In a heartrending confession, Jenna Dewan admits Channing Tatum’s new relationship “blindsided” her when she first found out her ex was dating Jessie J. Not because she has any problems with Jessie J but because, as she tells it in her new book, she was still grappling with her emotions over the split at the time — not to mention she found out about the budding romance via the internet, just like the rest of us.
Dewan is opening up about how she got through that first particularly painful phase in Gracefully You: Finding Beauty and Balance in the Everyday. “[Divorce] was never on my docket of dreams, but alas, here I am, learning and growing through one,” she wrote. “In the beginning, I turned to the typical remedies. I drank a whole lot of wine with friends. I had many moments of deep, painful, big cries. And both were very necessary in getting me to the next hour, through the day, on to another week.”
The former World of Dance judge pointed out that the intense media coverage surrounding the split only exacerbated the “tumbling avalanche” of emotion. A striking example of such was the way Dewan discovered Tatum was dating again. “I was learning things about my ex most people wouldn’t have to face — and over the internet, as it was happening,” she said, elaborating, “There I was, on a plane, alone, finding out about his new relationship. I felt blindsided.”
In that moment, confessed Dewan, choosing grace proved difficult. But ultimately, that’s exactly what she did. “Instead of reacting the way I wanted to… I asked myself this: How do I choose grace in this moment? Had I not been practicing this way of life beforehand, I definitely wouldn’t have handled this news very gracefully,” she shared.
As the title of her book suggests, though, Dewan isn’t harboring any ill will toward her ex — especially since she found someone new, too. “When I was ready, I started dating someone amazing,” she said of her relationship with now-fiance (and soon-to-be father of her second child!) Steve Kazee. “It was this cosmically great thing where we circled back around each other after a moment of instant recognition years ago.”
Gracefully You: Finding Beauty and Balancein the Everyday hits stands Oct 22.
The Looking For Alaska Soundtrack Is a Beautiful Blast From the Past
Looking For Alaska is a classic coming-of-age novel from YA novelist John Green. Hulu just adapted the novel, and the soundtrack for the drama-filled, eight-episode limited series is everything your early-2000s-loving heart could want. The show’s story takes place in 2005, and in order to really nail that early ’00s feeling, the soundtrack is filled with iconic tunes of that era, from artists like The Strokes to Modest Mouse, with a couple of newer artists in between. If you want to feel like you’re in 2005 again, scroll through the gallery and get ready for those feelings you thought you’d forgotten.
LOS ANGELES — Blocks from the ocean-misted mountain views of Venice Beach, Booker T. Jones was hard at work on a late-summer afternoon. The 74-year-old musician, dressed in a black baseball hat and a bright-blue athletic pullover, sat behind his customary Hammond B-3 organ with his chin angled up slightly, like an emperor, as his current road group, which includes his son Ted on lead guitar and the longtime Tom Petty drummer Steve Ferrone, helped rerecord the various classics that provide the names for each chapter in his new memoir.
“Time Is Tight: My Life, Note by Note,” out Oct. 29, is named for one of Jones’s hits as the leader and musical mastermind of Booker T. & the M.G.s, but despite the soul group’s fame in the ’60s and ’70s, this is the first time the Rock & Roll Hall of Fame inductee has truly spoken in his own voice. His creative statements have more typically come as an accompanist: first as an arranger and house musician for Stax during the label’s golden age, then as a producer, musical director and keyboardist for generations of American musicians. His body of work spreads across whole branches in the family tree of 20th-century and 21st-century pop — you can hear him underneath Sam & Dave, the Blind Boys of Alabama, Bob Dylan, Big Daddy Kane and Valerie June.
But about a decade ago, with eight children and stepchildren from his three marriages, Jones became reflective. His friends and collaborators, from Neil Young to Robbie Robertson, had found willing readerships for their life stories, but Jones, ever the sideman, didn’t think in terms of a hero’s journey.
“I just started writing these little scenes,” he explained in his slow, deliberate manner. “Little memories of how I grew up, all the things I’ve seen.” The book’s structure isn’t chronological — Jones connects old stories to new ones, famous friends to unknown childhood ones. He wrote it himself, no ghostwriter, with the same unhurried process that he approaches all communication, from an interview to a horn chart.
