SEPTEMBER TOLD TALES WITH NAILS, WAS FAKE AND SNEAKY, ARTFUL AND SPACEY AND STILL PHILANTHROPIC

SEPTEMBER TOLD TALES WITH NAILS, WAS FAKE AND SNEAKY, ARTFUL AND SPACEY AND STILL PHILANTHROPIC

FASHION

People Can’t Keep Calm About This Nail Art That Looks Like A Hand

Content Courtesy of: ndtv.com

People Can't Keep Calm About This Nail Art That Looks Like A Hand

“This makes my hand hurt,” says one Instagram user.

There are lots of people who love watching nail art videos on Instagram. However, one particular nail art video is going viral and people seem to have quite a few thoughts about it. This particular video shows nail art that makes someone’s nail look like a perfectly manicured hand. What makes the video bizarre is the fact that it shows the nail hand being completely removed.

The video has been posted on Instagram by @Nail_Sunny, a nail art chain based out of Russia. The video opens by showing the nail hand – complete with perfect nails – on someone’s finger. Then, a technician uses a tool to remove said nail art, one finger at a time. The video makes for a quite a strange watch.

Since being shared on September 20, the video has collected over 200k views. Several people have shared their thoughts on the nail art. While some like the nail art, there are those who aren’t quite happy with it.

“This makes my hand hurt,” says one Instagram user. “My next nail inspo,” says another. “Those nails just made my stomach hurt,” says a third. “Fantastic,” says another comment.

 MUSIC

CHINA’S HIP-HOP ANSWER TO “AMERICAN IDOL” IS HUGE — EVEN THOUGH RAP WAS BANNED IN CHINA

Content Courtesy of: news.vice.com

Written by: Dexter Thomas

BEIJING — It might be a few decades late, but hip-hop is huge in China. There’s just one hitch: None of this should be happening.

It’s all thanks to a show called “The Rap of China.” Imagine “American Idol,” except full of rappers, and everyone is Chinese, and you’ll get the general idea.

It’s slick, it’s dramatic, and it’s a bit goofy. It’s also massively popular, pulling in 3 billion views on IQiyi, China’s answer to Netflix. It’s only in its first season, but the show has already launched a few rappers to superstardom.

All this, despite a January order from the Chinese government that banned hip-hop from being shown on TV.

And yet, somehow, “The Rap of China” is still on the air — and in its second season.

VICE News went to a live taping in Beijing to find out how an entertainment company is building a fortune on a genre that wasn’t supposed to be popular — and to see how local rappers are keeping both audiences and censors happy.

ADVERTISING AND BRANDS

People are using your Facebook data to sell you corny T-shirts

Content Courtesy of: news.vice.com

Written by: William Turton

You may have seen an ad like this on your Facebook feed recently: A screen-printed T-shirt that includes personal attributes like your job or the month you were born.

It looks like an ad for a cheesy T-shirt that was designed just for you, but it’s actually an ad for a T-shirt for people with similar Facebook targeting data as you. Designing hyper-specific shirts like these, then using Facebook’s ad targeting tool to target ads to people with those exact attributes is a whole new way to make money online.

Let’s say you’re a mom in Texas who was born in August and has a dog. An advertiser could set up an ad for a shirt that’s tailored for those moms with dogs, and pay Facebook to make sure it’s only shown to those moms.

The shirts are printed on sites like Sunfrog, which provide an easy way to sell tons of customizable cheap shirts. “The power sellers are almost completely automated,” SunFrog CEO Aaron Singler told VICE News. “They use scripts and teams to generate these different designs, and then repeat them across however many names, however many years, how many, however many, you know, animal breeds there are, to kind of throw a really wide net.”

At first, people may have sincerely enjoyed having a shirt that expresses what they share with Facebook, but now the internet has taken notice — there’s an entire subreddit dedicated to making fun of the most cringeworthy examples.

Facebook talks about how it enables small businesses, and they’re right. This is just another way the company has enabled other people to make money off of your data.

Sneaker heads Robin Hood

THIS FAKE SNEAKER KING’S OPERATION MADE MILLIONS ON REDDIT. THEN IT ALL FELL APART.

Written by: Dexter Thomas and Quinton Boudwin

Chan never planned on being a criminal. Like most dealers, the 26-year-old former med student started out as a customer.

One of Chan’s newest products is a near-perfect copy of a recently released, special edition Converse All Star sneaker, designed by fashion luminary and Off-White brand founder Virgil Abloh. Chan’s version costs $80 — which is a great deal, considering that buying a legit pair could cost you $1,500.

Buying or selling fake shoes is illegal. But it’s also a booming industry that was created, ironically, by some sneakerheads’ obsession with authenticity. Chan used to share that obsession — until it got too expensive.

While attending medical school in 2016 in the U.K., Chan found himself lusting for a pair of Adidas NMDs, a lightweight running shoe with streetwear appeal. At retail, the pair costs $170. But they quickly sold out, and resale prices on online auction sites reached up to $800.

“That was some money that I was not willing to spend on shoes that were going to get dirty and kicked about,” Chan told VICE News. “I think it’s kind of a huge waste, so the next best alternative that I can think of was to look into replicas.”

By “replicas,” Chan means, of course, what Adidas would call “counterfeits.”

When most people think of counterfeits, particularly from China, they think low quality — like the luxury bags, watches, and tech gadgets sold on Manhattan’s Canal Street. But the counterfeit sneaker marketplace is a lot more sophisticated than what you’d find in the back of a minivan, thanks to a thriving community of internet-savvy sneakerheads who don’t mind buying fakes.

In recent years, Reddit has emerged as a haven for those dedicated sneaker fans who want legit-looking shoes without the four-figure price tag — particularly the r/Repsneakers (“replica sneakers”) subreddit, a 70,000-strong swarm of sneakerheads who endlessly obsess over the latest batches of high-quality fake sneakers and how to get them. So naturally, Reddit was one of Chan’s first stops in his quest for those NMDs.

Sneaker fanatics like Chan are forced to flock to these underground markets because of the astronomical margins on rare sneakers. Over the last several years, the sneaker game has changed from a hobbyist’s playground into a $92 million hypebeast market, fueled by prospectors who have created a cottage industry dedicated to reselling footwear. When some people look at sneakers, they don’t see footwear anymore. They see boxes of liquid assets.

The Off-White Air Jordan 1s, for example, retailed for $190 and now resale for $1,140. Still want some Air Yeezy 2 Red Octobers? If you didn’t snag them at the $245 retail price, be prepared to drop $7,500 resale.

It’s a lot like bitcoin, which might sound like a silly comparison because you can’t wear bitcoin — until you realize that nobody wears these shoes, either. People hold them until they’re at peak value, dump them on the resale market, snap up another potentially lucrative pair, rinse, and repeat.

So Chan dug into Reddit and various Chinese forums, trying to find a pair of the coveted NMDs. But he kept hitting a wall. Reddit didn’t have any promising leads, and the Chinese forums were confusing. Prices and sneaker quality didn’t line up, and the market had no structure. So he started talking to sellers on the forums, trying to figure out the cause of the disorganization. He wasn’t able to find out much about sellers’ business practices, but one detail did emerge: Every seller he spoke to told him they were based in Putian, China.

“Suddenly, we were getting 500 queries a day from people asking about shoes.”

That made sense. Since the 1980s, both Nike and Adidas have held official factories in Putian. After nearly 40 years, it’s become a center of institutional and technical knowledge on the craft of sneaker-making. All the materials, the machinery, and even the skilled laborers are already there. All someone — say, Chan — would need to do to create a successful replica shoes business would be to simply divert some of those resources into an underground operation.

The more research Chan did, the more it looked like there was an opportunity. “I eventually decided, you know, I have a free summer,” Chan said. “Let’s just come here and find out more about this industry.”

So when classes let out for the summer in 2016, Chan booked a flight. Before long,

he’d forged a partnership with some locals and sketched out a business plan.

“We sort of established a partnership and decided, you know, hey, this could potentially be good business,” he said. “So I’ll do the selling, and he’s local, he will focus on the logistic aspects of selling shoes — you know, packing, shipping them, sending them out to the rest of the world.”

Chan returned to school that fall with a plan. He’d go to where his customers were — on Reddit — and try selling directly to them, via Reddit forums.

Unlike the shoe reseller market, which is inherently secretive and full of people trying to one-up each other for profit, Reddit’s r/Repsneakers subreddit is generally democratic and encouraging. Fellow sneakerheads genuinely want to help each other “buy from a weird-ass Chinese website and get shit for the low,” as one member of the community put it.

But r/Repsneakers is also a confusing sea of insider lingo. Phrases like “legit check” (confirming that a seller is legit), “QC” (quality check on shoes), “1:1 succ” (successfully obtaining or passing off fake shoes as the real thing), and the dozens of cryptic inside jokes would be off-putting, even to a native speaker of English, and nearly impenetrable for a Chinese businessperson with limited command of the language.

So as a speaker of Chinese, English, and sneakerhead lingo, Chan figured he had a unique opportunity: He could serve as the middleman between hungry reddithypebeasts and the bewildered Chinese factory bosses who make the replica sneakers.

After all, it’s a sketchy proposition from the get-go, because the entire operation is illegal. If anything goes wrong, neither buyers nor sellers have any recourse. That made the market ripe for a savvy intermediary.

So Chan made a post on the r/Repsneakers subreddit to test the waters. “I’m bilingual,” read the headline of his first post. “What would you say if I could get you cheaper reps?”

The responses were immediate. Dozens of sneakerheads flooded the comments, and users begged Chan to make good on his promise. “496 votes?!” one poster said, noting how many upvotes Chan’s post had gotten. “Do the Math. That’s like $10K easy money. Get it cracking OP.”

Satisfied that there was a viable market, Chan set up his own subreddit, r/chanzhfsneakers. While most subreddits focus on a hobby or interest, this one was wholly dedicated to funneling potential buyers to Chan’s business — and it was more popular than he ever imagined.

“We just posted our Skype username, and people started adding us on Skype and asking us, ‘Hey, I’d like to buy some replica sneakers,’” Chain said. “Suddenly, we were getting 500 queries a day from people asking about shoes.”

Eventually, Chan created a wait list for potential buyers to put in their orders via Skype. Once a customer reached the top of the wait list, they would tell Chan what shoe they wanted to buy, the size they wanted, and make payment via bitcoin or money transfer app.

Then, Chan would send out orders to the factory. Once the shoes were ready, someone from his team of couriers would pick up the orders from the factories and deliver them to shipping agents, who would then send the shoes to the customers.

After six months of operating, the business had attracted over 10,000 sneakerheads from all over the world, according to Chan.

At one point, Chan said, 3,000 people were on the wait list to order. He had to hire a handful of employees just to handle calls. R/chanzhfsneakers was offering high-quality Yeezys and Jordans at reasonable prices — $90 per pair on average, plus $30 shipping. But more importantly, his customer service was much better than the average bootlegger. Although his customer base was mostly “whiny and fanatical kids” from the U.S., as he put it, Chan knew how to keep them happy. He took high-quality photos of his fakes to reassure potential customers of their pairs and responded quickly to questions. Margins were modest, at about $15-20 per pair.

But the volume more than made up for the slim margins. At his peak, from mid-2016 to the end of 2017, Chan said he was regularly selling up to 120 pairs on a good day and 30 pairs a day on average. In 18 months, his operation made around $2 million in revenue. Factoring in costs, Chan estimates that his team earned around $500,000 in net profits, and around $20,000 of that went straight to his pocket. But there were several unexpected overhead costs to cover, and he insists he was operating on a loss.

 Still, business was booming — until Chan tried to expand too far. Seeing that his customers were hungry for a particular pair of Adidas Ultraboosts, he invested tens of thousands of dollars into creating a copy version. This would be no small feat: German company Badische Anilin & Soda-Fabrik provided the “boost” materials in the shoes, and Continental Tire made the rubber soles. Both of those materials would have to be sourced somehow, and then Chan would have to find a factory able to replicate the complicated design of the shoe.

In October 2017, after a year of work, Chan had created what he thought would be a popular new cash cow. He’d sourced the necessary materials. He was pleased with the quality of the stitching, and the colors were nearly indistinguishable from the original. Everything looked great, and his customers seemed excited to buy. He started taking orders and began to ship the shoes out.

Then, one customer complained. The holes on the mesh were too big, they said. The shape of the shoe was different from the original. The color was off.

Chan tried to reassure them that these were the best-quality replicas possible. But the customer insisted that the shoes were terrible — and then posted about it on Reddit. This public complaint set off a chain reaction. Other customers started complaining too, and soon Chan’s employees were inundated with so many refund requests that they couldn’t keep up. That made his customers even more angry; they were used to prompt responses.

Six months later, Chan posted an open letter on his subreddit, claiming that both the factories and customers were being difficult and unreasonable. He was stuck in the middle, he lamented, with $80,000 worth of “bricks.”

“The backlash following the cream chalk Ultraboost took every one of us by surprise,” the post read. “We did not expect such a volatile response after all of the work that we have put in.”

But the community had little sympathy. Just as quickly as its members had crowned Chan the r/repsneakers savior, they branded him as a greedy scammer. Business slowed to a trickle.

Chan was unlucky, or lucky, depending on how you look at it. Instead of a failed product and fickle customers tanking his business, he could have been a target of a police raid, which is fairly common in Putian. But those crackdowns generally happen only to big-time operations, after months of monitoring. And both government officials and counterfeiters know that raids are an infinitely repeating game of whack-a-mole. Even if Chan were to be arrested, another Chan, or 10 more, would appear.

But Chan hasn’t stopped selling shoes. (He still has those Converses if you want them.)

His latest product isn’t a sneaker, though. It’s a suitcase, copied from this year’s Rimowa and Supreme collaboration: basically, the same suitcase Rimowa’s been selling for years, just wrapped in a giant Supreme logo. The original went for $1,600 retail and sold out in 16 seconds. It now goes for over $4,000 on the resale market.

Chan figures suitcases are a safer market. The margins are better, and luggage is a lot easier to replicate.

Still, mistakes happen. Sitting near the entrance of Chan’s office is a reject from when he was still prototyping the suitcases. It’s almost perfect, except for the color of the Supreme logo. The original is bright silver; this one looks more white. A true hypebeast wouldn’t be caught dead using it, for fear of being “called out” as a poser. But after two years of dealing with fanatically paranoid customers, Chan has lost his taste for that drama in his personal life.

“Calling out doesn’t matter,” he shrugged, nudging the suitcase. “People’s opinion doesn’t really matter to me. I’ll most definitely just use this.”

ART

Everything we know about SpaceX’s first moon passenger, Yusaku Maezawa

Content Courtesy of: mashable.com

Written by: Johnny Lieu

Yusaka Maezawa, the Japanese billionaire which will fly to the moon with SpaceX.

SpaceX revealed the first passenger its signed up to fly to the moon on Monday for one very expensive art project.

The Elon Musk-founded company will send 42-year-old Japanese billionaire Yusaku Maezawa into deep space, but he doesn’t want to take the trip all on his own. The entrepreneur hopes to bring along “six to eight artists” who will capture the experience on a four to five day mission in 2023.

If all goes according to plan, Maezawa will be the first non-American to orbit the moon.

Here’s what we know about him and his larger-than-life lunar ambitions:

Who is Yusaku Maezawa?

A skateboarder and former drummer in a hardcore band called Switch Style, Maezawa is now the 18th richest person in Japan with a net worth of $2.9 billion according to Forbes.

He is the founder of Start Today, a mail-order CD and record business he founded in 1998, which expanded into the online fashion business with Zozotown in 2004. Last year, the site boasted 7.2 million customers.

Hanging out with @yousuck2020 before the @SpaceX moon mission announcement pic.twitter.com/RTOwutzMtG

— Elon Musk (@elonmusk) September 18, 2018

Maezawa is not shy when it comes to spending his riches, as evidenced when he made headlines for shelling out a record $110.5 million for Jean-Michel Basquiat’s 1982 painting of a skull last year. At another auction in 2016, he spent $81 million in one night.

His love for Basquiat was something he echoed in the press conference, when he wore a t-shirt featuring a painting by the artist, and also spoke of his work. Basquiat died in 1988.

“One day, when I was staring at his painting, I thought, what if Basquiat had gone to space, and had seen the moon up close, or saw Earth in full view. What wonderful masterpiece could he have created?” he said.

Why does he want to go to the moon?

Maezawa said his interest in the moon started as a child.

“Ever since I was a kid, I have loved the moon,” he said. “Just staring at the moon filled my imagination. It’s always there and has always continued to inspire humanity.”

But he doesn’t want to go alone either. He’s taking along artists representing Earth who will contribute to a project called #DearMoon

— Elon Musk (@elonmusk) September 18, 2018

He will first reach out to artists that he loves to see if they’d like to go, but it’ll be open to painters, sculptors, film directors, architects, fashion designers, and others.

“I love art. And I’m very much looking forward to seeing what different artists getting together could bring to life,” he said.

According to the project schedule on DearMoon’s website, selection of the artists will begin this year, with training and preparation to take place before planned liftoff in 2023.

“He is the bravest person and the most willing to do so, and he was the best adventurer I think,” Musk said of Maezawa.

“He stepped forward to do it. To be clear, we are honored that he would choose us. This is not us choosing him… He is a very brave person to do this.”

Maezawa has made a down payment on the trip, but declined to reveal how much he spent in total.

Musk said the money spent on the trip will help to fund the BFR’s development, with the goal of one day opening up space travel to the average person.

The artists would be travelling for free, and an exhibition will take place on Earth sometime after the trip finishes.

As for Musk, he’s not sure when he’ll go to space, even though Maezawa extended the invitation to him.

MARKETING AND PROMO

Photoshop used to promote New York park

Content Courtesy of: nytimes.com

Written by: Tom Gerken

A CGI image of a bridge in a park. Some people have been edited into the image, among them is Frank Lampard.

Did they really think no one would notice?

New York Governor Andrew Cuomo has released a series of pictures imagining what the upcoming Shirley Chisholm State Park will look like.

Before Hillary Clinton, there was Shirley Chisholm

The images have been mocked online for their jarring combinations of computer-generated backdrops and real people, but one particular portrayal has caught the attention of football fans on social media.

It features a waterfront, a bridge, and Derby County manager Frank Lampard on a jog.

It did not take long for people to notice the former England and Chelsea midfielder clad in his old training kit for New York City FC.

Frank Lampard: New York City midfielder leaving MLS side

The original photo of Lampard was taken in 2015, when he was on a jog in New York’s Central Park accompanied by a trainer, during his spell playing in the city.

The image used by Governor Cuomo’s website has been flipped, causing the New York City FC crest appear on the opposite side of the shirt.

Arielle Castillo, who worked for Major League Soccer when Lampard played for the Pigeons, was one of the first to point out the surprise appearance.

The jokes came quickly as people online highlighted the “really bad” editing of the images.

One Twitter user labelled the person responsible for the manipulations “my new hero”, while another wondered why Governor Cuomo did not employ more talented staff.

A “photoshop” is a common term to refer to an edited image, named after the eponymous computer software by Adobe.

A poor-quality photoshop can often easily be spotted when part of an image appears out of place, often because of differences in lighting, shadows and image quality.

But some people found another reason to cast aspersions on the legitimacy of this image – joking that Lampard was not known for moving quickly during his time in New York.

Lampard may be one of the most high-profile players to have played for New York City FC, but some on Twitter remain uncertain why he has been used in promotion of the state’s public spaces.

The BBC has contacted Governor Cuomo’s office for comment.

However, Lampard is not the first public figure to have their image appropriated.

In December 2016, US broadcaster NBC used an image of Ed Miliband, former leader of the UK Labour Party, blowing his nose to illustrate a news story about flu.

In August 2017, news website Vox published a story about US healthcare, using an image of Scottish First Minister Nicola Sturgeon during a visit to a Glasgow laboratory.

And in 2014, a BBC article about male obesity featured an image of a man’s waistline, which turned out to be of then-Schools Secretary Ed Balls from 2008.

FOOD

Domino’s Pizza tattoos earn some Russians ‘free pizza for life’

Content Courtesy of: www.bbc.com

Written by: Tom Gerken, BBC UGC & Social News And Katherine Zeveleva, BBC Monitoring

That was the deal offered to people in Russia last week when Domino’s Pizza in Russia began their “Domino’s Forever” campaign on social media offering “free pizza for your whole life”.

The catch? To earn their crusts, people had to get a permanent tattoo of the Domino’s logo “on a visible spot” of their bodies.

The post says people who get tattoos will be given a certificate offering a maximum of 100 free pizzas, per year, for a century – a possible 10,000 pizzas.

But to get that many free meals you would have to live well beyond the average Russian life expectancy.

Russia’s Putin embraces higher pension age but softens blow.

Nevertheless Russian social media was soon awash with hundreds of people looking to take advantage of the deal.

Many of the posts were fairly self-aware, with people considering themselves captive to the offer of free meals.

After hundreds of posts appeared across Instagram, Facebook and Russian-language social media platform VKontakte, Domino’s was forced to impose strict rules upon entries.

The pizza chain clarified only “the first 350 people” to post such pictures on social media would receive the free meals, and warned that while the tattoo can be any colour, it must be at least 2cm (0.79 inches) in length.

Furthermore, it released an image clarifying the “visible parts of the body” where people were allowed to have the tattoo.

Despite the change in rules the pictures kept on coming, with people sharing snaps of tattoos on arms, tattoos on legs, and even tattoos on thumbs.

With the entries coming so quickly, Domino’s was forced to bring the competition to a halt as they quickly hit their 350-participant threshold.

“Friends, we already have 350 participants!” Domino’s wrote on its Facebook page.

“We are not receiving any new tattoos!

“If you are at a tattoo artist’s and getting tattoos, we will include you in the list of participants. But we are waiting for pictures before 12:00 today.

“For those [getting tattoos] later, we recommend cancelling the appointment, because unfortunately we will not be able to include you.”

But by this point, the warnings did not stop the tattoos.

On Instagram alone, there have been over 80 additional applications using the campaign hashtag since the promotion officially closed, with more on Facebook and VKontakte.

That may not seem like much, but can you imagine getting this tattoo and not receiving the free pizza?

Fortunately for these late entrants it seems Domino’s feels the same way, as the company continued to reply to posts.

Domino’s responded to John Adamovsky – who posted his tattoo after Domino’s stopped the offer – to let him know that they would contact him privately to arrange his prize.

Was it worth it?

Instagram user Ekaterina Lunina certainly seems to be getting her money’s worth, as she has already cashed in on the deal twice, letting her followers know her free pizza certificate is getting used.

And just in case you were wondering what these pizza certificates look like, one couple were kind enough to share a snap of their pizza passes with the BBC.

Two certificates in Russian with the Domino's Pizza logo

More on that note…

Mustard pizza trend has Twitter divided

Content Courtesy of: www.foxnews.com

Written by: By Lily Rose 

A Detroit-style eatery in New York City uses mustard instead of tomato sauce on one of their pizzas.

A New York City pizzeria is setting the internet ablaze with its mustard pizza. The Detroit-style eatery uses mustard instead of tomato sauce on one of their pizzas, and tops the creation with corned beef, sauerkraut, and cheese. Naturally, the internet is wildly upset and mildly curious. Pizza toppings are already a polarizing subject. If you thought Twitter was divided by pineapple on pizza, you won’t believe what they have to say about mustard instead of marinara.

Lions & Tigers & Squares’ mustard pizza looks like Detroit-style pizza in that it’s square-shaped, made with brick cheese, and has a thick crust. But unlike Detroit pizza, it’s topped with what you might order on rye bread at a deli, and the internet is not having it. Lions & Tigers & Squares partners told Food Insider via Twitter that it’s a Trenton, New Jersey, thing… but most of the internet doesn’t feel like it deserves to be a thing at all.

“To all yall that complain about pineapples on pizza, THIS pizza with mustard on it is what yall should be disgusted with instead,” wrote @Forevernewbrand.

“But like, what has regular pizza sauce ever done to you?” said @Madseatstho

“naa this aint it chief” agreed @Ameerahuwu

“This is why the aliens won’t visit us,” wrote Jakita.

“This is not a pizza. This is some type of sub, disguised as a pizza. It likely doesn’t taste bad if you somehow like sauerkraut. It’s just “disgusting” because your mind expects “pizza” but that’s clearly not a pizza,” Gabriel Insana explained. But some people, who are calling themselves the “NJ Mustard Mafia,” think the pizza creation looks absolutely delicious.

All we want to know is, do people actually agree that mustard pizza is one of the best foods out of New Jersey? Or is it just one of the dumbest food trends of the year?

CAUSES

Hate selfies but still take them? You’re not alone — here’s why.

Content Courtesy of: mashable.com

Written by: Rachel Kraus

Americans have a love-hate relationship with selfies.

A new survey from the research company YouGov shows that over 63 percent of Americans say they take selfies. But that doesn’t mean America is all aboard the selfie train.

While most Americans may take selfies, the majority of selfie-takers also associate at least one negative trait like “annoying” or “narcissistic” with the ubiquitous photos, according to the survey.

Sheesh, what’s with all the self-loathing, America? We really need to spend more time looking into the mirror on that one!

But the discrepancy between how people feel about selfies, and the fact that people still take selfies, might not have much to do with self-loathing, and everything to do with a blind spot we only reserve for ourselves.

Selfies are ubiquitous and therefore both parts coveted and stressful, which might account for people’s conflicted feelings about them. We also may judge others for taking selfies, and find other peoples’ self-centered photo habits annoying. But when we ourselves take selfies, we can explain — and therefore justify — our behavior, so that we don’t think of it as narcissistic.

“We’re easier on ourselves than we are on other people,” Jesse Fox, an Ohio State communications professor who has studied the relationship between selfies and narcissism, said.

To understand people’s relationship with selfies, YouGov used its “nationally representative” Omnibus panel of 2 million Americans. Overall, it found that Americans’ relationship with selfies are… complicated.

Nearly two thirds of Americans (63 percent) say they take selfies. 14 percent snap selfies “somewhat often” and 8 percent copped to taking the photos “very often.”

But we apparently feel ambivalent at best about our selfie habit. When asked for clarification about how people’s perceptions of selfies correlated with how many people take selfies, YouGov told Mashable that 52 percent of selfie takers selected at least one negative description. Among those who take selfies somewhat or very often, 35 percent associate the pics with a negative trait.

Survey respondents could pick more than one trait, and sometimes they did pick both negative and positive traits. Here’s a breakdown:

Who doesn't love something that's both "fun" AND "annoying"??

One explanation for this apparently conflicted attitude is that selfies are just so ubiquitous at this point, that people feel like they have to take them — whether they want to or not.

“Everyone’s different, but some patients obsess over what they look like on their phones,” Dr. Boris Paskhover says. “People care about how the world perceives them. And Snapchat, Instagram, and Facebook are how the world sees you now.”

Dr. Pashkover is an assistant professor at Rutgers New Jersey Medical School’s Department of Otolaryngology who specializes in facial plastic and reconstructive surgery. He has published in the Journal of the American Medical Association (JAMA): Facial Plastic Surgeryabout how selfies were impacting the way his patients saw themselves, and what procedures they were asking for.

Dr. Pashkover said his patients seem to have a love-hate relationship with selfies: the photos can make them feel bad about themselves, but they’re also a source of pleasure

“They love selfies,” Dr. Pashkover said. “No matter how many times you tell them it’s distorted, people still love them.”

Dr. Fox has a different take. She thinks that people can both take selfies, and hold negative opinions about them, because of a little thing called “self-serving bias.”

