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    Garth Brooks Thanks Lady GaGa's Team for Helping Him Get Ready for Inauguration Performance

    WENN

    The country music singer has reached out to the Mother Monster on social media to express his gratitude after her hair and makeup team helped him get ready for inauguration gig.

    Jan 23, 2021
    AceShowbiz – Country star Garth Brooks needed a little help from Lady GaGa’s hair and makeup team to look camera ready for his Inauguration Day performance in Washington, D.C. on Wednesday (20Jan21).
    The hitmaker, who sang “Amazing Grace” after Joe Biden was sworn in as America’s 46th President, has publicly thanked Sarah Tanner and Frederic Aspiras for agreeing to give him a touch up before the big gig, which was watched by millions around the world.
    Taking to Twitter, the grateful star wrote, “@ladygaga You were fabulous today and everyday A national treasure. Please tell Frederick (sic) and Miss Sarah thank you for me! They saved a cowboy today.”
    “Oh, and tell Miss Sarah to hug her momma for me!”
    Aspiras has responded, “It was truly an honor helping you with hair for your beautiful inauguration performance.”

      See also…

    Lady Gaga performed the U.S. National Anthem during the inauguration.
    Both Garth Brooks and Lady GaGa along with another musical guest Jennifer Lopez were lauded for their moving performances.
    Sophia Bush wrote, “That moment. Inviting everyone in America to sing ‘Amazing Grace’ together … it was hard to get the words out through tears. But it felt beautiful to do that with folks all across the country.”
    “Amazing Grace, indeed,” remarked Kim Cattrall.
    Meanwhile, Bette Midler hailed GaGa for her “sensational version” of the national anthem and applauded J.Lo for “another great new version of two American standards.”
    Monty Python star Eric Idle was moved to tears by Gaga’s delivery and “The Hangover” star Ed Helms declared, “I AM GAGA FOR GAGA!!! So amazing!!!”

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    Jimmie Rodgers, Who Sang ‘Honeycomb’ and Other Hits, Dies at 87

