses some of his critics’ concerns:
Wanna know how I feel? Step into my minefield/
Wanna know how pain feels? I got off my main pills/
Bet my wifey stay close, she know I’m on my Bezos/
Opioid addiction, pharmacy’s the real trap/
In the same year, Kanye revealed the tension between him, Beyonce, and Jay-Z. Jay-Z followed up this outburst on his song, “Kill Jay-Z,” in which he implied that Kanye is “insane.” In his collaboration with Travis Scott, Kanye responds to the concerns of his current mental health, claiming that he is speaking his mind freely on being a Trump supporter, with the following lyrics:
Sometimes I feel trapped, Jordan with no Phil Jack/
One year it’s Illuminati, next year it’s the Sunken Place/
They don’t want me to change, nah, n**** run in place/
With an upcoming album to release in June, we can’t be sure Kanye has in store for us.
Read More Music News at Clichemag.com Kanye West Addresses Critics in Travis Scott’s “Watch”: Featured Image crdit: The Blemish
The recent rise of the collective in hip-hop has been undeniable. BROCKHAMPTON (technically a boy band, we know,) A$AP Mob, Migos, and Odd Future are just a few of the big names from the past few years. Before that, we had the Wu-Tang Clan, Run-DMC, A Tribe Called Quest, N.W.A., Fugees, and Public Enemy. Even earlier were The Beastie Boys and Salt N Pepa. And this is only scratching the surface.*
The influence of the group in hip-hop can easily be tracked, and has been, but the pervasion of the collective is not the only reason that the genre is inherently collaborative. Nor is it the cause of hip-hop’s surge in popularity and supersession of rock as the most dominant genre of music in America, according to Nielsen’s 2017 year-end report. There’s a reason why the genre has been able to consistently innovate, come out on top, define what’s cool. And the answer lies much deeper, and much further back in history, than success on streaming platforms, like Nielsen’s findings suggest.
Photo courtesy of Dorothy/”Hip-Hop Love Blueprint”
Last year, the UK-based art and design studio Dorothy released its ‘Hip-Hop Love Blueprint,’ a blue and metallic gold screen print that links together “over 700 MCs, DJs, producers, turntablists, musicians, graffiti artists, b-boys and b-girls who […] have been pivotal to the evolution of hip-hop, from pioneers such as DJ Kool Herc and Grandmaster Flash to present day chart success stories Kendrick Lamar and Drake, and global superstars Jay-Z and Kanye West.” While the website description stresses the importance of certain groundbreaking artists and events, in order to truly understand the genre, it’s important to begin by paying attention to the links.
Like in any other genre, hip-hop has its stars—the people whose music shaped the future, whose legacy remains so strong that one wrong word about them could lead to physical threats. Dorothy mentioned some, but it would be pointless to go through the whole list. What distinguishes hip-hop from other popular music genres is not the artists themselves, but the way they are constantly working together in order to create the most dynamic art. When was the last time you listened to a rap album without features? Chance’s blockbuster hit Coloring Book only included two songs without features, Drake’s most recent More Lifefeatured British grunge rappers to explore unprecedented sounds for the Toronto-born artist, 2 Chainz’s Pretty Girls Like Trap Musichit hard byincluding some of the genre’s biggest names (Nicki Minaj, Drake, and Migos are just a few.) Besides a couple of stragglers (notably, J. Cole on his last two albums and Childish Gambino on Awaken, My Love!, among others,) the majority of hip-hop artists have essentially committed to this type of constant collaboration.
The way in which members of the hip-hop community engage with each other is analogous to scientists in a lab, or scholars in a field of research. This is the part where you have to bear with me for a second; all of these examples fall under the category of a shared activity. A shared activity, when loosely explained through Aristotle’s theories, comprises a shared and mutual commitment to a common goal, a mutual understanding of everyone’s individual role in accomplishing this goal, and a mutual agreement for everyone to perform his own individual role within the pursuit of this goal. If the common goal in question is the creation of a chart-topping album—like Flower Boyor No One Ever Really Dies, both of which heavily rely on features—thenit’s difficult to argue against the fact that each participant checks off the items on this list.