“Generally, people have a self-serving bias,” Dr. Fox said. “That’s one of the reasons we may do a behavior, and we’ll excuse our own behavior, but hold it against someone else.”

Self-serving bias works like this: if we see a selfie in our news feeds taken by an acquaintance, we might think that it’s narcissistic.

“Any time people tend to draw attention to themselves, in a lot of cultures that’s perceived negatively,” Dr. Fox said. “If you’re talking about yourself all the time, people think that’s narcissistic.”

So selfies should be inherently narcissistic, right? Not when they’re our own selfies.

When we ourselves take selfies, we know the circumstances of the photo. Dr. Fox said that the ability to contextualize and understand why someone does something is crucial to not judging and accepting it. So, because we always know the justifications behind a selfie we ourselves take, but almost never know the reasoning of someone else, we view our own behavior as more justifiable than others. In other words, Dr. Fox thinks that people tend to levy the anti-selfie judgment on others, but are forgiving and understanding of our own selfie habits.

Guess we need to spend a little more time reflecting, after all.

Meghan Markle and her mother gather to launch book of recipes with a difference

LONDON, ENGLAND - SEPTEMBER 20: Meghan, Duchess of Sussex helps to prepare food at an event to mark the launch of a cookbook with recipes from a group of women affected by the Grenfell Tower fire at Kensington Palace on September 20, 2018 in London, England. (Photo by Ben Stansall - WPA Pool/Getty Images)

It was a day of celebration for the women of the Hubb Community Kitchen who rallied together to feed people affected by the Grenfell Tower disaster.

On Sept. 20 a cookbook was published in support of the kitchen, featuring recipes from the volunteers feeding the survivors of the fire, which left 71 people dead.

Theirs was a story of a community in mourning that pooled their time, resources, and knowledge to feed the survivors.

These stories are now being told through a cookbook which comprises family recipes written by the women of the Hubb Community Kitchen.

“It is a place for women to laugh, grieve, cry, and cook together.”

The idea for the charity cookbook came from the Duchess of Sussex, aka Meghan Markle, during a visit to the kitchen. Markle also penned the book’s foreword, in which she discussed the importance of the kitchen to the Grenfell community.

“I immediately felt connected to this community kitchen; it is a place for women to laugh, grieve, cry, and cook together,” writes Markle in the book.

The proceeds of the cookbook will go towards supporting the kitchen — which is only open two days a week due to a lack funding — and will keep it open seven days a week.

Megan Markle hosted a celebration at Kensington Palace for the members of the Hubb Community Kitchen and the contributors to the cookbook. The Duchess was also joined by her mother Doria Ragland and her husband Prince Harry.

Meghan, Duchess of Sussex (C) arrives with her mother Doria Ragland (L) and Prince Harry, Duke of Sussex to host an event to mark the launch of a cookbook with recipes from a group of women affected by the Grenfell Tower fire.

In a speech, Markle talked about the significance of the cookbook.

“The power of food is more than just the meal itself — it is the story behind it,” And when you get to know the story of the recipe, you get to know the person behind it,” she said.

“To the women of the Hubb Community Kitchen, thank you so much for allowing me to be part of this adventure with you. I am so privileged to know you,” she added.

AUGUST RAISED MALAWI, TESLA TRUCKS, PAID “JUICY” PARTNERSHIPS, ZIPLOC AS A FASHION BRAND, AND MUCH MORE

ADVERTISING

After leaving advertising eight years ago, legendary creative Alex Bogusky has rejoined his old agency, Crispin Porter + Bogusky, as Co-Founder and Chief Creative Engineer.

Content Courtesy of: wersm.com

Alex Bogusky joined the agency in 1989, and five years later he became Creative Director. Then, in 1997, he became a partner, and finally i 2008, Co-Chairman. He always played a significant role in the success of CP+B, bringing in many awards. Despite his many accolades, in 2010 Alex Bogusky suddenly announced his retirement from advertising.

Since then, he “has been an entrepreneur, designer and investor,” launching many other projects, including social ventures, and two other ad agencies. And now, he’s going back to where he began, as “one of the original founders of Crispin Porter + Bogusky,” rejoining the agency as Co-Founder and Chief Creative Engineer.

His new position will be to lead “all aspects of the company, including creative direction, innovation, strategy, and talent,” working closely with current CEO Erik Sollenberg, President Danielle Aldrich, and Chairman Chuck Porter. His mission? To reimagine what the modern agency of today can be.

“This is a decisive moment for the future of the advertising industry” he explains. “The needs of brands have changed, and it’s high time to reexamine the best creative approach to meet those needs.” He will be using his experience from his time away from advertising which was “largely spent advising and investing in tech startups” to apply the various lean and agile processes that “have revolutionized so many other industries.”

Erik Sollenberg explains that “CP+B’s true north star is dramatic and wildly effective work,” and this is really what a creative mind like Bogusky can bring to the table. “There has never been a more interesting time to be in the industry,” he says.

CP+B may, of course, be in a bit of a crisis trying to figure out its identity in this complex era better. The industry as a whole is going through big changes as well. As big advertising powerhouses like Ogilvy and Publicis seek to reinvent themselves in the “new world [that] is about being smart, fast, nimble and prolific,” creative agencies like CP+B seem to be going in the same direction.

ART

Developer Installs Giant David Salle Prints on McKim, Mead & White Building in New York

Content Courtesy of: artnews.com

Written By: Claire Selvin

David Salle’s Swamp Music and Solar System, both 2013.

Credit by: ©DAVID SALLE, VAGA AT ARS, NEW YORK/COURTESY SKARSTEDT, NEW YORK

Two large-format prints of David Salle paintings are going up on display on a historic building designed by the architecture firm McKim, Mead & White being redeveloped in the NoMad neighborhood of Manhattan. Swamp Music, which will overlook Fifth Avenue, measures 47 by 70 feet, and Solar System, around the corner to loom over 28th Street, is 44 by 66 feet. Taking up their home this weekend, both are works by the New York painter from 2013.

The limestone and terra cotta edifice is being restored in advance of the opening of a hotel in a conjoined tower by Flâneur Hospitality. Art advisor Elizabeth Margulies joined the company as a consultant for a project to repurpose scrims installed for construction purposes, and she will continue to organize art programming for the hotel slated to open in fall of next year.

In a statement Margulies said, “David’s work encourages reflection, individual contemplation, and the diversity of lived experiences. Our goal for the project is to get people to slow down, look up, and take in a brief moment of serendipity and discovery amidst the bustle of Fifth Avenue. This activation is also indicative of the unconventional engagement with art that you can expect to find in the hotel.”

FOOD

France’s ‘chef of the century’ Joel Robuchon dies

Content Courtesy of: artnews.com

Written By: Claire Selvin

French celebrity chef Joel Robuchon, who owned and ran gourmet three-star Michelin restaurants on three continents, has died aged 73.

Le Figaro newspaper reported that Robuchon died from cancer on Monday in Switzerland, more than a year after being treated for a pancreatic tumor.

He was named the “Chef of the Century” in 1989 by the prestigious restaurant guide Gault Millau and ran a dozen restaurants across Asia, the US, and Europe.

Throughout his career, he was awarded a record-breaking 32 stars.

Robuchon was renowned for keeping his dishes simple, often using just three or four ingredients. He also moved away from the excesses of French nouvelle cuisine.

INNOVATION

Tesla Pickup Truck is Elon Musk’s ‘favorite next product’ and U.S. automakers should be afraid

Content Courtesy of:electrek.co

Written By: Fred Lambert

Tesla has only 3 vehicle programs in production, which isn’t many for the average automaker, but it is working on many more to come out in the next few years.

One of the most important new programs is the Tesla Pickup Truck and we now learn that it is Elon Musk’s ‘favorite next Tesla product.’

During Tesla’s earnings conference call last week, the CEO said when talking about Tesla’s upcoming product programs:

“Probably my personal favorite for the next product is the pickup truck, and we are going to just do an amazing pickup truck.”

Tesla has already disrupted the premium full-size sedan and SUV segments with the Model S and Model X.

The Model 3 is also undoubtedly disrupting the midsize premium sedan segment in the US at the moment.

But those vehicles are disrupting segments that don’t pull a lot of weight in the US auto industry – at least nothing like pickup trucks do.

The top 3 selling vehicles were the Ford F-Series, Chevrolet Silverado, and Ram pickup trucks in the US last year.

Those vehicles are not only selling well, but they also represent the most profitable vehicle programs for those automakers and the most polluting vehicles.

Now Tesla is putting its efforts to disrupt this important segment, which is otherwise not being electrified by established automakers.

Musk has been quite excited by the idea and even though Tesla has 3 new vehicles that appear to be set to hit the market before the pickup, he now says that it is his ‘favorite.’

The CEO has recently sought suggestions for features to add to the truck under development and he revealed some planned features, like an option for 400 to 500 miles of range, Dual Motor All-wheel-drive powertrain with dynamic suspension, ‘300,000 lbs of towing capacity’, and more.

There’s no clear timeline for the release of the Tesla Pickup truck, but it sounds like it will be Tesla’s priority after the Model Y, which is set to be unveiled next year and go into production in 2020.

Electrek’s Take

I think U.S automakers should be afraid. Tesla did it 3 times and the latest is arguably having the biggest impact on its segment.

To think that Tesla couldn’t do it again with a pickup truck would be taking a big risk in my opinion.

We know that Ford is working on a hybrid F150, but that’s not nearly enough. The fact that they don’t have any all-electric pickup program in the work is insane to me.

I love to see Musk getting excited by the Tesla pickup truck because I am hoping that the unveiling and the start of reservations will kickstart the electric pickup truck industry in the US, which should have a massive impact on the emission from the American transport industry in the long-term.

When do you think that unveiling will happen? My guess is that it will be the ‘one more thing’ at the Model Y unveiling in March like the next-gen Roadster was at the Tesla Semi event. What do you think? Let us know in the comment section below.

MUSIC

TOP 10 Songs of the Week 2018 (Today’s 10 Music Hits)

Content Courtesy of: youtube.com

Causes

Madonna celebrates 60th birthday with fundraiser for Malawi

Content Courtesy of: wfla.com

Written By: Sunde Farquhar

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(WFLA/AP) – Material Girl Madonna is celebrating her 60th birthday with a fundraiser for orphans and children in Malawi.

The singer is teaming with Facebook for the fundraiser, which runs through August 31.

“I have an unwavering commitment to providing vulnerable children with a loving home. For my birthday, I can think of no better gift than connecting my global family with this beautiful country and the children who need our help most,” said Madonna on Facebook.

The fundraiser benefits Madonna’s charity Raising Malawi.

Every dollar raised will go to meals, schools, uniforms and healthcare. International payment firm Ripple will match all donations.

Fans can donate directly to Madonna’s Facebook page or start their own fundraiser on the social media site to raise money for the singer’s campaign.

Madonna was born in Bay City. Michigan. She rose to stardom in the 1980s and has sold more than 70 million albums, according to Biography.com.

In 2008, Forbes named Madonna the world’s wealthiest female musician.

Madonna was married to actor Sean Penn from 1985 to 1989 and was married to director Guy Ritchie from 2000 to 2008. She has six children Lourdes, 21, Rocco Ritchie, 18, David Banda and Mercy James, who are 12, and twin sisters Esther and Stella who are 5.

Madonna’s birth name is Madonna Louise Ciccoone.

FASHION

Ziploc has a fashion line now and it looks so fresh

Content Courtesy of: today.com

Written By: Scott Stump

Ziploc collaborated with a Japanese fashion brand to make a line of hats, aprons, backpacks and fanny packs, much to the delight of Hoda Kotb.

Ziploc is aiming to keep more than your turkey sandwich looking fresh.

The company has paired up with Beams Couture, a Japanese clothing brand, to create a line of clear plastic products like hats, purses, backpacks, bags, aprons, visors and fanny packs featuring the Ziploc logo.

There’s no word on whether the collaboration took its inspiration from TODAY’s Hoda Kotb, who has been showing off her #ziplocfashion for years.

She went with a Ziploc bag instead of a handbag while walking the red carpet with Savannah Guthrie at the TIME 100 gala in New York City in April. She did the same thing three years ago at The Gracies Awards in Beverly Hills, California.

Hoda Kotb Ziploc bag

Yes, that’s a Ziploc bag Hoda is clutching.

The capsule collection will be available online on Aug. 20, and the only place to get it in person for now will be at a pop-up shop at a Beams location in Shinjuku, Japan, from Aug. 15 to Sept. 11.

Judging by Hoda’s reaction on TODAY Thursday after learning about the Ziploc collaboration, she might be on a flight to Japan as we speak.

“Yes! This is the answer,” she said. “OMG this is awesome.”

Ziploc backpack

This backpack is like having a giant, fashionable Ziploc bag for your stuff.

The Ziploc hat we never knew we needed.

The Ziploc hat we never knew we needed.

The Ziploc umbrella keeps you as dry as a ham sandwich in a lunch box.

The Ziploc umbrella keeps you as dry as a ham sandwich in a lunch box.

Who knew how much people wanted to experience the feeling of looking like those steamed broccoli leftovers in the back of the the fridge?

Let the Ziploc fashion era to begin.

Savannah wondered if paying for a Ziploc handbag, which Beams has listed for about $81, defeats the purpose of just using a regular Ziploc as a bag.

“I like it because it’s cheap and if you lose it, you’ve lost nothing,” Hoda said about using a regular Ziploc.

The bags also have practical value given that many sports venues and some schools require clear bags upon entry so that security officers can easily search them.

However, the Ziploc fanny pack may be a bridge too far, according to TODAY’s Craig Melvin.

“I see the fanny pack on you,” Savannah told Hoda. “It would look good.”

“Please don’t,” Craig said. “Please don’t.”

FASHION

JUICY COUTURE MAKES META JOKES ABOUT #SPONCON IN ITS LATEST AD CAMPAIGN

Content Courtesy of: fashionista.com

Written By: Whitney Bauck

Juicy Couture's Fall 2018 ad campaign. Photo: Stas May/Juicy Couture

Juicy Couture’s Fall 2018 ad campaign.

Credit by: Stas May/Juicy Couture

Whether your response to sponsored content from your favorite influencer is to comment “Make that money!” or to roll your eyes and scroll right past, it’s an undeniable fact that there’s no going back to our pre-#sponcon social feeds. And as more and more brands get in on the action, cutting through the noise is only getting harder.

Juicy Couture’s solution? Lean into that #spon life rather than trying to pretend that ads aren’t ads. The brand’s Fall 2018 campaign does just that with a tongue-in-cheek layout that emphasizes, rather than downplays, the way that influencers, celebrities and, sometimes, well-known editors are being paid to peddle branded wares.

Entitled “Paid Partnership With” in reference to Instagram’s sponsored post callouts, the campaign features microinfluencers who were selected via influencer-centric software Winston. Each of the influencers collaborated with stylist Daniel Packar to showcase Juicy pieces in a way that’s meant to reflect their IRL style, and were photographed by Stas May against urban backdrops.

“The evolving landscape of social media and marketing was the inspiration behind the Fall 2018 Juicy Couture campaign,” a brand rep told Fashionista via email. “[It’s] a wink and nod to the regulations set forth to keep influencers and brands authentic in the evolving industry. The Juicy Couture campaign gives a bit of a wink to these guidelines while to encouraging influencers to remain genuine to their personal style and audience as they support brands and product they are passionate about.”

JULY WAS HOT!

Advertising and Brands

Under Amazon, Whole Foods seems to have a lot of secrets

Content Courtesy of: adageindia.in

Written By:  AdAge

Wall Street misses the old Whole Foods.

For years, hedge funds marked the date of the organic grocer’s earnings announcement on their calendars. Its quarterly results provided a rare window into the burgeoning market for organic food and how upscale Americans ate and shopped. And everyone, whether bull or bear, had an opinion.

Those days are gone. Since last August, when Whole Foods was swallowed up by Amazon.com, there’s been a virtual blackout. The grocery chain is now little more than a footnote in the e-commerce behemoth’s earnings statements. Barely a peep comes out of analyst calls.

“It’s not the same,” said Jennifer Bartashus, a retail-staples analyst at Bloomberg Intelligence. Before, “you could see the whole dynamic playing out. There’s no equivalent in the public space right now.”

In recent years, organic food has become big business in the U.S., with the likes of Kroger, Trader Joe’s and Walmartall crowding into the space. And no single grocer has embodied that upmarket shift into trends such as quinoa, kale and farm-to-table as much as Whole Foods, founded by outspoken vegan John Mackey more than three decades ago.

Rounding error

During Amazon’s second-quarter earnings call on Thursday, only one question was asked about Whole Foods. And when Amazon executives do talk about the company’s roughly 460 Whole Foods stores, the answers aren’t particularly enlightening. They usually amount to some combination of cutting prices, expanding delivery and trying get Prime members to buy more groceries.

Amazon’s earnings statements aren’t much help either. Revenue from Whole Foods is part of the company’s “physical store” line item, which means sales from the chain’s wild Alaska sockeye salmon and small-batch olive oil are lumped in with revenue from Amazon’s bookstores.

Details on same-store sales? Nope. New store openings? Good luck with that.

There’s little doubt that Amazon has shaken up the organic-food industry and worked to shed the grocer’s “Whole Paycheck” nickname, which even loyal shoppers derisively use to this day. Yet industry analysts have been left to rely on third-party services to track metrics like price cuts and sales growth.

Christopher Mandeville, whose covers Kroger and other food retailers at Jefferies, still peruses Amazon’s earnings transcript to see if Whole Foods is mentioned. He recalls how it was such a lightning rod as a publicly traded company, and at times, misses the heated discussions that investors would have during earnings season.

It was “hotly debated,” he said. “It certainly generated a lot of dialogue.”

–Bloomberg News

Art

Content Courtesy of: nytimes.com

Written By:  David Segal

Kyungah Ham in her storage room in Seoul, South Korea, where she displays the embroidery made by anonymous artisans in North Korea, following her designs. Each can take the artisans several thousand hours to craft and are confected through a hazard-filled maze.

Credit By: Tim Franco

SEOUL, South Korea — Growing up here in the 1970s, Kyungah Ham would occasionally find propaganda leaflets sent from North Korea via helium balloons. Like her classmates, Ms. Ham turned in the leaflets at school, where she was given a reward for doing a small part in South Korea’s simmering ideological war with its neighbor.

In 2008, when Ms. Ham found another North Korean leaflet — this one under the gate of her parents’ home — it felt like an alien object, blown in from a different planet. By then, she was a multimedia artist who had come to distrust much of the history she’d been taught, and she knew that South Koreans were sending leaflets of their own over the border. That got her wondering: Could she communicate directly with people who, through a geopolitical tragedy now 65 years old, she is forbidden to contact?

It was the birth of what might be the art world’s most extraordinary, ongoing collaboration. For a decade, Ms. Ham has been producing designs on her computer that are printed and smuggled into North Korea through intermediaries based in Russia or China. Then a group of anonymous artisans, whom she has never met or spoken to, are paid to convert them into embroideries, using exquisitely fine stitching. With bribes and subterfuge, the works are smuggled back out. Ultimately, they are shown and sold at galleries and exhibitions.

The most ambitious pieces are large-scale renderings of luminous, glittering chandeliers, some nearly 12 feet wide and 9 feet high, that from a distance look like photographs set against black backdrops. Get closer, and a filigree of stitches appear. Both chandelier and backdrop have been painstakingly composed of silk thread.

On one level, her embroideries are an attempt to reunite through art people who were forcibly separated in 1953 through war. The work marries the strength of the South (technology) to the strength of the North (craftsmanship), and it is confected through a hazard-filled maze.

Ms. Ham in her storage facility, looking at an embroidery of a chandelier. The pieces are sometimes 108 square feet in size.

Credit By: Tim Franco

A lot of artists talk about taking risks, but few mean it as literally as Ms. Ham. International sanctions prohibit commerce with the Hermit Kingdom, so at least theoretically, she could face criminal prosecution for these cash-for-work transactions.

The potential penalties for her collaborators are far graver. If caught, these residents of the world’s most repressive regime could be imprisoned or executed. The dangers facing the North Koreans raise ethical issues that, intended or otherwise, become part of Ms. Ham’s art.

“With Kyungah’s work, it’s difficult to separate the object from the process of making the object,” said Rosalie Kim, a curator at the Victoria and Albert Museum in London, which acquired one of Ms. Ham’s embroideries in 2016. “The risk isn’t the point, but the risk emphasizes the consequences of the separation of the peninsula and what is at stake in trying to overcome it.”

Ms. Ham protects the covert network in her employ with a spymaster’s care, and would not discuss the size of the lump sums that cover the cost of intermediaries, artisans and bribes. But she hides neither her art nor the basics of her methods. The Embroidery Project, as she calls it, has been part of museum group shows in London, Vienna and Singapore, and wall labels beside each piece succinctly explain how it was made.

“North Korean Hand Embroidery,” reads one label. “Silk threads on cotton, middleman, anxiety, censorship, ideology, wooden frame, approx. 2200 hours/2 persons.”

On first meeting, Ms. Ham seems wildly miscast for the role she has created for herself. She would be the first to admit that she is lousy at coping with stress, now a permanent feature of her life. Once, on a flight to meet an intermediary, she collapsed with a stomach ailment so painful and severe that as soon as she landed, she was put on the next plane back to Seoul and admitted to a hospital.

“Are You Lonely, Too?” is part of what artist Ms. Ham calls her SMS Series in Camouflage. It’s conceived on a computer in Seoul and turned into an embroidery on silk by unknown artisans in North Korea.

Credit By: Joon Hyung Park

If her nerves are fragile, other parts are made of steel. During interviews in both Paris and Seoul in recent months, she was adamant and particular about nearly everything. Before dinner at a brasserie, she rejected three different tables offered by a host. (Her final choice, it must be said, was superior to the others.) She issued demands about virtually every aspect of this article, including who would photograph her.

And though an introvert by nature, once she overcomes her natural shyness, she is bursting with words.

“If we take it step by step,” she said with a smile early in our first meeting, preparing to describe her life and work, “this will take five hours.”

As Ms. Ham explained, her chandeliers are a symbol of the foreign powers that divided Korea along the 38th Parallel after three years of fighting the Korean War. (The golden age of those powers passed, she said, which is why these chandeliers are either falling or already on the ground.) The border was largely imposed on the peninsula by non-Koreans; Ms. Ham’s favorite word to describe this fact is “absurd.”

As she conceived her embroideries, she was inspired in part by a moment in a documentary about the Mass Games, Pyongyang’s socialist-realist extravaganza of tightly choreographed music, dance and gymnastics. The production includes a crowd, thousands of people strong, holding flip books in front their faces with blocks of colors on each page. The pages are turned in uncannily timed unison, a vast human billboard of seamlessly changing words and images.

Ms. Ham watched and saw the face of a young boy peeking over his color book.

“He was like a pixel in a digital image,” she said. “I wanted to bring this idea to my chandeliers. Behind them are highly skilled embroidery workers, whom you can’t see, but they memorialize themselves, stitch by stitch.”

One of Ms. Ham’s embroideries. The pieces are smuggled back to her from North Korea in a black plastic bag, and initially reek of cigarette smoke.

Credit By: Tim Franco

Pieces typically come back folded up in black plastic bags, reeking of cigarette smoke. Her first move is to hang up the work and air it out. The round trip to and from North Korea can take as long as a year, a process she likens to shouting from a mountain top and hearing her voice 12 months later.

Ms. Ham is not idle while she waits, and the embroideries are just one facet of a varied career. Since earning an M.F.A. from the School of Visual Arts in New York, in 1995, she has been making videos, sculptures, photographs and an assortment of installations. One recurring impulse is to highlight the ways power is abused, and for whatever reason, she is drawn to methods that give her agita.

With an installation called “Museum Display,” in 2010, theme and practice were combined. She has long been irked by the many Western museums filled with cultural treasures from other countries — think of the Elgin marbles, originally part of the Parthenon in Greece, which have spent the last 200 years in the British Museum. With wit and irony, Ms. Ham pilloried this tradition by stealing hundreds of mundane objects from museums around the world, including forks, saucers, knives, vases, salt and pepper shakers. She then displayed them in a huge glass case, under lights, labeling each item with the gravity befitting a looted masterpiece.

“Sign, ‘These doors are alarmed,’ 10cm x 10 cm, the British Museum, 2009,” reads one.

Her other great passion is connecting to strangers, and the Embroidery Project is an expression of that urge. Among the first images she conceived for her artisans were stylized words, rendered in both Korean and English, and set against abstract and colorful designs. One simply read “I’m sorry,” in the two languages.

“I wanted to tell these artisans, ‘I’m sorry about the situation,’” she said. “‘I am sorry about what history has done to us.’”

Later, she began what she calls the “SMS Series in Camouflage,” in which she weaves faint words, in script, into almost psychedelic oil slicks of color. One of these not-so-secret messages reads “Big Smile,” an instruction for performers during the Mass Games. When a gallerist urged her to employ embroiderers in China, arguing it would be far quicker and easier, she felt misunderstood enough to create a new message: “Are you lonely, too?”

The largest collection of Ms. Ham’s work is in her storage facility. The words under the chandelier, “Perhaps, I secretly longed for our liaison to fail,” come from a popular Korean song and express her complicated feelings about her collaboration with North Korean embroiderers.

Credit By: Tim Franco

Many early works were confiscated by North Korean authorities, either on the way in or out of the country. She has gone through several intermediaries, one of whom simply took her money, and has gradually found ways to work with standout artisans, using a code to convey her admiration for certain pieces. The result is a rarity — conceptual art in which the finished product is every bit as compelling as the concept itself.

“There are a lot of beautiful things you can buy at Art Basel, and there are a lot of clever conceptual strategies out there,” said Roger Buergel, the German-born artistic director of the 2012 Busan Biennale, which featured work by Ms. Ham. “She unites these two poles in a singular way. The pieces themselves are spectacular.”

Though she has given interviews in the past, she spent months wavering about whether to speak to The Times. Friends have told her “Don’t get too famous.” Citing fatigue, she stopped answering texted questions a few weeks ago, including one about the summit between President Trump and Kim Jong-un in Singapore last month. Would a rapprochement change — or even end — her project?

After a long silence, she sent a text a few day ago that said that if North Korea joined the brotherhood of nations, her work would be reinterpreted in a new political context and, she wrote, “stay alive in history.”

Today, her pieces sell for prices ranging from $25,000 to $300,000 in the Carlier Gebauer Gallery in Berlin and the Kukje Gallery in Seoul. But the largest collection of her work is in her storage facility outside Seoul. During a visit in February, Ms. Ham offered a tour of what is little more than a large and bare room, with embroideries neatly stacked against each other on the floor.

Ms. Ham roamed around the space, beaming. She is somewhat ambivalent about parting with her chandeliers, especially if they are just going to hang on someone’s wall. Her preference is to lend pieces to exhibitions, or sell them to museums, where the largest possible audience can consider their improbable journey and marvel at their virtuosity.

“I don’t tell the galleries about everything I have,” she said with a grin, “because they will sell it.”

Food

The Big Mac is turning 50! Here’s how to score a free McDonald’s burger

What’s better than a Big Mac? A totally free Big Mac.

Content Courtesy of: today.com

Written By:  Erica Chayes Wida

Move over, Bitcoin! There’s a new global currency coming to town and it’s something people can see, feel … and turn into a Big Mac! If you’ve been craving coins stamped with a burger, it’s time to collect.