    AdvertisementContinue reading the main storySupported byContinue reading the main storyJimmie Rodgers, Who Sang ‘Honeycomb’ and Other Hits, Dies at 87His crossover appeal landed him on the charts often in the 1950s and ’60s, but a violent incident in 1967 derailed his career.The singer Jimmie Rodgers in a 1958 publicity photo. He was was a regular presence on the pop, country, R&B and easy listening charts for a decade.Credit…Bettmann ArchiveJan. 22, 2021, 5:21 p.m. ETJimmie Rodgers, whose smooth voice straddled the line between pop and country and brought him a string of hits — none bigger than his first record, “Honeycomb,” in 1957 — died on Monday in Palm Desert, Calif. He was 87.His daughter Michele Rodgers said that the cause was kidney disease and that he had also tested positive for Covid-19.Mr. Rodgers was a regular presence on the pop, country, R&B and easy listening charts for a decade after “Honeycomb,” with records that included “Oh-Oh, I’m Falling in Love Again” (1958) and “Child of Clay” (1967), both of which were nominated for Grammy Awards.He might have continued that run of success but for an ugly incident in December 1967, when he was pulled over by a man who, he later said, was an off-duty Los Angeles police officer and beat him severely.Three brain surgeries followed, and he was left with a metal plate in his head. He eventually resumed performing, and even briefly had his own television show, but he faced constant difficulties. For a time he was sidelined because he started having seizures during concerts.“Once word gets out that you’re having seizures onstage, you can’t work,” he told The News Sentinel of Knoxville, Tenn., in 1998. “People won’t hire you.”Mr. Rodgers was found to have spasmodic dysphonia, a disorder characterized by spasms in the muscles of the voice box, a condition he attributed to his brain injury. Yet he later settled into a comfortable niche as a performer and producer in Branson, Mo., the country music mecca, where he had his own theater for several years before retiring to California in 2002.James Frederick Rodgers was born on Sept. 18, 1933, in Camas, Wash., in the southwest part of the state. (Four months earlier, a more famous Jimmie Rodgers, the singer known as the father of country music, had died; the two were unrelated.) His mother, Mary (Schick) Rodgers, was a piano teacher, and his father, Archie, worked in a paper mill. Jimmie started out singing in church and school groups.After graduating from high school, he briefly attended Clark College in Washington State but left to enlist in the Air Force, serving in Korea during the Korean War. In a 2016 interview with The Spectrum, a Utah newspaper, he recalled one particular evening near Christmas 1953.“I bought a beat-up old guitar from a guy for $10 and started playing and singing one night and all the guys joined in,” he said. “We were sitting on the floor with only candles for light, and these tough soldiers had tears running down their cheeks. I realized if my music could have that effect, that’s what I wanted to do with my life.”Back in the States and stationed near Nashville, he started performing in a nightclub for $10 a night and free drinks before returning to Washington after mustering out. In 1957 he traveled to New York to perform on a TV talent show and also snagged an audition for Roulette Records, singing “Honeycomb,” a Bob Merrill song he had learned off a recording by Georgie Shaw and had been performing in the Nashville club.“They basically said, ‘Don’t go any further, that’s great,’” he said in an interview with Gary James for classicbands.com.Mr. Rodgers in performance in 1969, two years after a violent incident in Los Angeles temporarily ended his career.Credit…Jim McCrary/RedfernsMr. Rodgers was taken to a studio to record what he thought would be a demo with musicians he had only just met.