Art Deco style is popular again, a century after its heyday

This image provided by the Museum of the City of New York shows a 1920s dress made of black silk chiffon with brocaded gold geometric motifs and red silk crepe. (Museum of the City of New York via AP)

A century after it was formally introduced at the 1925 International Exhibition of Modern Decorative and Industrial Arts, in Paris, Art Deco is enjoying a resurgence in decor, fashion and more. A new generation is appreciating the style’s unapologetically glamorous roots and translating it into something new.

A current exhibition at the Museum of the City of New York provides a look at the style that helped define the city in the popular imagination a century ago, in landmarks like the Chrysler Building, the Empire State Building, Rockefeller Center and Radio City Music Hall. “Art Deco City: New York Postcards from the Leonard A. Lauder Collection” also showcases ephemera, clothing and film clips from the era.

And in London, the Victoria and Albert Museum has a collection of day and evening outfits, jewelry, textiles and costumes from Les Ballets Russes that were a big influence on fashion.

“Ask three historians to define the term Art Deco, and you’ll likely get three varying answers,” design writer Arricca Elin Sansone said last year in a story for Elle Décor. “Art Deco is many different things to different people, and its evolution is as unique as its expression in architecture, interior design, decorative arts and fashion.”

Emerging after World War I, the original Art Deco era embodied a spirit of creativity, freedom and innovation. With modernity and exuberance on full display, the 1920s and early ’30s became one of the most design-influential periods in history.

Those early 1930s saw the blooming of the style in Miami, too, where South Beach’s Art Deco District is a draw for visitors and a hub for design.

And in Paris, organizers of the 2024 Olympics created Art Deco posters last year to celebrate the games and mark the centennial since the 1924 Olympics, which Paris also hosted. They said the vivid posters were meant to celebrate the style’s colorful and flamboyant influence on the city’s landscape.

In cities around the world during that era, squat urban landscapes morphed into canyons of soaring skyscrapers. Public and private spaces embraced geometric motifs, luxurious materials and an urbane appeal. In transportation, faster cars and sleeker trains hinted at a dynamic new age, while the jazz-fueled nightclub scene brought people out to celebrate.

That same energy infused the shift from restrictive corsets to sensuous, liberated silhouettes. It was the bee’s knees, the cat’s pajamas, the Roaring Twenties. Flapper style reflected changing roles for women in society, says design blogger Courtney Price.

On today’s runways and red carpets, shimmering gold-and-black satin gowns evoke Jazz Age sparkle, often adorned with crystals and feathers. Celebrities like Zendaya, Gigi Hadid, Beyoncé and Demi Lovato have embraced bobs and finger waves, channeling the allure of the Deco era in fresh ways.

“The aesthetic of the 1920s is enjoying a fashionable renaissance,” says Kirsty Thatcher of the Australian fashion magazine Russh. “Drop-waist dresses, sleek bobs and layers of pearls dominate runways and street style alike.”

Giorgio Armani evoked the period in this year’s fall couture display in Paris with pearls, velvets, silk chiffons, sequins and more. The models were accompanied by nostalgic jazz music as they walked. Chanel and Dior’s F/W ’24 collections also gave a nod, with elongated boyish silhouettes, tweed and cinched waists, feathers, pleats and slinky slip dresses.

“The boldness and elegance of Art Deco are what appeals to me,” says New York-based interior designer Vanessa DeLeon, a frequent presence on HGTV and Bravo.

In her interiors, deep hues like emerald and ebony meet gleaming metallic accents and stylized prints. DeLeon’s latest lighting collection pays homage to Deco’s signature frosted glass and polished metal fixtures.

Jamie Watkins and Tom Kennedy of the London design house Divine Savages infuse their collections with cheeky nods to Deco’s architectural drama. Their “Deco Martini” print marries a classic fan motif with a swanky cocktail glass, conjuring visions of Jay Gatsby’s parties. “Gershwing” layers luscious feather shapes into a decadent statement piece.

“Art Deco was synonymous with glamour and luxury,” says Watkins. “It’s no wonder we’re drawn to it again.”

Designer and lifestyles maven Athena Calderone, in collaboration with Crate & Barrel, invokes cinematic Art Deco silhouettes with alabaster sconces, curvilinear club chairs and geometric-patterned furnishings. The vibe is Manhattan, Paris and Duke Ellington.

For true Deco devotees, that exhibition at the Museum of the City of New York’s exhibition is a must-see.

Co-curator Lynda Klich notes that postcards were the social media of their day, with travelers busily scribbling messages to friends and family. The city’s now-iconic Deco buildings feature prominently in over 250 postcards, plus a selection of 1920s-era gowns, shoes and accessories.

“More than an aesthetic, Art Deco was the look that sold the city to the world,” says curator Lilly Tuttle.

New York-based writer Kim Cook covers design and decor topics regularly for The AP. Follow her on Instagram at @kimcookhome.