The result emphasizes not only his Memphis roots and role in Stax’s reinvention of R&B but his second act here in Los Angeles — as a wide-ranging session man and producer who remains, in his eighth decade, a sought-after sonic guru.
“It’s really weird hearing my voice say those words,” he said. “But the words I use, the way I use English — I finally found my voice on the page.”
In the Venice studio, Jones showed off his more well-known facility with the language of music, working through “B-A-B-Y,” a perfect bit of Stax bubble gum by Carla Thomas from 1966. It’s filled with the sound of the B-3, a churchy keyboard that plays through a rotating speaker called a Leslie, granting it an emotive vibrato that, largely thanks to him, is synonymous with soul music.
But even the master can’t just summon one of these songs. Jones listened to the old recording on YouTube, identifying all the underlying parts of the arrangement that make it click. It’s not a complicated song, but it’s airtight. The band had to find the tempo and the swing that would allow it to slink just right.
It was the same way 50-odd years ago, Jones later explained. The song as delivered by Isaac Hayes and David Porter was well-written, but the band couldn’t bring it to life.
“It was the same lyrics, the same melody, but the feel of it was wrong,” Jones said. On break from college, he pulled an all-nighter to whip up a finger-snapping beat and circular bass melody straight from Motown. He played the chiming piano part himself. A few months later: No. 3 R&B, No. 14 Pop. This was his side job. He was 20.
In Venice, Jones’s left hand played in unison with his bassist as always. With his right hand, he hit a series of quick stabbing chords that, on the recording, add a sense of dramatic rise-and-fall behind the repeating bass motif. Ferrone, a big, gentle Englishman known for his stability and power in the Heartbreakers, was having a little trouble finding the groove. Jones didn’t acknowledge it, he just kept nodding and pushing the two-chord verse vamp until finally, there, it snapped into place, and the song sounded like itself.
No living musician is more closely associated than Booker T. Jones with Memphis, the Mississippi River city that fostered a world-changing generation of blues, gospel and soul music five decades ago. He spent 10 years as a house arranger, multi-instrumentalist and charting band leader for Stax Records during this period, and told me with little hesitation that this era’s music will be his legacy.
Jones grew up in the Tennessee city, the only child of two teachers who both loved to play music. In “Time is Tight,” his musical memories connect back to childhood, to the church, to funerals and kitchen hymns sung by elderly neighbors.
“Memphis defined my life,” he said, “but I was always so busy.” He began “throwing the Memphis World” — working a paper route — when he was only 8. He left the city for the first time to attend Indiana University’s renowned conservatory program, already an active session player at Stax. One day he fell into a groove while playing with his beloved friend Al Jackson Jr. on the drums. The result, “Green Onions,” is one of the best-known and most-covered songs of its era.
“Green Onions” feels like a snarling 12-bar blues, but its structure is more complex, a result of Jones’s theory lessons at the time. “What if the bottom bass note went up while the top note of the triad went down, like in the Bach fugues and cantatas?” he remembers wondering in “Time Is Tight.” It was a fine demonstration of what he brought to Stax’s urban country-soul: compositional sophistication.
“For years and years I have said that Booker T. & the M.G.s were the greatest rock ’n’ roll band of all time,” John Fogerty wrote in his own recent memoir. “I’m talking about soulfulness, deep feeling, the space in between the beats. How to say a lot with a little.”
Every garage band in the United States, including Fogerty’s, knew “Green Onions” in the mid-1960s. Booker T. & the M.G.s were equally revered by the Summer of Love crowd that watched them back Otis Redding for his star-making set at the Monterey Pop Festival.
But the respect of their peers and left-leaning Californians didn’t protect the M.G.s from racism, especially at home. The Stax offices in Memphis were a regular target of threats; they were located around the corner from the Lorraine Motel, where Martin Luther King Jr. was assassinated in April 1968. As the first charting interracial pop group of the era, the M.G.s were also expected to act out a vision of racial harmony.