“They brought in four players and three singers and we recorded it in about two hours — no charts, no music,” he said in a 2010 oral history for the National Spasmodic Dysphonia Association.A week or two later, he was surprised to hear the song on the radio. It reached the top of the Billboard pop and R&B charts.Later that year he had another success with his version of a song that had been a hit for the Weavers, “Kisses Sweeter Than Wine,” giving it an up-tempo kick and injecting key changes similar to what he had used in “Honeycomb.”“I was told that they won’t sell — records that change keys, people can’t sing along with them,” Mr. Rodgers recalled in an oral history recorded in 2002 for the National Association of Music Merchants. The public disagreed.His early songs, released as Elvis Presley was shaking up the music scene, were a sort of comfort food, jaunty yet melodic and not too earthshaking. In 1959 his quick popularity earned him his own television variety show, which ran for one season.“If his singing style calls for more emphasis on beat than lilt,” Jack Gould wrote of its premiere in The New York Times, “at least it has the virtue of being well this side of rock ’n’ roll.”Mr. Rodgers’s short-lived acting career included a lead role in the 1964 war movie “Back Door to Hell.” Also in the cast was a young Jack Nicholson.Credit…ImdbMr. Rodgers in concert in 2012. He had his own theater in Branson, Mo., the country music mecca, for several years before retiring to California in 2002.Credit…John Atashian/Getty ImagesMr. Rodgers dabbled in acting in the 1960s, including a leading role in “Back Door to Hell,” a 1964 war movie whose cast also included Jack Nicholson. In 1965, “Honeycomb” found new life when Post introduced a cereal by that name, repurposing the song to advertise it, the jingle sung by Mr. Rodgers. He also sang a SpaghettiOs jingle that riffed on his “Oh-Oh, I’m Falling in Love Again.”Mr. Rodgers said he was under consideration for a featured role in the 1968 movie musical “Finian’s Rainbow” when the encounter on the freeway derailed his career. In his telling, he was driving home late at night when the driver behind him flashed his lights. He thought it was his conductor, who was also driving to Mr. Rodgers’s house, and pulled over.“I rolled the window down to ask what was the matter,” he told The Toronto Star in 1987. “That’s the last thing I remember.”He ended up with a fractured skull and broken arm. He said the off-duty officer who had pulled him over called two on-duty officers to the scene, but all three scattered when his conductor, who went looking for Mr. Rodgers when he hadn’t arrived home, drove up.The police told a different story: They said Mr. Rodgers had been drunk and had injured himself when he fell. Mr. Rodgers sued the Los Angeles Police Department, prompting a countersuit; the matter was settled out of court in his favor to the tune of $200,000.During his long recovery Mr. Rodgers got another shot at a TV series, a summer replacement variety show in 1969.“I looked like a ghost,” he admitted in a 2004 interview.His marriages to Colleen McClatchy and Trudy Ann Buck ended in divorce. In 1978, he married Mary Louise Biggerstaff. She survives him.In addition to her and his daughter Michele, he is survived by a son, Michael, from his first marriage; two sons from his second marriage, Casey and Logan; a daughter from his third marriage, Katrine Rodgers; five grandchildren; and two great-grandchildren.AdvertisementContinue reading the main story More