One of the main benefits of a shared activity, especially when it comes to the creation of hip-hop, is the continuous engagement of its participants. If everyone is not only working on their own projects, but also engaging in the projects of others, then there is never a lack of interest or stimulation. Cue the features.
And, of course, the diss tracks. Although it may seem like the point of a good diss track is to stun the subject into silence, they usually—and unsurprisingly—have the opposite effect. Maybe therein lies the purpose. They incite a type of conversation in rap unlike that which exists in any other genre. No one ever truly gets the final word; more often than not, the challenge just sparks the creation of more music. This tradition of call-outs has existed since the early days of rap; the hip-hop rivalry phenomenon has given us hits from artists like The Notorious B.I.G. and 2Pac, Drake and Meek Mill, Nicki Minaj and Remy Ma. There were even theories that Kendrick was coming at Big Sean on DAMN. This isn’t to create a false equivalency between serious rivalries and occasional teasing, but there’s a reason why rappers seldom run out of things to say; each artist, at one point or another, becomes responsible for making sure that the conversation doesn’t end.
Another innovation that is unique to hip-hop is the rise of the producer as an artist in and of themself. Yes, bar the DIY scene, basically every artist in every genre needs a producer. But never before have producers held such distinctive roles in the creation of music that performance legends are seeking them out for their input and style. Like Jay-Z on his album 4:44, which arguably became more regarded for the producing feats of No I.D. than the rapping itself. Or everyone and Metro Boomin, who has left a mark as big as it gets on hip-hop; known for being a mainstream hit-machine, he’s collaborated with nearly every big name from Gucci Mane and 21 Savage to Drake and DJ Khaled. His tagline—“if young Metro don’t trust you, I’m gon’ shoot you,” created by Future in a collaboration with Uncle Murda—has infiltrated rap playlists indefinitely, and has kicked off its own cultural phenomenon. Or Mike WiLL Made-It, who was the beat-maker behind both Beyoncé’s “Formation” and Kendrick Lamar’s “HUMBLE.”
Even rappers who lean towards producing their own music, like hip-hop’s biggest workaholic Kanye West, rely on the idea of collaboration in order to create. One of the key features of Kanye’s music is his prolific use of samples—often of relatively unknown artists. Sampling, which is the technique of digitally encoding music or sound and reusing it as part of a composition or recording, is just one more way in which hip-hop artists take advantage of the community-like aspects of music in order to further art. By bringing in voices or sounds that otherwise wouldn’t have been heard by listeners of mainstream rap—like the contemporary classical composer Caroline Shaw, who West collaborated with on tracks “POWER” and “Say You Will”—hip-hop artists are opening up unprecedented avenues for their music.
At this point, you may be asking why this is important. There is an innumerable amount of answers, all dependent on your own experience with hip-hop, but there’s also a common thread that is woven through all of them. Historically, as a genre, hip-hop has not been given the respect it deserves. This isn’t a revolutionary statement in any sense; it’s just a recognition of the symptomatic way we view art that we do not deem to be fine. With rap taking the lead as America’s most popular form of music, it is about time that the contributions which hip-hop and its artists have made to music are acknowledged and celebrated. It is also time that we begin viewing them as more than transient blips in culture, bolstered by teenagers, social media, and streaming services. There have been dozens of articles likening Kanye West to Beethoven or Mozart, but it is important to note that he is not the only artist engaging in intellectual art-creation. He is just one of hundreds in a community of forward-thinkers and risk-takers. Hip-hop may not be a fine art, but that is because it is something much bigger; it is alive and it is growing, and it cannot be contained with four walls and a velvet rope.
Within an hour of Jay-Z’s 4:44 dropping on TIDAL, people were already calling the album “Jay’s Lemonade.” This was inevitable, as some tracks appear to be his most confessional songs to date. For example, “4:44” — arguably the strongest track on the album and one of the best he’s ever written — details in brutally honest lyrics any shortcomings in his relationships with his wife, children, and himself. Ultimately, this album tells the story ofhow Jay-Z’s failures became his comeback.