“The M.G.s did love each other,” he writes in the book. But “As we were held up more and more as an example to the world of how integration could work, it became more and more a veneer.”
In the late 1960s, the stresses of working for Stax were beginning to wear on Jones, who had begun to see a different kind of community — more welcoming and supportive — among musicians in Los Angeles.
In California, Jones said he was struck by “the immediate diversity” of the population: “It’s just amazing, the kind of people you can find here.” His first friend in the city’s creative world was Leon Russell, the prolific psychedelic ringleader behind a rising wave of roots music at the time, including Delaney & Bonnie and Joe Cocker’s Mad Dogs and Englishmen.
“I had a little phone book when I came out here and started adding to it, and that phone book was just unbelievable,” he recalled, naming Roger McGuinn, Elton John and the Beach Boys.
Given the opportunity to work with artists across genres and styles, Jones thrived. He found the perfect quiet, unmannered funk for Bill Withers’s debut, “Just As I Am,” and reinvented both the Great American Songbook and Willie Nelson’s career as the producer and arranger of “Stardust,” a shock hit record of big band-era standards released in 1978. By simplifying the arrangements and recording in an ultra-laid-back home studio in Laurel Canyon over 10 days, Jones made a Texan singing Tin Pan Alley sound like the quintessence of contemporary L.A. sophistication.
“When I was growing up, my dad only had about five records,” said the National’s Matt Berninger, who hired Jones to produce his upcoming solo record. “I remember Judy Collins, Roberta Flack, Waylon Jennings, and I remember ‘Stardust.’” Berninger wanted someone who could corral nearly 20 guest musicians, and someone who could provide the late-night, timeless atmosphere that “Stardust” conjures. He immediately thought of Jones, whom he had met during a collaboration with Sharon Jones & the Dap-Kings in 2013, even though he didn’t realize that Jones was the co-visionary on Nelson’s album at first. It seemed impossible that the same person who created a new genre of Memphis soul in 1962 could also reinvigorate the standard 15 years later, then stay relevant into the 21st century as an elder statesman.
Jones has stayed active producing, recording and playing with younger musicians for decades now, many of whom aren’t obvious fits for his sound. In the early 1980s, Melissa Etheridge was “just a singer in a lesbian bar,” she said, before a Capitol Records executive set her up with a studio session to make a demo. She showed up and found Jones behind the board.
“This was back when you still had guitar solos in songs,” Etheridge said in a phone interview, “but our guitar player didn’t show up. So the engineer grabs a B-3, and Booker adds the most burning, scorching Booker T. organ solo over this rinky-dink demo.”
Patterson Hood, the co-leader of the Drive-By Truckers, heard M.G.s songs in hip-hop as a teenager — they’ve been sampled by Cypress Hill and Heavy D & the Boyz, among many others. About 10 years ago, Jones invited the Truckers to join him for a rare solo album, all instrumental, with Neil Young on third guitar just for good measure. Hood’s heavy-twang rock isn’t a natural fit for the kind of subtle groove-building that Jones specializes in, and after a few unsatisfying takes, Hood and his band mates gathered at the B-3, expecting to be fired. Instead, Jones told them a story about Thanksgiving.
“He described the food, what his auntie was wearing, even the tablecloth and how the food smelled,” Hood said. “It was beautiful, then when he was finished, he said, ‘Play that.’”
Jones believed the band played best based off lyrical content, and that the instrumentals were throwing them off, “So if he could give us something to visualize, we’d play better,” Hood said. He called the moment “literally life-changing.”
Jones has a simpler explanation for his approach. “I’m on cruise control,” he said. “I started on cruise control, being curious about drums and piano, and it’s the same exact force that moved me then, when I was 4 or 5, that’s moving me now.”
It’s an ethos he captures well in “Time Is Tight,” a book that reaches for that ineffable quality of music making. “It’s just a force that requires no effort at all,” Jones added. “I don’t put any effort into trying to make music my thing, it just happens.”