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    What Defines Domestic Abuse? Survivors Say It’s More Than Assault

    AdvertisementContinue reading the main storySupported byContinue reading the main storyWhat Defines Domestic Abuse? Survivors Say It’s More Than AssaultThe Congresswoman Cori Bush and the musician FKA twigs describe how manipulative, isolating conduct known as “coercive control” helped trap them in abusive relationships. Lawmakers are starting to listen.Congresswoman Cori Bush of Missouri has been sharing her story as a survivor of domestic abuse to help “normalize the conversation.”Credit…Whitney Curtis for The New York TimesMelena Ryzik and Jan. 22, 2021Updated 5:16 p.m. ETIt was, at first, the kind of dreamily romantic attention that Cori Bush craved. She was 19 or so, barely making ends meet working at a preschool, and a new boyfriend was spooning on affection. He lavished her with gifts, too. “He would spoil me, he would spoil my friends, my sister — whoever was near me,” she said.But quickly, she said, the high-watt beam of his attentiveness became an unyielding glare. He monopolized her time and curbed her independence.“He would answer my phone,” Ms. Bush said. “I thought it was cute at first — he wanted to answer my phone and talk to my friends. But then it turned into him screening my calls.”When she tried to end things, he hit her, she said. It was the first of many instances in which he was physically violent. “He would pinch me so hard, he would take off not only skin, but flesh,” she said. “He would cut me with knives, box cutters.” She couldn’t leave, she said, because he threatened to turn the weapons on himself. And then the cycle began anew: “He would come back so sweet and so kind and so loving — and so sorry,” she said.Days into her freshman term as a Democratic Congresswoman from Missouri, Ms. Bush, 44, emerged as a public force; as her first action, she introduced legislation to investigate and expel members of Congress who voted to overturn the election and supported the riot in the Capitol.But even before she was sworn in, she shared her experiences as a survivor of domestic abuse, in hopes of reframing the issue. “I’ve allowed myself to be vulnerable about it,” she said in an interview last month, “because I feel like if we don’t normalize the conversation — people are still being hurt, especially right now, with Covid, and the lockdown,” when calls to support networks are spiking.Ms. Bush’s candor comes as some state lawmakers, working with researchers, have begun to reshape the law to acknowledge that the controlling and isolating behaviors she cites, often referred to as “coercive control,” are not only steppingstones to violence, but can be criminally abusive in their own right. Activists hope that by broadening the definition of abuse, they can help victims reclaim their autonomy, and catch perpetrators before cases spiral toward hospitalization — or worse.In September, California passed a law that allows coercive control behaviors, such as isolating partners, to be introduced as evidence of domestic violence in family court. That month, Hawaii became the first state to enact anti-coercive control legislation. A similar law was introduced in the New York legislature.The efforts address what experts say is a common, long-held misperception that an abusive situation is only a partner throwing a punch, rather than an incremental constricting of someone’s life, to dominate them.“By the time you see a broken bone, the person has experienced a lot of other damaging behaviors,” said Lynn Rosenthal, who was the first White House adviser on violence against women and served on the Biden transition team.Of course the violence itself has not abated. In the United States, one in four women and one in seven men experience severe violence in their relationships in their lifetimes, and it’s the leading cause of homicides for women, according to the National Domestic Violence Hotline.But as gender-based inequities surfaced in the wake of the #MeToo movement, and more women — and therefore more survivors — entered government, they and others have been vocal about how much more complicated the calculus of abuse can be, how yawning the gaps in protection and how damaging the belief that victims can just leave.Though they may suffer injuries, many survivors say that what keeps them in the relationship, and what makes the trauma last, is mental and emotional abuse. The musician FKA twigs, 33, who filed a lawsuit last month accusing her former boyfriend, the actor Shia LaBeouf, of sexual battery, assault and inflicting emotional distress, said in the suit that his constant “belittling and berating” shrunk her self-esteem and made her easier to control. A year later, she said in an interview, she was still suffering the repercussions: “I have panic attacks almost every single night.”The musician FKA twigs, born Tahliah Debrett Barnett, filed a lawsuit accusing her former boyfriend, the actor Shia LaBeouf, of abuse.Credit…Ana Cuba for The New York TimesThe term coercive control is embraced by some researchers to describe the dynamics of abuse because it encompasses acts like creeping isolation, entrapment, denigration, financial restrictions and threats of emotional and physical harm, including to pets or children, that are used to strip victims of power. Mild but frequent bodily aggression — pushing and grabbing, or increasing roughness during sex in a way the partner does not like — is another hallmark, experts said.As destructive as those behaviors may be, they are not often treated by law enforcement or courts as improper on their own, sharpening the belief that victims must be battered and hospitalized before