But to say this album is solely about infidelity or responding to Lemonade would be a gross oversimplification; it’s about a lifelong rumination on personal failure in regards to love, parenthood, friendship, monetary success, artistry, and racial progression. With the help of producer No I.D., Jay-Z was able to perfectly capture this mixture of vulnerability and power.
It took almost four years exactly for Jay-Z to follow up Magna Carta… Holy Grail — a drought that led many to accuse the rapper of falling out of the game. In addition to taking a hiatus from music, Jay’s career suffered an inevitable dragging when Beyoncé’s Lemonade dropped last year. Since then, it’s fair to say that the public has been more concerned with the Carters’ relationship than their music. One might have forgotten Jay-Z’s name in music the past four years, thus giving listeners plenty of time to learn a few new ones.
Throughout the album, Jay addresses this new generation of rappers who have seemingly ‘replaced’ him. This occurs most notably in “Family Feud” where he pleads with the two groups to stop tearing each other down by saying, “We all lose when the family feuds.” He confronts the differences between his lifestyle and that of the new generation in “Bam,” where you hear him say, “Y’all be talkin’ crazy under them IG pictures / So when you get to hell you tell ‘em Blanco sent you / I can’t take no threats, I got a set of twins.”
Another important shift in Jay’s life since his 2013 studio album is the dissolution of his relationship with Kanye West. He partially blames himself for this, which you can find in 4:44’s intro “Kill Jay-Z” when he says, “You got hurt because you did cool by ‘Ye / You gave him 20 million without blinking / he gave you 20 minutes on stage.” Jay also blames the end of this friendship on his own ego and lifestyle in this track, and explains that he is too old for Kanye’s petty games. The 4:44 singer takes jabs at West throughout other songs on the album as well, such as in “Caught Their Eyes,” where he references Kanye’s hit “Ni**as in Paris.”
The flow of this album allows Jay-Z moments of self-critique and opportunities to indulge his egotistical persona. If “Kill Jay Z” is his self-destruction, then the rest of the album is his rebirth. He rewrites his own history through a lens of self-awareness by referencing many old lines and tackling them in a new way — almost as if he’s writing footnotes for his previous self. This new Jay-Z is vulnerable when it comes to his loved ones, but assertive when it comes to racial injustice. He is not ignorant, self-important, arrogant, or in denial, and that is the beauty of this album. It’s the story we’ve been waiting to hear from him all along, but he only just found the courage to tell.
This year, the MTV Video Music Awards found its way back to New York City, but instead of using Radio City Music Hall as its classic venue, the show took place at Madison Square Garden for the first time. In recent years, the VMAs has not had a traditional host and this year was no different. Comedians Keegan-Michael Key and Jordan Peele were in character as social media mavens (because if you know anything at all, you know the best place to watch an award show is on Twitter) but none of their antics, most of which were impossible to follow, seemed to connect with the audience. Other stand-in hosts included MTV’s own Nicole Byer from Girl Code, comedian Jay Pharoah with his great impressions throughout the show, and lastly DJ Khaled, who kept the energy going with his signature catchphrases.
Rihanna was this year’s recipient of the Michael Jackson Video Vanguard award and she did something different then all the recipients before her and treated us to four different themed performances throughout the show, each showcasing a different style of music she has perfected. She opened the show with a medley of her hits from her pop era. Dressed in light pink from head to toe, she sang “Only Girl In The World,” “We Found Love,” and “Where Have You Been.” Her second performance of the night was a tribute to her culture and homeland in which she brought a traditional Caribbean bashment party to the stage performing all her reggae influenced hits such as, “Rude Boy,” “What’s My Name,” and her recent hit “Work.” Later in the show, she performed her more mellow party records “Pour It Up,” “B*tch Better Have My Money,” and her latest single from ANTI, “Needed Me.” She ended things off with her crowd favorite ballads, “Stay,” a slowed down version of “Diamonds,” and her next single “Love on The Brain,” fully taking in the opportunity to show how much her vocals have grown since she was first introduced to us in 2005. To end things off with a bang, Drake presented Rihanna with her award, giving a speech that sounded more like a love letter. He expressed, “I’ve loved Rihanna since I was 22 years old.” He also so spoke on what makes Rihanna a great artist: “She succeeds by doing something that no one in this industry does by just being herself.” After a sweet embrace between the two, Rihanna expressed her excitement by showing love to her country of Barbados, her friends, family, and fans and her disbelief that at only 28 years old she is lucky enough to accept such an award.