Peter Yarrow of folk-music trio Peter, Paul and Mary dies at 86 – National | Globalnews.ca

Peter Yarrow, the singer-songwriter best known as one-third of Peter, Paul and Mary, the folk-music trio whose impassioned harmonies transfixed millions as they lifted their voices in favour of civil rights and against war, has died. He was 86.

Yarrow, who also co-wrote the group’s most enduring song, Puff the Magic Dragon, died Tuesday in New York, publicist Ken Sunshine said. Yarrow had bladder cancer for the past four years.

“Our fearless dragon is tired and has entered the last chapter of his magnificent life. The world knows Peter Yarrow the iconic folk activist, but the human being behind the legend is every bit as generous, creative, passionate, playful, and wise as his lyrics suggest,” his daughter Bethany said in a statement.

During an incredible run of success spanning the 1960s, Yarrow, Noel Paul Stookey and Mary Travers released six Billboard Top 10 singles, two No. 1 albums and won five Grammys.

They also brought early exposure to Bob Dylan by turning two of his songs, Don’t Think Twice, It’s All Right and Blowin’ in the Wind, into Billboard Top 10 hits as they helped lead an American renaissance in folk music. They performed Blowin’ in the Wind at the 1963 March on Washington at which the Rev. Martin Luther King Jr. delivered his famous “I Have a Dream” speech.

Yarrow played roles onstage and offstage at the iconic Newport Folk Festival in 1965 when Dylan went electric. Yarrow was on the festival board and emceed the show, begged Dylan to go back on to play another song after his blistering set, a scene captured in the 2024 biopic A Complete Unknown. Dylan took Yarrow’s acoustic guitar and played It’s All Over Now, Baby Blue.

After an eight-year hiatus to pursue solo careers, the trio reunited in 1978 for a “Survival Sunday,” an anti-nuclear-power concert that Yarrow had organized in Los Angeles. They would remain together until Travers’ death in 2009. Yarrow and Stookey continued to perform both separately and together.

After recording their last No. 1 hit, a 1969 cover of John Denver’s Leaving on a Jet Plane, the trio split up the following year to pursue solo careers.

That same year Yarrow had pleaded guilty to taking indecent liberties with a 14-year-old girl who had come to his hotel room with her older sister to ask for autographs. The pair found him naked when he answered the door and let them in. Yarrow, who resumed his career after serving three months in jail, was pardoned by President Jimmy Carter in 1981. Over the decades, he apologized repeatedly.

“I fully support the current movements demanding equal rights for all and refusing to allow continued abuse and injury — most particularly of a sexual nature, of which I am, with great sorrow, guilty,” he told The New York Times in 2019 after being disinvited from a festival over the sentence.

Born May 31, 1938, in New York, Yarrow was raised in an upper middle class family he said placed high value on art and scholarship. He took violin lessons as a child, later switching to guitar as he came to embrace the work of such folk-music icons as Woody Guthrie and Pete Seeger.

Upon graduating from Cornell University in 1959, he returned to New York, where he worked as a struggling Greenwich Village musician until connecting with Stookey and Travers. Although his degree was in psychology, he had found his true calling in folk music at Cornell when he worked as a teaching assistant for a class in American folklore his senior year.

“I did it for the money because I wanted to wash dishes less and play guitar more,” he told the late record company executive Joe Smith. But as he led the class in song, he began to discover the emotional impact music could have on an audience.

“I saw these young people at Cornell who were basically very conservative in their backgrounds opening their hearts up and singing with an emotionality and a concern through this vehicle called folk music,” he said. “It gave me a clue that the world was on its way to a certain kind of movement, and that folk music might play a part in it and that I might play a part in folk music.”

Soon after returning to New York, he met impresario Albert Grossman, who would go on to manage Dylan, Janis Joplin and others and who at the time was looking to put together a group that would rival the Kingston Trio, which in 1958 had a hit version of the traditional folk ballad “Tom Dooley.”

But Grossman wanted a trio with a female singer and a member who could be funny enough to keep an audience engaged with comic patter. For the latter, Yarrow suggested a guitar-strumming Greenwich Village comic he’d seen named Noel Stookey.

Stookey, who would use his middle name as a member of the group, happened to be a friend of Travers, who as a teenager had performed and recorded with Pete Seeger and others. Gripped by stage fright, she was reluctant to join the pair at first, changing her mind after she heard how well her contralto voice melded with Yarrow’s tenor and Stookey’s baritone.

“We called Noel up. He was there,” Yarrow said, recalling the first time the three performed together. “We mentioned a bunch of folk songs, which he didn’t know because he didn’t have a real folk-music background, and wound up singing Mary Had a Little Lamb. And it was immediately great, was just as clear as a bell, and we started working.”