their accounts might be taken seriously. Doubt about how the justice system would treat them is not unfounded: About 88 percent of survivors surveyed by the ACLU said the police did not believe them or blamed them for the abuse.The new laws to address coercive behaviors have raised some concerns from advocates who worry that — in court proceedings that lawyers in the field say are already stacked against survivors — the standard of proof might be too high, especially when officials don’t have the tools to identify and prove patterns of risky behavior. “Researchers understand coercive control as something that can help predict the outcome of a dangerous situation that becomes deadly,” said Rachel Louise Snyder, author of the 2019 book “No Visible Bruises: What We Don’t Know About Domestic Violence Can Kill Us.” But, she added, “law enforcement doesn’t necessarily recognize that.”Coercive control has been illegal in England and Wales since 2015, but 2018 saw the highest number of domestic violence-related killings in five years, according to the BBC. The Center for Women’s Justice, a British watchdog group, filed complaints in 2019 and 2020 alleging “systematic failure” on the part of police to safeguard victims. “Officers on the ground don’t understand” coercive control, said Harriet Wistrich, the center’s director. Though there has been some training, she emphasized that for the law to be most effective, police, social workers and the courts need to have a shared understanding of how emotional abuse can become criminal.Others are concerned that, in the United States, adopting and implementing new laws could drain resources from survivors’ pressing logistical needs, or from other pathways to justice. A growing faction of advocates say the best response lies not in the criminal courts, with their racial and economic inequities, but in dialogue-based alternatives like restorative justice.Judy Harris Kluger, a retired New York judge who is executive director of the nonprofit Sanctuary for Families, said she agreed that coercive control is important as a concept. As a judge, though, “I’d rather have energy put into enforcing the laws that we have,” she said, “but also focusing on other things besides litigation to address domestic violence,” like funding for prevention, housing and job programs for survivors.Still, supporters say that legally acknowledging how pernicious the problem is will make it easier to fight — and help force a reckoning over its pervasiveness.They point to Scotland as a potential model. Its domestic abuse laws enacted in 2019 focus on coercive control and include funding for training; a majority of its police and support staff has taken mandatory courses to understand the issue, said Detective Superintendent Debbie Forrester, Police Scotland’s lead for domestic abuse. The judiciary got lessons too. Alongside a public campaign explaining that controlling behavior is illegal, the authorities put abusers on notice that they would be scrutinized: “We will speak to previous partners,” a police statement warned.In the year following the law, the number of charges reported for prosecution related to domestic abuse jumped nearly 6 percent, according to the Scottish government. Though they could always prosecute violence, previously “there was nothing that was actually called domestic abuse,” Ms. Forrester said. “That has been really important for victims — they understand that the laws and the structure is there to support them.”Susan Rubio, 50, the state senator from California who headed the effort to adopt new legislation there, said she was motivated partly by her own experiences. In 2016, during divorce proceedings, she accused her husband, Roger Hernández, a California state assemblyman, of domestic violence, describing instances in which he punched her in the chest and attempted to strangle her with a belt, court documents say. The judge granted her a restraining order. Mr. Hernández, who was gearing up for a congressional primary, denied the allegations. Rebuked by his statehouse colleagues, he disappeared from his congressional race. (Mr. Hernández did not respond to requests for comment.)The law Ms. Rubio proposed, which allows coercive control to be used as evidence of domestic violence in family court, went into effect this month. It defined those behaviors as instances in which one party deprived, threatened or intimidated another, or controlled, regulated or monitored their “movements, communications, daily behavior, finances, economic resources or access to services.”Susan Rubio, a state senator from California, headed the effort to adopt legislation that allows coercive control behaviors to be used as evidence of domestic violence in family court.Credit…Lorie Shelley, California Senate Rules PhotographyIn Hawaii, the definition of domestic violence was expanded to acknowledge coercive control, including name-calling and degradation. The law was shaped in part by a researcher, Barbara Gerbert, and a local police officer, May Lee. “Domestic violence is a complex issue, but at the heart of it is the need for power and control,” Ms. Lee wrote to the legislature.The term coercive control was popularized around 2007 by Evan Stark, a researcher and forensic social worker whose work was cited by governments in the United Kingdom.The laws, in the United States and other countries, recognize an evolution in thought and research about domestic abuse, once normalized and minimized as an unfortunate outgrowth of bad relationships. Experts say research has increasingly shown the insufficiency of law enforcement approaches that treat domestic assaults as isolated incidents, akin to being punched by a stranger in a bar fight, and ignore the experiences of those for whom the abuse was often broader in scope and not always marked by violence, but debilitating, repetitive and no less damaging.