Almost 3,000 quilts by African-American artists — including more than 500 by Rosie Lee Tompkins, a quilt maker whose formally inventive work has helped elevate the standing of the discipline in the art world — are heading to the Berkeley Art Museum and Pacific Film Archive as a bequest by Eli Leon. Leon, who died last year, was a voracious collector and champion of African-American quilting.
“It’s hard to overestimate the importance and power of this gift,” Lawrence Rinder, the museum’s director and chief curator, said in an interview. “The scale of it and the depth of it is mind blowing.” The bequest, which includes the pieces by Tompkins and works by more than 400 artists from across the country, will account for about 15 percent of the art collection at the Berkeley Art Museum and Pacific Film Archive, which is affiliated with the University of California.
Leon’s collection will help introduce the public to African-American quilt makers other than the women of Gee’s Bend, Ala., whose work was showcased in a celebrated exhibition that Mr. Rinder helped bring to the Whitney Museum of American Art in 2002. (In his review for The Times, Michael Kimmelman called the show’s 60 quilts “some of the most miraculous works of modern art America has produced.”) “Gee’s Bend, which a lot of people know about now, happily, that’s one small town in one state in the South,” Mr. Rinder said. “Eli’s collection is a broad overview of hundreds of other towns and the work that was made in them.”
Two exhibitions of quilts from the bequest have already been planned. The first, a retrospective of Tompkins’s work, will open on Feb. 19, 2020. The second will follow in early 2022 and focus on the others artists represented in the collection, like Willia Ette Graham and Arbie Williams.
The breadth of Leon’s collection and its emphasis on Tompkins’s quilts are closely linked. It was a chance encounter with Tompkins at a flea market in the Oakland, Calif., area in 1985 that convinced Leon, a psychotherapist, to dedicate his life to collecting quilts by African-American artists.
Tompkins, whose real name was Effie Mae Howard, didn’t make herself easy to find. She had begun quilting seriously in her 40s and when her work started to attract attention, she used a pseudonym, fought hard to maintain her privacy and rarely parted with her pieces. Leon was one of the few to whom she revealed her true identity and sold her work regularly. Tompkins died in 2006 at the age of 70.
Once he had convinced her to share her work, Leon was immediately taken by Tompkins’s daring designs and use of unconventional materials like velvet and fake fur. His passion for her quilts led him to buy as many as he could and also inspired him to seek out work by other African-American quilt makers in the Bay Area.
To trace the lineage of the practitioners whose art he had fallen for so deeply, Leon traveled to Texas, Louisiana and Arkansas, where Tompkins and some of the other artists had roots, to conduct research on the tradition of African-American quilt making and collect pieces. His home back in Oakland eventually became so crowded with quilts that he built a two-story addition to accommodate them. In 1987, he organized a first exhibition of quilts from his collection at the San Francisco Craft and Folk Art Museum.
Despite Leon’s recognition of the quilts as substantial pieces of art, it has taken some time for the collection he assembled to be seen that way by others. “I believe that sexism and racism, not to mention classism, have each played a role in shaping the history of art as we know it,” Mr. Rinder said when asked why this body of work hasn’t received more attention. The quilts in Leon’s collection, which were predominantly made by African-American women, have been particularly affected by these prejudices, he said.
Jenny Hurth, the executor of Leon’s estate, said that he chose to leave his collection to the Berkeley museum because Mr. Rinder was among the first people in the art world to recognize the value of the quilts he had acquired. “He knew that if he left them in Larry’s hands his idea that these were works of fine art would be carried forth in some way,” Ms. Hurth said in an interview. Mr. Rinder organized the first solo exhibition of Tompkins’s work at Berkeley in 1997 and included her work in the 2000 Whitney Biennial.
Leon’s original plan, Ms. Hurth said, was to place his collection in multiple museums, including Berkeley, but he died before plans for this dispersal could be made.
Mr. Rinder will be stepping down from his position at the Berkeley museum in March, but Catherine Koshland, the president of the museum’s board and the University of California, Berkeley’s vice chancellor for undergraduate education, said that his departure would not affect the care of the bequest. “Eli Leon’s collection is a transformative gift,” she said by email. “And we’ve made a sustained commitment to sharing it with scholars and the public for many years to come.”