They could also show a soft and poignant side, particularly on Puff the Magic Dragon, which Yarrow had written during his Cornell years with college friend Leonard Lipton.

It tells the tale of Jackie Paper, a young boy who embarks on countless adventures with his make-believe dragon friend until he outgrows such childhood fantasies and leaves a sobbing, heartbroken Puff behind. As Yarrow explains: “A dragon lives forever, but not so little boys.”

Some insisted they heard drug references in the song, a contention at the heart of a famous scene in the film Meet the Parents, when Ben Stiller angers his girlfriend’s tightly wound father (Robert De Niro) by saying “puff” refers to marijuana smoke. Yarrow maintained it reflected the loss of childhood innocence and nothing more.

Over the years, Yarrow continued to write and co-write songs, including the 1976 hit Torn Between Two Lovers for Mary MacGregor. He received an Emmy nomination in 1979 for the animated film Puff the Magic Dragon.

Later songs include the civil rights anthem No Easy Walk to Freedom, co-written with Margery Tabankin, and Light One Candle, calling for peace in Lebanon.

Yarrow, who with Travers and Stookey had supported Democratic Sen. Eugene McCarthy’s 1968 presidential bid, met the Minnesota senator’s niece, Mary Beth McCarthy, at a campaign event. The couple married the following year. They had two children before divorcing. They remarried in 2022.

In addition to his wife and daughter, he is survived by a son, Christopher, and a granddaughter, Valentina.

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Lisa Kudrow finds secret note from ‘Friends’ co-star Matthew Perry…

Lisa Kudrow recently discovered a secret note from her late friend and “Friends” co-star Matthew Perry — one year after the beloved actor’s death.

Appearing on the “Drew Barrymore Show” Tuesday, Kudrow, 61, revealed that the note was penned by Perry during the filming of the “Friends” finale back in 2004.

“Matthew gave that to me at the end of our last episode,” Kudrow, who played Phoebe Buffay on the hit NBC sitcom, told Barrymore.

“I had recently found the note that he had in it for me. I hadn’t opened it up or looked inside of it. But yeah, he did. He had a note in there and I forgot about it.”

Perry died from a fatal overdose in Oct. 2023 at his Pacific Palisades, Calif. home at the age of 54.

He hid the note inside a cookie jar that served as a prop from the famous set.

Kudrow chose not to divulge what the note had said, but added that “timing is everything.”

The actress previously explained just how special the cookie jar, which boasts a clock on it with the words, “Cookie Time,” was to her.

In 2020, she told Jimmy Kimmel that Perry cheekily swiped the prop from the set to give to her.

“We’re shooting a scene, years before we were finished, and my line was, ‘Oh! I better get going,’ like, ‘Oh! I’m late, I better get going,’” Kudrow recalled, explaining that her “Friends” character was supposed to check the time as she spoke, but Kudrow didn’t have a watch.

“As the words were coming out, I went, ‘Oh, good, there’s a clock.’ I gestured to that, and said, ‘Oh! Look at the time. I gotta get going.’ And during shooting, Matthew said, ‘Did you look at the cookie jar and say look at the time?’ “

Perry gifted Kudrow the cookie jar when the show ended in 2004.

“I think the first thing I asked was, ‘This was so nice — did you get permission?’ I mean, my car used to get searched every night when I left,” Kudrow laughed.

Last summer, Kudrow said that she began re-watching “Friends” as a way to honor her late co-star.

“Honestly, I wasn’t able to watch it because it’s too embarrassing to watch yourself,” Kudrow told the Hollywood Reporter.

“But if I make it about Matthew, then that’s OK,” she added. “And it’s just celebrating how hilarious he was — and that is what I want to remember [about him].”

In addition to Kudrow’s character, the main cast of “Friends” included Perry as Chandler Bing, David Schwimmer as Ross Gellar, Jennifer Aniston as Rachel Green, Matt LeBlanc as Joey Tribbiani, and Courteney Cox as Monica Gellar.

Perry — who struggled with addiction — was found submerged and unresponsive in the hot tub at his home in Los Angeles.

A number of prescriptions were found in his system including ketamine, which was ruled as the cause of his death.

An investigation into his tragic death is ongoing.

Netflix’s new No.1 show is ‘WWE Raw’ — here’s every major moment

Settling into my couch as Netflix’s first-ever broadcast of WWE Raw began streaming, I couldn’t help but marvel at the sight of Los Angeles’ Intuit Dome — 18,000 fans packed to the rafters, phones raised to capture history in the making. Even through my TV screen, the electricity was undeniable.

We might be witnessing the dawn of wrestling’s next golden age. Just as the “Attitude Era” of the late ’90s captured lightning in a bottle through cable television, this Netflix deal could expose an entirely new generation to the unique blend of athletics and storytelling that makes professional wrestling something special.

And boy, did WWE throw everything but the kitchen sink at making this debut memorable — though perhaps that sink might have helped in places.