“We have failed to connect the dots until very recently in all these other ways,” Ms. Snyder, the author, said. “Coercive control laws are a first attempt to address some of that — the unseen dynamics that are so, so dangerous.”Those who study domestic abuse say it follows a pattern: Ardent, rapid courtship that gives way to tests of loyalty, isolation from loved ones, belittling and deprivation of resources, whether it’s money, time, sleep or food — all in service of breaking down and controlling another person.At the outset of a relationship, “love-bombing,” as it’s sometimes called, is a classic warning sign, experts say. “Showing up early to give the partner flowers. Picking her up when she doesn’t expect it,” said Chitra Raghavan, a forensic psychologist at John Jay College of Criminal Justice.The gestures may seem sweet, thoughtful, but they’re a test: Monopolizing a partner’s time and attention sows isolation and shows the abuser “that he can control her,” Dr. Raghavan said.If a partner protests, an abuser may ratchet up the charm, experts said. The cycle gives the victim an illusion of control, and the perpetrator an excuse to mete out punishment: just don’t hang out with those friends, wear that outfit, cook that meal. But the boundaries for correct behavior keep shifting.“Every time we see that someone died at the hands of their partners, that’s something we could’ve stopped, as a society,” Ms. Bush said.Credit…Whitney Curtis for The New York TimesMs. Bush’s former boyfriend had rules about how and when she could wash the dishes or use the stove, she recalled. FKA twigs, whose given name is Tahliah Debrett Barnett, said that Mr. LaBeouf was feverishly jealous, and would also grow angry if she handed him his toothbrush when he was in the shower, even though that’s when he liked to brush his teeth. “He said that I was controlling, because I had given him the toothbrush with toothpaste,” she recalled.(Mr. LaBeouf did not respond to a request for comment. In a statement to The New York Times when Ms. Barnett’s lawsuit was filed, he said: “I have been abusive to myself and everyone around me for years. I have a history of hurting the people closest to me. I’m ashamed of that history and am sorry to those I hurt.” He added that “many” of the allegations by Ms. Barnett and another former girlfriend were not true, but gave no further details.)Jennifer Spivak, 31, the founder of a digital advertising agency whose ex-boyfriend pleaded guilty in 2011 to felony strangulation, said that he more often used threats than physical violence. During the early wave of affection, she gave into requests like forgoing the gym to spend more time with him. She relinquished her privacy, showing her boyfriend her texts and emails. But he wasn’t satisfied.“I became obsessed with figuring out how to keep things nice, moment to moment,” Ms. Spivak said. He would escort her to the bank and force her to cash her paychecks and relinquish the money, which complicated her ability to leave him.Jennifer Spivak said her ex-boyfriend forced her to hand over money from paychecks. Now she makes a point to work with women, to boost others’ financial independence.Credit…Meghan Marin for The New York TimesFor the most part, she said he didn’t hit her; rather she said he “psychologically tortured” her for small infractions like not answering his call at work, berating her for hours while she stood in the tub naked and he held an iron above the water.“I would wonder, am I being abused if I don’t have any bruises?” said Ms. Spivak, whose isolation exacerbated her self-doubt. As a survivor, she makes a point to work with women, to boost others’ financial independence.Ms. Barnett said that once she could finally see how bad things were with Mr. LaBeouf, she was too ashamed to admit it: “I just couldn’t connect with my old life, because it was a reminder of how far away I was from myself.” She filed the lawsuit, she said, to highlight the patterns in her relationship, and to show how anyone, no matter their status, can be ensnared.The most dangerous moment for victims of domestic violence, experts say, is when they decide to end their relationship; on average, it takes seven attempts to leave an abuser, according to the National Domestic Violence Hotline. Shame and fear — coupled with economic insecurity, racial and social justice concerns, and worries about destabilizing the household, especially with children — keep many from reporting their assaults or the terrors they live with, advocates say.Ms. Rubio, the California lawmaker, resisted calling authorities during her marriage — despite her resources, she didn’t have the courage, she said, and worried about public scrutiny. “Coercive control, it paralyzes a victim,” she said.Ms. Bush said her boyfriend’s violence escalated to the point that he once shot at her with a gun. She never called the police. “I didn’t want him to go to jail,” she said. “So I couldn’t figure out how to say what happened. And I didn’t want people to look at me like I was stupid — like, why are you with this guy? Because I’m smarter than what they’re going to think.”As she enters Congress, Ms. Bush said she thinks of combating domestic violence as building a social movement to save lives. “Every time we see that someone died at the hands of their partners,” she said, “that’s something we could’ve stopped, as a society.”If you or someone you know is being abused, support and help are available. Visit the hotline’s website or call 1-800-799-7233.AdvertisementContinue reading the main story More