Now as we all know, MTV always keeps us on our toes with surprise antics and this year it came in the form of Kanye West taking to the stage to talk about whatever it is he wanted. He walked out to his song “Famous” which contains the infamous line that has reignited the Kanye vs. Taylor Swift beef and stood as the crowd chanted “Yeezy.” Highlights from his six and a half minute “speech” include saying “I see you Amber,” to his famous ex girlfriend Amber Rose, expressing his hope to win video of the year but it being okay if he lost to Beyoncé, shouting out his wife Kim Kardashian West, and finally debuting his new video for his song “Fade.” The video is a performance piece starring singer Teyana Taylor in what could almost be a tribute to Jennifer Beals in Flashdance. In true Kanye fashion, he has to leave us somewhat bewildered as the video ends with Taylor becoming a cat woman, with her fiancé Iman Shumpert of the championship winning NBA team the Cleveland Cavaliers and their 8-month old daughter “Junie” surrounded by sheep. In addition to winning eight of the 11 Video Music Awards she was nominated for, and passing Madonna for acquiring the most VMAs ever, Beyoncé completely turned the stage into her own personal concert with a full on recreation of her visual album Lemonade. She eased us in starting with her song “Pray You Catch Me” and followed up with “Hold Up” carrying her signature baseball bat from the video and smacking the camera to the floor. She continued with “Sorry” and “Don’t Hurt Yourself” throwing on a fur coat and aggressively performing as flames and sparks surrounded her. She closed her performance with “Formation” filling the stage with an army of female dancers and ending in the formation of the symbol for woman.
NEW YORK, NY – AUGUST 28: Beyonce performs onstage during the 2016 MTV Video Music Awards at Madison Square Garden on August 28, 2016 in New York City. (Photo by Kevin Mazur/WireImage)
Britney Spears also returned to the VMA stage to perform her new single “Make Me” featuring G- Eazy. This performance was her first performance on MTV in almost 10 years since the cringeworthy performance of “Gimme More” at the VMAs in 2007. Other performers included Nick Jonas who performed his new song “Bacon” with Ty Dolla $ign and Ariana Grande and Nicki Minaj who gave a lackluster performance of “Side to Side” off Grande’s album Dangerous Woman. Newbies to the VMA stage, The Chainsmokers and Halsey performed their number one hit “Closer” and rapper Future gave an excellent performance of his hit song “F*ck Up Some Commas.”
Seemingly missing from the VMA stage this year was any form of Rock or Alternative music. It seemed to be a show for only the “who’s who” in pop culture right now. Also many of the awards were not given out on camera. Those lucky enough to take the stage to give speeches were DNCE for Best New Artist, Fifth Harmony for Best Collaboration, and Beyonce for Video of the Year and Best Female Video. Drake also won for best hip-hop video but missed his chance at an acceptance speech because he was “stuck in traffic.” Our U.S. Olympians Michael Phelps and “Final Five” gymnasts Simone Biles, Laurie Hernandez, Madison Kocian and Aly Raisman (minus Gabby Douglas, who was absent due to an injury) were lucky enough to take the stage and introduce some of the musicians for the night. Olympic swimmer Ryan Lochte was also there in spirit as Jimmy Fallon impersonated him in a platinum blonde wig while singing Justin Biebers “Sorry.” All in all, the VMAs did not disappoint. What they lacked in variety and a host they made up for in electrifying performances and a who’s who of celebrity presenters. For a complete list of VMA winners, and video clips head over to MTV.