The historic evening kicked off with a nostalgia-rich montage celebrating Raw’s 31-year journey, before “The Game” Triple H, now WWE’s creative head, welcomed viewers to this new chapter. The symbolism wasn’t subtle, but it was effective — wrestling’s past meeting its streaming future.

Triple H, ever the master of grand pronouncements, managed to make this feel less like a corporate handover and more like a torch-passing moment for the industry. For the uninitiated jumping into WWE for the first time, the show delivered star power in spades. Dwayne “The Rock” Johnson made a thrilling appearance, not as the villainous “Final Boss” character (known as a “heel” in wrestling parlance) we’ve seen recently.

Instead, he played babyface Rocky (good guy), revisiting his iconic phrases and chants, with the crowd elatedly hanging onto every word. And, in a shocking turn of events, praised and then embraced former rival Cody Rhodes, in a moment that subverted fan expectations.

While a heartwarming display that gave us all the feels (perhaps due to his daughters sat at ringside), I also felt a twinge of anticipation. The heel version of The Rock is pure gold, and this friendly, crowd-pleasing version felt like sowing a turn-seed of epic proportions.

Roman Reigns “OTC” and Solo Sikoa settled their differences in Tribal Combat, with the ula fala and status as the undisputed Tribal Chief hanging in the balance. The Bloodline saga has been wrestling’s most organically engaging storyline in years, blending the fictional world of wrestling with authentic Samoan culture and tradition.

In this match, the concept of family leadership carries profound real-world weight. In a moment thick with tension, The Rock strode to ringside after Reigns established his dominance over Sikoa. The Great One took the ula fala — a sacred Samoan symbol of leadership passed down through generations — from Paul Heyman and placed it around Reigns’ neck.

The question hanging in the air wasn’t just about who leads The Bloodline, but who truly sits at the head of the table in one of wrestling’s most storied families.

John Cena’s segment was also a stand-out, announcing 2025 as his final year competing. The 16-time world champion masterfully worked the crowd, hinting towards one last title run through a potential Royal Rumble victory. As always, Cena was on top form, cutting a perfect promo that displayed initial hesitation about his championship aspirations. This transformed into a lightbulb moment about the prospect of competing in the Royal Rumble, that had the crowd eating out of his hand.

In-ring action peaked with CM Punk versus Seth Rollins, a match where their real-life animosity added an extra layer of intensity to every move. Their genuine dislike for each other has created something special — a feud where the line between performance and reality is deliciously blurred.

The match’s climax came when Rollins rebounded off the ropes and slumped onto Punk’s shoulders, setting up a perfectly executed Go To Sleep for the win. What made this contest particularly interesting was its throwback feel. This style of wrestling doesn’t always connect with today’s audience, but it was a masterclass for fans who appreciate wrestling’s grittier roots. Although the match lived up to the hype, ending it on Raw feels like leaving a story half-told.

The show brought some incredible production flourishes, none more electrifying than Travis Scott’s involvement. His unreleased “4×4” track debuting as Raw’s new theme song was an instant hit, perfectly capturing the show’s energy.

But the real magic happened when Scott escorted Jey Uso to the ring — the Intuit Dome nearly exploded as Scott, championship belt proudly slung over his shoulder and fully embracing his role, escorted Uso to the ring. Jey emerged in his hot pink “YEET” attire while Scott hyped up the crowd. The whole entrance felt larger than life, exactly the kind of cross-cultural moment that makes wrestling special.

The energy carried through to Uso’s match against Drew McIntyre, where Jey proved why he’s become one of WWE’s most compelling singles competitors. Uso managed to outwit “The Scottish Warrior” in an epic showdown that had me on the edge of my seat. The victory felt earned, showcasing just how far Jey’s come since breaking away from The Bloodline.

The Women’s World Championship match delivered, with Rhea Ripley proving why she’s the dominant force in women’s wrestling by defeating Liv Morgan.

After the match, “Mami” even took time to put an exclamation point on her night by hitting her signature Riptide finisher on former ally “Dirty” Dominik Mysterio, leaving him crumpled in the ring.

What should have been Ripley’s moment to shine was overshadowed by The Undertaker’s appearance. Instead of hearing the bone-chilling gong that makes every wrestling fan’s hair stand on end, we got the American Badass version of Taker, rumbling around the ring on his motorcycle. Don’t get me wrong, “Biker Taker” has its place in wrestling history — but this moment was crying out for the Deadman.

While Ripley’s dominant victory wasn’t overshadowed per se, Taker’s appearance felt lacklustre and shoehorned into the segment. Still, on a night meant to bridge wrestling’s past and future, I get it.

The most telling moment came when Hulk Hogan appeared to promote his Real American Beer brand, only to be met with resounding boos — a stark reminder that today’s wrestling audience demands more than just nostalgia acts and commercial plugs.