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    Five Songs to Listen to Right Now

    Five Songs to Listen to Right NowJon ParelesListening in New York CityAly & AJ, ‘Listen!!!’Blippy synthesizers, major chords, giant martial drums — this has to be a happy song, right? Well, no. “Listen!!!” is a plea to a partner who’s oblivious or worse: “I’m feeling like I’m a hostage here,” Aly & AJ sing amid the sonic jubilation. More

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    Billie Eilish and Rosalía Join Eccentric Forces, and 12 More New Songs

    @media (pointer: coarse) { .at-home-nav__outerContainer { overflow-x: scroll; -webkit-overflow-scrolling: touch; } } .at-home-nav__outerContainer { position: relative; display: flex; align-items: center; /* Fixes IE */ overflow-x: auto; box-shadow: -6px 0 white, 6px 0 white, 1px 3px 6px rgba(0, 0, 0, 0.15); padding: 10px 1.25em 10px; transition: all 250ms; margin-bottom: 20px; -ms-overflow-style: none; /* IE 10+ */ […] More

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    Salt-N-Pepa, Hip-Hop Duo That Spoke Up for Women, Tells Its Own Story

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storySalt-N-Pepa, Hip-Hop Duo That Spoke Up for Women, Tells Its Own StoryIn a new biopic for Lifetime that they helped executive produce, the rap group that got its start in 1980s New York traces its roots and its conflicts.Pepa, left, and Salt. “Pep called and was like, ‘Girl, we have to do our movie before someone else does,’” Salt said.Credit…Sabrina Santiago for The New York TimesJan. 22, 2021, 1:58 p.m. ETWhile selling warranties on washing machines from a Sears call center in Queens, the friends Cheryl James and Sandra Denton came together as a hip-hop duo called Super Nature with the staccato 1985 track “The Show Stoppa (Is Stupid Fresh).” When they first heard it on the radio, they danced together on top of a car. It was just the beginning: James became Salt and Denton became Pepa; the group changed its name and scored 10 hits on the Hot 100, including the ’80s dance classic “Push It” and the ’90s sex anthem “Shoop,” becoming one of the few superstar female acts of hip-hop’s male-dominated golden era.Fixtures on the I Love the ’90s tour circuit in recent years, the twosome tell their story in a new Lifetime biopic, “Salt-N-Pepa,” out Saturday, that captures both the rush of touring the world and the conflicts that broke them up in 2002. The group’s longtime D.J., Spinderella, is a character in the film, too, but the biopic doesn’t cover her unsuccessful lawsuit against the duo, which was filed in 2019. The film — which they executive produced along with Queen Latifah and others — begins and ends on a note of unity, showing their 2005 reunion for a VH1 event.“It was something me and Pep had been shopping around,” Salt said. “Pep called and was like, ‘Girl, we have to do our movie before someone else does.’” Latifah, an old friend, attended meetings where they picked the director (Melvin Van Peebles) and screenwriter (Abdul Williams of “The Bobby Brown Story”).The duo’s “Laverne & Shirley”-style partnership — Salt calm and precise, Pepa loose and boisterous — has endured despite a dispute with the man who helped them get their start, abuse, divorce and plain old Salt vs. Pepa personality conflicts. “We get to tell a 36-years lifetime in like two and a half hours,” Pepa said on a group Zoom interview. These are edited excerpts from the conversation.From left, Monique Paul, Laila Odom and GG Townson in “Salt-N-Pepa.”Credit…LifetimeFor a movie about the journey of two women, your producer and manager Hurby Azor, known as “Luv Bug,” plays a big role as a crucial creative force, especially at the beginning. How much did you grapple with the decision to emphasize his character?SALT Well, the truth is the truth. And Hurby was our guy. He started out being my boyfriend. Being an artist was something that he embodied and transferred over to us. My mom took me to all the Broadway plays, and I took singing lessons and dance lessons, and I did productions at home with my cousins for my aunties. But I didn’t know how to sing. I didn’t play an instrument. When hip-hop came along, it was an opportunity to realize something that I was passionate about — and that was through Hurby.In an early scene, we see Hurby (played by Cleveland Berto) drilling Pepa (played by Laila Odom) to rap without her Jamaican accent, and Salt (played by GG Townson) caught in the middle. How frustrating were those early days?PEPA For me, with hip-hop, it was a way of life — we had these park jams where the turntables are getting electricity from the light poles. When Hurby felt that I was the one that will be Pepa, I was thrown in the studio. Hurby had his vision. He wanted it said, done — this kind of way and no other way. I had a difficult time in the beginning, jumping on the beat. Finally, I got it.SALT Pep always says, “Hurby is our third,” and the chemistry between the three of us was explosive on so many levels. Pep and Hurby used to fight like cats and dogs. It was just an explosion of creativity, of passion, of drama that resonated into a sound, a music, a movement.The opposites-attract part of your personae, as depicted in the movie, is based on reality?PEPA One-hundred percent.SALT I’m an introvert and a little bit of a recluse. What I love about being an artist is the creative process. I love taking something from nothing and bringing it to fruition, I love the response from the audience, but I don’t necessarily love everything that comes along with it — the attention and the chatter. But Pep loves it all.PEPA I’m an extra-extra-extrovert.SALT Someone asked us, when we first met, what intrigued us about one another. What made her interested in me is, she was thinking, “Who is this girl that’s not paying me any attention?”PEPA When we were in college, I was coming in the lunchroom and talking crazy, and I used to see Cheryl in the corner and notice her. It was a chemistry. I was pulled to her.