Read More Music News at Clichemag.com MTV Video Music Awards Recap: Featured image courtesy of MTV
When it comes to succeeding in the property market most of us have to accept that there are always restrictions in terms of what we can achieve within set timeframes. Whether you are keen to list your home on a reputable site or looking to add value through modifications, you are likely to be bound by budgetary constraints and the type of restrictions that are synonymous with real estate. Such constraints are less of an issue in the luxury market, however, which is far removed from anything that you are likely to be familiar with.
To understand this further, we need to explore the luxury market in more detail. There is no finer embodiment of this than the region of Bel Air, which is located in Los Angeles and continues to house the rich and famous. A newly constructed, 23,000 square foot home was recently listed on the market, overlooking the picturesque reservoir in the area and commanding a quite staggering price point of $34.9 million.
Christened as Casa Lago, this eight-bedroom, 15-bath home is beautifully designed and represents the magnificence of luxury real estate. With a fixed address of 1940 Bel Air Road, it has been uniquely designed to overlook the stunning Bel Air Stone Canyon Reservoir, offering wonderful views of the surrounding landscape and a traditional, luxury interior. Interestingly, the surrounding terrain was captured and used as a set in the 1974 film Chinatown, so the property has cultural and celebrity status appeal in the eyes of potential buyers.
The mansion has a distinctly unusual, Mediterranean design, which has been implemented in order to optimise the impact of the reservoir and its all-encompassing beauty. It has a number of terraces and loggias, for example, while floor-to-ceiling windows have also been installed to optimise the impact of natural light. In terms of finishing, the interior has Persian onyx and marble as its standout textures, while French limestone also makes an appearance in the kitchen and bathrooms. The top floor skylights complete the look and creates a genuinely luxury feel.
Not only does this offer an insight into how the other half live, but it also underlines the wealth required to enter the luxury property market. While financial restrictions still apply at this level, the value of the high-end property market continues to defy belief.
View More Celebrity News @ Clichemag.com
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The 2015 Video Music Awards, hosted by Miley Cyrus, did not disappoint. Between Miley’s many bizarre costume changes and Kanye putting in his bid for President 2020, there was lots to talk about on social media.
Highlights from the night include Nicki Minaj opening the show, then being joined by Taylor Swift to sing “Bad Blood” together on stage (drama: squashed!); Justin Bieber crying after an emotional performance; Kanye West being honored with the Video Vanguard Award and giving one heck of a winding speech; Taylor Swift winning Video of the Year for the star-studded “Bad Blood”; and Miley Cyrus performing with over 30 drag queens and dropping a surprise album for free.
Other standout moments included performances by Justin Bieber, Tori Kelly, Demi Lovato, The Weeknd, Macklemore and Ryan Lewis, Pharrell, and ASAP Rocky with Twenty One Pilots.
Below, we spotlight the winners in case you missed it!
VMAs 2015 WINNERS
VIDEO OF THE YEAR Beyoncé – “7/11″
Ed Sheeran – “Thinking Out Loud” Taylor Swift ft. Kendrick Lamar – “Bad Blood” – WINNER
Mark Ronson ft. Bruno Mars – “Uptown Funk”
Kendrick Lamar – “Alright” BEST MALE VIDEO
Ed Sheeran – “Thinking Out Loud” Mark Ronson ft. Bruno Mars – “Uptown Funk” – WINNER
Kendrick Lamar – “Alright”
The Weeknd – “Earned It”
Nick Jonas – “Chains” BEST FEMALE VIDEO
Beyoncé – “7/11″ Taylor Swift – “Blank Space” – WINNER
Nicki Minaj – “Anaconda”