Despite some growing pains, the potential here is undeniable. With Netflix’s global reach and WWE’s proven ability to create compelling characters and storylines, we could be entering professional wrestling’s most accessible and potentially most influential era yet. The ring may have moved from broadcast TV to streaming, but the magic of WWE — when it hits right — remains as potent as ever.

The success of this new partnership won’t be measured by one night alone. Just as other eras took time to find its footing, this new chapter will need space to develop its own identity. The audio mixing needs work, the ad placement could use refinement, and someone needs to have a serious conversation about pacing.

With more eyes on the product than ever before and the technical capabilities to reach viewers worldwide instantly, WWE on Netflix could very well usher in professional wrestling’s next revolutionary period. The ropes are still the same, but the ring just got a whole lot bigger — let’s just hope they figure out how to properly mic it.

Hugh Jackman and Sutton Foster Confirm Relationship

The former Music Man co-stars have been the subject of rumors since 2022.

Sutton Foster and Hugh Jackman are making their romance official! The two former Music Man co-stars stepped out together on Monday, Jan. 6 after plenty of speculation surrounding their relationship.

The couple holds hands in new photos published by PEOPLE while out for dinner in Santa Monica, Calif. Jackman, 56, looked sharp clad in a dark jacket and white jeans while the Once Upon a Mattress star, 49, sported a camel trench coat over a green dress.

Both the Deadpool & Wolverine star and the Younger alum have gone through divorces within the past couple of years. In September 2023, Jackman and his wife of almost 30 years, Deborra-Lee Furness, announced their split.

More than a year later, Foster filed for divorce from her husband of 10 years, Ted Griffin, with whom she shares 7-year-old daughter Emily. (The Tony Award-winning actress was also previously married to Smash actor Christian Borle from 2006 to 2009.)

Jackman and Furness released a statement at the time of their split, saying that their family, including kids Oscar, 24, and Ava, 19, are their priority still. “We have been blessed to share almost 3 decades together as husband and wife in a wonderful, loving marriage,” the pair told PEOPLE at the time. “Our journey now is shifting and we have decided to separate to pursue our individual growth.”

Jackman and Foster have always spoken highly of one another since starring together on Broadway as Harold Hill and Marian Paroo in the 2022 revival of The Music Man. “He has an impeccable reputation of being the hardest working man, incredibly kind, and generous — and all of that is true,” Foster told Vogue of Jackman in 2022. “He’s now become one of my best friends, which was a surprise, because you usually go into these things thinking, ‘Well, I hope we get along.’ But we just spent Memorial Day with our families. It’s really fun to meet new friends after 40.”

She also commented on their onstage chemistry, which audience members at the time thought could be indicative of real-life feelings. “One of the things that our director said early on was when you’re watching two characters fall in love, you look for the moments where they make each other smile,” the Thoroughly Modern Millie star continued. “So it’s sort of birthed out of that, and it’s a spontaneous moment that’s different every single night. It toes that line of, is it Harold and Marian, or Hugh and Sutton?”

‘Holes’ TV Series Picked Up to Pilot by Disney+ (EXCLUSIVE)

A “Holes” TV series has been ordered to pilot at Disney+, Variety has learned exclusively.

The potential show would be based on the book of the same name by Louis Sachar, which was previously adapted into a 2003 feature film by Walt Disney Pictures.

Alina Mankin serves as writer and executive producer, while Liz Phang will serve as showrunner and executive producer. Drew Goddard will executive produce via Goddard Textiles along with Sarah Esberg. Walden Media, which produced the film, is also producing the pilot and has been attempting to get a series version of the book off the ground for some time, according to sources. Mike Medavoy will executive produce with rights holder Shamrock executive producing. Andrea Massaro of Goddard Textiles is a co-executive producer. 20th Television, where Goddard is based, is the studio.

The official logline for the project states, “In this reimagining of the beloved 1998 book from Louis Sachar, a teenage girl is sent to a detention camp where the ruthless Warden forces the campers to dig holes for a mysterious purpose.”

The book told the story of Stanley Yelnats, an unlucky boy who is sent to a juvenile detention camp for a crime he did not commit. Now incarcerated at Camp Green Lake, Stanley is forced to spend his days digging holes in a dry lake bed. But as the story unfolds, Stanley discovers that both his own story and the story of his family are more connected to Camp Green Lake than he could have ever imagined.

“Holes” was originally published in 1998 and went on to win both the National Book Award and Newbery Medal. The book has sold several million copies to date. Sachar has published dozens of other books as well, including the popular “Wayside School” series and the “Marvin Redpost” books. He also wrote the book “Stanley Yelnats’ Survival Guide to Camp Green Lake” ahead of the film version’s release and the spinoff book “Small Steps,” which tells the story of “Holes” character Theodore “Armpit” Johnson.