On Thursday, McDonald’s will launch its most recent innovation: The MacCoin. This universal “food currency” is being launched to honor the Big Mac’s 50th birthday and can be used in 50 different countries to score a free Big Mac.

Big Mac, MacCoin

Get your hands on a limited-edition MacCoin on Aug. 2.

Mickey D’s has come up with some wild promotions in the past, including a catchy jingle for breakfast lovers and a Twitter contest with a $12,500 diamond “Bling Mac” ring prize. Unlike that bejeweled Big Mac, MacCoins will be a bit more attainable … with more than 6 million being released worldwide.

Starting at lunchtime on Thursday, customers who purchase a Big Mac will receive a free MacCoin at participating locations in the U.S. The coins can then be redeemed for a free sandwich starting on Friday. They’ll be valid through the end of the year at any participating location in the world.

So far, it looks like some vegatarians even want a bite of the coin collection.

McDonald’s is offering the new food currency in honor of The Big Mac turning 50 this year — so it’s sort of like a universally-distributed birthday party favor. The chain’s signature burger was originally created by entrepreneur and McDonald’s franchise owner Jim Delligatti who dreamed up the double-patty burger topped with special sauce, lettuce, cheese, pickles and onions in Uniontown, Pennsylvania. It was launched onto the national menu in 1968. Aug. 2 was also Delligatti’s birthday (he passed away in 2016) but his family will also be celebrating his memory, according to a company statement.

There will be five different MacCoins, with each representing the last five decades of the burger. The first coin is decorated with flowers to represent the period of “flower power” in the years it was first invented. Other MacCoins allude to pop art in the 1980s and “bold, abstract” shapes like a pair of Mario Lopez’s favorite A.C. Slater pants from the 1990s. The fifth MacCoin shows off the technological boom and is also stamped with emojis.

According to a McDonald’s spokesperson, the inspiration to create these coins came from the “Big Mac Index,” which The Economist began using in 1986 to “measure the purchasing power of international currencies every year.” Creating a coin to represent the longevity of the popular burger seemed only fitting.

But don’t worry about missing the chance to snag a MacCoin on Thursday. The fast food chain is still offering $1 Big Macs on its mobile app through the end of September.

Innovation

Meet Noah, the latest biobased, electric vehicle

Content Courtesy of: biofuelsdigest.com

Written By: Rebecca Coons

In the Netherlands, students at the Eindhoven University of Technology have built an electric car from flax fiber and sugar. Dubbed Noah, the two-seater weighs just 420 kg, including the battery.

The car’s chassis and interior are comprised of panels of bioplastic and flax fiber, while the body is made of flax mats injected with a biobased resin. Because the materials weigh so little, Noah’s battery weighs just 60 kg—compared with regular electric car batteries that require several hundred kg.

Once the car has completed its useful life, it can be ground down and used as raw material for other products.

Cas Verstappen, one of the students who worked on the project, tells Automotive Business Review that the project was targeted toward building awareness. “We want to show that a circular economy is already possible in complex products such as cars.”

The Noah concept EV will be constructed using biocomposite panels with a sugarcane PLA matrix sandwiched...

The Noah concept EV will be constructed using biocomposite panels with a sugarcane PLA matrix sandwiched inbetween

Credit By: HOWDO Creative Direction

Wall Decor Inspiration

The Noah concept EV has been designed to be sustainable during production and usage, and recyclable...

The Noah concept EV has been designed to be sustainable during production and usage, and recyclable at the end of its operational life

Credit By: Keyshot by Luxion

The Noah concept city car is unlikely to include many of the comforts seen in modern...

The Noah concept city car is unlikely to include many of the comforts seen in modern vehicles, but will undergo regulatory testing for roadworthiness and safety

Credit By: Keyshot by Luxion

The Noah concept electric city car from TU/ecomotive will be constructed over the coming months, ahead...

The Noah concept electric city car from TU/ecomotive will be constructed over the coming months, ahead of a meet and greet tour of European cities due to kick off in June or July 2018

Credit By: Keyshot by Luxion

2017's Lina electric four-seater was the first TU/ecomotive concept to use biocomposite and bio-plastics

2017’s Lina  electric four-seater was the first TU/ecomotive concept to use biocomposite and bio-plastics

Music

The Best Songs to Listen To From July 2018

Tune into the best new releases you might’ve missed.

Content Courtesy of: harpersbazaar.com

Written By: Erica Gonzales

image

At the peak of the summer, the new releases are just as hot as the weather. Check out our favorite new tracks below, and check back in throughout the month for new additions.

“Boo’d Up (Remix)” by T-Pain

Following “Panda” and “Bartier Cardi,” Ella Mai’s breakout track is the latest hit to get blessed with T-Pain’s genius. Nicki Minaj and Quavo might’ve teamed up for a remix that same week, but this one takes the cake—and every last crumb.

“Doesn’t Matter” by Christine and the Queens

Frontwoman Héloïse Letissier told Zayn Lowe that the song was bold, exposed, and confessional. “There is a sense of despair also in this record but it’s strangely empowering at the same time,” she said, per Spin. The track, a sharp and clean spin on ’80s pop, is the second single from her upcoming album, Chris.

“Feels Like Summer” by Childish Gambino

In the middle of July, Donald Glover hit us with two cool new summer jams to counter the summer heat; “Feels Like Summer” is the more ambient of the pair. They’re both co-produced by Ludwig Goransson, whom he worked with on the poignant “This Is America,” which just goes to show the kind of range we can expect from Gambino’s upcoming album.

“1999 Wildfire” by BROCKHAMPTON

The hip-hop crew is a prodigious new favorite that proved over a series of EPs that no sound is outside of their comfort zone. With “1999 Wildfire,” BROCKHAMPTON adopts a smooth retro R&B vibe—at times channeling old-school Outkast—for the first supposed single from their next album. Though they dropped one member after a sexual misconduct controversy, the group’s momentum is unstoppable.

“Better” by SG Lewis feat. Clairo

Indie-pop up-and-comer Clairo nabbed a crossover hit just over a month after releasing her debut EP. Her languid vocals plus SG Lewis’ disco-inspired production results in a danceable banger with that too-cool-for-you vibe. The pairing was unexpected but Clairo assured in a statement that was a “match made in heaven.”

“God is a woman” by Ariana Grande

After her first two Sweetener singles, “No Tears Left to Cry” and “The Light Is Coming,” this is probably Grande’s biggest one yet. It’s reminiscent of the pure pop mastery of Dangerous Woman, while taking a jab at the patriarchy. (Oh, and the last 30 seconds are pure choral bliss.) “To my fellow goddesses who work their asses off every day to ‘break the glass ceiling,’ this is for you,” the star wrote.

“Endless” by Garren Sean

The Bay Area producer, who’s previously worked with Chance the Rapper, brings hints of Coloring Book (and some Francis and the Lights influences) to the opening track of his new Sundrip EP. Sean brings elements like soulful guitar licks, an ethereal R&B vibe, and trap hi-hats together for a chill gem.

“Wildin'” by berhana

The singer-songwriter and Atlanta native finds himself evaluating his success on the first single off his next project. It’s “about losing sight of yourself, about getting swept up in the moment and forgetting about what you came here to do,” he said in a statement.

“Look What U Started” by The Internet

Following 2015’s Ego Death, Syd, Steve Lacy, and Matt Martians pursued equally impressive solo projects, but the band came back together to make the cohesive, aptly-titled Hive Mind. The record is chock-full of soul-funk jams, but this one’s bass line is especially alluring, right from the bass line.

“65th & Ingleside” by Chance the Rapper

Weeks after becoming engaged to longtime girlfriend Kirsten Corley, Chance released a track where he looks back at the hard times they endured together while living on 65th and Ingleside in Chicago. He praises her financial and emotional support through their low points, and ends with: “Truth is I just really need your finger size / So I can make sure that they make the ring so tight.” Excuse us while we cry softly.

“WWYD?” by DRAM

DRAM gets us thinking on his new track: “If you gotta check in your name for a hundred thousand dollars, honestly, what would you do?” he asks in the hook. The Virginia rapper/R&B star surprised us with the song—and two others—on a new three-track EP, That’s a Girls Name, to follow up his 2016 album Big Baby DRAM.

“Real Life S**t” by Buddy

Compton rapper Buddy makes a stunning debut with his album, Harlan & Alondra, where he gets pensive about his childhood, upbringing, and identity, with features including a hip-hop vet (Snoop Dogg), a ubiquitous collaborator (Ty Dolla $ign), and a budding pop star (Khalid). This intro track—produced by Bruno Mars collaborator Brody Brown and co-written by Terrace Martin—sets the scene for the rest of the record. If you want a good dance bop to groove to, add “The Blue” (featuring Snoop) to your queue.

“Maybe 25” by Minke

This only marks the third single for the London-bred up-and-comer, but it sounds like she’s been releasing music for years. Minke pairs her soothing vocals over an uplifting pop-rock vibe in this commentary on the lack of real connections in today’s society. Keep an eye out for her EP coming this fall.

“Potato Salad” by Tyler, the Creator and A$AP Rocky

The rappers bring their friendship into a freestyle collab that’s part swagger and part humor (“This ain’t a purse, it’s a satchel,” Rocky raps). The pair exchanges verses over “Knock Knock by Monica, which was produced by Kanye West. You won’t find this on streaming services, so keep the YouTube video bookmarked if you’re a fan.

“Charcoal Baby” by Blood Orange

Dev Hynes returned with two new songs to preview his upcoming album Negro Swan, which he called “an exploration into my own and many types of black depression,” according to Rolling Stone. “Charcoal Baby” is a depiction of that loneliness and being an outsider, laid over the artist’s signature lo-fi ‘80s sound. Just wait until the saxophone solo at the end.

“BLACK BALLOONS | 13LACK 13ALLOONZ” by Denzel Curry feat. Twelve’len and Goldlink

On his three-part new album, Ta13oo, the Floridian rapper brings back the hard-hitting verses that earned him acclaim on his 2016 record, Imperial. But he also shows his versatility with this unexpected pop/R&B crossover.

“My Love” by VanJess

The sister duo acquired a lot of collaborators for their debut album, including Kaytranada and Goldlink, but they really make an impression in the opening track with Soulection producer Da-P. The duo offers a dark, moody, and modern style of R&B (think Kelela’s Take Me Apart era) that serves as a perfect tipping off point for their promising careers.

“Hypothalamus” by Ruthven

The producer and artist delivers a masterful spin on ‘80s-inspired synth pop with a nod to his profession as a firefighter. The track was named after the part of the brain that acts as the body’s thermostat (which he learned in a first aid course on the job). As an artist, it became a “metaphor for the physical impact of heartbreak,” according to a release.

Movies

Guardians of the Galaxy Star Quits Twitter After James Gunn’s Firing

Content Courtesy of: screenrant.com

Written By:  DAN ZINSKI

Writer-director James Gunn’s firing over years-old offensive tweets has prompted Guardians of the Galaxy star Michael Rooker to quit Twitter. Gunn was let go by Disneyon Friday after a number of his tweets, all posted before he went to work on the first Guardians of the Galaxy film, resurfaced and touched off a firestorm.

Gunn later apologized for the tweets, characterizing them as failed attempts at humor, and insisting he’s grown as a person in the intervening years. Guardians of the Galaxy star Dave Bautista defended Gunn, and later more cast members also spoke out in favor of the embattled director, including Zoe Saldana and Chris Pratt. As of Sunday afternoon, a fan petition calling for Disney to re-hire Gunn had garnered over 65,000 signatures.

In another demonstration of solidarity with the ousted Gunn, Guardians of the Galaxy star Michael Rooker said on Monday that he is quitting Twitter (via CBR). Rooker briefly posted tweets explaining his decision before deleting his account, leading to the tweets also disappearing. The actor’s now-deleted statement read in part:

Rooker first worked with Gunn on the director’s 2006 horror movie Slither, then reunited with him for the 2010 action comedy Super, the film that more than any other led to Gunn being hired by Disney to adapt Marvel’s Guardians of the Galaxy into a film. Gunn brought Rooker aboard Guardians as the Ravagers leader Yondu, the man responsible for kidnapping Chris Pratt’s Peter Quill. Rooker returned as Yondu for Guardians of the Galaxy Vol. 2 and played an even bigger part, becoming a focal point of the plot.

Though Gunn has received plenty of condemnation for his old tweets, many of which referenced rape and pedophilia, he has also received an outpouring of support not just from Guardians of the Galaxy cast members but the movie industry at large. With Gunn at the head of Guardians of the Galaxy and its sequel, the films grossed $1.6 billion worldwide. Shortly before his firing, Gunn had completed work on a draft of Guardians of the Galaxy Vol. 3, which reportedly would be set after the apocalyptic events of this year’s Avengers: Infinity War. Disney has thus far given no word on who might take over writing and directing chores on the third Guardians film now that Gunn has been fired.

Entertainment

VIRAL ENTERTAINMENT FACEBOOK PUBLISHERS SURGE IN POPULARITY IN JULY 2018

Content Courtesy of: tubularinsights.com

Written By:  Bree Brouwer

Thanks to July’s Facebook leaderboards, we know the top ten most-watched publishers and brands on that platform garnered just over 10.9 billion total views last month. That, of course, doesn’t touch on the billions of views from the remaining 90 publishers in the top 100, and it certainly doesn’t tell us anything about the top trends and insights dominating July’s leaderboard, which video showrunners around the world want to know about so they can improve their own digital strategies. So let’s take a look at those trends and key players from last month, shall we? For starters, here’s the rundown of July’s highlights:

  • Five publishers claimed at least 1 billion views each.
  • The highest average 30-day engagement rate (ER30) of the top ten publishers hit 1.7x, while the highest ER30 of the top 100 publishers hit just over 2.8x, almost 3 times a normal engagement rate.
  • The best 30-day average (V30) from the top ten was more than 15.4 million, while the best overall V30 across the top 100 publishers landed at 24.2 million.
  • Out of all 100 publishers, six of them increased rankings by at least 100 positions each, with the position change of 530 spots being the highest of all.

Top Facebook Video Publishers July 2018

July’s top ten Facebook publishers and brands are familiar faces to Tubular’s monthly leaderboard, such as UNILAD and The Dodo. The most change in views, however, tends to occur farther down the leaderboard across the top 100 publishers, and that’s certainly what we saw this month. Two media brands , in particular,saw fantastic view gains for some of their sub-properties, and there were a few new faces from the viral and animal-based content genres, as well. Let’s take a look:

Two Media Brands See Substantial View Growth in July

You know your brand is doing something right when several of your properties move leaps and bounds up the leaderboard due to millions of more views. In July, both the UK-based MediaChain and Germany-based Axel Springer experienced this phenomenon, with the media giants massively increasing their views and growth on some of their select properties.

MediaChain, for example, runs the Facebook pages for viral entertainment brand See More and the what I’m calling the “life experiences” comedy brand 9 to 5 Life, because it provides witty commentary-style videos on everyday happenings in life like work, school, and family. SeeMore bumped up 12 spots to land at #12 thanks to almost 640 million views, while 9 to 5 Life gained a highly-enviable 307 positions to place seventeenth with nearly 491 million views! Why did these two pages gain more video views in July? It likely has to do with both media brands providing more of the exact content their audiences want to see, as both increased their number of uploads in July (SeeMore had 294 videos vs. June’s 261, 9 to 5 Life had 286 videos vs. July’s 99). More videos inevitably means more eyeballs, but SeeMore and 9 to 5 Life also succeeded in gaining more traction thanks to on-point content their audiences love.

Like MediaChain, Axel Springer enjoyed the benefits of higher viewership in July, too, mainly across its family of Insider-related properties. For example, across the month’s top 100 publishers, we saw INSIDER Presents at #54 after jumping up 66 positions, DESSERT Insider at #57 after moving up 48 spots, STYLE Insider placing #78 after gaining an impressive 118 positions, and INVENTIONS Insider landing at #89 thanks to an increase of 26 spots. Now, all these brands are Facebook Watch shows, which means they probably had paid and organic promotion going for them, along with pushes from Facebook’s own algorithm. That being said, both INSIDER Presents and DESSERT Insider worked with sponsors on a few videos in late June and early July, which also helped increase their viewership; this video about a dress-zipping tool, for example, was sponsored by Delta Hotels and pulled in 4.7 million views to date.

Viral Entertainment and Positive Content Moves Up the Charts

MediaChain’s properties mentioned above are definitely considered viral entertainment, and it’s no surprise they performed well in July. Viral content has made a clear home for itself on Facebook, which is why media brands who specialize in this format tend to do well in terms of views and engagement. That was the case for a few other properties on July’s Facebook leaderboard, as well:

  • Recreo Viral, which features viral and comedy content in Spanish, placed #59 thanks to a position increase of 52 spots.
  • At #68 was Genial, another Spanish-language brand which moved up 207 spots thanks to its “interesting facts”-style video posts about life, science, history, and more.
  • Inspirational brand Sharing is Caring hit #75 after a 95-position increase.
  • Positivity-themed Now I’ve Seen Everything landed at #83 after moving up 107 spots.
  • Animal content brand Snapped In The Wild jumped a whopping 530 positions (the most of any of the top 100 publishers) to place eighty-eighth.
  • The Facebook Watch show Howlers Presents, which boasts hilarious fails and funny moments content similar to what you’d see on America’s Funniest Videos, claimed #100 after an increase of 128 spots.

Clearly, viral entertainment reigns on Facebook. But could there have been any other reason to its massive viewership in July? Maybe during the last full month of summer before school starts (at least here in the U.S.), internet users were spending their free time watching content that made them laugh or gaze in wonder. Who wants to be watching sad content on your vacation, anyway? Regardless of whether or not summer’s free time contributed directly to the growth in these viral entertainment publishers’ views, it’s important for like-minded brands to pay attention to the monthly ebbs and flows of viewership trends so they can apply this knowledge to their own digital video efforts. Now go do just that!

Tubular Video Ratings

You’ll notice some exclusive data in this month’s chart as we include Tubular Video Ratings, a unique group of online video metrics that set the standard for measurement of views and engagements across videos and publishers. They include a simplified first 30-day engagement rating (ER30) and first 30-day views (V30), and more information can be found here.

Get the Full-List of Top 25 Video Publishers on Facebook & Other Video Platforms

Tune in Every Month for the Most Up-to-Date Stats! Each month TubularInsights will publish the most up-to-date leaderboard charts, so stay tuned! In the meantime, sign up for a free Tubular account and get access to the complete list of the top 25 video creators across YouTube, Facebook, and Cross-platform.

Trending

A zoo in Egypt has been accused of painting a donkey to look like a zebra 

Content Courtesy of: entertainment.ie

Cairo’s International Garden municipal park has been accused of trying to pass a donkey off as a zebra by painting its coat in black and white stripes.

A Facebook post by Mahmoud Sarhan went viral after it showed Sarhan at the zoo, standing next to the alleged zebra which clearly had smudged paint on its coat from the hot weather and a white snout, not to mention having long ears – something a real zebra doesn’t have.

Sarhan’s post went global, with vets confirming from his post that it was indeed a donkey and that it most likely had its mane trimmed to resemble that of a zebra, as well as the poorly executed paint-job. The zoo’s director, however, insisted on local Egyptian radio station Nogoum FM that the zebra wasn’t a fake.

Just for clarity’s sake, here’s the image in question posted on Mahmoud Sarhan’s Facebook…

And here’s a picture from Wikipedia of a zebra. Looks pretty clear to us that this zoo is trying to make an ass out of people. RIMSHOT.

Marketing and Digital

Content Courtesy of: mobilemarketer.com

Written By: Robert Williams

Brief:

  • Peak Games, a Turkish game developer that created mobile games Toy Blast and Toon Blast, is collaborating with “Deadpool” star Ryan Reynolds on a campaign that includes 30 different video spots. The game developer plans to measure the effect of each video within 24 hours of its launch and adjust its targeting to reach core audiences based on consumer tastes, per a press release.
  • Reynolds worked closely with Peak Games to create nine unique scripts for the Toy Blast campaign. Ad agency TBWA/Chiat/Day LA oversaw the development of the videos, which were produced by MJZ and directed by Tom Kuntz.
  • The videos are live in the United States, and Toon Blast will gradually expand its reach to all major video ad networks, beginning with Facebook and Instagram. Toon Blast has been downloaded more than 80 million times, according to Peak Games.

Insight:

Peak Games’ campaign with Ryan Reynolds shows how ad performance metrics have evolved to measure results of video spots and allow advertisers to make quick adjustments to a media placement strategy. It will be interesting to see how the Peak Games campaign performs, and what lessons there will be for other brands that are looking to boost the efficiency of their marketing efforts.

According to VentureBeat, Peak’s mobile card game studio was bought by Zynga last year for $100 million in cash. Zynga’s acquisitions over the last year, combined with its change to Unity Technologies as its advertising partner show a company looking to dominate not only the mobile game industry but its marketing as well.

The partnership with bankable star Ryan Reynolds is likely to only further boost its prominence. The actor this year announced an interest in Aviation Gin, whose brand owner Davos Brands said Reynolds will “play an active role in the day-to-day business and oversee creative direction.” He was also the voice (if not the face) of several successful “Deadpool”-based campaigns, including an AR activation with 7-Eleven, a pop-up by Mike’s Harder and a commercial for Devour frozen sandwiches.

Peak Games was estimated to have more than doubled its revenue in 2017 with popular titles like Toy Blast. The company also created mobile card games like Okey Plus, Spades Plus and Gin Rummy Plus that allow users to join games among communities of players.

 

JUNE BROUGHT THE GLOOM OF KATE SPADE-GLORY FOR MUSIC AND MORE

JUNE BROUGHT THE GLOOM OF KATE SPADE-GLORY FOR MUSIC AND MORE

FASHION

LVMH’s Next Generation Seeks Change

Content Courtesy of: businessoffashion.com

Written By: Carol Matlack and Robert Williams

Editors: Anne Swardson, Phil Serafino

The multipronged group has shaken up its ranks of managers and designers, rolled out new e-commerce platforms and become a patron of the French technology scene.

Bernard Arnault, chairman of LVMH at his office in Paris | Photo: Magali Delporte

Bernard Arnault, chairman of LVMH at his office in Paris

Photo by: Magali Delporte

PARIS, France — At last week’s Louis Vuitton menswear show in Paris, newly hired designer Virgil Abloh sent hoodie-clad models down the runway toting duffel bags made from gleaming high-tech plastic, all to the latest Kanye Westalbum. West, who embraced the tearful designer as he took his bows, was joined by his wife, Instagram super-influencer Kim Kardashian. Seated steps away: Bernard Arnault, head of parent company LVMH, and four of his adult children.

The duffels, embossed with the LV logo, were a far cry from the monogrammed brown bags that helped LVMH define and dominate the global luxury industry. They’re just one of the many ways the company is remaking itself as the next generation of Arnaults carves out a greater role. Of Bernard’s five children from two marriages, all but the youngest one hold senior positions at LVMH.

Over the past year, the multipronged group has shaken up its ranks of managers and designers, rolled out new e-commerce platforms and launched a makeup line with the singer Rihanna. It’s become a patron of the French technology scene, subsidising workspace at a startup incubator and handing out awards to young entrepreneurs. Such moves contrast with LVMH’s long-time modus operandi of acquiring iconic European brands and enhancing their exclusivity.

“Luxury companies are required to engage the consumer in ways they never did before,” said Mario Ortelli, who runs a London-based advisory firm on luxury strategy. “It’s become more of a collaboration” as the response on social media can either boost or sink new collections. The younger Arnaults, Ortelli said, “can look at this market with the eyes of someone who is closer to it” than their 69-year-old father.

“Such moves contrast with LVMH’s long-time modus operandi of acquiring iconic European brands.”

Abloh’s hiring illustrates the transformation. A Ghanaian-American streetwear designer, he was a creative consultant to West when he was spotted by Delphine Arnault, 43, Vuitton’s executive vice president, and Alexandre Arnault, 26, head of the Rimowa luggage business. Abloh, who studied architecture rather than fashion, has a following of 2.6 million fans on Instagram, many of them willing to pay as much $2,500 for a pair of sneakers from his collaboration with Nike.

“What’s exciting about him is his approach, and the fact that he’s so open to the world,” Alexandre Arnault said before the show, standing on the rainbow-painted runway. In a nod to LVMH’s success with classic fashion, he added: “It’s about redefining the codes of luxury, making it more accessible for young people. The products will stay exclusive even if the approach is inclusive.”

Bernard Arnault doesn’t plan to retire for at least a decade, according to people familiar with his thinking, and there’s no clear front-runner to replace him. But as his children expand their influence, and as the serial deal-maker runs out of companies to buy, LVMH is reshaping the brands it already owns. It’s all with an eye to making them increasingly relevant to a generation of consumers more excited by Instagram posts and sneaker drops than by the editorial pages of Vogue. Arnault, the chief executive officer, declined to be interviewed.

The luxury business “is not about It bags anymore,” said Federica Levato, a partner at Bain & Co. in Milan. “Streetwear, T-shirts, puffy jackets, are becoming an important part of the core collection.” In marketing to these customers, luxury houses have to focus not only on products but also on “communication, visuals, social media, all the touchpoints.’’

The company, 47 percent owned by the Arnault family, posted 43 billion euros ($50 billion) in sales last year, nearly three times the figure of its nearest competitor, Kering. Its portfolio of 70 brands, from Vuitton and Dior to Moet & Chandon Champagne and Tag Heuer watches, turned in robust 13 percent sales growth during the first quarter. Bernard Arnault is the world’s sixth-richest person with a fortune of $73 billion.

While LVMH doesn’t break out sales for individual brands, Louis Vuitton is the world’s largest and most profitable luxury brand, with sales of nearly $11 billion and an operating margin of 45 percent last year, according to HSBC. Shares of the parent company are up about 16 percent this year.

“Bernard Arnault has a sixth sense about what’s next” in luxury trends, said Ron Frasch, a former president of Saks Fifth Avenue who now works in private equity at Castanea Partners in New York.

“LVMH can no longer count on acquisitions to supercharge growth.”

Still, there are worrisome signs. Gucci, owned by Kering, is outpacing LVMH in the race for younger customers — an urgent concern, as 85 percent of growth in the luxury sector now comes from shoppers under age 38, according to Bain. Designer Alessandro Michele has rebooted Gucci with collections that pile on crystals, embroidered flowers, dragons, and cartoon cats. Gucci, which says 55 percent of its sales are to millennial shoppers, reported revenue up 49 percent in the first quarter of this year. That compares with 16 percent at LVMH’s fashion and leather goods division, dominated by Vuitton.

LVMH can no longer count on acquisitions to supercharge growth. Starting in the late 1980s, Arnault snapped up dozens of mostly family-owned companies — fashion houses, watchmakers, champagne growers, and more — scaling them up and finding new markets for their products in the developing world, especially in China.

Nowadays, there are few opportunities for game-changing deals. The family owners of Hermès, the high-end handbag maker, rebuffed Arnault’s efforts to build a stake in the company. The owners of privately held Chanel show no interest in selling, either. Arnault’s last big acquisition, in 2017, was essentially a bookkeeping exercise: He spent about 12 billion euros to buy out minority shareholders in Christian Dior, which he already controlled, and fold it into LVMH.

Arnault and his team used to be known as “killers’’ who stalked the luxury sector for potential acquisitions, said Gachoucha Kretz, a marketing professor at French business school HEC. Now, “they are taking another path.”