Sia – “Elastic Heart”
Ellie Goulding – “Love Me Like You Do” BEST HIP HOP VIDEO
Fetty Wap – “Trap Queen” Nicki Minaj – “Anaconda” – WINNER
Kendrick Lamar – “Alright”
Wiz Khalifa ft. Charlie Puth – “See You Again”
Big Sean ft. E-40 – “I Don’t F–k With You” BEST POP VIDEO
Beyoncé – “7/11″
Ed Sheeran – “Thinking Out Loud” Taylor Swift – “Blank Space” – WINNER
Mark Ronson ft. Bruno Mars – “Uptown Funk”
Maroon 5 – “Sugar” BEST ROCK VIDEO
Hozier – “Take Me To Church” Fall Out Boy – “Uma Thurman” – WINNER
Florence + the Machine – “Ship To Wreck”
Walk the Moon – “Shut Up and Dance”
Arctic Monkeys – “Why’d You Only Call Me When You’re High?” ARTIST TO WATCH Fetty Wap – “Trap Queen” – WINNER
Vance Joy – “Riptide”
George Ezra – “Budapest”
James Bay – “Hold Back The River”
FKA Twigs – “Pendulum” SONG OF THE SUMMER 5 Seconds of Summer – “She’s Kinda Hot” – #ShesKindaHotVMA – WINNER
Fifth Harmony – “Worth It” – #WorthItVMA
Major Lazer – “Lean On” – #LeanOnVMA
OMI – “Cheerleader” – #CheerleaderVMA
Taylor Swift – “Bad Blood” – #BadBloodVMA
David Guetta ft. Nicki Minaj – “Hey Mama” – #HeyMamaVMA
Fetty Wap – “My Way” – #MyWayVMA
Jack U ft. Justin Bieber – “Where Are U Now” – #WhereAreUNowVMA
Silento – “Watch Me” – #WatchMeVMA
Demi Lovato – “Cool For the Summer” – #CoolForTheSummerVMA
The Weeknd – “Can’t Feel My Face” – #CantFeelMyFaceVMA
Selena Gomez ft. A$AP Rocky – “Good For You” – #GoodForYouVMA VIDEO WITH A SOCIAL MESSAGE
Jennifer Hudson – “I Still Love You”
Colbie Caillat – “Try” Big Sean ft. Kanye West and John Legend – “One Man Can Change the World” – WINNER
Rihanna – “American Oxygen”
Wale – “The White Shoes”
For the full list of winners, visit MTV.com.
Read more Celebrity News on ClicheMag.com BY MEGAN PORTORREAL Featured image courtesy of Kevin Mazur/WireImage
The long-awaited docu-serious I Am Cait premiered on E! on Sunday, July 26, 2015, and it was a pretty emotional one. The series opens with the real-time reaction of the unveiling of Caitlyn Jenner’s Vanity Fair cover, followed by immediate phone calls and tweets from supportive family members.
“What a responsibly I have towards this community,” Caitlyn said, in reference to the transgender community and how many of them struggle with family, friends, and ridicule. “I just hope I get it right.”
Caitlyn also met with her mother, Esther Jenner, and two sisters for the first time as a woman. Both sisters were very happy and excited to see her, but her mother was emotionally brought to tears. She said she never guessed that Caitlyn (before she transitioned) was struggling with her gender, and that she hid it well.
Esther said she was happy for Caitlyn, but admitted it would be difficult to get used to the change. “I love Bruce, and that’ll never change. …I loved him with all my heart, and I certainly love her with all my heart,” she said.
Later, Esther said she is “more proud” of Caitlyn today than at the 1976 Olympics.
Caitlyn also met with her youngest daughter, Kylie, for the first time, who knew her first meeting with Caitlyn would be uncomfortable. However, the two quickly bonded over colorful hair extensions and old photographs, and shared an emotional hug together.
A pregnant Kim Kardashian-West and Kanye West made an appearance as well. While Kim and Caitlyn began to plot a “Who wrote it better?” prank on Kris Jenner, Kayne said, in classic Yeezus fashion, that Caitlyn’s transition is “one of the strongest things that have happened in our existence as human beings that are controlled by perception.”
The show took a darker turn when Caitlyn admitted to having contemplated suicide before. “I know how these kids can feel,” Caitlyn said in reference to other transgender youth who are struggling with their identity. “I’ve had some very dark moments in my life. I have been in my house, with a gun and said, ‘Let’s just end it right here. No more pain. No more suffering.’ That struggle, it’s real, and I’ve been there.”