“My mom’s been a schoolteacher for her whole life and, as such, she’s served as a de facto book scout for Goddard Textiles,” Goddard said in an interview with Variety. “She always knows what ‘the kids’ are into long before everyone else does. ‘Holes’ was the first book she suggested to me – this was back in the late ’90s – and she was positive it was going to be a phenomenon. It feels good to bring it full circle for Mrs. Goddard and her sixth grade class.”

The 2003 film version of “Holes” starred Shia LaBeouf as Stanley, with Sigourney Weaver, Khleo Thomas, Jon Voight, Tim Blake Nelson, Patricia Arquette, Dulé Hill, and Eartha Kitt also starring. Sachar wrote the screenplay with Andrew Davis directing. The film was a box office success, grossing an estimated $71 million worldwide against a reported budget of $20 million.

Besides the critically acclaimed ABC series “Lodge 49,” Mankin’s past TV credits include the “Katy Keene” TV series at The CW, Fox/Hulu’s “The Mindy Project” and the Netflix series “Anne with an E.” Phang, meanwhile, has worked on critically acclaimed shows like Showtime’s “Yellowjackets,” “Foundation” at Apple TV+, and “The Haunting of Hill House” and “Locke & Key” at Netflix.

“They’ve done a wonderful job capturing Louis Sachar’s unique spirit,” Goddard added. “To say much more about what they have in store would spoil all the fun.”

Mankin is repped by UTA and Kaplan / Perrone Entertainment. Phang is repped by WME and Yorn Levine. Goddard is repped by UTA and Hansen Jacobson.

Noel Gallagher joins new band with Ringo Starr’s son months before Oasis tour

Noel Gallagher has joined a new band – just months before Oasis hit the road.

Gallagher has joined supergroup Mantra Of The Cosmos, led by the son of Beatles drummer Sir Ringo Starr, on their new psychedelic track. The song, titled Domino Bones (Gets Dangerous), features Gallagher alongside Happy Mondays singer Shaun Ryder on vocals, former Oasis guitarist Andy Bell, Sir Ringo’s son Zak Starkey on drums and Happy Mondays’ Mark “Bez” Berry on percussion.

It comes after Gallagher announced the Britpop band he formed with his brother Liam was reuniting for a 2025 world tour. “Mantra Of The Cosmos is like Dylan, Dali and Ginsberg on a rocket ship to the moon to have it with the clangers,” Gallagher said. Starkey first met Gallagher in a London rehearsal room in early 1995 when he was in a band called Face before he began drumming for Oasis in 2004 – playing on albums Don’t Believe The Truth and Dig Your Own Soul.

Speaking about Domino Bones, Starkey said: “It’s not every day that the greatest songwriter of my generation – not to mention Shaun, the greatest beat poet of our times – sends a tune to me and I was in a daze for a bit cos it’s not something you want to f*** up.

“It came together great – everyone digs it. Noel loves Shaun. He texted me to say ‘Do you know what you’ve got? The British Bob Dylan’ – and he’s not f****g about because now I’ve witnessed what Shaun does. Noel calls him the ‘king of lyrics’.” Starkey first met Ryder in 2015, during the filming of the revival of TFI Friday on Channel 4.

“Shaun was on the show, and we literally said hello for five minutes and then a photograph – and that was it. Then I just cold-called him about this group, which I didn’t want to be about guitars – I wanted to be about his words. He immediately said yes. I asked if his mate (Bez) was going to be in it and he said ‘He doesn’t know yet – but he is’.”

Domino Bones (Gets Dangerous) – the name of Bez’s first band – is the supergroup’s latest single after Gorilla Guerilla and X (Wot You Sayin?) in 2023 – the same year the band made its debut at Glastonbury Festival. Starkey, who has only visited Liverpool once before, will take to the stage with the band to play two sets on January 19 at the Cavern Club – made famous by the Beatles.

“Can’t believe I’ve never even been there,” he said. “There’s a great deal of family heritage at the Cavern, aside from the Beatles, my parents courted there… Who knows I may have even been conceived there.” Gallagher’s appearance on the new Mantra Of The Cosmos single comes following the reunion with his brother.

Around 15 years after their explosive split, prompted by a backstage brawl at the Rock en Seine festival in Paris, the brothers confirmed Oasis would be back for a long-awaited world tour in 2025. The Mancunian rockers seem to have put their differences aside so fans can relive the group’s 1990s glory days by hearing the band perform hits including Wonderwall, Don’t Look Back In Anger and Stop Crying Your Heart Out live.

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Paris Jackson celebrates 5 years of sobriety from alcohol and heroin…

Paris Jackson celebrated five years of sobriety from alcohol and heroin with an emotional video shared to her Instagram on Tuesday.

“hi, i’m pk and i’m an alcoholic and a heroin addict,” Jackson, 26, wrote in the caption of her post on Jan. 7.