That path includes new management and design talent. LVMH recently replaced the longtime head of Christian Dior with Pietro Beccari, former head of the Fendi unit. Beccari won acclaim there for his e-commerce savvy and for whimsical spectacles that raised awareness of the fur-and-handbags brand. One example: a show in which model and reality-TV star Kendall Jenner appeared to walk on water as she traversed a plexiglass runway over Rome’s Trevi Fountain.

And the family has hired Hedi Slimane, the star designer who set the menswear agenda for more than a decade when he brought back skinny jeans and suits at Dior Homme in the early-to-mid-2000s. Slimane is set to show his first collection at Céline in September.

Abloh, whose appointment was announced in March, caught Delphine Arnault’s attention in 2015 when she made him a finalist in an annual competition to spot promising young designers. Delphine has become LVMH’s chief scout when it comes to design talent. She’s also inherited for father’s penchant for quality control, popping in unannounced at some of LVMH’s more than 4,000 stores around the world to make sure they’re up to snuff.

Abloh is “a completely different generation,” said Takashi Murakami, who worked with Vuitton on a series of multi-colored handbags in the early 2000s during the brand’s first conversion from stuffy trunkmaker to veritable fashion brand under Marc Jacobs. “When I was collaborating the first time with Marc Jacobs, at this moment the high fashion was the high fashion—-with very few black people. This time it’s really with the hip-hop movement.”

“As the younger Arnaults make their mark on LVMH, it’s likely the company will become more open and transparent.”

Chief executive Arnault has fast-tracked the careers of two younger sons from his second marriage. Alexandre helped seal the acquisition of Rimowa in 2016 and now runs the German luggage maker. Frederic, 23, became head of “connected technologies” at Tag Heuer last year after graduating from the elite Ecole Polytechnique, his father’s alma mater. The youngest, Jean, is still in school.

Alexandre Arnault has pushed LVMH to step up its digital efforts and helped persuade his father to bring aboard Ian Rogers, a former Apple executive, as the company’s chief digital officer in 2015. “Alexandre has been a big part of raising the importance of digital,” Rogers said. “He’s part of start-up culture.” Alexandre also backed Abloh’s bid for a top job at LVMH, collaborating with the designer on a collection of transparent suitcases that Rimowa sold for nearly $1,000. And it was Alexandre who accompanied his father on a New York trip to meet with President-elect Donald Trump at Trump Tower in early January 2017.

LVMH’s track record on e-commerce is mixed. Although some businesses, such as Vuitton and Sephora, have successful online boutiques, other efforts have stumbled. ELuxury, an online designer site, shut down in 2009 after failing to gain traction. Last year LVMH launched an online boutique and mobile app called 24 Sèvres, inspired by the group’s Left Bank department store Le Bon Marche. It has struggled to catch up with online luxury leaders such as like Net-a-Porter and Matchesfashion.com.

As the younger Arnaults make their mark on LVMH, it’s likely the company will become more open and transparent — a change that CEO Arnault acknowledged in a company memo naming his 41-year-old son, Antoine, as communications director in early June. “LVMH’s success attracts growing attention from the media, observers, public authorities, as well as the general public,” he wrote. Such openness could give LVMH greater name recognition outside France. Many of its customers have no idea that businesses ranging from Glenmorangie whisky to the Sephora cosmetics chain are owned by the group.

The senior Arnault still dictates strategy. At headquarters on Paris’s swank Avenue Montaigne, “to discuss anything important you have to go to the seventh floor,” where the chief executives’s office is located, said Ashok Som, who teaches luxury management France’s Essec business school. And why shouldn’t he call the shots? Said Som: “He started this whole industry.”

MUSIC

Content Courtesy of: nytimes.com

Written By: Ben Sisario

New Way to Pay Songwriters and Musicians in the Streaming Age Advances

From left, songwriters Kay Hanley and Michelle Lewis, with Dina LaPolt, a music industry lawyer who said the Music Modernization Act “is going to revolutionize the way songwriters get paid in America.”CreditCody James for The New York Times

For a decade, the music industry has promoted a motley series of copyright bills to Congress, only to watch them fail.

In an effort to update music copyright law for the digital age, the various players involved — tech companies, music publishers, songwriters, musicians and radio broadcasters — assembled an ambitious bill that addressed their concerns.

On Thursday, in a sign that their work is paying off, the Senate Judiciary Committee discussed the matter in some detail and voted in favor of the bill, the Music Modernization Act.

“This is going to revolutionize the way songwriters get paid in America,” said Dina LaPolt, a lawyer who has been one of the music industry’s most aggressive supporters of the bill.

The bill is meant to correct the flaws and loopholes that have led musicians to complain about unfair compensation from streaming services, while also protecting companies like Spotify from lawsuits. It also establishes a truce between music publishers and digital music services over an aspect of licensing that has led to a string of multimillion-dollar lawsuits.

For years, songwriters and music publishers have argued that streaming services have routinely failed to properly acquire mechanical licenses — the permission to reproduce a piece of music for sale or consumption, a term that goes back to the days of player pianos. At the same time, Spotify and other companies said that there was no authoritative database identifying who owned what.

David Israelite, the president of the National Music Publishers’ Association and one of the main drivers behind the bill, said that the prospect of continuing litigation brought the tech companies to the table.

“I have no doubt that we could have sued them out of existence,” Mr. Israelite said of streaming services. “But we took a different approach. We decided that we wanted to settle this and try to fix the problem, because we want them to be our business partners.”

Lobbyists said they were confident the bill would be passed by the full Senate, and eventually become law, despite concerns raised by a few senators at the hearing. A version of the bill passed the House unanimously in April.

The legislation would establish a licensing collective, to be overseen by songwriters and publishers, and paid for by the digital services, with rights information maintained by the copyright owners. Digital services, which now must track down rights holders or file notices in bulk with the Copyright Office, will be able to receive blanket licenses from the collective. In exchange, the services will gain protections against lawsuits.

In a lawsuit filed late last year, for example — just before a cutoff date set by the bill — a music publisher representing songs by Tom Petty, Stevie Nicks and others sued Spotify for $1.6 billion over licensing lapses. Under the Music Modernization Act, the licensing collective would serve as a one-stop shop to obtain those rights.

Some Republicans on the Judiciary Committee, including the Texas senators John Cornyn and Ted Cruz, expressed reservations on Thursday about a collective established by the government rather than the free market, but still voted in favor of the bill.

Christopher Harrison, the chief executive of the Digital Media Association, a group that includes Google, Apple and Amazon, said that the new process would remove the bad faith that has existed between music publishers and streaming services.

“I describe those conversations as like the end of a Tarantino movie, where everybody is pointing guns at each other and claiming it’s the other person’s fault,” Mr. Harrison said. “We had a number of really frank conversations with publishers, saying, ‘Let’s get past who is to blame and figure out how to solve the problem.’”

A critical element of the bill would allow musicians to be paid for digital plays of recordings made before 1972, which are not covered by federal copyright. At a Senate hearing last month, Smokey Robinson called that rule unfair. “An arbitrary date on the calendar,” he said, “should not be the arbiter of value.”

The bill also includes two provisions favored by Ascap and BMI, the industry’s two biggest royalty clearinghouses, over the complex procedures used to set royalty rates in federal courts.

Both groups, which are governed by federal regulations, would be able to introduce new kinds of evidence in court. Those trials are now overseen by a pair of federal judges whose decisions are endlessly scrutinized for clues about future cases; under the Music Modernization Act, the cases would be randomly assigned to a pool of judges in United States District Court for the Southern District of New York, which the bill’s backers argue would make the process more fair.

The Music Modernization Act combines parts of several proposals made over the last year. But some parts of the legislation have been proposed before in separate bills, most of which collapsed from disputes among warring factions of the music industry.

“Congress was getting tired of us coming to them with narrow fixes,” said Daryl Friedman, the chief advocacy officer of the Recording Academy, the organization behind the Grammy Awards.

Although lobbyists agreed on a compromise bill that has broad support, one long-sought change to copyright law — the ability for performers and record companies to be paid when songs are played on terrestrial radio, in addition to songwriters — was sacrificed to gain support from broadcasters, who for decades have bitterly opposed such a change.

The bill does have its detractors, including publishers that did not want to relinquish the right to sue digital services. Christian Castle, a lawyer and blogger who is often critical of Silicon Valley, said the bill also does not adequately provide for the costs of setting up a comprehensive rights database.

“It is a phenomenally huge undertaking which has befuddled everybody,” Mr. Castle said, “and there is no process for it.”

A report by the Congressional Budget Office in April, prepared for the House version of the bill, estimated the cost of establishing the licensing collective at $47 million.

If it goes through, the bill is likely to bring about the most sweeping changes to music copyright law since the passage of the Copyright Act of 1976.

“Just pulling us into this century is going to be super helpful for the future,” said Michelle Lewis, a Los Angeles songwriter who three years ago helped start an advocacy group, Songwriters of North America.

ADVERTISING AND BRANDS

Content Courtesy of: nytimes.com

Written By:  Jonah Engel BromwichVanessa Friedman and Matthew Schneier

Kate Spade, Whose Handbags Carried Women Into Adulthood, Is Dead at 55

The American fashion designer was found dead in her Manhattan apartment on June 5, 2018. Ms. Spade was known for her bold, colorful and classy aesthetic. She was 55.

Buying a Kate Spade handbag was a coming-of-age ritual for a generation of American women. The designer created an accessories empire that helped define the look of an era. The purses she made became a status symbol and a token of adulthood.

Ms. Spade, who was found dead on Tuesday in what police characterized as a suicide by hanging, worked as an editor before making the leap to designing, constructing her first sketches from paper and Scotch tape. She would come to attach her name to a bounty of products, and ideas: home goods and china and towels and so much else, all of it poised atop the thin line between accessibility and luxury.

One of the first of a wave of American women to emerge as contemporary designers in the 1990s, Ms. Spade built a brand on the appeal of clothes and accessories that made shoppers smile. She embodied her own aesthetic, with her proto-1960s bouffant, nerd glasses and playful grin. Beneath that image was a business mind that understood the opportunities in building a lifestyle brand, almost before the term officially existed.

Her name became shorthand for the cute, clever bags that were an instant hit with cosmopolitan women in the early stages of their careers and, later, young girls — status symbols of a more attainable, all-American sort than a Fendi clutch or Chanel bag. Ms. Spade became the very visible face of her brand and paved the way for female lifestyle designers like Tory Burch or Jenna Lyons of J. Crew.

“Kate Spade had an enviable gift for understanding exactly what women the world over wanted to carry,” Anna Wintour, the editor in chief of Vogue and artistic director of Condé Nast, said in a statement.

Ms. Spade, 55, was discovered dead at her Manhattan apartment, where she had hanged herself in her bedroom, the police said. The New York police chief of detectives, Dermot F. Shea, said the death was “a tragic case of apparent suicide.”

A police official, speaking on the condition of anonymity, said that a note found at the scene addressed to Ms. Spade’s 13-year-old daughter indicated that what had happened was not the child’s fault.

“We are all devastated by today’s tragedy,” the Spade family said in a statement. “We loved Kate dearly and will miss her terribly. We would ask that our privacy be respected as we grieve during this very difficult time.”

Andy Spade, her husband, later said that Ms. Spade had sought treatment for depression, adding that it had been severe at times. The couple had been living apart for 10 months but remained close, he said.

Kate Spade in her showroom in 1999.

Credit by: Marilynn K. Yee/The New York Times

Katherine Noel Brosnahan was born in Kansas City, Mo., on Dec. 24, 1962. Her father worked in construction while her mother took care of her and her five siblings. She did not grow up obsessed with fashion — though she enjoyed combing through her mother’s jewelry drawer — and early in life thought about being a television producer.

While a student at Arizona State University, where she studied journalism, she worked in a motorcycle bar and a men’s clothing store. There, she met her husband-to-be, the brother of the actor and comedian David Spade. She graduated in 1985.

After graduation, Ms. Spade moved to New York, where she became an assistant fashion editor at Mademoiselle magazine. Within five years she was the accessories editor. While in that role, she became frustrated by the handbags of the era, which she found to be gaudy and over-accessorized. What she wanted was “a functional bag that was sophisticated and had some style,” she later told The New York Times. She founded Kate Spade with Mr. Spade and a friend, Elyce Arons, in 1993.

Joe Zee, the former creative director of Elle and former fashion director of W, met Ms. Spade before she had started her company.

“She told me she was thinking of starting a handbag line in that carefree, excited way she had,” he said. He recalled her spirited manner, the way she always spoke colorfully, “with excitement and a smile.”

“And as a kid starting out in fashion, that was something you remember especially when everything was so serious and all about deadlines and the pressure of perfection,” he added.

Ms. Spade did not know what to call the company at first and decided to make it a combination of her and Andy’s names. (The couple married in 1994.) After the first show, she realized that the bags needed a little something extra to catch people’s eyes. She took the label, which had originally been on the inside of the bag, and sewed it to the outside. With that gesture she created a brand identity and sowed the seeds of her empire.

Julie Gilhart, then the fashion director of Barneys New York, picked up the label for the department store in the early 1990s. It was a great success. “It was so fast-growing,” she said.

The mid-′90s were “the time of the handbag,” Ms. Gilhart said, and Kate Spade was able to bring bags to young women whose budgets were not yet at designer levels. “Kate and Andy always had their thumb on the pulse,” she said. “They put their passion into an opportunity.”

Within a few years they had opened a SoHo shop and were collecting industry awards: Given a rising-talent award by the Council of Fashion Designers of America in 1995, Ms. Spade was named its accessory designer of the year in 1997. She was named best accessories designer at the Accessories Council’s ACE Awards in 1999, the same year the Spades sold their shares of the company to the Neiman Marcus Group. The year before, it had $28 million in sales.

Kate and Andy Spade during a party in Central Park in 2003.

Approachability was her calling card, whether she was making bags, clothes (which her company later expanded into) or books.

“She was a style icon,” said Ira Silverberg, who asked the Spades to do a book while he was working at the literary agency Donadio & Olson. “But I thought they were really accessible people, and when I got to know them, I realized they were.”

The series of books they worked on together — little gift items issued in 2004 as guides to “Style,” “Manners” and “Occasions” — were a hit, selling hundreds of thousands of copies.

She and Mr. Spade understood “how to reach an audience without alienating a consumer,” Mr. Silverberg said.

“Katie’s from Kansas City — a quintessential American look and values personified everything they did,” he added.

Ms. Wintour said in her statement that when Ms. Spade started her label, “everyone thought that the definition of a handbag was strictly European, all decades-old serious status and wealth.”

“Then along came this thoroughly American young woman who changed everything,” she continued. “There was a moment when you couldn’t walk a block in New York without seeing one of her bags, which were just like her: colorful and unpretentious.”

The company the Spades founded changed hands over the years. Neiman Marcus Group sold it to Liz Claiborne Inc. in 2006. By 2017, when Kate Spade & Company (as Liz Claiborne Inc. came to be known) was acquired by Coach Inc., Mr. and Ms. Spade had left more than a decade earlier to devote themselves to other projects.

Ms. Spade’s husband and daughter, Frances Beatrix, are her immediate survivors.

Ms. Spade dedicated herself to philanthropy through the Kate Spade & Company Foundation, which promotes economic equality for women. In 2016, with her husband, Ms. Arons and Paola Venturi, a Kate Spade alumna, Ms. Spade launched a new venture, an accessories label called Frances Valentine. She was so committed to the project that she added Valentine to her name.

Mr. Zee said he had always admired Ms. Spade for being ahead of her time.

“She knew what the fashion world needed before we did,” he said. “Kate just did what she felt was right, regardless of what the industry would think.”

INNOVATION

Content Courtesy of: usnews.com

Written By: Andrew Soergel

Countries Try to Lasso Cryptocurrencies

Governments will need a steady hand to better protect crypto investors without stifling innovation.

In the past several months alone, bitcoin, among the most popular cryptocurrencies on the market, has lost more than half of its value, with the price of one coin dropping from nearly $20,000 to fewer than $7,000. The downturn is believed to be weighing on the fledgling digital investments as a whole, with other mainstream cryptocurrency options such as Ethereum suffering similar losses as lesser-known upstarts such as VeChain waver but to a much smaller degree.

But such regulators walk a fine line in caging – or at the very least restraining – a class of cryptocurrency assets that have been heralded for their opaque decentralization, relative anonymity and versatility. The drive to at least partially corral the industry is driven in part by its rapid growth in popularity, say analysts: Born out of the blockchain technology, experts estimate the global cryptocurrency industry, even in the midst of its recent downturn, could soon approach $1 trillion in valuation.

“There’s a big dance going on right now, and that’s a dance between regulators and the public,” says Robert Wolcott, a professor of innovation and entrepreneurship at Northwestern University’s Kellogg School of Management. “You want to be seen as protecting the public. But at the same time, you don’t want to go so far that you obviate economic activity.”

The flurry of regulatory activity seen around the world in the aftermath of bitcoin’s initial rise has been difficult to ignore. Venezuela announced plans to roll out its own oil-backed cryptocurrency, which, if successful, could potentially help it circumvent international sanctions. Officials at a March summit of leading and developing nations called for international regulatory proposals to be submitted for consideration by mid-year.

Even the U.S. Securities and Exchange Commission has begun taking action, earlier this year issuing a round of subpoenas in an effort to ferret out fraudulent initial coin offerings.

“These markets are new, evolving and international. As such they require us to be nimble and forward-looking; coordinated with our state, federal and international colleagues; and engaged with important stakeholders, including Congress,” SEC Chairman Jay Clayton and Commodity Futures Trading Commission Chairman J. Christopher Giancarlo wrote in a January op-ed published by The Wall Street Journal  – appropriately titled “Regulators Are Looking at Cryptocurrency.”

China, meanwhile, has gone out of its way to restrict cryptocurrency’s expanse within its borders, banning initial coin offerings, limiting energy-intensive bitcoin mining operations and blocking residents’ access to foreign crypto exchanges. The goal appears to be limiting Chinese exposure to the inherent financial risk that comes with such a nascent industry, though Chinese officials have expressed at least some openness to the assets, laying out national standards that are expected to be finalized by the end of 2019.

In mid-June, the China Electronics and Information Industry Development research institute – which falls under the country’s Ministry of Industry and Information Technology – also unveiled an index that essentially ranks the value the organization sees in a variety of cryptocurrency assets. EOS and Ethereum placed first and second, respectively, while bitcoin ranked 17th.

“We’ve really seen people step up in a few different directions. One is ‘We’re going to shut it down for awhile.’ That’s China, South Korea,” Wolcott says. “Regulators are trying to figure out what the political structure within their country or jurisdiction wants to see and why – and what is also going to be most effective in the long run from an economic perspective for their society.”

How to Classify Cryptocurrencies?>

But international government officials face a slew of challenges – not the least of which is the difficulty in categorizing cryptocurrencies as a whole under an individual asset class.

“When you stand back, that starts to look a little bit like crowdfunding. They’re not giving you any equity,” Wolcott says. “Regulators have a standard that if it looks, feels and acts like an investment, then we have to start thinking about it like a security, even if it’s a utility token.”

The CFTC’s Giancarlo touched on this dilemma during a February hearing before the Senate Committee on Banking, Housing and Urban Affairs. He noted that several types of cryptocurrencies have “characteristics of multiple different things,” according to CNN Money, and that it would be difficult for the SEC or the CFTC to individually swoop in and broadly regulate the entire market.

“What we will do and what we are doing is looking for fraud and manipulation. And we intend to be very aggressive,” Reuters quoted Giancarlo as saying.

Because of the sheer number of new cryptocurrencies that have cropped up in recent years – the most popular of which are bitcoin, Litecoin and Ethereum – and their fluctuating values, it’s difficult to reach an accurate estimate of just how much money investors have lost to theft and fraud. Ernst & Young earlier this year analyzed nearly 400 initial coin offerings and found that hackers and thieves were able to make off with more than 10 percent of funds raised – resulting in losses of hundreds of millions of dollars just within its sample pool.

Theoretically, a more active regulatory presence could help stem theft – and the use of cryptocurrencies in unlawful transactions. The “Silk Road” captured headlines several years ago as a marketplace for drugs and other illicit dealings through the use of cryptocurrencies such as bitcoin, which can in some instances be particularly difficult to trace to an individual buyer or seller on the “dark web.”

“The crypto sector – which is approaching a market capitalization of $1 trillion – is rapidly growing and this trend is only likely to gain momentum,” says Nigel Green, founder and CEO of the financial consultancy deVere Group. “As such, there needs to be a robust regulatory framework in order to protect both institutional and retail investors. It will also help combat illicit activity.”

But an enhanced regulatory presence could be a double-edged sword in that new rules risk scaring off investment and stifling innovation and creativity. Lower-regulation countries such as Switzerland and Liechtenstein and territories such as the Cayman Islands have increasingly tried to position themselves as crypto-friendly places for investment – offering traditional financial safe-havens a renewed flow of investment as regulators throughout North America and Europe have moved to crack down on tax evasion and an international sheltering of assets.

Switzerland has a unique position in the world by having a special regulatory structure for banking, Wolcott says. “It’s natural they would try to take a leading role. My personal opinion is it will benefit Switzerland quite a bit, and it also benefits the blockchain cryptocurrency markets quite a bit to have credible locations like that.”

Should the U.S. or any other major economy move too slowly in adopting reasonable regulatory barriers and clear rules, crypto investment may end up flocking overseas while U.S.-based operations struggle.

“We actually see increased regulation as a great thing. The challenge for entrepreneurs is the lack of regulation. If the market is uncertain and you don’t know exactly how to operate, you’re much less free to build the regulation that you’d like to see,” Galia Benartz, the co-founder and head of business development at Bancor, said in a recent interview on CNBC’s  “Street Signs”. “We all know that’s good for the industry, good for the projects, and good for the space. And I think another really exciting thing about the accessibility of cryptocurrencies to the masses, to the public, is accountability and looking into the projects you want to participate in.”

It’s a particularly fine line for international regulators to walk. There are plenty of risks associated with being the last country to arrive at reasonable crypto regulations. But there are also risks associated with being the first ones to the party.

“An economy like the United States, like China, like the EU, like Japan, some of the larger economies, ultimately they’re going to benefit from this and people have to figure out how to deal with it if they want to do business there,” Wolcott says. “That said, they probably will forego some of the benefit by not being there early. They also forego some of the risk.”

As crypto regulation discussions move forward in the U.S., many expect a series of broad federal guidelines to help guide state-level policies that could end up varying widely across the country. California – which accounts for nearly half of the top 10 U.S. cities in terms of cryptocurrency holdings per person, according to a recent report from Smart Money – is already considered to be among the most crypto-friendly states in the country. And Arizona legislators earlier this year attempted to pass a bill that would have allowed residents to use bitcoin and other cryptocurrencies to pay their taxes – though the final version of that bill didn’t explicitly lay out an opening for crypto tax payments in the near term.

Still, concern has arisen among some international experts that greater cryptocurrency adoption – which would theoretically be facilitated by the perceived legitimacy of light regulatory frameworks – could disrupt long-established financial sectors. Christine Lagarde, the managing director of the International Monetary Fund, warned in September that cryptocurrencies could “give existing currencies and monetary policy a run for their money.”

“For now, virtual currencies such as bitcoin pose little or no challenge to the existing order of fiat currencies and central banks. Why? Because they are too volatile, too risky, too energy intensive, and because the underlying technologies are not yet scalable,” Lagarde said at the Bank of England Conference in September. “But many of these are technological challenges that could be addressed over time. Not so long ago, some experts argued that personal computers would never be adopted, and that tablets would only be used as expensive coffee trays. So I think it may not be wise to dismiss virtual currencies.”

Wolcott says he believes cryptocurrencies will “undoubtedly have an impact” on fiat currencies such as the dollar, which for decades has represented the world’s most dominant reserve currency.

But he says any potential significant shakeup is likely a ways off and those concerned about the dollar’s standing on the international stage have bigger things to worry about in the near term.

“There are so many other factors that are influencing and that will influence the value of the dollar relative to other currencies or stores of value in the world that the impact of cryptocurrencies is going to be relatively minor for at least the next three to five years,” he says. “If I had to worry about something with respect to the dollar and my options were a huge budget deficit and rising U.S. debt and cryptocurrencies, I can tell you that I’d be concerned about the debt.”

 ART

Content Courtesy of: news.artnet.com

Art Industry News: A Warhol Painting Is Now Being Sold in the First-Ever Blockchain Art Auction + More Must-Read Stories

Plus, the Whitney Museum will be open seven days a week in July and August and ArtPrize is becoming a biannual event.

Andy Warhol, Self-Portrait in Fright Wig (1986).

Andy Warhol, Self-Portrait in Fright Wig (1986)

Photo by: The Andy Warhol Foundation

Art Industry News is a daily digest of the most consequential developments coming out of the art world and art market. Here’s what you need to know this Friday, June 22.

NEED-TO-READ

What Oprah’s Museum Show Gets Right – A new show at the Smithsonian’s National Museum of African American History and Culture dedicated to the phenomenon and impact of Oprah Winfrey might have the appearance of pay-for-play, since the mogul donated $20 million to the museum. But Wesley Morris explains why the show is a deserved and dynamic tribute to the world’s most influential talk show host.

ArtPrize Goes Biennial – The annual prize will shift to a biannual schedule after its 10th edition this year; the 11th edition is slated for 2020. ArtPrize has also introduced a new biennial public art project in Grand Rapids called Project 1, which will debut in September 2019 and invite artists to respond to the city’s history and community. (Press release)

A Cryptocurrency Auction Is Selling Shares for a Warhol – The first blockchain art auction began on June 20, and a 1980 Andy Warhol silkscreen was up for sale. The work, 14 Small Electric Chairs, is being auctioned off in shares, with 51 percent of the painting remaining under the control of its current owner, gallerist Eleesa Dadiani.

Share Your Thoughts on David Hammons‘s Public Art – The proposal for a permanent sculpture by David Hammons called Day’s End on the Hudson River is now under public review, so members of the community have been invited to have their say. The work, an outline of a lost warehouse made in steel, will be overseen by the Whitney and is expected to cost around $5 million.

ART MARKET

On the Ground at Beijing Gallery Weekend – The second edition of gallery weekend in the Chinese capital took place this past March, with 22 participating galleries and more than 1,000 VIPs in attendance. Despite a housing crisis for artists and rapidly rising gallery rents, Beijing is giving Shanghai a run for its money as an international art and culture capital.

White Cube to Represent Park Seo-Bo – The veteran South Korean painter will now be represented by the international powerhouse gallery White Cube. The 87-year old artist is best known for his “Ecritures” series of paintings that feature pencil and oil on canvas.

Commercial Graffiti Is Good Business in Beijing – Graffiti is relatively new in the Chinese capital—but local street artists are quick learners. Graffiti artists are now taking on corporate clients to help produce and maintain their murals, an upstart business growing in tandem with the city’s rapidly commercializing art scene.

COMINGS & GOINGS

Wexner Center Names Deputy Director – Lindsay Cooper Martin, who has been the director of administration at the Hammer Museum in LA for the past three years, will take over the art center at Ohio State University beginning July 10. She succeeds Jack Jackson, who retired in April after a 13-year stint at the Wex.

Whitney to Open Seven Days a Week for Summer – The New York museum announced it will be open to the public seven days a week during July and August. (The museum is normally closed on Tuesdays.) This gives visitors more changes to see its summer exhibitions, including shows dedicated to Mary Corse and David Wojnarowicz.