Gender-identity expert Susan Landon also met with Caitlyn and family to discuss these issues, and offered much advice, clarity, and support. “There’s nothing more important than acceptance and supportive,” she said. “This is a process that happens over time.”
“It’s so important to surround yourself with positive people,” Caitlyn added. “We need more tolerance and empathy towards other people.” And we hope this docu-series will inspire more people to do just that.
Watch I Am Cait Sundays at 9 p.m. ET on E!
Read more TV Reviews on ClicheMag.com BY MEGAN PORTORREAL I Am Cait Premiere: Photograph courtesy of E!
Another baby for Kim Kardashian and Kanye West? On the famed television reality show Keeping Up With The Kardashians, Kim announced mid-season finale that she was expecting!
The pair just recently celebrated their year anniversary, and fans of the show are well aware of the struggles that Kim and Kanye had with attempting to conceive a baby sister or brother for little Nori. It had been shown throughout the show with countless doctor visits, and according to Kim, she and Kanye were desperately trying many times a day! Looks like they finally got what they were looking for!
At the heels of the Bruce Jenner transgender reveal/scandal fans of the show can only expect more drama and heightened emotions for the second half of the season!
It’s no surprise that another Kardashian is adding to the family. The Kardashians have expressed time and time again of their love of having a large family, one as great as their clan. Kim’s sister Kourtney is already ahead of the game with several little ones herself, despite Scott’s own feelings about the growing Disick/Kardashian family. Is Khloe next to add to the flawless line of beauties?
Friends and fans alike are wishing the pair well and anticipating a gender reveal. Now that the royal baby is born, the public has another newborn to wait around for!
Now the true question is: Will Nori remain the most fashionable baby around, or will she be out-shined by the new addition to the family?
Following the 57th Grammys back in February, Kanye West voiced his opinion that today’s music industry does not respect artists or their work enough. Just over one month later on March 30, Jay-Z launched his new music streaming service, TIDAL, which aims to give the power back and “to create a better service and experience for fans and artists.”
The kickoff of TIDAL brought together musicians from all genres towards one common goal: “to re-establish the value of music.” Along with Jay-Z, Alicia Keys, Win Butler and Régine Chassagne (Arcade Fire), Beyoncé, Calvin Harris, Chris Martin (Coldplay), Daft Punk, Jack White, Jason Aldean, J. Cole, Kanye West, Deadmau5, Madonna, Nicki Minaj, Rihanna, and Usher collectively own the streaming service, which is available on the web or as an app on iPhone and Android.
Many of you are likely wondering what sets TIDAL apart from the other music-streaming services, other than the fact that it’s owned by these musicians. On the TIDAL website, the owners explain that there is a clear quality difference between the compressed mp3 files that we hear in most digital music and the lossless, unreduced sound that can be heard on CDs and vinyl records. TIDAL offers to provide the latter in digital form, allowing you to hear the music the way the artists want it to be heard. TIDAL offers us a chance to hear music in the highest quality, profit from tailor-made playlists, and receive recommendations from their editorial team.
TIDAL offers two subscription packages: TIDAL Premium and TIDAL HiFi. TIDAL Premium is $9.99 per month and includes “standard sound quality, high definition music videos, and expertly curated editorial.” For $19.99 per month, TIDAL HiFi offers almost the same experience as its Premium package, except it replaces standard sound quality with “lossless high fidelity sound quality.” The service is ad-free with either package and free 30-day trials are available now.
What do you think? Will you be abandoning your current method of consuming music to subscribe to TIDAL?
Read more Music News on Clichemag.com TIDAL: Making Waves in Streaming Music: Photo courtesy of Tidal.com
The 57th Annual Grammy Awards were this past Sunday, February 8th. Were you able to catch the show? If not, don’t worry, we’ve got you covered!