11 Guest Stars You Might Have Forgotten Were on Criminal Minds
As Criminal Minds heads into its final season, we’re looking back at some of its best moments, including its guest stars. The crime drama has had a huge roster of amazing cast members over the years, including some very recognizable names. While some of the most famous guest stars on Criminal Minds arrived on set with a hefty résumé and star power behind them, there are also a handful of performers who appeared on the show long before they became famous (or, in one case, an Emmy winner!). It would be impossible to give a shoutout to all the guest stars over the years, but if you’re curious about some of the most famous and memorable, keep reading and see which stars have had arcs on the long-running drama.
Mrs. Doubtfire is (finally) headed to Broadway! The musical adaptation of the classic 1993 film has been in the “early stages” since 2015 — which is when we first heard about the project — but after s Seattle-run that starts this November, Mrs. Doubtfire will begin performances at the Stephen Sondheim Theatre on March 9, 2020, and officially open to the public on April 5.
This announcement has been a long time coming. Back in 2015, Alan Menken revealed to Entertainment Weekly that he was composing music with David Zippel writing the lyrics and Broadway veteran Harvey Fierstein writing the book. A year after that, the Oscar-winning composer told Digital Spy that a change of lyricist and convoluted schedules led to the project being put on a “creative hiatus.”
A woman who has long been suspicious of her husband's friendship with another woman has been left feeling lost after discovering a love letter.
Taking to the internet to seek advice, she explains that her husband became friendly with a single mum who lives on the same road after often walking the same way on the school run.
We'll call the author of the post Eve, her husband Jason and the single mum Rachael to try and make it easier to follow.
After a few school runs together, Rachael revealed to Jason that she is moving away and asked for his details so they can keep in touch, which Eve says she commented was strange and decided to also add Rachael on social media.
Rachael later deleted Eve from Facebook and continued to like most of her husband's posts.
Unknown to Eve, Rachael and Jason started chatting and meeting up with their children for activities like shopping and lunch.
After being spotted together and word getting back to Eve, she spoke to Jason about breaking boundaries and warned him that the other woman has her eyes on him – although he insisted Rachael just needed a friend.
In her post on Mumsnet , Eve writes: "I have now found a letter from her to husband confessing undying love and that she wants to marry him, have children etc.
"Her letter makes it clear that nothing physical has happened and that he has said he wouldn't leave me but he's obviously making her think she stands a chance.
"Husband knows I have found this letter and will be dealt with when he gets back from work."
She finishes the post by asking if she should reveal to Rachael that she knows all about the letter and what she is up to with her husband.
Other users were pretty unanimous that she was focusing her anger at the wrong person.
One said: "No. This is aaaallll on your husband. You’re absolutely right, he's making her think she stands a chance.
"He could have shut this down ages ago, but he didn’t. He’s loving it. Why has he even kept the letter?"
From left: Tonacia Yvonne Tyson, Taneshia Deshawn Jordan, and Marilyn Latish McKey
Three workers at a North Carolina assisted living home have been arrested following allegations that they were running a fight club–style operation made up of elderly patients with dementia.
Tonacia Yvonne Tyson, 20, Taneshia Deshawn Jordan, 26, and Marilyn Latish McKey, 32, were arrested on assault charges earlier this month, a spokesperson for the Winston-Salem Police Department told BuzzFeed News.
The eldercare facility, called Danby House, specializes in caring for patients with Alzheimer’s, according to their website.
Police said the three Danby House employees were allegedly encouraging the residents to physically fight each other. In at least one case, one of the employees allegedly assaulted a resident by shoving them.
The workers also filmed the fights and egged the residents on, police told BuzzFeed News.
No injuries were reported as a result of any of the incidents.
Police began investigating in June when they were first alerted to the alleged elder abuse.
In video footage of the fight between the two residents, one of the elderly women can be seen falling on a bed and yelling, “Let go, help me, help me, let go,” as the other woman in the fight continues to hit her, according to the Winston-Salem Journal.
One or more of the workers can reportedly be heard saying, “Punch her in the face” and “Stop screaming, (expletive)” in the video. Another reportedly asked if someone was filming the fight and if the video could be sent to her.