Berlin Museum Gets Major Gift from Saudi Arabia – The charitable foundation Alwaleed Philanthropies, which is run by a Saudi royal, Prince Al-Waleed Bin Talal, is donating €9 million ($10.5 million) to the Berlin Museum of Islamic Art to support its operations, including an initiative to train Syrian and Iraqi refugees as museum guides.

Virginia Museum Director to Retire – Debi Gray, who has been executive director of the contemporary art museum since 2009, will retire in January 2019. “MOCA is on an upward trajectory with a skilled staff, a strong board, financial stability, and the support of the city,” Gray says. “We are poised to reach even greater heights.”

FOR ART’S SAKE

Top Clichés the Art World Loves to Hate – For a new group show at Almine Rech in New York, Rech and Bill Powers invited more than 40 artists—including Jeff Koons, Richard Prince, and George Condo—to contribute work that toys with the most common art clichés, from skulls to so-called “kid art.” 

Photographer Busted for Passing Off Stock Photos as His Own – A Singapore-based Instagram star, Daryl Aiden Yow, has been called out online for photoshopping himself into uncredited stock images and implying in captions that he took the photographs himself. He has since apologized for misleading his followers. 

Beijing Launches Art Museums Alliance – The Silk Road International Alliance of Art Museums and Galleries launched earlier this week as a platform for international institutions and galleries to communicate. The kickoff ceremony was attended by 24 museums from 18 countries as well as representatives from China’s Ministry of Culture and Tourism.

Anti-Trump Cartoons by Fired Cartoonist Are Going Viral – Political cartoons by Rob Rogers are making the rounds on social media after he was fired from a 25-year career at the Pittsburgh Post-Gazette for his unflattering portrayals of Donald Trump. In a recent interview, Rogers said: “You want to have as many voices as you can and they are starting to have only one voice of the paper, and I think that goes against what a free press is all about—especially when silencing that voice is because of the president.”

 

 

FOOD AND BEVERAGE

Content Courtesy of:  foodbusinessnews.net

Written By:  Jeff Gelski

Survey finds 80% of Americans want G.M.O. information on packaging

 Bioengineered labels

WASHINGTON — About 80% of respondents in an International Food Information Council Foundation survey said they would prefer to receive bioengineered/G.M.O. information on a product package. How the information is worded and what symbols are used could impact their views as well. The survey released June 27 may be found here.

The online survey contacted 1,002 Americans from the ages of 18-80 from May 18-27, or days after the U.S. Department of Agriculture in the May 4 issue of the Federal Register released a proposed rule for a National Bioengineered Food Disclosure Standard. The proposed rule may be found here.

The proposed rule uses the term bioengineered (BE) instead of genetically modified or G.M.O. Under the proposed rule, companies may disclose bioengineered food or ingredients in three ways: text, symbol, or electronic or digital link disclosure

When respondents in the IFIC Foundation survey were asked how they preferred to receive the legally required G.M.O. disclosure, 51% said a symbol or visual representation and 29% said text on a food package. Other responses were under 10% with send a text message to receive more information at 7%, visiting a web site at 6%, calling a phone number at 4% and scanning an electronic or digital link at 3%.

Bioengineered label chart

The U.S.D.A.’s proposed rule also gave three symbols that noted bioengineered (BE) food or ingredients: a logo with a smiling face, a sun logo with a smiling face and a logo with a plant. In the IFIC Foundation survey, the sun logo raised the smallest amount of concern about human health. Respondents also generally liked the smiling face logo. The plant logo was associated with greater concern for human health.

To further investigate how the form of BE packaging may affect views, respondents were shown different bottles of canola oil. When shown a bottle that had no BE logo or text, 31% had human health concerns. When shown a bottle that had one of three symbols (a plant, a sun or a smile), the percentage rose to 50%. When shown a bottle that had a symbol plus “bioengineered” in text, the percentage was 51%.  When shown a bottle that had the plant symbol plus “may be bioengineered” in text, the percentage was 57%.

The survey also asked about knowledge of G.M.O.s, with 36% saying they knew very little or nothing at all about bioengineered ingredients or genetically modified foods and another 36% saying they knew at least a fair amount. People age 25 to 34 (54%) and African Americans (49%) were more likely to say they knew a great deal or a fair amount about bioengineered ingredients or genetically modified foods.

Bioengineered label chart

Nearly half (47%) of the survey respondents said they avoid G.M.O. foods either entirely or at least somewhat. People age 25 to 34 (59%) and African Americans (52%) were more likely to say they avoid G.M.O. foods either entirely or somewhat. Of those who avoid G.M.O. foods, 85% said it was because of human health concerns. Other top reasons given were the environment (43%), animal health (36%) and agriculture/farming (34%).

“Despite broad scientific consensus that G.M.O.s are safe to consume, a majority of Americans seem to be convinced otherwise,” said Joseph Clayton, chief executive officer of the Washington-based IFIC Foundation. “It’s a significant disconnect, and it underscores the need for more creative public education on the science behind our food.”

MAY “MET” US HALF WAY

FASHION

Met Gala 2018: Everything You Need To Know

Content Courtesy of: vogue.co.uk

Written By: Alice Newbold

From the date to the theme and everything else in between, here’s all you need to know about the Oscars of the fashion world: the Met Gala 2018.

Rihanna

Rihanna

Rihanna wearing Maison Margiela by John Galliano.

Ariana Grande

What is the Met Gala?

The Costume Institute Gala at New York’s Metropolitan Museum of Art is the biggest event on the fashion fundraising calendar. Founded by publicist Eleanor Lambert, the benefit was first held in 1948 to encourage donations from New York’s high society. In its modern incarnation, the most famous faces from the realms of fashion, film, music and art come together to raise money for the Met’s Costume Institute and celebrate the grand opening of its latest exhibition. The night is centred on the theme of the new exhibition, with previous themes encompassing everything from Manus x Machina and Punk: Chaos to Couture to China: Through the Looking Glass. This year’s exhibition theme is Heavenly Bodies: Fashion and the Catholic Imagination.

Since 1995, the event has been chaired by US Vogue editor-in-chief Anna Wintour, who enlists public figures to serve as the event’s co-chairs. Past hosts have included Beyoncé, Taylor Swift, Katy Perry and Marc Jacobs. The Met Gala 2018, which marks the event’s 70th anniversary, was co-chaired by Amal Clooney, Rihanna and Donatella Versace. From the number of guests to the price of a ticket, see the Met Gala by numbers, here.

Ariana Grande

Ariana Grande wearing Vera Wang.

Anna Wintour

Anna Wintour

Anna Wintour wearing Chanel.

Bella Hadid

When is the Met Gala 2018?

The Met Gala takes place on the first Monday of May, which this year fell on May 7. Red carpet coverage began at 7pm local time, with Vogue reporting all the outfit details with a little help of our celebrity stylist friends.

Where will the Met Gala 2018 take place?

The Met Gala always takes place in the Metropolitan Museum of Art in New York. As usual, the night began with a cocktail hour, in which guests walked the red carpet and explored the new exhibition, before sitting down to dinner. They were then treated to a surprise performance by Madonna, who opened her set with a ripping – and fitting – rendition of “Like A Prayer”. This year’s exhibition is spread across three venues: the Anna Wintour Costume Center, the medieval galleries at the Met’s main location, and at the Cloisters, further uptown.

Bella Hadid

Bella Hadid wearing Gareth Pugh x Chrome Hearts.

Travis Scott and Kylie Jenner

Travis Scott and Kylie Jenner

Kylie Jenner wearing Alexander Wang.

Katy Perry

Katy Perry

Katy Perry wearing Versace.

Kendall Jenner

Kendall Jenner

Kendall Jenner wearing Off-White with Tiffany & Co jewellery.

Gigi Hadid

Gigi Hadid

Gigi Hadid wearing Versace.

Amal Clooney

Amal Clooney

Amal Clooney wearing Richard Quinn.

Zoe Kravitz

Zoe Kravitz

Zoe Kravitz wearing Anthony Vaccarello for Saint Laurent.

Hailey Baldwin

Hailey Baldwin

Hailey Baldwin

Hailey Baldwin wearing custom Tommy Hilfiger with Tiffany & Co jewellery.

Rita Ora

Rita Ora

Rita Ora wearing Prada.

Ashley Graham

Ashley Graham

Ashley Graham wearing Prabal Gurung.

Kate Moss

Kate Moss

Kate Moss wearing Anthony Vaccarello for Saint Laurent.

Winnie Harlow

Winnie Harlow

Winnie Harlow wearing Tommy Hilfiger.

Lily Collins

Lily Collins

Lily Collins wearing Givenchy.

Donatella Versace

Donatella Versace

Donatella Versace wearing Versace

Cara Delevingne

What is the Met Gala 2018 theme?

Heavenly Bodies: Fashion and the Catholic Imagination features some 40 Vatican vestments and accessories spanning 15 papacies, which curator Andrew Bolton is said to have visited at least 10 times to secure pieces which have never left the Vatican’s possession before. Items such as Pope Benedict XV’s white silk cape embroidered with gold thread and the pointed bishop’s hat of Pope Leo XIII, will go on display alongside pieces by Coco Chanel, who was educated by nuns, John Galliano, Cristóbal Balenciaga and Donatella Versace, who is a sponsor of the exhibition.

The Met Gala 2018 theme is being cited as the Met’s most controversial yet, owing to the positioning of these fashion garments alongside sacred artifacts. Bolton, however, has defended his curation: “Some might consider fashion to be an unfitting or unseemly medium by which to engage with ideas about the sacred or the divine, but dress is central to any discussion about religion,” he said at a press conference in Rome. “It affirms religious allegiances and, by extension, it asserts religious differences.”

Cara Delevingne

Cara Delevingne wearing Dior.

Rosie Huntington-Whiteley

Rosie Huntington-Whiteley

Rosie Huntington-Whiteley wearing Ralph Lauren.

Kate Bosworth

Kate Bosworth

Kate Bosworth wearing Oscar de la Renta.

Bee Shaffer and Francesco Carrozzini

Bee Shaffer and Francesco Carrozzini

Bee Shaffer wearing Valentino Haute Couture.

Uma Thurman

Uma Thurman

Uma Thurman wearing Gabriela Hearst.

Amal Clooney

Amal Clooney

Amal Clooney wearing Richard Quinn.

Madonna

Madonna

Madonna wearing Jean Paul Gaultier.

Mica Argañaraz, Anja Rubik, Anthony Vaccarello, Amber Valletta, Kate Moss, Charlotte Casiraghi and Charlotte Gainsbourg

Mica Argañaraz, Anja Rubik, Anthony Vaccarello, Amber Valletta, Kate Moss, Charlotte Casiraghi and Charlotte Gainsbourg

All wearing Anthony Vaccarello for Saint Laurent.

Jennifer Lopez

Jennifer Lopez

Jennifer Lopez wearing Balmain with Tiffany & Co jewellery.

Hailee Steinfeld

Hailee Steinfeld

Hailee Steinfeld wearing Prabal Gurung.

SZA

SZA

SZA wearing Versace.

Miley Cyrus

Miley Cyrus

Miley Cyrus wearing Stella McCartney.

Daniel Kaluuya

Daniel Kaluuya

Daniel Kaluuya wearing Prada.

Kim Kardashian

Kim Kardashian

Kim Kardashian wearing Versace.

Jeremy Scott and Cardi B

Jeremy Scott and Cardi B

Jeremy Scott and Cardi B wearing Moschino.

Jasmine Sanders

Jasmine Sanders

Jasmine Sanders wearing H&M.

Lena Waithe

Lena Waithe

Lena Waithe wearing Carolina Herrera.

Kate Upton

Kate Upton

Kate Upton wearing Zac Posen.

Mary J Blige

Mary J Blige

Mary J Blige wearing Versace.

Olivia Munn

Olivia Munn

Olivia Munn wearing H&M.

Kris Jenner

Kris Jenner

Kris Jenner wearing Tommy Hilfiger.

Tracee Ellis Ross

Tracee Ellis Ross

Tracee Ellis Ross wearing Michael Kors Collection.

Emma Stone and Nicolas Ghesquière

Emma Stone and Nicolas Ghesquière

Emma Stone wearing Louis Vuitton.

Virgil Abloh

Virgil Abloh

Virgil Abloh wearing Louis Vuitton.

Priyanka Chopra

Priyanka Chopra

Priyanka Chopra wearing Ralph Lauren.

Janelle Monae

Janelle Monae

Janelle Monae wearing Marc Jacobs.

Lily Aldridge and Rosie Huntington-Whiteley

Lily Aldridge and Rosie Huntington-Whiteley

Lily Aldridge and Rosie Huntington-Whiteley wearing Ralph Lauren.

Jourdan Dunn

Jourdan Dunn

Jourdan Dunn wearing Diane von Furstenberg.

Kerry Washington

Kerry Washington

Kerry Washington wearing Ralph Lauren.

Mindy Kaling

Mindy Kaling

Mindy Kaling wearing Vassilis Zoulias.

Letitia Wright and John Boyega

Letitia Wright and John Boyega

Letitia Wright wearing custom Coach.

Anne Hathaway

Anne Hathaway

Anne Hathaway wearing Valentino Haute Couture.

Greta Gerwig

Greta Gerwig

Greta Gerwig wearing The Row with Tiffany & Co jewellery.

Andrew Garfield

Andrew Garfield

Andrew Garfield wearing Tom Ford.

Sarah Jessica Parker

Sarah Jessica Parker

Sarah Jessica Parker wearing Dolce & Gabbana.

Tom Brady and Gisele Bundchen

Tom Brady and Gisele Bundchen

Gisele Bundchen wearing Versace.

Jennifer Connelly

Jennifer Connelly

Jennifer Connelly wearing Louis Vuitton.

Zendaya

Zendaya

Zendaya in Versace with Tiffany & Co jewellery.

Shawn Mendes and Hailey Baldwin

Shawn Mendes and Hailey Baldwin

Hailey Baldwin wearing Tommy Hilfiger.

Cassie and P. Diddy

Cassie and P. Diddy

Cassie wearing Thom Browne.

Gary Oldman and Gisele Schmidt

Gary Oldman and Gisele Schmidt

Ming Xi

Ming Xi

Colin Firth and Livia Firth

Colin Firth and Livia Firth

Livia Firth wearing Giambattista Valli.

Stella Maxwell

Stella Maxwell

Stella Maxwell wearing Moschino.

Ruth Negga

Ruth Negga

Ruth Negga wearing Louis Vuitton.

Sofia Coppola

Sofia Coppola

Sofia Coppola wearing Marc Jacobs.

Salma Hayek

Salma Hayek

Salma Hayek wearing Altuzarra.

Ruby Rose

Ruby Rose

Ruby Rose in Tommy Hilfiger.

Riley Keough

Riley Keough

Riley Keough wearing Louis Vuitton.

Scarlett Johansson

Scarlett Johansson

Scarlett Johansson wearing Marchesa.

Amanda Seyfried

Amanda Seyfried

Amanda Seyfried wearing Prada.

Blake Lively

Blake Lively

Blake Lively wearing Versace.

Randy Gerber and Cindy Crawford

Randy Gerber and Cindy Crawford

Cindy Crawford wearing Versace.

Brooke Shields

Brooke Shields

Brooke Shields wearing Zac Posen with Tiffany & Co jewellery.

Lewis Hamilton

Lewis Hamilton

Lewis Hamilton wearing Tommy Hilfiger.

Frances McDormand, Pierpaolo Piccioli and Anne Hathaway.

Frances McDormand, Pierpaolo Piccioli and Anne Hathaway.

Frances McDormand and Anne Hathaway wearing Valentino Haute Couture.

Sarah Paulson

Sarah Paulson

Sarah Paulson wearing Prada.

Michael Kors and Naomi Watts.

Michael Kors and Naomi Watts.

Naomi Watts wearing Michael Kors Collection.

Solange

Solange

Solange wearing Iris van Herpen.

Emily Ratajkowski

Emily Ratajkowski

Emily Ratajkowski wearing Marc Jacobs.

Justin Theroux

Justin Theroux

Justin Theroux wearing Louis Vuitton.

Jaden Smith

Jaden Smith

Jaden Smith wearing Louis Vuitton.

Tessa Thompson

Tessa Thompson

Tessa Thompson wearing Thom Browne with Tiffany & Co jewellery.

Hikari Mori

Hikari Mori

Hikari Mori wearing Prabal Gurung.

Karen Elson and Poppy Delevingne

Karen Elson and Poppy Delevingne

Karen Elson and Poppy Delevingne wearing Michael Kors Collection.

Helen Lasichanh and Pharrell Williams

Helen Lasichanh and Pharrell Williams

Julia Carey and James Corden

Julia Carey and James Corden

Savannah Miller and Sienna Miller

Savannah Miller and Sienna Miller

Irina Shayk and Bradley Cooper

Irina Shayk and Bradley Cooper

Irina Shayk wearing Versace and Bradley Cooper wearing Tom Ford.

Sienna Miller

Sienna Miller

Deborra-lee Furness and Hugh Jackman

Deborra-Lee Furness and Hugh Jackman

Hugh Jackman wearing Dior Homme.

Michelle Williams.

Michelle Williams.

Michelle Williams wearing Louis Vuitton.

Gabrielle Union and Prabal Gurung.

Gabrielle Union and Prabal Gurung.

Gabrielle Union wearing Prabal Gurung.

Alexa Chung

Alexa Chung

Alexa Chung wearing Alexachung

Alessandro Michele, Lana Del Rey and Jared Leto.

Alessandro Michele, Lana Del Rey and Jared Leto.

All wearing Gucci.

Phoebe Waller-Bridge

Phoebe Waller-Bridge

Phoebe Waller-Bridge wearing Christopher Kane.

Mary-Kate Olsen and Ashley Olsen

Mary-Kate Olsen and Ashley Olsen

Both wearing vintage Paco Rabanne.

Diane Kruger

Diane Kruger

Diane Kruger wearing Prabal Gurung.

Lena Dunham

Lena Dunham

Imaan Hammam and Zac Posen

Imaan Hammam and Zac Posen

Joan Smalls

Joan Smalls

Joan Smalls wearing Tommy Hilfiger.

Laura Harrier

Laura Harrier

Laura Harrier wearing Louis Vuitton.

Adwoa Aboah

Adwoa Aboah

Dakota Fanning

Dakota Fanning

Dakota Fanning wearing Miu Miu.

Karlie Kloss

Karlie Kloss

Karlie Kloss wearing Brandon Maxwell.

Cindy Crawford

Cindy Crawford

Cindy Crawford wearing Versace.

Cara Delevingne and Adwoa Aboah

Cara Delevingne and Adwoa Aboah

Cara Delevingne wearing Dior.

Riccardo Tisci

Riccardo Tisci

Riccardo Tisci wearing Burberry.

Selena Gomez

Selena Gomez

Selena Gomez wearing Coach and Tiffany & Co jewellery.

Yara Shahidi

Yara Shahidi

Yara Shahidi wearing Chanel.

Nicki Minaj

Nicki Minaj

Nicki Minaj wearing Oscar de la Renta and Tiffany & Co jewellery.

Donald Glover

Donald Glover

Donald Glover wearing Gucci.

Amber Heard

Amber Heard

Amber Heard wearing Carolina Herrera.

Edward Enninful and Jourdan Dunn

Edward Enninful and Jourdan Dunn

Edward Enninful wearing Burberry by Riccardo Tisci and Jourdan Dunn wearing Diane von Furstenberg.

Jamie Bouchert

Jamie Bouchert

Jamie Bouchert wearing Anthony Vaccarello for Saint Laurent.

Alicia Vikander

Alicia Vikander

Alicia Vikander wearing Louis Vuitton.

Antoine Arnault and Natalia Vodianova

Antoine Arnault and Natalia Vodianova

Kristin Scott Thomas and Erdem Moralioglu

Kristin Scott Thomas and Erdem Moralioglu

Kristin Scott Thomas wearing Erdem.

Wendy Yu

Wendy Yu

Wendy Yu wearing Oscar de la Renta.

Anya Taylor-Joy

Anya Taylor-Joy

Anya Taylor-Joy wearing Dolce & Gabbana.

“Fashion reflects the world around us and nobody understands that more clearly than Andrew,” Wintour, museum trustee and Met Gala 2018 co-chair, told the press. “When I go to these fashion exhibitions. I’m always so amazed to see people from all sides of the globe and all walks of life really studying the exhibitions, understanding that fashion does not operate in a vacuum.”

ART

$45.3 M. Basquiat Is Top Lot in Robust $131.6 M. Phillips Sale of 20th-Century and Contemporary Art

Content Courtesy of: ART NEWS

Written by: Annie Armstrong

Tonight in Midtown New York, Phillips totaled $131.6 million at its sale of 20th-century and contemporary art, a jump of roughly 15 percent over the $113.9 million it brought at the same auction last May.

Just three of the 36 lots that went up on the block failed to sell, for an impressive sell-through rate of about 92 percent, though three lots were withdrawn before the start of the action: a Sigmar Polke, a David Hammons, and a Zeng Fanzhi. (About a third of the lots—13 out of the 36—carried guarantees either by the house or a third party.)

The top lot of the evening was Jean-Michel Basquiat’s Flexible(1984), which he painted on a section of picket fence he found outside his New York studio, and posed next to in a number of photographs. The piece was estimated at $20 million to $30 million, which it handily surpassed in steady bidding, selling to a phone bidder for $40 million—$45.3 million, with premium—to applause from the room.

Jean-Michel Basquiat, Flexible, 1984, sold for $45.3 million.

COURTESY PHILLIPS

The Basquiat, which was sold by the artist’s estate, accounted for about 34 percent of the evening’s haul, and was followed in a distant second by Robert Motherwell’s At Five in the Afternoon (1971), from his “Spanish Elegies” series, which made an $11 million hammer, or $12.7 million with premium. It was being sold by interior designer Holly Hunt. That result was just above its $12 million low estimate but good enough to set a new artist record—one of three set tonight. That result “lifted him onto a new price category,” the house’s chairman, Cheyenne Westphal, said after the sale. (His previous record, set in 2012, was a mere $3.7 million, a paltry sum compared to those of many of his fellow Ab-Exers.)

The other new records were for Pat Steir, whose 12-foot-wide Elective Affinity Waterfall (1992) sold for $2.3 million to a phone bidder handled by Phillips’s Vera Antoshenkova, and Cory Arcangel, who had one of his Photoshop gradient works sell for $399,000, doubling its $200,000 high estimate.

(Unless noted, the premium is 25 percent of the hammer price up to and including $300,000, 20 percent of the hammer price above $300,000 up to and including $4 million, and 12.5 percent of the portion of the hammer price above $4 million.)

The only real rough patch came midway through the sale. “We had a bit of trouble with Germans above $10 million,” as Edward Dolman, the house’s CEO, said after the sale, referring to a Gerhard Richter and a Sigmar Polke that both failed to sell. That was a tough hit for the house, which had hoped to pull in $12 million to $18 million for Richter’s Abstraktes Bild (1994) and $12 million to $18 million for Polke’s Stadtbild II (City Painting II), 1968. (The third pass was for Belgian, Luc Tuymans, who had a 2012 work estimated at $400,000 to $600,000.)

Gerhard Richter, Abstraktes Bild (811-2), 1994, failed to sell.

COURTESY PHILLIPS

One Richter did sell, however: Italienische Landschaft (Italian Landscape), a brooding, foggy view of mountains from 1966 that catapulted its $2 million high estimate to a $4.1 million finish. The piece had last been at auction in October of 2009 at Christie’s in London, where it sold for £505,250 (or about $827,000 at the time)—not a bad performance over about 10 years!

Last night at Sotheby’s, a Kerry James Marshall park scene from 1997 sold for $21.1 million, more than four times the artist’s previous record. Tonight, a more recent piece of a similar subject, Untitled, (Blanket Couple), 2014, finished at a solid but comparatively more modest price, with Robert Manley, the house’s deputy chairman, taking it for $4.34 million against a $3.5 million-to-$5.5 million estimate.

Austrian gallerist Thaddaeus Ropac took a swing at Adrian Ghenie’s portrait, Elvis (2009) (Ropac shows Ghenie) but ultimately was the underbidder, with the piece selling to another bidder for $519,000. Next up was Andy Warhol’s Two Marilyns (1962), which was being sold by the artist’s brother, Paul Warhola, and made a squarely within-estimate $3.62 million. Another Warhol, this a 40-inch-square yellow Last Supper (1986), went for $8.75 million against an estimate of $8 million to $12 million.

Kerry James Marshall, Untitled (Blanket Couple), 2014, sold for $4.34 million.

COURTESY PHILLIPS

David Benrimon was among those vying for George Condo’s Red Head (2012), which ended up getting picked up by pharmaceutical entrepreneur Stewart Rahr for $1.82 million. Next up was Willem de Kooning’s Untitled 13 (1977)—Brett Gorvy entered the bidding at around $2 million, but was beaten by a bidder working with Antoshenkova, who ended up winning the piece for $4.16 million, with all fees included.

An Anselm Kiefer being sold without reserve, Laßt 1000 Blumen blühen (Let 1000 Flowers bloom), 1999–2007), began slowly, at half its estimate of $1.2 million to $1.8 million, but climbed steadily. Inigo Philbrick, seated next to dealer and columnist Kenny Schachter, engaged in the bidding until it was ultimately nabbed by French collector and dealer, John Sayegh-Belchatowski, for $1.22 million.

An untitled work by Cy Twombly brought energy levels back up as it hammered for its high estimate, $1.2 million—$1.46 million with premium—to art adviser Todd Levin. Another adviser, Judy Hess, was the victor on Georg Baselitz’s moody Schwarze Säule (Black Column), 1983, for $1.46 million, a modest victory for the beleaguered German field.

The evening was capped off by Maurizio Cattelan’s sale of 30 different museum scarves, which in the house’s lobby were draped over a campy cutout of the artist with arms of exaggerated length giving two big thumbs up. The profits from Museums League, which sold for $27,500, will go to the Brooklyn Museum.

Andy Warhol, Two Marilyns, 1962, sold for $3.62 million.

COURTESY PHILLIPS

Taking questions from the press after the sale, Dolman noted that tonight’s result “just missed out on Phillips’s best sale ever” and Westphal pointed out that Wednesday’s contemporary day sales were the highest the house had ever recorded. The market seems to be humming along. And the crowd certainly was. It was about half past six, and the seats had completely emptied, with everyone moving on to Christie’s headquarters at Rockefeller Center, just a few blocks away, where the week’s evening auctions will conclude tonight with a contemporary sale with a 7 p.m. start time. A full report of that auction will follow in these pages.

Maurizio Cattelan, Museums League, 2018, sold for $27,500.

COURTESY PHILLIPS

INNOVATION

Lasers Could Make Computers 1 Million Times Faster

Content Courtesy of: livescience.com

Written by: Rafi Letzter

An artist’s rendering shows polarized light interacting with the honeycomb lattice.

Credit by: Stephen Alvey, Michigan Engineering

A billion operations per second isn’t cool. Know what’s cool? A million billion operations per second.

That’s the promise of a new computing technique that uses laser-light pulses to make a prototype of the fundamental unit of computing, called a bit, that could switch between its on and off, or “1” and “0” states, 1 quadrillion times per second. That’s about 1 million times faster than the bits in modern computers.

Conventional computers (everything from your calculator to the smartphone or laptop you’re using to read this) think in terms of 1s and 0s. Everything they do, from solving math problems, to representing the world of a video game, amounts to a very elaborate collection of 1-or-0, yes-or-no operations. And a typical computer in 2018 can use silicon bits to perform more or less 1 billion of those operations per second.