The video began with a montage of clips in which she was seen drinking booze and using drugs and transitioned into showing her enjoying several happy moments in life.

“Today marks 5 years clean & sober from all drugs and alcohol,” she continued. “to say that i’m thankful would be a poor euphemism.”

The daughter of the late Michael Jackson admitted that the word gratitude “hardly scratches the surface” of how she is feeling about reaching the milestone.

“it’s because i’m sober that i get to smile today. i get to make music. i get to experience the joy of loving my dogs and cat,” she wrote. “i get to feel heartbreak in all it’s glory. i get to grieve. i get to laugh. i get to dance. i get to trust. i feel the sun on my skin and it’s warm.”

She continued, “i’ve found that life keeps happening regardless of whether i’m sober or not, but today i get to show up for it.”

Paris said that the powerful video was a “little snapshot” of how she has been able to live her life because of her sobriety.

“My god i can’t believe i almost missed it all. thanks,” she concluded, along with Tuesday’s date.

The video showed the “Running For So Long” singer before she was clean and captured her partying and, at one point, crying amid her addiction.

Paris then proudly showed photos of her sobriety chips after being sober for one day, five months, six months, nine months, 18 months, 1 year, 11 months, two years, three years, four years and five years.

The model posted back-to-back clips laughing and dancing with friends.

She was also seen making music, meeting a baby bat, walking the red carpet at a Christian Louboutin event during Paris Fashion Week 2023, performing live on a stage, and rock climbing.

She featured her fiancé Justin Long in several clips where the duo looked cuddly and loved up, as well as some blissful moments she spent with her dogs.

“To those that helped me on this journey, if only for just the beginning, middle, or the whole time so far, you know who you are and i owe you my life. Thank you,” she wrote in the video, adding, “5 years. THANK GOD.”

Paris reportedly checked into a treatment facility for her emotional health in 2019.

The “Gringo” actress revealed that she had engaged in cutting herself and attempted suicide.

“It was just self-hatred, low self-esteem, thinking that I couldn’t do anything right, not thinking I was worthy of living anymore,” Paris told Rolling Stone magazine in 2017.

“I was crazy. I was actually crazy,” she said at the time. “I was going through a lot of, like teen, angst. And I was also dealing with my depression and my anxiety without any help.”

Here’s why Hulk Hogan got booed out of the building on WWE’s Netflix debut

WWE’s flagship show, “Monday Night Raw,” made its much anticipated debut on Netflix on, well, Monday. Streaming live from the Intuit Dome, several former stars returned, giving the show a bit of a “Wrestlemania” feel.

After Paul “Triple H” Levesque opened the show talking about WWE’s rich history, Dwayne “The Rock” Johnson came out to praise WWE and Netflix (Netflix was praised so often during the show it felt like WWE was Eddie Haskell and Netflix was Mrs. Cleaver).

John Cena returned as the first part of his farewell tour, with it already being announced that this will be his last year as a wrestler. After telling fans there was no path to him winning the title for a record 17th time, he then remembered you can get a title shot if you win the “Royal Rumble” match, and declared himself an entrant in the match, to be held in three weeks.

After Rhea Ripley won the Raw women’s title from Liv Morgan, a familiar gong sound was heard. That signaled the return of The Undertaker, who rode out on his motorcycle and posed with Ripley.

Really, all that was missing Monday was Shawn Michaels, Bret Hart, Steve Austin and Mick Foley to make the Attitude Era reunion complete.

But wait, there was one more old name who came out Monday. A guy who helped pro wrestling reach new heights in the 80s, and again in the 90s as part of the NWO. After a commercial break, the familiar opening of “Real American” hit and out came Hulk Hogan, with his longtime manager Jimmy Hart waving the American flag.

Except Hogan, who has probably received more cheers than anyone in wrestling history, was met with overwhelming boos. On a night where the Intuit Dome crowd was cheering almost everything, the immortal Hulk Hogan was booed out of the building. Hogan began with his usual catchphrase, brother, and was booed. He talked about how great the fans were, and was booed. He talked about Randy Savage and Andre the Giant, and was booed. He talked about his new beer, and was booed. He talked about how great Netflix is, and was booed. He tore his T-shirt off, just like the old days, and was booed. Even the American flag couldn’t save him.

Even Hogan seemed taken aback by the reaction. He finished his promo, posed for a second, and shuffled off to the back, getting booed all the way.

Afterward, on social media, people were speculating as to why. Most figured it was because he came out in support of Donald Trump. But that’s not it. Maybe for a few, but not the majority. After all, The Undertaker had Trump on his podcast and was cheered louder than anyone. Levesque and his wife, Stephanie McMahon, were at Trump’s New Year’s Eve party, and they were both cheered loudly.