One of the elderly women reportedly choked the other, causing one of the workers to say, “You’re making her turn red.” The workers allegedly did not intervene.
In an interview with police, one of the arrested women reportedly said the woman who was pushed and choked in the fight was a “pain the butt” and that’s why they filmed it.
All three women have been charged with assaulting an individual with a disability and are currently out on bond. They are expected to appear in court on Nov. 14. It is unclear if they have retained an attorney.
The North Carolina Department of Health and Human Services has barred Danby House from admitting new residents following the allegations, the Winston-Salem Journal reported.
A spokesperson for Danby House did not immediately respond to BuzzFeed News’ request for comment, but told Fox 8 that upon learning of the allegations in June, all three workers were fired.
The facility has since implemented a stronger vetting process and more staff training, the spokesperson added.
More on this
A Woman With “Significant Intellectual Disabilities” Just Gave Birth In A Nursing Home And Now Police Are InvestigatingEllie Hall · Jan. 4, 2019
An Elderly Couple Who Died In A Murder-Suicide Said They Could No Longer Afford Health CareStephanie K. Baer · Aug. 10, 2019
Julia Reinstein is a reporter for BuzzFeed News and is based in New York.
Former 2FM DJ Rick O’Shea has no problem with TV stars migrating to radio.
In recent years 2FM has drafted in stars from outside the world of radio, including Love Island winner Greg O’Shea who is currently filling in for Eoghan McDermott on the Breakfast Show with Doireann Garrihy as as McDermott does voice over work in Fiji for Love Island Australia.
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Jennifer Zamparelli was recruited from RTÉ TV in 2014 and recently given her own show, while Westlife member Nicky Byrne joined to work with veteran Jenny Greene, who now has her own show following Byrne’s departure to tour with Westlife.
Rick, who runs the Rick O’Shea Book Club and has a show on RTE Gold, told independent.ie that ultimately presenters survive on their own merit.
“Ultimately the people who come from TV and survive on radio are the people who are good at it.
“If you’re not very good at doing the radio you won’t survive for very long,” he said.
Rick said bringing in people from other areas to try and attract young listeners to radio was northing new.
“I don’t think that’s something that’s in any way a change,” he said, though he pointed out he hasn’t been on the station in two years.
“I think it makes complete sense because if you have people on 2fm who have some form of profile that means people are far more likely to go ‘oh that’s the person I like from whatever it is on TV.’
“I think that gimmicks don’t work. Either the radio show is good or not.
“If you were simply hiring people for the sake of being gimmicks people would switch on and go ‘oh that’s the person’ and say ‘actually that’s pretty terrible.’
“No one is going to stay listening to a radio show on the basis that it’s someone they saw on TV.
“Those people who have come from TV and have survived are the ones who deserve it,” he said.
He was speaking at the launch of Book Week, which takes place from October 26 to November 2.
The popular DJ appeared at the launch at Books Upstairs, on Dublin’s D’Olier Street, as the founder of Ireland’s biggest book club.
“I love spending my time these days promoting books and Irish authors just for fun. It’s a genuine privilege that Irish Book Week have asked me to do it as a job, for a week at least,” Rick said.
Book week will see Irish authors giving readings in book shops across the country, along with other events.
To support the campaign, Bookselling Ireland have also launched the Find Your Local Bookshop app, which allows consumers in Ireland to search for bookshops local to them.
15 Exciting New Holiday Movies and TV Shows Netflix Is Adding This Winter
It’s beginning to look a lot like Christmas . . . on Netflix, that is! The streaming giant is giving us a bunch of early holiday gifts in the form of brand-new movies and TV shows. For those of us obsessed with Netflix’s rom-com collection, the long-awaited A Christmas Prince: The Royal Baby is set to premiere in early December, and a rom-com about a time-traveling knight starring The Princess Switch alum Vanessa Hudgens is also on the list! If those aren’t your Santa’s bag, a second season of Lost in Space is coming, as is a hilarious holiday edition of Nailed It. There’s basically something for everyone, no? Keep scrolling to check out the full list.