In this experiment, the researchers pulsed infrared laser light on honeycomb-shaped lattices of tungsten and selenium, allowing the silicon chip to switch from “1” to “0” states just like a normal computer processor — only a million times faster, according to the study, which was published in Nature on May 2.

That’s a trick of how electrons behave in that honeycomb lattice.

In most molecules, the electrons in orbit around them can jump into several different quantum states, or “pseudospins,” when they get excited. A good way to imagine these states is as different, looping racetracks around the molecule itself. (Researchers call these tracks “valleys,” and the manipulation of these spins “valleytronics.”)

When unexcited, the electron might stay close to the molecule, turning in lazy circles. But excite that electron, perhaps with a flash of light, and it will need to go burn off some energy on one of the outer tracks.

The tungsten-selenium lattice has just two tracks around it for excited electrons to enter. Flash the lattice with one orientation of infrared light, and the electron will jump onto the first track. Flash it with a different orientation of infrared light, and the electron will jump onto the other track. A computer could, in theory, treat those tracks as 1s and 0s. When there’s an electron on track 1, that’s a 1. When it’s on track 0, that’s a 0.

Crucially, those tracks (or valleys) are sort of close together, and the electrons don’t need to run on them very long before losing energy. Pulse the lattice with infrared light type one, and an electron will jump onto track 1, but it will only circle it for “a few femtoseconds,” according to the paper, before returning to its unexcited state in the orbitals closer to the nucleus. A femtosecond is one thousand million millionth of a second, not even long enough for a beam of light to cross a single red blood cell.

So, the electrons don’t stay on the track long, but once they’re on a track, additional pulses of light will knock them back and forth between the two tracks before they have a chance to fall back into an unexcited state. That back-and-forth jostling, 1-0-0-1-0-1-1-0-0-0-1 — over and over in incredibly quick flashes — is the stuff of computing. But in this sort of material, the researchers showed, it could happen much faster than in contemporary chips.

The researchers also raised the possibility that their lattice could be used for quantum computing at room temperature. That’s a kind of holy grail for quantum computing, since most existing quantum computers require researchers to first cool their quantum bits down to near absolute zero, the coldest possible temperature. The researchers showed that it’s theoretically possible to excite the electrons in this lattice to “superpositions” of the 1 and 0 tracks — or ambiguous states of being kind-of-sort-of fuzzily on both tracks at the same time — that are necessary for quantum-computing calculations.

“In the long run, we see a realistic chance of introducing quantum information devices that perform operations faster than a single oscillation of a lightwave,” study lead author Rupert Huber, professor of physics at the University of Regensburg in Germany, said in a statement. However, the researchers didn’t actually perform any quantum operations this way, so the idea of a room- temperature quantum computer is still entirely theoretical. And in fact, the classical (regular-type) operations the researchers did perform on their lattice were just meaningless, back-and-forth, 1-and-0 switching. The lattice still hasn’t been used to calculate anything. Thus, researchers still have to show that it can be used in a practical computer.

Still, the experiment could open the door to ultrafast conventional computing — and perhaps even quantum computing — in situations that were impossible to achieve until now.

BRANDS

Meet The Beauty Pageant Finalist Who Has Coached CEOs, Politicians And Entrepreneurs

Content Courtesy of: cnbc.com

Written by: Karen Gilchrist

Genecia Alluora, founder of Soul Rich Woman

Soul Rich Woman
Genecia Alluora, founder of Soul Rich Woman

You might not think there’s much business can learn from the world of beauty pageantry.

Genecia Alluora, the former Miss Singapore finalist who went on to coach hundreds of CEOs and politicians, would beg to differ.

Through her image consulting business, Alluora spent a decade helping leaders enhance their appearance and body language to build their public personas.

“We’re not asking the politician or C-suite executive to fake it,” Alluora told . “We’re looking at how we can bring it out (their personality), how we can enhance their sphere of influence.”

It wasn’t an obvious career path for Alluora. She never planned on getting into pageants: In fact, she was bullied at school for her looks. But entering a modeling competition on a whim at university opened her eyes to its business potential.

“That was my first taste of entrepreneurship — that insight into personal branding,” recalled Alluora.

It’s a concept that can be dismissed as superficial, she said. But, for those in the public eye like political and business leaders, it’s “invaluable.”

Genecia Alluora, founder of Soul Rich Woman presents with panelists in Hanoi

Soul Rich Woman

Genecia Alluora, founder of Soul Rich Woman presents with panelists in Hanoi

Since that is a particularly segmented region for entrepreneurs, Alluora said there was huge opportunity to help.

“Lots of women in Malaysia are looking for a side hustle, whereas in Singapore they are looking to scale and in the Philippines they are looking to build a brand,” she said.

Through Soul Rich Woman she provides a range of advice to help women grow their business online. Three years after launching, Soul Rich Woman has 5,000 full members, who each pay an annual subscription fee of 300 Singapore dollars (around $223), plus 11,000 basic members and 200,000 subscribers.

“E-commerce has evolved massively and a lot of women are still using traditional methods,” Alluora said, referring to offline sales. “We want to move the needle on female entrepreneurship and help more women build their businesses.”

HOSPITALITY

Jamie Oliver Drops Off Sunday Times Rich List 2018

Content Courtesy of: bighospitality.co.uk

Written by: Sophie Witts

Sunday Times Rich List 2018 hospitality Jamie Oliver

Jamie Oliver has dropped off the Sunday Times Rich List for the first time in eight years.
The celebrity chef, whose net worth was estimated at £150m in the 2017 edition, is no longer ranked among the UK’s 1,000 richest people or families.

It follows a difficult few months for Oliver’s UK restaurant group, which has closed 12 of its 37 Jamie’s Italian sites since January after posting £9.9m losses in the last financial year.

In April the chef’s Australian restaurant business was also sold to a new franchise partner after entering voluntary administration.

Last month the Jamie Oliver Restaurant Group announced a 10-year partnership with Aramark that will see it expand in to universities, workplaces and hospital catering in a bid to turn around its fortunes.

Wider list

Topping the overall Rich List was Jim Ratcliffe, who co-owns Home Grown Hotels – the company behind The Pig restaurants with rooms.

Ratcliffe made his estimated £21.05bn fortune after founding chemical firm Ineos, and is the first UK-born person to top the list since the Duke of Westminster in 2003.

He is also behind the Limewood Hotel in the New Forest, which features a restaurant created by chefs Angela Hartnett and Luke Holder.

BrewDog founders James Watt and Martin Dickie were new additions to the list, with fortunes of £262m and £228m respectively.

The Scottish brewer is now estimated to be worth over £1bn after selling a 22% stake to a US private equity firm in 2017. It also acquired the 14-strong Draft House bar group this year.

Other hospitality entrants include MARC restaurants owner Marlon Abela (£320m), JD Wetherspoon owner Tim Martin (£448m), The Ivy restaurateur Richard Caring (£650m), and Pret A Manger and Itsu founder Julian Metcalfe (£164m).

FOOD AND BEVERAGES

Charleston Based Restaurant Heading to Former Harper’s Location in Five Points

Content Courtesy of: thestate.com

Written by: Jeff Wilkinson

Home Team BBQ, a Charleston-based restaurant with three locations in that city, is moving into the old Harper’s location in Five Points, company officials confirmed Thursday.

The restaurant will feature lunch, dinner and brunch, along with full-service catering and to-go ordering for large parties.

Down the road, the restaurant may offer live music as well, the company said.

The Charleston stores feature casual, open and somewhat rustic dining areas. The downtown Charleston menu features tacos, salads and sandwiches as well as an array of smoked meats from pulled pork, brisket and turkey to chicken and ribs.

APRIL WAS ALL ‘BOUT MUSIC, MAVENS, MAVERICKS AND PRIVATE JETS

MUSIC

The 11 Best Songs to Listen to in April

Heat up your music library with a new batch of breezy, spring-ready tracks.

Content Courtesy of:  elle.com

Written By: NERISHA PENROSE

It’s officially spring—and while spring cleaning is typically reserved for our closets, our playlist could use a little detoxing as well. Breezy, festival-ready bops from artists like Alison Wonderland, Twin Shadows, and Sofi Tukker, should do the job. If you’re ready to warm it up, here are the 11 best songs to listen to this April.

1- Alison Wonderland, “High”

Known for her ambient, gritty production style, Alison Wonderland has made a name for herself as a powerhouse DJ in the electronic music sphere. For her third single, Wonderland recruits rapper Trippie Redd to inject his flair into the track. His sweeping, ominous intro builds up for nearly two minutes before the big drop. Who else could make us wait that long? Alison Wonderland’s new album, Awake, hits stores on April 6.

Alison Wonderland, Awake; Amazon

2- Cardi B, “Be Careful”

Cardi B rose to fame on the boisterous rhymes heard on singles like “Bodak Yellow” and “Bartier Cardi”; now she’s showing off her softer side on “Be Careful.” Well, sort of. The rapper’s signature brash demeanor remains intact as she sounds off on an unfaithful lover: “You gon’ gain the whole world / But is it worth the girl that you’re losin’?” Cardi’s also got reinforcements: She brings Lauryn Hill’s 1998 hit “X-Factor” in on the hook.

Cardi B, Invasion of Privacy; Amazon

3- Kimbra, “Version of Me”

 

Kimbra is vulnerable on “Version of Me,” a story of someone who knows she’s made mistakes and vows to change her ways. Kimbra questions if she’s to blame for the failed relationship. The song turns away from elaborate production and calls upon mellow piano and the New Zealander’s delicate warble to encapsulate heartbreak. Look out for the album, Primal Heart, on April 20.

Kimbra, Primal Heart; Amazon

4- Saba, “Life”

Every new release from Saba sounds like a breath of fresh air. Over a skittering drum beat and soulful synths, “Life” finds the Chicago MC touching on a wide range of subjects, and, most notably, mass incarceration: “They want a barcode on my wrist / To auction off the kids that don’t fit their description of a utopia / Like a problem won’t exist if I just don’t exist.” With its account of family members’ personal struggles, this track won’t let any listener off the hook. Care For Me will be released on April 11.

Saba, Care For MeAmazon

5- Sofi Tukker, “Baby I’m a Queen”

Sofi Tukker’s lead vocalist, Sophie Hawley-Weld, asserts her dominance from the opening line of this cheeky pop jaunt: “Baby I’m a queen, so why do you call me baby?” Alongside this self-assured swagger, Hawley-Weld celebrates vulnerability, singing, “I might prefer desire to self control / I might prefer crying to being composed / I might prefer chaos to even flow.” Their debut album, Treehouse, will be released on April 13.

Sofi Tukker, Treehouse; Amazon.com

6- Samantha Jade, “Roller Skates”

Samantha Jade is stepping into new waters for her upcoming album Best of My Love; her latest singles are heavily influenced by the timeless sounds of the disco/funk era. Jade’s dazzling salute to The Emotions, a cover of “Best of My Love,” demonstrated just how versatile her voice is. “Roller Skates” (which boasts a giant disco ball on the cover) is a shimmering earworm with a drop designed for a 2 A.M. warehouse rave. Best of My Love is slated for release on April 20.

Samantha Jade, Best of My Love; Amazon

7- Twin Shadow, “Brace”

Twin Shadow’s “Brace” playfully blends an angelic chant with colorful synths, the perfect base for vocalist George Lewis Jr.’s honeyed vocals. Amidst this deceptively delicate mélange, Lewis sings about being strong enough to let yourself fall but also allowing someone to fall for you—the perfect message for Aries season. Caer hits stores on April 27.

Twin Shadow, Caer; Amazon

8- King Tuff, “Thru the Cracks”

“Thru The Cracks” has a folk-reminiscent sound that connects seamlessly with his gravelly sing-song. But while the bluesy guitar riff might feel light-hearted, King Tuff is opening up about losing a friend. “You know you had such a beautiful brain but no one understood you / You only saw one way to escape but I wish you didn’t have to,” he laments, with help from singer Jenny Lewis. The Other will arrive on April 13.

King Tuff, The Other; Amazon

9- Night Flowers, “Hey Love”

This is what spring sounds like. In Night Flowers’ “Hey Love,” bright guitar and harmonious vocals will captivate listeners—not to mention the infectious rock-tinged beat. The single is a taste of the UK indie pop group’s upcoming debut album, which will be released on April 13.

Night Flowers, Wild Notion; Amazon

10- Thirty Seconds to Mars, “One Track Mind”

Electro, rock, and hip-hop collide on Thirty Seconds to Mars’ latest single, “One Track Mind.” For the slow-burning track, Jared Leto’s band enlists Harlem-born A$AP Rocky, who opts for an auto-tune-drenched croon instead of his usual rap flow. America comes out on April 6.

Thirty Seconds to Mars, America; Amazon

11- Say Sue Me, “After Falling Asleep”

Snooze is the last thing you’ll want to do after hearing Say Sue Me’s “After Falling Asleep.” This is one of the South Korean indie pop band’s Korean-language songs, which singer Sum Choi said was a deliberate choice for Korean fans. If you’re not able to tune in to the lyrics, though, the tune’s airy, chilled-out sound is all you need to get lost in a dream.

Say Sue Me, Where We Were Together; Amazon

ART

Content Courtesy of: artnews.com

Writteb by: Alex Greenberger

Citing ‘Frustration’ Over Delay for $8 M. Jeff Koons Sculpture, Producer Joel Silver Sues Gagosian Gallery [Updated]

The New York Daily News reports that film producer Joel Silver has sued Gagosian gallery, alleging that the gallery has not delivered a Jeff Koons sculpture he had agreed to purchase for $8 million. This is the second suit the gallery has faced this month. ARTnews previously reported that the collector Steven Tananbaum was suing Gagosian and Jeff Koons Studio, LLC for the “non-delivery” of three Koons sculptures for which he had paid more than $13 million.

According to the Daily News report, Silver, who has produced films in the Die Hard, The Matrix, and Lethal Weapon series, agreed to buy Koons’s 8.5-foot-tall sculpture Balloon Venus Hohlen Fels (2013–15) for $8 million in 2014. He worked out a payment plan with the gallery in which he would fulfill the cost in installments. He put down $3.2 million and was allegedly told that the sculpture would be ready in June 2017. But in January 2017, the gallery pushed back the completion date to July 2019, citing “purported difficulties in completing a ‘digital model,’ ” according to the suit. (Koons’s studio is not named in the Silver filing.)

Joel Silver.

Credit by: DAVID SHANKBONE

According to the Daily News report, Silver, who has produced films in the Die Hard, The Matrix, and Lethal Weapon series, agreed to buy Koons’s 8.5-foot-tall sculpture Balloon Venus Hohlen Fels (2013–15) for $8 million in 2014. He worked out a payment plan with the gallery in which he would fulfill the cost in installments. He put down $3.2 million and was allegedly told that the sculpture would be ready in June 2017. But in January 2017, the gallery pushed back the completion date to July 2019, citing “purported difficulties in completing a ‘digital model,’ ” according to the suit. (Koons’s studio is not named in the Silver filing.)

Silver then asked Gagosian gallery to return his money because he was “frustrated by the delay and skeptical of when, if ever, the Balloon Venus would be completed.” Gagosian reportedly refused and told the producer he couldn’t have his money back until he made his payments on the new schedule laid out by the gallery. One day before Silver was to make a payment, Tananbaum filed his suit, which claims that the gallery had engineered a Ponzi-style scheme that also involved delayed completion dates.

In a statement provided to ARTnews, a spokesperson for Gagosian gallery said, “Because of the unusual process used to create his pieces, and his impeccable standards for completion, [Koons’s] contracts for sale specifically state that the delivery dates are only estimates. For more than 30 years Jeff Koons has been creating works of art and to our knowledge, without exception, has never failed to deliver these works and always to the enormous satisfaction of the collector. Progress is being made on the pieces at issue in these litigations, and as always they will be delivered upon completion.”

Update 4/30/18, 9:05 p.m.: A statement from Gagosian gallery has been added to the post.

INNOVATION

Content Courtesy of: livescience.com

Written by: Brandon Specktor

‘Mind-Reading’ Headset Lets You Control a Computer with Your Thoughts … Sort Of

The AlterEgo headset being developed at MIT would allow users to communicate with their devices completely hands- and voice-free.

Credit By: Lorrie Lejeune/MIT

Regardless of whether your mouth is moving right now, you are talking to yourself.

As you read these words, the muscles in your larynx, jaw and face are fluttering with quick, imperceptible movements, sounding out the words so you can actually “hear” them in your head. This kind of silent speech is called “subvocalization,” and unless you’re a speed-reader who has trained yourself out of this habit, you’re doing it all day, every time you read or even imagine a word.

Now, MIT researchers want to use those subvocalizations to decode your internal monologue and translate it into digital commands, using a wearable “augmented intelligence” headset called AlterEgo.

According to a statement from the MIT Media Lab, the device would allow users to send silent commands to the headset simply by thinking of a word. A neural network would translate the muscle movements to speech and do the user’s bidding — totally hands- and voice-free.

The motivation for this was to build an IA device — an intelligence-augmentation device,” Arnav Kapur, a graduate student at the MIT Media Lab and lead author of a paper describing the device, said in the statement. “Our idea was: Could we have a computing platform that’s more internal, that melds human and machine in some ways and that feels like an internal extension of our own cognition?”

A promotional video accompanying the news release shows a student (Kapur) going about his daily routine while wearing the headset, using silent commands to navigate through a TV menu, check the time, tally up prices in the supermarket and, apparently, cheat at the game Go. His opponent is none the wiser.

 

Let’s say you want to ask AlterEgo what time it is. First, you think the word “time.” As you do, muscles in your face and jaw make micro-movements to sound out the word in your head. Electrodes on the underside of the AlterEgo headset press against your face and record these movements, then transmit them to an external computer via Bluetooth. A neural network processes these signals the same way a speech-to-text program might, and responds by telling you the time — “10:45.”

In another twist, AlterEgo includes no earbuds. Instead, a pair of “bone conduction headphones” resting against your head sends vibrations through your facial bones into your inner ear, effectively letting you hear AlterEgo’s responses inside your head. The effect is a completely silent conversation between you and your computer — no need to pull out a phone or laptop.

An early test of the technology showed promising results, MIT said. In a small study, 10 volunteers read a list of 750 randomly ordered numerical digits to themselves while wearing AlterEgo headsets. According to the researchers, AlterEgo correctly interpreted which digits the participants were reading with an average accuracy of 92 percent. (For comparison, Google’s microphone-based speech-to-text translation service has an accuracy of about 95 percent, according to Recode.)

“We basically can’t live without our cellphones, our digital devices,” said Pattie Maes, an MIT professor and the paper’s senior author. “But at the moment, the use of those devices is very disruptive…. My students and I have for a very long time been experimenting with new form factors and new types of experience that enable people to still benefit from all the wonderful knowledge and services that these devices give us, but do it in a way that lets them remain in the present.”

The new paper describing the device was presented at the Association for Computing Machinery’s ACM Intelligent User Interface conference in March, and has yet to appear in a peer-reviewed journal.

FASHION

Content Courtesy of: wwd.com

Written by: Tiffany Ap

Sarah Jessica Parker Partners With Gilt for Ready-to-Wear Bridal Collection

Credit By: GILT.COM

After her lavish wedding at the New York Public Library fell through, Carrie Bradshaw couldn’t help but wonder if a low-key, less traditional ceremony was a better fit for her and Mr. Big. Spoiler alert: It was, and Sarah Jessica Parkerseems to have taken that revelation to heart with her latest collection.

This week the actress turned designer partnered with Gilt to release a ready-to-wear bridal collection, comprising 10 pieces perfect for the “modern, nontraditional bride,” according to a press release.

Parker’s wedding-ready line is designed to take brides from the bridal shower all the way through the reception, as well as get any bridesmaid or wedding guest ready for the occasion. Besides an assortment of classic dresses in varying cuts and lengths, the collection also includes tie-back and three-quarter-sleeve bodysuits, a halter-neck jumpsuit, and several skirts. Each piece comes in a range of colors—white, black, blush, blue, light gray, and poppy—and sizes (0–14 and XS–L). Prices range from $295 for the sleeveless, bow-back bodysuit to $2,395 for the full-length embroidered gown.

“Collaborating with Gilt on my first bridal ready-to-wear collection was an opportunity I couldn’t pass up,” Parker said in the release. “The team there is brilliant and allowed me to be imaginative and take risks as I was designing for the nontraditional bride. It has been quite fun to play around with colors, fabrics, and details to create unique pieces for all kinds of brides.”

In addition to the apparel, Gilt is releasing 15 existing styles from the SJP by Sarah Jessica Parker shoe line in an exclusive new selection of colors and heel heights, to pair with the bridal collection. The shoes, which include popular styles like the Cosette and the Fawn, are priced between $350 and $485 on the Gilt site.

Check out some of the pieces in the SJP by Sarah Jessica Parker bridal collection below.

Credit By: GILT.COM

Credit By: GILT.COM

Credit By: GILT.COM

Credit By: GILT.COM

Credit By: GILT.COM

Credit By: GILT.COM

BRANDS

Content Courtesy of: cnbc.com

Written by: Karen Gilchrist

Jay-Z and Saudi royalty backed this 29-year-old to build a billion-dollar private jet app

When a 21-year-old Sergey Petrossov found himself on a private jet for the first time, he didn’t anticipate he’d one day make it a regular occurrence — not only for himself, but for thousands of others.

Eight years on, however, he sits at the helm of JetSmarter, the billion-dollar, celebrity-backed private jet booking app commonly dubbed the Uber of the skies.

“At the time, I didn’t know it was going to be a business,” Petrossov told CNBC Make It, recalling his first trip in 2009.

It wasn’t an obvious journey for Petrossov, after all. Back then, he was newly graduated from the University of Florida and cutting his entrepreneurial teeth on a start-up for schools in his native Russia. A chance encounter with the owner of a private jet company saw him and offered a ride.

Sergey Petrossov, founder of JetSmarter

Petrossov was quickly struck by what he called the “archaic” nature of the industry, which at that time relied entirely on analogue rather than digital management systems. Coming from a background in tech start-ups, that was foreign to him.

But it was in that process he stumbled across the real money maker: “I learned that (the industry) was highly underutilized,” said Petrossov.

It was now 2012, and the sharing economy was gaining traction with the advent of Airbnb and Uber, yet private jets continued to fly at an average 10 to 15 percent capacity.

“It was an ineffective use of the plane,” said Petrossov. “There needed to be a sharing medium.”

“WE ALWAYS KNEW THAT SHARING IS HOW YOU CAN BROADEN THE MARKET.”

-Sergey Petrossov, founder of JetSmarter

Despite being an asset-less concept, however, Petrossov and his new chief technology officer knew that it would be a costly endeavor. They decided to launch JetSmarter first as a digital data platform in 2013, with some initial backing, before going in search of additional funding for their sharing business.

“First, there was a digital theme, but sharing required more resources and capital. We always knew that sharing is how you can broaden the market,” Petrossov said.

That funding soon came, and since launching its sharing platform in 2015 JetSmarter has received investments from several high-profile backers including rapper Jay-Z and Saudi Arabian royalty. Positioned as a “hybrid” to lower costs for existing private flyers, while providing greater convenience for new users, the platform allows members to both schedule flights and book empty seats on existing private jet routes.

“It evolved into a concept that provides a solution for existing jet users, but also for people who fly commercial and want flexibility,” said Petrossov.

“WE WANT TO SET A NEW STANDARD. IT’S NOT ABOUT EXCLUSIVITY, IT’S ABOUT PROVIDING MORE EFFICIENT TRAVEL.”

Over the past few years, membership packages have gone through several iterations, prompting criticism from some users who now face add-on fees for private hires. But Petrossov said he is focused on “democratizing access to private travel.”

Today, basic membership is available for $5,000 per year, with varying additional fees for chartering flights and booking empty seats. A higher tier of membership is available from $50,000.

“We want to set a new standard. It’s not about exclusivity, it’s about providing more efficient travel,” he said.

JetSmarter says it currently serves 15,000 members, primarily business travelers, across the U.S., Europe and the Middle East. In the next few years, Petrossov said he hopes to expand this customer base by offering lower costs for short journeys.

“Our goal is to take massive market share against commercial airlines, specifically business and first class, especially for routes under five hours,” he added.

HOSPITALITY

Content Courtesy of: bighospitality.co.uk

Written by: Sophie Witts

People on the move in hospitality: April 2018

It’s been another busy month in hospitality, with changes at the top for a struggling high street chain, and a new job for Masterchef’s youngest professional champion.

Mini Patel

Mini Patel has been named as the new chef patron at D&D London’s Blueprint Café on the South Bank. The chef, who left The Pointer in Brill in Buckinghamshire in 2017 after two and a half years, has overhauled the menu to focus on small plates with a “playful, contemporary twist”. Patel also cooked under Angela Hartnett at her Michelin-starred restaurant at The Connaught, and represented the North East on Great British Menu in 2015 and 2016.

Martin Cahill

Martin Cahill has joined the Rosewood London hotel as executive chef. It follows the departure of Amandine Chaignot, who stepped down from the post in January after three years. The move marks a return to the UK for Cahill, who joins from DUKES Hotel in Dubai. In his new position he will oversee Rosewood’s The Mirror Room restaurant and Scarfes Bar. Calum Franklin remains executive chef at Holborn Dining Room and the Pie Room, which are also situated in the hotel.

Ruth Leigh

Ruth Leigh has been appointed general manager at Henry Harris’ The Coach gastropub in Clerkenwell, London. She began her career in London as assistant general manager at Le Café Anglais, before moving to Hong Kong to manage the restaurant at The Continental. Leigh returned to London in 2016 to work at Stevie Parle and Tom Dixon’s Dock Kitchen, where she grew the customer and events base. Leigh, who is the daughter of chef Rowley Leigh, has known Harris for years. “Both Henry and I are looking forward to this new chapter at The Coach, and I’m just excited to get started,” she says.

Tom Barnes

Tom Barnes has returned to Simon Rogan’s restaurant business as chef patron at Rogan & Co in Cartmel, Cumbria. Born and raised in the Lake District, Barnes began at L’Enclume as a chef de partie in 2011 and worked his way up to become head chef in spring 2014. He held the position for over three years, taking charge of day to day running of the kitchen and working alongside Rogan with the menu development and team training. He returns to Cumbria after spending a year at three-starred Restaurant Geranium in Copenhagen.

Jon Hendry Pickup

Prezzo CEO Jon Hendry Pickup is to step down after the group’s creditors approved a CVA to close 94 restaurants – a third of its estate. He will be replaced by Café Rouge co-founder Karen Jones, who is also chairman of Hawksmoor and Mowgli. Hendry Pickup, who joined Prezzo in 2016, will remain at the company through a transition period in April and May. The CVA comes after like-for-like sales at Prezzo fell 8.1% in the year to December 2017, with the chain blaming rising costs and competition from other chains. Since the CVA Hendry Pickup launched a transformation plan that has seen top-performing sites rebranded with an improved layout.

Craig Johnston

Youngest-MasterChef-The-Professionals-winner-joins-Marcus-at-The-Berkeley_wrbm_large

Craig Johnston, the 2017 MasterChef: The Professionals champion, has joined judge Marcus Wareing’s restaurant Marcus at The Berkeley Hotel as senior chef de partie. Johnston was just 21-year-old when he triumphed in the BBC show, becoming the youngest ever winner in its ten series. He left his role as sous chef at The Royal Oak gastropub in Maidenhead earlier this month to take up the position at the two-Michelin-starred kitchen.