In 2015, Hogan was embroiled in controversy after a tape was released of him using a racial slur to describe his daughter’s then boyfriend. WWE removed him from its Hall of Fame, reinstating him later when he apologized for his comments. He returned to live WWE events at the 2021 “Wrestlemania” and, guess what, he was booed loudly then too. Monday in Inglewood was his first live TV appearance in front of an audience since then.

Overall, it was a great night for WWE, who put on a strong show. But it will be a big surprise if we ever see Hogan live on WWE television again.

Is Justin Baldoni’s Legal Team Taking a ‘Blame the Victim’ Approach Against Blake Lively?

The ongoing back-and-forth accusations between Blake Lively and Justin Baldoni have generated more than their hit drama It Ends With Us, a film where this debacle officially began. Lively first filed a complaint with California’s Civil Rights Department against Baldoni, citing sexual harassment and a calculated smear campaign to sully her name during the film’s promotion.

This was then followed by a lawsuit from Stephanie Jones, who was once the head of Baldoni’s old PR firm, who alleged defamation and breach of contract against Baldoni, Wayfarer Studios, and publicists Melissa Nathan and Jennifer Abel.

Not one to have all the attacks against him, Baldoni then sued The New York Times for $250 million, which alleged that their piece reporting Lively’s claims was libel. Finally, on New Year’s Eve, Lively doubled down on her CRD filing by filing a sexual harassment lawsuit in New York against Baldoni and his team. It’s all hard to keep up and more is to come, but Lively’s lawyers say that Baldoni’s suit against The New York Times only serves to “blame the victim” in the media.

Per Deadline, Lively’s Manatt, Phelps & Phillips attorneys want to make it clear that their client filings are very serious and aren’t about media attention or distorting the truth. The lawyer team said, “Ms. Lively’s federal litigation before the Southern District of New York involves serious claims of sexual harassment and retaliation, backed by concrete facts.”

They then go on to insist that the lawsuit isn’t about creative differences over a film or a feud playing out between a director and big Hollywood players. This is something that references claims made by Baldoni’s attorney, Bryan Freedman, after an appearance on NewsNation that took aim at the New York Times article, Lively, and her husband, Ryan Reynolds.

“This is not a ‘feud’ arising from ‘creative differences; or a ‘he said/she said’ situation. As alleged in Ms. Lively’s complaint, and as we will prove in litigation, Wayfarer and its associates engaged in unlawful, retaliatory astroturfing against Ms. Lively for simply trying to protect herself and others on a film set. And their response to the lawsuit has been to launch more attacks against Ms. Lively since her filing.”

The It Ends With Us Drama Has Been a He Said/She Said Close

All of this drama has been playing out in the media between their respective lawyers. Probably on the advice of their attorneys, Lively hasn’t spoken publicly about the matter and neither has Baldoni. What is happening instead is both sides trying to create their own narratives of what happened as they all try to fix their respective images.

At the moment, Lively has proved more successful in changing the attitudes of public opinion with more high-profile support, while Baldoni has been dropped by his agency, WME. From Baldoni’s side of things, he and his team have seemed to try to present all of this as two powerful Hollywood figures who used their status to bully him and his team during and after the filming of It Ends With Us.

Related ‘It Ends with Us’ Author Colleen Hoover Weighs In on the Blake Lively Lawsuit

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On the one hand, Lively’s lawyers want to keep the focus on sexual harassment and how it has no place in any work environment. Lively’s legal team said:

“While we go through the legal process, we urge everyone to remember that sexual harassment and retaliation are illegal in every workplace and in every industry. A classic tactic to distract from allegations of this type of misconduct is to “blame the victim” by suggesting that they invited this conduct, brought it on themselves, misunderstood the intentions, or even lied. Another classic tactic is to reverse the victim and offender and suggest that the offender is actually the victim.”

For Baldoni’s part, his attorney states that:

“We are releasing all of the evidence which will show a pattern of bullying and threats to take over the movie. None of this will come as a surprise because, consistent with her past behavior, Blake Lively used other people to communicate those threats and bully her way to get whatever she wanted. We have all the receipts and more.”

Yeah, this isn’t going anywhere anytime soon.

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It Ends With Us PG-13

Based on Colleen Hoover’s 2016 novel, It Ends With Us is a drama-romance film directed by Justin Baldoni. The film follows a recent college graduate named Lily, who meets a man named Ryle and falls in love with him. However, a traumatic incident compounded with her former high-school sweetheart re-entering her life complicates her plans.

Release Date August 9, 2024 Director Justin Baldoni Runtime 130 Minutes Cast Blake Lively , Justin Baldoni , Brandon Sklenar , Jenny Slate , Hasan Minhaj , Amy Morton , Kevin McKidd , Isabela Ferrer , Alex Neustaedter , Robert Clohessy , Robyn Lively , Megan Robinson , Robin S. Walker , Emily Baldoni , Adam Mondschein , Caroline Siegrist , Steve Monroe , Daphne Zelle Main Genre Romance Expand