Here’s a rundown of the night’s major winners: Best New Artist Bastille
Haim Sam Smith – WINNER Best Pop Solo Performance “All of Me,” John Legend
“Stay With Me,” Sam Smith
“Shake It Off,” Taylor Swift “Happy,” Pharrell Williams – WINNER Best Pop Vocal Album Ghost Stories, Coldplay Bangerz, Miley Cyrus My Everything, Ariana Grande Prism, Katy Perry x, Ed Sheeran In the Lonely Hour, Sam Smith – WINNER Best Rock Album Ryan Adams, Ryan Adams Morning Phase, Beck – WINNER Turn Blue, The Black Keys Hypnotic Eye, Tom Petty & the Heartbreakers Songs of Innocence, U2 Best R&B Performance “Drunk In Love,” Beyoncé & Jay-Z -WINNER “New Flame,” Chris Brown ft. Usher & Rick Ross
“It’s Your World,” Jennifer Hudson ft. R. Kelly
“Like This,” Ledisi
“Good Kisser,” Usher Best Country Album Riser, Dierks Bentley The Outsiders, Eric Church The Way I’m Livin’, Lee Ann Womack 12 Stories, Brandy Clark Platinum, Miranda Lambert – WINNER Album of the Year Morning Phase, Beck – WINNER Beyoncé, Beyoncé x, Ed Sheeran In the Lonely Hour, Sam Smith Girl, Pharrell Williams Song of the Year “Chandelier,” Sia
“All About That Bass,” Meghan Trainor
“Shake It Off,” Taylor Swift “Stay With Me (Darkchild Version),” Sam Smith – WINNER “Take Me to Church,” Hozier Record of the Year “Fancy,” Iggy Azalea ft. Charli XCX
“Chandelier,” Sia “Stay With Me (Darkchild Version),” Sam Smith – WINNER “Shake It Off,” Taylor Swift
“All About That Bass,” Meghan Trainor
The biggest winner of the night was clearly Sam Smith, who went home with a total of FOUR Grammys and also gave arguably the best performance of the night with Mary J. Blige. His acceptance speeches only got better as the night progressed. He began more reserved, but became more confident as he won more and more awards. As he accepted the last award of the night, Record of the Year, he gave a special message to his ex: “Thank you so much for breaking my heart because you got me four Grammys!” I bet his ex regrets breaking it off now…
One performance worth mentioning was that of Madonna, who dressed up as a matador and surrounded herself with something like twenty dancers covered in bull horn masks, as she sang “Living For Love.” People in the live audience didn’t seem bewildered, but I’m betting people watching at home were — I know I was.
Kanye West also gave a unique performance, singing his new song “Only One,” written with the legendary Sir Paul McCartney. Dressed in what looked like a red sweatsuit, Kanye sang over a beam of light with his face obscured by the darkness throughout most of the song. He snuck away as soon as he finished, as if he didn’t want to attract any attention. He seemed to embrace the spotlight in his next performance with Sir Paul McCartney and Rihanna though. While we’re on the subject of Kanye West, when Beck won Album of the Year over Beyoncé, he almost snatched the microphone to defend Queen Bey’s album as “one of the best of all time.”
Pharrell, dressed as a bellhop, sang his legendary tune,“Happy,” in a style that we’ve never seen before. He began by stating the lyrics, as Spanish, French, and then Japanese translations followed. The song began in a minor key and it certainly didn’t conjure up the happiness we normally associate with the song. Then, it transitioned into gospel-style before seguing into the “Happy” we know and love. Pharrell concluded with a shout-out to the Lord. This was certainly a version of “Happy” we’ve never heard or seen before.
In another peculiar event of the night, Shia Labeouf introduced Sia to perform her hit, “Chandelier,” by reading some odd tidbits off of a pink napkin, likely confusing most viewers. Sia was, as in all live performances, facing the wall and flanked by her usual dancer, Maddie Ziegler, from the song’s music video. However, a guest dancer, Kristen Wiig, joined the twosome in this special performance. It was definitely one of the most interesting parts of the night.
It was a long show and while some artists walked out with their arms full, others went home empty-handed. Did you catch the Grammys? What did you think were the best parts of the show? Did you disagree with any of the results? 2015 Grammys Review: Featured image courtesy of AFP