Gordon Ramsay Group

Petrus head chef Larry Jayasekara has become the latest member of staff to depart the Gordon Ramsay Group (GRG). Jayasekara joined the restaurant as senior sous chef in 2015 and went on to win National Chef of the Year 2016. Speaking to BigHospitality in 2015 he said his “ultimate goal” was to win a Michelin star, either at GRG or his own restaurant. GRG chief executive Stuart Gillies is believed to have left his role earlier this year after filings show his position as director was terminated in February, with managing director Andy Wenlock tipped to have taken his place. Simon King, formerly of Danny Meyer’s Union Square Hospitality Group, has also stepped down as director of operations.

Stuart Geddes

Stuart Geddes has been promoted to general manager of London’s The Goring Hotel. Geddes first joined The Goring in 2006 after several years at The Ritz, and in 2013 the hotel was granted a Royal Warrant of appointment to HM The Queen for Hospitality Services. He now oversees the hotel’s 69 rooms and suites, bar and lounge and its restaurant The Dining Room, which won a Michelin star in 2016.

Daniel Lee

Daniel Lee has been appointed head chef at the Galvin brothers’ Galvin Green Man pub and restaurant near Chelmsford, Essex. Lee previously cooked with Jeff Galvin for three years at Michelin-starred Galvin La Chapelle in London, and will be working closely with Jeff’s brother, Chris Galvin, at the Green Man. “I’m really looking forward to working with the Galvins again and delighting our customers with outstanding food far beyond the normal gastro-pub fare,” says Lee. Since opening in 2016 Galvin Green Man has been awarded a Michelin Bib Gourmand and 2 AA Rosettes.

FOOD AND BEVERAGE

Content Courtesy of: thestate.com

Written by: DAVID TRAVIS BLAND

Scott Benny’s American & International Cuisine will participate in this weekend’s South Carolina Food Truck and Craft Beer Festival. Matt Walsh The State file photo

30-something food trucks + 17 craft breweries = 5 hours of deliciousness

The South Carolina Food Truck and Craft Beer Festival is set to line the State Fairgrounds with delicious grub and refreshing brews. This will be the event’s fourth year.

The good-time atmosphere features beer from at least 17 breweries and more than 30 food trucks — quite a few more trucks than what the organizers of the South Carolina Food Truck and Craft Beer started out with. Boston-based Food Truck Festivals of America is the company that puts together the South Carolina shindig.

Back in 2011, the budding company heard from a sister public relations agency that a client wanted to do something different.

“They were tired of art, tired of music (events),” recalls Janet Prensky, co-founder of Food Truck Festivals of America. “We had heard about food trucks but they were not vibrant in the New England area at all.”

They searched and got eight food trucks together from around the northeastern part of the United States for that inaugural festival. Now the company works with more than 3,500 trucks in the various festivals they put on across the country.

“We wondered if it was a fad or it was a trend,” Prensky says of food trucks. “We’ve learned over the years that it’s a trend that’s here to stay.”

Prensky and her group have also found that for the most part, South Carolinians are eager to participate in the new eating enterprise. But the weather can make folks a bit timid.

The first year of the S.C. Food Truck and Craft Beer Fest went off without a hitch. The second year, it was slammed, Prensky remembers. But last year, the Columbia heat kept would-be festivalgoers in the air conditioning.

With this upcoming go of the food and beverage party, the temperature is forecast in the mid to high 70s — and that’s “a very, very good temperature for a food truck festival,” Prensky says.

The trucks will show up rain or shine. In their history of putting on events, Food Truck Festivals of America have never canceled an event and only rescheduled one due to a forecast of lightning.

“We go out of our way to make sure we have a food truck and craft beer festival when we say we do,” Prensky says. “We’ll be there and depressed in the rain.”

The trucks’ grills will be smoking, friers crisping meats up, boilers boiling and ice creameries scooping. Just a taste of the diversity set for the festival:

Macarollin’ cooks up gourmet mac ‘n’ cheese with eclectic toppings, while Fat Bellies offer tacos Texas style. You can get fresh lobster rolls, a not-too-often-seen treat inland in the Palmetto State, from Low Country Lobster or pick up some authentic Puerto Rican bites from Chazito’s Latin Cuisine.

One truck that Prensky wants to brag on snagging up for the festival is the Charleston-based Braised in the South, which won Food Network’s 2017 season of “The Great Food Truck Race.”

“What we like to do is bring in new trucks so it’s not always the same if you come to a festival,” Prensky says.

With a host of local and regional beers such Devils Backbone of Virginia; Asheville, North Carolina’s Wicked Weed; Columbia Craft and many more, a reliable selection of suds will wash down all the tastes you can get.

“We go out of our way to make sure our craft beers have a local representation,” Prensky says. “But we also makes sure to have regional and national beers.”

A few beer you might not have been able to get your hands on yet will be available. Golden Road Brewery is coming in from Los Angeles and 10 Barrel from Oregon, along with a couple more brews from further stretches out of South Carolina.

Music, lawn games, and an artist village are also planned.

But Prensky knows the stars of this show are the food trucks and beer givers. That’s what people come for, and over the years, she’s heard folks saying one thing about those handing out meals from a truck.

“I don’t think people realize these are chefs in food trucks,” Prenskly says. “We hear a lot of, “Oh my God. I had no idea that this was going to be this fantastic, that the food would be this good.’

 

ULTRA, BASEL, FASHION, LULU, WYNN AND HIS LOSSES AND AMAZING FEMALE INNOVATORS MADE MARCH MIND BLOWING

Music

Ultra Music Festival 2018 Plays a Safe Game With Strong Cards in 20th Anniversary: Op-Ed

Content Courtesy of: billboard.com

Written by: Kat Bein

 

Photo by: Getty Images

Marshmello performs on stage at Ultra Music Festival 2018 at Bayfront Park on March 24, 2018 in Miami. 


Milestones are reflective moments, and after 20 years of historic sets, surprise guests and forward-thinking design, Ultra Music Festival’s 20th flagship event couldn’t help but look back at its greatest moments for inspiration. The three-day celebration ran like a highlight reel of stalwart stars and hometown heroism, but for all its talk about “expect the unexpected,” this year’s Ultra often felt delightfully familiar.

Right from the start of Miami Music Week, the shadow of the past crept across Ultra’s face. The kick-off press conference announced the festival had officially acquired Winter Music Conference, the 33-year-old industry gathering that had once been the impetus for the festival’s own birth. It’s because of WMC’s initial success that Ultra founders were able to tap international dance talent and fans for its inaugural year in 1999, and as focus on its panels and showcases faded behind the brightness of surrounding parties and events, Ultra saw an opportunity for reinvention.

WMC is now a three-day conference held the days leading up to UMF’s opening bell. The concentration of the effort and its association with Ultra — presumably its speaker and panelist pool will overlap with UMF’s lineup — should lead to a higher participation rate and regeneration of WMC’s industry importance. It’s wild that the once-new kid on the block now bought the old boss, but it just goes to show how far Ultra has come in its two decades.

The brand is now international, but Miami is the biggest and baddest event on the Ultra calendar. Nostalgia played prominently at the heart of many performances, from Porter Robinson’s Virtual Self audio-visual love letter to the early aughts, to Carl Cox’s scene-stealing drop of Daft Punk’s “Rolling and Scratching.” Fischerspooner titillated with politicized sexuality while reminding fans of dance music’s gay male roots. Julian Marley and The Wailers were a new face on the bill that represented an old sound. Even Marshmello’s surprise performance of “Miami” with Will Smith celebrated a generational throwback.

This year’s edition saw facelifts to the Carl Cox, World and Main stages, though the names that lit marquees were long-standing Ultra favorites. Three things are certain in life; death, taxes and Tiesto playing Ultra. The Dutch DJ debuted five new tracks, while The Chainsmokers brought a bass-riddled sound to rival its earliest sets. OG headliner Rabbit in the Moon took UMF full-circle at the live stage, while the secret guest closer was anything but a surprise. Swedish House Mafia is perhaps Ultra’s most famous star, having bookended its three-year career with UMF main stage performances.

Until the moment three figures emerged under the bright lights, there were whispers in the crowd that it might be elusive French duo Daft Punk. But this weekend, Ultra wasn’t so much gunning for a shocking new storyline in 2018 as it was highlighting its accomplishments and triumphs of the past.

In 20 years, Ultra has survived growing pains and changing trends to go from dance scene upstart to industry pace setter. The crowd is more stripped down and the stages more souped up. Surprise guests have become routine and blinding pyrotechnics expected, but there’s yet something magical about its flag-waving masses that travel the world to take part in this vibrant carnival.

As it closed the chapter on its second decade with what was essentially an exciting (though expected) rerun, it begs the question; in what direction does Ultra now grow? No one can tell the future, but with such a storied past as a road map, Ultra should be anything but lost.

ART

Content Courtesy of: artnews.com/

Written by: Barbara Pollack

Willem de Kooning, Untitled XII, 1975, at Lévy Gorvy’s booth.

COURTESY BY: ART BASEL

The eighth edition of Art Basel Hong Kong opened to select guests last month with a bang—a $35 million bang.

Within the first hours of the VIP preview, Lévy Gorvy Gallery, which has outposts in New York and London, sold Willem de Kooning’s abstract painting Untitled XII, 1975, consigned from tech billionaire (and ARTnews“Top 200” collector) Paul Allen for $35 million to a private collector—so private the gallery would not even disclose whether the person was from Asia, Europe, or the United States. According to Dominique Lévy, the gallery had been in discussions with the buyer for some time, but he came to Art Basel Hong Kong to confirm his interest and the sale was finalized.

That big-ticket sale was one sign of a fair that has matured into an art-market powerhouse.

“I think the energy here is different this year,” Lévy said. “There is a wider range of people coming from everywhere and I think the fair is much better organized and much more sophisticated.  The galleries are making a much bigger effort. In the first few years, people brought things that were second rate, but in the last two years, people have been really stepping up.”

The de Kooning was her way of stepping up—a painting you would be more used to seeing at the 48-year old mothership fair Art Basel in Switzerland in June. “We wanted to bring a painting that no one had seen,” Lévy said, “that was fresh to the market and sort of show honor and respect because there is an extraordinary group of collectors here and they deserve to have the best.”

Art Basel Hong Kong’s director, Adeline Ooi, agreed that the fair has entered a new phase.

“I’ve only been here four years and I would never have thought that something would sell in that price range when I started my work here,” Ooi said. “But here we are four years later. You know how time changes in Asia and everything is accelerated here.”

The booth of Gavin Brown’s Enterprise, of New York and Rome, with Mark Handforth’s Dog Star (2018) at front.

COURTESY  BY: ART BASEL

New Galleries

If people didn’t look quite as jet-lagged as in past years at the VIP preview, it was likely because they’d flown into Hong Kong a day earlier, for gallery openings on Monday night, including the new gallery building at H Queens on Queens Road, where David Zwirner and Hauser & Wirth opened for the first time in Asia, joined by Pearl Lam, Tang Contemporary, Ora Ora, and Pace, which already had a small gallery in the city.

Pace had a successful opening day at the fair, selling Yoshitomo Nara’s In the White Room, a 2003 work on paper, for $750,000, Zhang Xiaogang’s brand new painting The Boy Standing on a Chair for $300,000, and Qiu Xiaofei’s work Willow Field No. 3 (2017) for $160,000, among many other pieces at lower price points.

This year marks Pace’s tenth year in China. The gallery opened a huge space in Beijing’s 798 gallery district in 2008.

“This year Beijing business is normal, in keeping with previous years,” said Pace’s Asia president, Leng Lin, who runs the outpost in the capital city. “It developed, but the speed cannot compare with that in Shanghai and Hong Kong. Hong Kong is the fastest development. Pace now has two galleries [here] so you can judge the amount of business at this moment.”

Pace’s president, Marc Glimcher, was on hand for Art Basel, and the opening of his second Hong Kong space.

“Western collectors are too slow,” Glimcher said. “They can’t keep up. Mostly it’s been Chinese collectors so far. Hong Kong is a meeting place. It’s a place where people who do this—curators, writers, collectors—want to be.”

Oscar Murillo’s día mundial de las aves migratorias (2017–18), which David Zwirner sold for $400,000

COURTESY BY: THE ARTIST AND DAVID ZWIRNER

Chinese Collectors, International Artists

David Zwirner, also celebrating his Hong Kong gallery opening, had a major display of work by Jeff Koons in his booth,  including paintings with blue mirrored balls and a trio of sculptures with prices ranging from $2.5 million to $8.5 million, including an artist’s proof of Swan (Inflatable), 2011–15. Koons himself was on hand, hamming it up for a very well-attended photo-call. The gallery also had works by Oscar Murillo, Luc Tuymans, Sigmar Polke, and Josh Smith, a recent addition to the Zwirner stable.

Zwirner’s new Hong Kong gallery is headed up by dealer Leo Xu, who closed his own gallery in Shanghai to join Zwirner.

“I’m sad to lose my gallery, but I’m happy about my future,” Xu said.

Asked what was the gallery’s strategy for bringing works to the fair, he said, “We will bring works that will respond to the current context of this region and try to deepen the conversation. The context has to do with the complexity of Asian culture, Asian countries and identities, but also, there’s a learning curve from the local audience. We are very much interested in that and speaking to a learning audience.”

Indeed, this year Chinese buyers seem particularly open to investing in works by international artists, something that seemed impossible only a few years ago.

Hauser & Wirth sold out its entire show of Mark Bradford paintings at its inaugural exhibition at its new space in H Queens. Success followed the next day at the fair with sales including Paul McCarthy’s WS, White Snow Flower Girl #2, for $575,000, and a piece by Takesada Matsutani for $85,000, both to an Asian Foundation. McCarthy is having a major exhibition of 47 videos at M Woods Museum in Beijing, including his provocative Snow White, shown two years ago at New York’s Seventh Regiment Armory. This will be his first show in China; getting it past the censors is probably the result of the savviness of the museum’s founders, Wanwan Lei, Lin Han, and Michael Xufu Huang. “The show in Beijing will really explain the depth of McCarthy’s work to an audience that might have only heard about him,” Iwan Wirth, the gallery’s co-founder, said. McCarthy, who had attended his opening in Beijing, was present at the fair.

“We’ve been coming to China ever since the fair opened but we have been busy in mainland China for almost two decades,” said Wirth, who has been representing Shanghai artist Zhang Enli for more than 15 years.

On opening the new gallery in Hong Kong, Wirth said, “A few things came together. And when the stars aligned, we didn’t hesitate. We signed a lease and, within two months, we renovated the space, and now we are open.”

“This year there’s more of everything at ABHK,” he added. Hauser & Wirth also sold a piece by Rashid Johnson to a collection in Hong Kong for $215,000. “More Western collectors but more Asian buyers as well,” he said. “Major sales and lots of energy for all the work we brought.”

Liu Wei, 180 Faces (detail of work in 10 parts), 2017–18.

COURTESY BY: THE ARTIST AND SEAN KELLY

New York gallerist Sean Kelly also seemed happy on VIP preview day.

“It’s too early to tell, but it seems like there are a lot more Western people here than we’ve seen in previous years,” Kelly said. “It certainly feels very good. I’m optimistic about it.”

Kelly’s booth attracted major interest from a foundation and a museum for the modest sized paintings of faces by Liu Wei, who will be having a show of 180 of them at the gallery in New York in May.  The works were shown together at the Ullens Center in Beijing this past year.  They are being sold in groups of ten for $250,000. Large-scale paintings by the artist rarely come on the primary market but at auction can bring anywhere from $450,000 to several million, according to the gallery.

A Strong Showing by Asian Galleries

A veteran of Art Basel Hong Kong, Chinese dealer Pearl Lam brought paintings by Zhu Jinshi, who also shows with American gallery Blum & Poe, in the $250,000 price range, plus a trio of paper sculptures from the 1990s priced between $50,000 and $90,000. Beijing’s Long March space devoted its booth to a retrospective of works by Yu Hong, from the early 1990s to this year.  One painting, A New Century (2017), measuring about 8 feet by 30 feet, is slated for the artist’s solo show at Shanghai’s Long Museum later this year.

Shanghai gallery Antenna Space mixed recent paintings by Allison Katz with paintings by Zhou Siwei priced from $12,000 to $15,000, and there was already a reserve on a painting by young painter Cheng Xinyi who lives in Paris. Antenna also had two sculptures by Guan Xiao, who recently had a solo exhibition at ICA London, selling for $23,000 each.

“They are very reasonably priced because we work with younger artists,” said Antenna Space’s director, Simon Wang. With Leo Xu closed, Antenna is now the most influential young gallery in Shanghai. “We had a few reserves and I’m sure they will confirm by the end of the day,” Wang said. “Collectors were interested in everything in the booth.”

Beijing Commune was showing a video by Song Ta, currently in the New Museum Triennial in New York, at $23,000, and cyanotypes of pin-up girls from 1970s magazines, forbidden in China at the time but smuggled in from Japan, for $8,000 apiece. Todd Smith, director of the Orange County Museum of Art in California, was eyeing them, as well as a video installation of Zhang Pelli at Boers Li Gallery for $50,000.

“This year, there’s a lot of new and exciting work that I haven’t seen at other fairs, and the quality is as strong as I’ve seen it,” Smith said. “I am interested in seeing the work that we haven’t seen stateside and work that helps our collection, which is pan-Asian, and being exposed to artists who have not had much exposure in the States yet.”

Other museum professionals at the fair included Guggenheim Museum senior curator Alexandra Munroe with a group of museum patrons, Los Angeles County Museum of Art director Michael Govan, and MoMA PS1 director Klaus Biesenbach.

Jeffrey Deitch was also seen wandering around the fair, spreading word that Ai Weiwei will be the opening show at his new Los Angeles gallery.

Summing up her fair’s VIP preview, Adeline Ooi, the fair’s director, said, “I honestly feel that the dialogue between art from Asia and the rest of the world has come together this year. I enjoy the convergence and the overlaps. Art Basel Hong Kong is a great way to see the world differently.”

FASHION

Content Courtesy of: wwd.com

Written by: Tiffany Ap

HONG KONG — The weeks between Christmas and Chinese New Year are a sort of business and social limbo. With the two holidays being such key occasions and both offering a week off for weary city-dwellers, brands tend to lie quiet as Hong Kong hovers in vacation mode.

But in March, the energy of the city fully transforms as Art Basel rolls into town, bringing with it a high-flying crowd that the fashion world is more than happy to tap into. With an exceptionally high concentration of the wealthy milling about — a Willem de Kooning piece sold for $35 million within hours of the fair opening — brands didn’t miss an opportunity to show off their arty side, with Dior, Cos, Louis Vuitton, Moda Operandi and others putting on all manner of art installations, talks, dinners and parties.

On March 19, Porter magazine got things going by hosting a chat at the Upper House. Executive brand editor Sarah Bailey moderated the panel focusing on “Incredible Women in Art,” before taking the crowd to the beachside in Repulse Bay for dinner, which saw French actress Ana Girardot and designer Vivienne Tam among the guests.

Inspired by Keith Haring, Coach hosted an art walk in Wan Chai’s Lee Tung Avenue, and watch brand Audemars Piguet, as an official sponsor of Basel, hosted its annual bash. Louis Vuitton, meanwhile, invited architect Andre Fu for its “Objets Nomades” exhibition, a series of travel-related items.

There was also the amfAR gala, which this year featured performances from Kylie Minogue and Tove Lo, while honoring the artist Kaws, although it was appearances from Aussie stunners Shanina Shaik and Liam Hemsworth, which seemed to have the ballroom buzzing.

Liu Chih Hung working on his rendition of the Lady Dior bag.  


In Shanghai, Dior has been busy staging a couture show and the release of a new art book, but in Hong Kong, the French house situated itself on the third floor of the Basel fair for its Lady Dior exhibition, where more than 30 different takes of its signature bag were on display, using materials from glass to wood and even pheasant feathers. Taiwanese artist Liu Chih-Hung was one of the new artists the brand tapped, using rusted metals and lights in a throwback to the mosquito-lanterns of his childhood.

“The idea comes from the mosquito-catcher which is very common in Asia. You see the light? It’s used to catch mosquitos and other insects, it’s similar to a luxury product, attracting the gaze of shoppers,” Liu explained.

At Art Central, a fair focusing on more affordable artworks, Off-White and Jimmy Choo took over a corner for a “floral guerilla moment” in an exhibition titled “Hand & Rose.” Created by artists Sarah Lineberger and Awol Erizku, the two juxtaposed a truck in the backdrop with bright flowers erupting all around it, with viewers able to take away custom bouquets until April 1.

The satellite fair also worked with Lane Crawford for its art program enabling people to create their own digital masterpiece using motifs from cult graphic design art duo Craig & Karl. And although not explicitly doing an art theme, Jil Sander’s Lucie and Luke Meier were also passing through town — entertaining at a cocktail and dinner to celebrate their collaboration with Joyce.

MARKETING AND BRANDS

Content Courtesy of: adage.com

Written by: Adrianne Pasquarelli

LULULEMON STRETCHES DIGITAL MARKETING WINGS, SEES SUCCESS

A scene from Lululemon’s recent campaign.

Credit by: Lululemon

Despite the sudden exit of its CEO, Lululemon Athletica is seeing sales success thanks to a focus on digital improvements and brand marketing. The Canadian yogawear marketer reported an 18 percent increase in fourth-quarter net revenue to $928.8 million, along with a 12 percent increase in comparable sales.

Net income in the fourth quarter was $120 million, down 11 percent from the year-earlier period.

But after relaunching its website at the end of the third quarter, just before the start of the holiday shopping season last year, Lululemon saw a 42 percent lift in e-commerce revenue compared to the fourth quarter of 2016. The chain also doubled its email subscribers in 2017, executives said.

“We’re getting smarter in how we’re being able to engage our guests via email and other social media,” said Stuart Haselden, chief operating officer and chief financial officer, on a conference call Tuesday evening.

The sales uptick comes on the heels of the February departure of Laurent Potdevin, who was CEO for four years and left for a failure to meet “standards of conduct,” according to the company. Celeste Burgoyne, a 12-year Lululemon veteran and executive VP for the Americas, was assigned to oversee brand marketing when Potdevin departed.

Oliver Chen, a retail analyst at Cowen & Co., said in a research note that Lululemon’s new site included better content, storytelling and product imagery. “We agree that the majority of the momentum generated by Lulu during 4Q and extending into 1Q is being driven by exceptional product innovation, a solid omnichannel strategy with an improved website, and investments in marketing,” wrote Chen.

Yet analysts are still concerned about the open CEO role. Glenn Murphy, executive chairman, said Tuesday that the brand has met with candidates to fill it.

“While there are a number of initiatives in place to drive sustained growth, we view the risk/reward as balanced, particularly without a CEO in place,” wrote Canaccord Genuity consumer analyst Camilo Lyon in a recent research report. “While Lulu appears to be hitting on all cylinders, we can’t ignore the fact that at least once per year since 2014, it has hit a speed bump that has derailed its momentum and caused it to lower guidance.”

Indeed, beginning with the sheer-pants debacle of 2013, Lululemon has had a history of challenges including lackluster product, excess inventory and increased competition. Lululemon increased selling, general and administrative expenses by $42.2 million last year, primarily driven by the digital marketing push, according to financial documents, and debuted its first global campaign in 2017 with “This is Yoga.”

~ ~ ~
CORRECTION: An earlier version of this article misidentified the Lululemon CEO who left in February as Laurence Potdevin. His first name is Laurent.

Adrianne Pasquarelli

A reporter with Ad Age since 2015, Adrianne Pasquarelli covers the marketing strategies of retailers and financial institutions. She joined Ad Age after a dozen years of writing for Crain’s New York Business, where she also focused on the retail industry. Over the course of her career, she has won awards from the Society of American Business Editors and Writers, the National Association of Real Estate Editors and the Jesse H. Neal Awards.

HOSPITALITY 

Content Courtesy of: wsj.com

Written by: Chris Kirkham and Kate O’Keeffe

Steve Wynn Sheds Entire Stake in Casino Giant He Co-Founded

Sale is final step in exit after female employees made allegations of sexual misconduct against former CEO

Steve Wynn sold his entire stake in Wynn Resorts Ltd. on Wednesday and Thursday, the company said, the final step in a dramatic exit after female employees made allegations of sexual misconduct against the casino giant’s co-founder.

The sale of $2.1 billion worth of stock over two days followed a series of moves he and the company made in recent weeks to allow Mr. Wynn to untangle himself from the casino corporation amid a series of investigations by state gambling regulators.

 

 

 

 INNOVATION

Content Courtesy of: smithsonianmag.com

Written by: Emily Matchar

Ten Female Innovators to Watch In 2018

These inventors, startup founders and businesswomen have exciting things happening this year. Stay tuned!

We may not yet have a female president, but women are running the show in all kinds of ways. Now that the number of companies with female founders multiplied by eight between 2009 and 2016, these entrepeneurs need a greater share of the venture capital. (Last year, women-led startups only got a tiny fraction of it—we’re talking 2 percent.) Here are 10 innovative women leading the charge, from sustainable energy to women’s health.

 

Alice Zhang

Like several notable innovators before her (think Bill Gates, Steve Jobs and Mark Zuckerberg), Alice Zhang left a prestigious university to follow her dream. She withdrew from a PhD program at UCLA to launch Verge Genomics, a company that uses machine learning to develop drugs for complex diseases. Verge brings together mathematicians, neuroscientists, computer learning experts and biotech professionals to accelerate understanding of disease and push for novel solutions. Verge is currently focusing on neurodegenerative disorders, and recently announced several public-private partnerships to create massive databases of information on ALS and Parkinson’s disease.

“At Verge, we believe that breaking down the barriers that exist between industry, academia, computation and biology is critical to fully realizing the potential of AI in drug discovery,” Zhang said, in a press release.

Zhang’s work has already been receiving plenty of attention and accolades. In 2012, she received a Paul & Daisy Soros Fellowship for New Americans, given to immigrants and children of immigrants who have made major impacts in their fields. Last year, she was named one of Forbes magazine’s 30 Under 30.

Rebecca Kantar

Another dropout making good, Rebecca Kantar left Harvard after two years to launch Imbellus, a company that hopes to bring down standardized testing as we know it. Kantar is interested in developing tests that measure problem-solving ability, not just whether an answer to a specific multiple choice question is right or wrong. The company recently raised $4 in venture capital, and has partnered with CRESST, the National Center for Research on Evaluation, Standards, and Student Testing. Kantar and her team hope to begin by creating skill-assessment tests to help job seekers guide their search. Kantar thinks improved assessments could ultimately help improve the entire education system, which in turn could perhaps develop “minds capable of saving humanity from man-made extinction,” as she explains in this 2017 video.

“The SAT and most other assessments have made the mistake of comparing everyone to an average that is no one,” Kantar told Business Insider. “The problem is that grading model doesn’t take context into account. You don’t necessarily need the same set of skills to apply for a job at Goldman Sachs as you need to be successful at the Rhode Island School of Design.”

Alyssa Ravasio

Alyssa Ravasio was just looking for a sweet little patch of Big Sur beachfront to pitch her tent and watch the sunrise. But finding a camping spot was harder than she expected. So Ravasio got the idea for Hipcamp, a search platform for connecting campers with spots. Ravasio attended a 10-week coding bootcamp, developed the site, and launched in 2013. Originally only available in California, the site is now nationwide—and this year it’s poised to go international.