“It’s difficult to be friends and business partners, and anybody in that position can relate,” Salt said.Credit…Michael Ochs Archives/Getty ImagesHow much writing did you both do for the script, and did you work separately or together?PEPA Separately.SALT It was a lot of rewrites. What I found frustrating — I’m just keeping it real — it was quite a few restrictions when you’re making a movie that I was not ready for.PEPA Keep it real, Salt!SALT Legal restrictions, infringing on other people’s rights that people had to sign off on, budget restrictions. What ended up being important was a story of two women in a male-dominated industry who were friends first, who became business partners, who faced a lot of struggles to be heard, to be taken seriously — from the record company to our producer Hurby. We had struggles in our relationships and picked the wrong men over and over.PEPA We get to take ’em back to college, when it all started and we making $200 per show.SALT And splitting it.There was a long period after Salt-N-Pepa’s biggest hits and before Nicki Minaj and Cardi B, when the route for women in hip-hop was limited. How much did you pay attention to that?SALT I remember that question being asked a lot when there was a big, empty space of no women. I have no idea why, other than this is a male-dominated genre of music and business, and we had to come through a Hurby. There was a time when you had to be vouched for by a camp — a man camp. That’s starting to change through social media and all the avenues that people have to put themselves out there, without belonging to a Jay-Z or whoever.How many of the original “Push It” video eight-ball jackets, originally designed by your friend Christopher Martin (Play of Kid ’n Play), do you each own?PEPA The original was stolen backstage at a performance.SALT I remember it being Brixton, London, and someone breaking in the back door of our dressing room. We came in and the door was open and the jackets were gone.PEPA Everything else stayed — the pocketbooks, everything.In the movie, at the time of the split, Salt says, “I have to carve out a space that has nothing to do with you.” Now that you’re back together, is that still important?SALT Absolutely. When I left, I got to deal with a lot of my own issues, my own demons. It’s healthy when you’re in a group to also be able to maintain your individuality. We were doing this since we were 18, 19 years old, and I did not get the opportunity to figure out who I was apart from Salt-N-Pepa. I felt a lot of disconnect after a while, a lot of resentment, a lot of anger coming from Pep that I did not understand. I felt like I was in a spiral of trying to prove myself to her: “Girl, I got your back. Girl, I’m here for you.” Nothing I did or said could remedy what she was feeling. I feel like there was a great miscommunication.PEPA [vigorously playing with her hair] The point is, you and I have never talked — you keep telling me how I feel and say and think. When have you and I talked?SALT I feel resented by you. And your answer —PEPA It’s a feeling I never got to talk through with her. It’s all her feeling with everything. I’m dealing with her boyfriend being the manager! I’m going through a whole situation, too. We were in it together. When you’re feeling all of this, I’m feeling it, too.How unified is Salt-N-Pepa these days?SALT Relationships go through different phases. I know one thing: I love Sandy, and I know that Sandy loves me. It’s difficult to be friends and business partners, and anybody in that position can relate. Sometimes we will be married and sometimes we will be co-parenting the brand and sometimes I will be sleeping on the couch.PEPA But communication is the key to all successful relationships.AdvertisementContinue reading the main story More

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    He Called His Song ‘American Anthem.’ It Actually Became One.

    #masthead-section-label, #masthead-bar-one { display: none }The Biden AdministrationliveLatest UpdatesReview of Russian HackingBiden’s CabinetPandemic ResponseAdvertisementContinue reading the main storySupported byContinue reading the main storyHe Called His Song ‘American Anthem.’ It Actually Became One.In his inaugural address, President Biden quoted Gene Scheer’s song, a patriotic hymn championed by the opera star Denyce Graves and recorded by Norah Jones for a Ken Burns soundtrack.Gene Scheer was watching the inauguration on television when President Biden suddenly began quoting “American Anthem,” a song he wrote more than 20 years ago.Credit…Lauren Lancaster for The New York TimesPublished More