Ravasio and her team see Hipcamp as more than a Hotels.com for campsites. They hope the site can connect campers with the owners of private land willing to allow camping. It’s a potential win-win: campers get a place to sleep and land owners get cash to potentially help conserve their properties.

Zim Ugochukwu

There are thousands upon thousands of travel-focused Instagram accounts. Flip through and you’ll see attractive millennials doing yoga poses in the desert, swimming the cerulean waters of the Mediteranean, sipping wine in sun-dappled vineyards. Almost all of the travelers are white.

Zim Ugochukwu wanted to see more young black people like herself represented in travel media. So in 2013 she founded Travel Noire, a site dedicated to travel stories and tips for people of color. Here you’ll find stories from lists of the best black-owned restaurants in America to essays on what it’s like to travel solo as a Moroccan woman. The site now reaches some two million viewers a month. It earned Ugochukwu, the Minnesota-raised daughter of Nigerian immigrants, a spot on Forbes magazine’s 30 Under 30 list in 2016. Last year, Travel Noire was acquired by the black lifestyle brand Blavity, with Ugochukwu staying on as chief brand officer. Says Fast Company, the acquisition should help turn Blavity into “the go-to site for black millennials looking for travel pointers and recommendations” in coming months and years.

Alisyn Malek

The future, complete with self-driving buses, is here, and Alisyn Malek is one of the people to thank. The co-founder and COO of May Mobility is helping to bring fleets of automous vehicles to the streets of Detroit—and soon, the world. Late last year, the company piloted a self-driving bus service in downtown Detroit, and it plans to launch a permanent service this summer. This makes it the first company of its kind to replace an existing transportation system with a self-driving one.

“Communities everywhere are facing transportation challenges, and we’re ready to solve them with our fully-managed, right-sized microtransit service,” said Malek, an engineer by training who also holds an MBA, in a press release.

The company will be launching other pilot projects in coming months, and recently raised $11.5 million in seed funding, reports Forbes.

Afton Vechery and Carly Leahy

It’s difficult to be a young professional woman and not hear about fertility, whether it’s your mother asking when you’re going to give her grandkids or a news headline insisting your eggs will all be bad by the time you’re 35. What is the truth? If you want kids, how long can you safely wait before trying?

Afton Vechery , a veteran of several startups, and Carly Leahy, who worked in creative strategy at Uber, wondered exactly that. So last year they launched Modern Fertility, a company that allows women to get basic fertility lab tests done simply by dropping by a local lab, making the process cheaper and easier. These tests can help give an indication of how fertile a woman is—though how useful they are is a subject of debate—which can help when making family planning decisions. These are the same tests any woman seeking fertility treatment would likely get as a first step, but at only $149 and without the need to book a doctor’s appointment.

“We spend our lives talking about prevention rather than preparing for pregnancy,” said Leahy, speaking to Venture Beat, noting that the testing is also useful for women who don’t want children. “The concept should be introduced early on, like your pap smear.”

Prerna Gupta

Millennials don’t read? Tell that to Prerna Gupta, the co-founder and CEO of Hooked, an app which claims to be “redefining fiction for the Snapchat generation.” Hooked sends readers short stories in the form of chat messages. You tap the screen for the next message; after 30 messages, the app makes you take a break to build suspense.

The app has topped the Apple and Android charts, breaking some 40 million downloads last year. It’s also attracted some high-profile, somewhat unusual investors (think Snoop Dogg). Expect more and wilder stories from Hooked this year, from tales of strangers on trains to creepy secret admirers to text messages from the dead.

Gupta, a Stanford graduate, grew up the child of Indian immigrants in rural Oklahoma.

“I was an outcast, without any real friends,” she told CNN. “High school was tough for me, and I got into a lot of trouble. What saved me was literature.”

Back in 2008, Jessica Matthews, then a junior at Harvard, was asked as part of an engineering course to develop a product for the developing world. Matthews and her team created the Soccket, a soccer ball that uses the kinetic energy from being kicked to charge a battery. The power could then light a lamp for hours, a boon in places where electricity is scarce. After graduation, Matthews and one of her teammates launched a company, Uncharted Play, to commercialize similar products.

Today, Matthews, a duel U.S.-Nigerian citizen, is founder and CEO of Uncharted Power, a company which looks for kinetic energy solutions to generate clean energy. Projects include a speed bump that stores up the energy generated from being driven over and sidewalk panels that harness energy from people walking on them. The company plans to launch pilot installations of several projects this year.

Sabrina Mutukisna

Young people who have been in foster care have a harder time getting and keeping jobs than those who have grown up in biological families. Sabrina Mutukisna hopes to give them a leg up with her company, The Town Kitchen, which gives former foster kids and once-incarcerated youths culinary training and fair wage jobs.

The startup caters lunch events around the Bay Area, offering boxed lunches prepared by the young people it employs. For ingredients, it contracts with food producers who are female or people of color. It partners with community organizations to help its young workers access housing and education services; many former employees are now in college.

Mutukisna, who has worked in both education reform and the food industry, hopes to take the company nationwide. With options ranging from hot buffets of Burmese food to roast beef wraps with handmade chips, any city would be lucky to taste what The Town Kitchen is cooking.

FEBRUARY FUN AND THE LATEST SOCIAL SHUN

FASHION

The Best Collections From Paris Fashion Week

Content Courtesy of: vogue.com

Written by: SARAH MOWER

Nobody sent out an agenda, but this season’s Paris shows effectively felt like a huge conference of voices speaking about how to represent women in the era of Time’s Up. Threads of the same conversations kept coming up and intertwining—in what designers said in interviews, in the symbolism we read into their clothes, and in the running commentaries between colleagues in cars and cafés.

We all saw, felt, and engaged in the issues. For one: How can fashion act as a conduit for female power? We saw throwbacks to ’80s skirtsuits and shoulders dissected and rethought in a time when female employment equality and political power urgently demand to be backed. We saw serial cases of classics—tweeds, camel coats, tartans—being morphed into modernity by brainiac imaginers. We witnessed cultural influences from Islam taking in head coverings and modest dressing.

We felt the inspiration of the past meeting our new day: 1968-er Paris revolutionaries and sci-fi knocking at the doors of fashion consciousness. Finally, at a moment when there are so many wildly complicated issues to process, there was love for the designers who backed up and calmed us down with beautifully simple clothes—and equally for the ones who took us off, up, and away into the realms of visual wonder.

Closing remarks, then? Hard to summarize, but this much is true: When smart designers work into the creative tensions of our times, great things can happen.

Marine Serre

Photo by: Getty Images

Marine Serre

“Marine Serre titled her terrific third collection Manic Soul Machine, a reflection, as she put it, on the roller-coaster ride of the first six months of leading her own label. It’s apt. The hyper-speed at which the industry moves means designers like Serre have to deal with not only the voraciousness of the hunger for newness but being able to present to the world a cohesive and consistent image from the get-go as well. It’s yet harder still if you’re someone like Serre, who is not only a significant talent but also self-aware and reflective about how fashion can find its place in today’s world and what it should actually stand for. Consideration of the political, the societal, the cultural, the sexual—they’re as much part of who she is as they are part of making great clothes. Which she does, and then some.” —Mark Holgate

Christian Dior
Photo by: Indigital

Christian Dior

“Maria Grazia Chiuri understands her own time. Dovetailing as it has with the Trump era, her Dior tenure has coincided with a great feminist uprising. She’s held up a mirror to feminism’s fourth wave, quoting the Nigerian novelist Chimamanda Ngozi Adichie one season and the art theorist Linda Nochlin in another. This season, Chiuri saved almost all the slogans for her set, which elaborately reproduced magazine covers and protest art of the late 1960s. And she took up the clothes of that era—the crochets, the embroideries, the patchworks—and filtered them through Dior’s luxury lens. The charm of the collection was in its rich craftiness.” —Nicole Phelps

Paco Rabanne
Photo by: Getty

Paco Rabanne

“Lucky were the girls in the Paco Rabanne show. With their effortlessly undone hair and fresh makeup, they shone in an outstanding Julien Dossena show—the sort that made women watching not only think, That’s amazing, but also, I think I can take something from this! The ingredients: Paco Rabanne’s chain mail heritage, convincingly meshed in with perfect French classics. ‘I wanted to get back that super-cultivated, super-Parisian thing,’ said Dossena in a preview at the Paco Rabanne studio. The genius was all in Dossena’s layering methods. Instead of leaving all the chain mail as theoretical ’60s space-age showstoppers, he put his through a ’90s filter—those days of grunge and minimalism when the answer to making anything dressed-up work was to layer it over a T-shirt, put it with a white shirt, and stick on a pair of flip-flops. These flip-flops came smothered in the plastic paillettes, mind.” —Sarah Mower

Loewe
Photo by: Corey Tenold

Loewe

“There will be coat wars ahead. So many collections, so much outerwear this season! At Loewe, Jonathan Anderson made a very strong pitch for owning the top of the field, with a score of no less than 15 coats on his runway—something to cover every possible use, from a walk in the country, to commuting, to school runs, attending private views, events, dinners, and the like. Why stop at a duffle coat, a tufty shearling, a black-and-white chevron-patterned fit-and-flare midi? There is evening, too: a quite elegantly beautiful black trapeze with puffy leather cuffs. Even to those of us who’ve barely been to an opera, the idea of arriving somewhere in that evening coat was aspirational.” —S.M.

Comme des Garçons
Photo by: Getty

Comme des Garçons

“Rei Kawakubo put on a hugely enjoyable display of over-the-top fabulosity today—a show created from frills and fantasy, and crinolines, and lace, and flowers—her vision of super-girly Vaudevillian charm, taken to delightful heights of excess. Kawakubo had been reading ‘Notes on Camp,’ Susan Sontag’s 1964 essay. This was one of those Comme des Garçons collections that is an uplifting shot in the arm for fashion in general; an argument for creativity and the joy of dressing up. It ended in a moment of sweetness that will be a memory of the season—Kawakubo’s girls, lining up hand in hand, smiling at the audience as they left the stage. As Sontag wrote in that essay, ‘Camp taste is, above all, a mode of enjoyment, not judgment. Camp is generous, it wants to enjoy. . . . Camp is a tender feeling.’ ” —S.M.

Balenciaga

Photo by: Indigital

Balenciaga

“It was the first time women and men walked together in a unified show, and for Demna Gvasalia, it represented a conceptual and personal leap forward. Instead of merely imitating the heritage looks of Cristóbal Balenciaga, he’d dedicated R&D time to working on a high-tech computer-enabled process for molding tailoring for women and men alike. Bodies had been 3-D scanned, the ‘fittings’ were done in a computer file, and then molds were printed out. Progressive ideas are much needed in fashion today, on all kinds of levels. Demna Gvasalia’s mission to recode Balenciaga tailoring in the cyber age might not be a future solution—it still involves the use of synthetics, and you could argue that it negates the skills of the human hand. Nevertheless, the thinking behind this collection marks Gvasalia as a designer who wants to be an agent of change in the fashion industry, and who goes for social change, too. ‘I don’t want to be just a T-shirt-and-hoodie man. We sell them, of course—but I feel I have a responsibility to do it in a way which brings a message.’ Ethics x aesthetics. Sounds like a timely way forward.” —S.M.

Alexander Mcqueen

Photo by: Indigital

Alexander McQueen

“Among the catwalks and the commentariat, what we’ve been talking about is how to represent women. Femaleness is a spectrum, not a grab bag for definitive pronouncements about power or romanticism. Sarah Burton’s is a subtle woman’s voice speaking through these complexities. Shoot from one end of her collection—an impeccable female tuxedo—to the gowns at the finish, and you will see someone working through our climate of change. Her empathy and stunning couture-level skills went into a collection she described as being about ‘extreme nature. Metamorphosis. A soft armor for women.’ ” —S.M.

Sacai

Photo by: Getty

Sacai

“In this season, when so many designers have been fusing, hybridizing, and patchworking garments together, let’s take a moment to applaud the woman who started it all. Chitose Abe’s skill—apart from the ability to make one outfit out of parts of many garments—is knowing the right archetypes to call on at any given time. This ​Fall, as classics have become a subject du jour, she was yet again on point, polishing up her assemblages with menswear tweeds, trad rainwear, school​-​blazer stripes, banker-stripe shirting, navy blazers, and generic down jackets. The general effect was half-and-half, this time arranged on a vertical axis rather than back-to-front (a point humorously underscored by the unmatched footwear)​.​ This was a​ strong, graphic collection that will surely fly.” —S.M.

Photo by: Alessandro Garofalo / Indigital.tv

Chanel

“The contemplation of nature as a fashion show experience has been on Karl Lagerfeld’s mind for the last two shows in this place. He planted a formal French rose arbor in this venue for Couture, and grandiosely threw up the cliffs and roaring waterfalls of the Gorges du Verdon for his last ready-to-wear show. And, in between, there was his terrific Métiers d’Art show in Hamburg, the German seaport of his birth. À la recherche du temps perdu? Well, it wasn’t that in any literal sense. Still, as the lines of girls began treading purposefully through the moss-strewn glade, the first long, slim black coats struck a quintessentially Lagerfeldian note: the attenuated Edwardiana silhouette that has reflexively dashed off his pen for decades.”

Louis Vuitton

Photo by: Indigital

Louis Vuitton

“Space has been a recurring motif throughout Nicolas Ghesquière’s career; it’s animated some of his most imaginative, exciting work—remember the articulated C-3PO leggings? Here, he was operating in a much more grounded manner, though of course, this being Vuitton, the results were far from pedestrian. Metal chains and doodads elaborately trimmed cropped jackets; dense beadwork decorated the oddly asymmetrically draped halter tops for evening. Ghesquière must’ve liked the off-ness of that gesture. The models wore only one glove on their bag hand. Flat envelope bags and large totes printed with what looked like computer motherboard circuitry were the new developments on that front.” —N.P.

FILM

‘The Shape of Water’ Wins Best Picture as Oscars Project Diversity

Content Courtesy of: nytimes

Written by: BROOKS BARNES and CARA

• “The Shape of Water” won best picture, and Guillermo del Toro won best director for the film.

• “The Shape of Water” won best picture, and Guillermo del Toro won best director for the film.

• Frances McDormand won best actress for “Three Billboards Outside Ebbing, Missouri.” Gary Oldman won best actor for “Darkest Hour.” Allison Janney won best supporting actress. Sam Rockwell won best supporting actor.

• Ashley Judd, Salma Hayek and Annabella Sciorra — three of Harvey Weinstein’s accusers — took the stage and introduced a segment highlighting the importance of diversity in film.

“The Shape of Water” won best picture.

Credit by: Patrick T. Fallon for The New York Times

Fantasy from del Toro wins top Oscar.

LOS ANGELES — The 90th Academy Awards ceremony skittered between the serious and the silly on Sunday night, taking time both to acknowledge #MeToo and to hand out hot dogs at an adjacent movie theater, but the show ultimately emerged as a powerful call for inclusion and diversity in Hollywood.

Guillermo del Toro’s outcast parable, “The Shape of Water,” was honored as best picture, and Mr. del Toro won the best director Oscar. Jordan Peele collected the best original screenplay award for “Get Out,” a movie centered on racism in the liberal white suburbs. And Frances McDormand, winning best actress for her portrayal of a mother seeking justice for her murdered daughter in “Three Billboards Outside Ebbing, Missouri,” made a dramatic stand for gender equality in Hollywood.

She thanked “every single person in this building” and her sister before asking the female nominees in the room to stand. “Look around,” she said. “We all have stories to tell and projects we need financed.”

Expected wins by Oldman and McDormand.

Frances McDormand asked all the female nominees to stand while accepting the award for best actress.

Credit by: Patrick T. Fallon for The New York TimesMs.

McDormand’s win was expected, as was Gary Oldman’s (“Darkest Hour”) for best actor.

“If I fall over, pick me up, because I’ve got some things to say,” Ms. McDormand said.

Ms. McDormand finished with, “I have two words to say: inclusion rider,” a reference to a practice by which stars add a clause to film contracts that insists on diversity on both sides of the camera.

Jodie Foster, appearing on crutches and joking that the reason was a run-in with Meryl Streep, presented best actress with Jennifer Lawrence, in lieu of last year’s best-actor winner, Casey Affleck. Mr. Affleck bypassed the ceremony amid continued criticism for settling sexual harassment suits in the past.

In a halting acceptance speech, Mr. Oldman thanked the film’s director and producers; Winston Churchill; his wife, Gisele Schmid; and his 99-year-old mother, who he said was home watching on the sofa. “Put the kettle on,” he said. “I’m bringing Oscar home.

”It was a democratic Oscars over all”.

Roger Deakins won an Oscar for best cinematography, for “Blade Runner 2049,” at long last.

Credit by: Patrick T. Fallon for The New York Times

Only two of the nine best picture nominees went home empty-handed: “Lady Bird” and “The Post.” The other seven collected at least one award each, preventing any one film from sweeping the ceremony.

Where to Stream the 2018 Oscar Winning Movies From “Coco” to “Get Out,” see how to watch the nominees at home with Watching, The New York Times’s TV and movie recommendation site.

Winners included legends who had never before won, among them James Ivory (“Call Me by Your Name”) and Roger A. Deakins (“Blade Runner 2049”), and first-time nominees like Jordan Peele, who landed best original screenplay for “Get Out,” and Allison Janney, a television stalwart who won over the film academy with her supporting work in the darkly comedic Tonya Harding biopic “I, Tonya.”

“I’ve been at this a long time,” said Mr. Deakins, a 14-time nominee. “Thank you. Thank you very much.” He started his career in the 1970s and was first nominated in 1995, for “The Shawshank Redemption.”

Guillermo del Toro accepting the award for best director.

Credit by: Patrick T. Fallon for The New York Times

‘I am an immigrant.’

Mr. del Toro’s best director honor was widely expected — he took the top prize at several preceding awards shows — and he was an omnipresent darling of the awards circuit, at one point bringing a case of tequila to an awards function. The win meant that Mr. del Toro had finally won the acceptance of Hollywood, after being looked down on as a horror director for much of his career.

“I am an immigrant,” an emotional Mr. del Toro started his acceptance speech by saying, continuing to note that art has the power to “erase the lines in the sand” between people of different ethnicities. “We should continue doing that when the world tells us to make them deeper.”

The best picture award was presented by Warren Beatty and Faye Dunaway, who because of a mix-up backstage by PwC, mistakenly announced last year’s best picture winner as “La La Land” instead of “Moonlight.”

“I want to dedicate to every young filmmaker — the youth who are showing us how things are done,” said Mr. del Toro when he accepted the award for best picture. “The Shape of Water” also won for Alexandre Desplat’s score and Paul Denham Austerberry’s production design.

‘Get Out’ and ‘Call Me by Your Name’ win screenplay awards.

Jordan Peele accepting the award for best original screenplay.

Credit by: Patrick T. Fallon for The New York Times

Mr. Peele, who wrote and directed “Get Out,” received a raucous standing ovation for winning best original screenplay, signaling the Hollywood establishment’s respect for his movie and also his arrival as a certified member of that elite group. He thanked his mother, who, he said, “Taught me to love even in the face of hate.”

Mr. Ivory, 89, a four-time nominee, won for best adapted screenplay for the gay romance “Call Me by Your Name.” All people, “whether straight or gay or somewhere in between,” can understand the emotions of a first love, Mr. Ivory said, reading from notes. (Mr. Ivory was previously nominated for directing “A Room With a View,” “Howards End” and “The Remains of the Day.”)

A #MeToo moment.

Activism and social politics were highlighted in a segment introduced by Ashley Judd, Salma Hayek and Annabella Sciorra, all of whom had gone public with allegations about enduring sexual harassment or worse at the hands of Harvey Weinstein.

The women recognized the seismic shift in Hollywood’s culture in recent months with the rise of #MeToo, and Ms. Judd spoke of the voices “joining in a mighty chorus that is finally saying Time’s Up.”

They were followed by an emotional video featuring Mira Sorvino, Sarah Silverman, Greta Gerwig, Geena Davis and Kumail Nanjiani, who injected a note of levity by noting that the box-office lucre enjoyed by recent diverse movies should be an incentive for Hollywood. “Don’t do it for society and representation,” he said, “Do it because you get rich, right?”

During their performance of the Oscar nominated song “Stand Up for Something,” from “Marshall,” Common and the singer Andra Day were joined on stage by 10 prominent activists, including Cecile Richards of Planned Parenthood; the labor leader and civil rights advocate Dolores Huerta; Bana Alabed, the 8-year-old Syrian refugee who documented the siege of Aleppo on Twitter; and Janet Mock, a transgender activist and television writer and host.

Photo “Remember Me” from “Coco” was performed at the Oscars. CreditPatrick T. Fallon for The New York TimesDisney wins another Oscar for animated feature.Kobe Bryant is now an Oscar winner: “Dear Basketball,” which Mr. Bryant made with the former Disney animator Glen Keane, overcame questions about Mr. Bryant’s past to win the trophy for best animated short — as some members of the audience exchanged incredulous looks. #MeToo activists had said that a 2003 sexual-assault case against Mr. Bryant was reason not to reward the movie. (The case was dismissed.)“As basketball players, we’re supposed to shut up and dribble,” Mr. Bryant said in an apparent reference to the Fox News host Laura Ingraham’s recent criticism of LeBron James for speaking out against President Trump. Mr. Bryant went on to thank his wife and daughters.Disney continued its Oscars dominance, as Pixar’s “Coco” was named best animated feature, Disney’s sixth straight victory in the category. “Representation matters!” shouted its co-director, Lee Unkrich, a reference to the characters and story line of the film, which is centered on Mexico’s Day of the Dead celebration.View

“Coco” also delivered the best song winner, “Remember Me,” written by Kristen Anderson-Lopez and Robert Lopez. “Not only are we diverse, but we are close to 50-50 for gender representation,” said Ms. Anderson-Lopez, noting her fellow song nominees. She said she looked forward to the day when “all the categories look like this one.”

Early awards are spread around.

Allison Janney winning for best supporting actress.

Credit by: Patrick T. Fallon for The New York Times

The first hour and a half of the Oscars ceremony honored a wide variety of films.

“Phantom Thread,” Paul Thomas Anderson’s period romance about an obsessive dressmaker, won for costume design. Best hairstyling and makeup went to the World War II drama “Darkest Hour.” The Oscar for production design was given to “The Shape of Water.”

“Dunkirk,” Christopher Nolan’s layered war epic, collected Oscars for sound mixing, sound editing and film editing. “Blade Runner 2049” proved victorious in the visual effects category.

As expected, Ms. Janney completed her awards-season winning streak.

“I did it all by myself,” Ms. Janney said, arriving at the microphone, to prolonged applause. She then added, “Nothing is further from the truth,” and ran through a list of names at light speed.

“A Fantastic Woman,” from Chile, was named best foreign film. Rita Moreno, who won a supporting actress Oscar in 1962 for “West Side Story,” presented the prize. In keeping with the telecast’s theme of looking back at celebrated performances, a clip highlighted Ms. Moreno’s performance in “West Side Story.”

Netflix film wins best documentary.

“Icarus” winning best documentary feature.

Credit by: Patrick T. Fallon for The New York Times

In a surprise, the Oscar for best documentary went to “Icarus,” a Netflix film about systematic Russian doping at the Olympics. (Russia was banned from the recent Pyeongchang Games, though some of its athletes were still allowed to compete.) It was Netflix’s first Oscar for a feature film, having won last year’s prize for best documentary short, for “White Helmets.”

The expected winner had been “Faces Places,” a lighter, more nuanced film about Agnès Varda — known as the grandmother of the French new wave — and the environmental photographer JR. Netflix mounted a lavish campaign for “Icarus,” raising eyebrows in the rather staid documentary filmmaking community.

Jimmy Kimmel addresses scandals as show opens.

Jimmy Kimmel opening the show.

Credit by: Patrick T. Fallon for The New York Times

The first Oscars of Hollywood’s post-Harvey Weinstein era took care of its serious business first. As the 90th Academy Awards got underway on Sunday night, the host, Jimmy Kimmel, addressed the sexual harassment scandals that have rocked Hollywood in recent months.

“That’s the kind of men we need more of in this town,” Mr. Kimmel said, pointing to a colossal Oscar statue on the stage, noting that the figure “keeps his hands where you can see them” and has “no penis at all.”

He then grew serious for a moment and talked about the #MeToo and Time’s Up movements, which started in Hollywood after the revelations about Mr. Weinstein and have reverberated across the globe, challenging the entertainment industry to make good on its promise to reform itself. “The world is watching us,” he said. “We need to set an example.”

With that, the ceremony swerved into its usual piquancy, lightly teasing nominees like Ms. Streep, up for her 21st Oscar, and naming Sam Rockwell best supporting actor for his performance as a racist dimwit of a police officer in “Three Billboards Outside Ebbing, Missouri.” He thanked “everyone who’s ever looked at a billboard.”

A show with a lot of ground to cover.

Mira Sorvino and Ashley Judd on the Red Carpet.

Credit by: Monica Almeida for The New York Times

Rarely had more pressure been placed on an Oscar telecast. The Academy of Motion Picture Arts and Sciences had the burden of trying to keep ratings from falling, while celebrating films that have, for the most part, not been widely seen. The ceremony was expected to acknowledge the appalling sexual harassment scandals that have engulfed Hollywood in recent months — and then go back to gazing lovingly at the history of moviemaking to mark Oscar’s 90th birthday.

Other conflicting pressures included poking fun at last year’s envelope mix-up, which found “La La Land” mistakenly named best picture instead of “Moonlight,” while taking the recognition of cinematic achievements like sound mixing and film editing supremely seriously.

The tonal tug-of-war between frothy self-celebration and serious discussion of the #MeToo and Time’s Up movements made for some awkward red carpet moments. ABC veered from a raucous interview with Taraji P. Henson, who was asked about her recent action film “Proud Mary,” to Mira Sorvino and Ms. Judd, both of whom came forward last year with allegations of sexual harassment against Mr. Weinstein.

“I want people to know that this movement isn’t stopping,” Ms. Sorvino said about Time’s Up, an initiative started by Hollywood women and focused on fighting systemic sexual harassment across industries. Ms. Judd, who was scheduled to present an award during the ceremony, said she was grateful that women who speak out about mistreatment are no longer being “disbelieved, minimized, shamed.”

A minute later, the red carpet hosts were back to squealing over the gowns chosen by stars like Whoopi Goldberg and Jennifer Garner.

An uneventful red carpet.

Several women deeply involved with Time’s Up, including Ava DuVernay and Shonda Rhimes, explained why there were no overt displays from the group on the red carpet.

“We are not an awards show protest group,” Ms. DuVernay said at a meeting with a small group of reporters last week. “We made a conscious choice not to do that again.”

Viewers wondered if a celebrity would turn the questions around on Ryan Seacrest, the host of E!’s red carpet coverage. He has been accused of sexual harassment, claims he and his network, backed by a third-party investigation, have vigorously denied. But no such confrontation was broadcast — though Ms. Henson did fix him with a pointed stare that was widely interpreted as such — and he did not address the accusations. His interviews with celebrities stuck to the typical fare of fashion and film, though according to US Weekly, none of the best actress nominees stopped to speak with him. An article in The Hollywood Reporter on Sunday said the E! broadcast would run on a 30-second tape delay.

In the two months since Time’s Up officially began, the group has amassed $21 million for its legal defense fund and, said Tina Tchen, a lawyer heading that initiative, has fielded 1,700 requests for assistance from landscapers, government workers, police officers, prison guards, and hotel and catering workers. (Some 1,250 have been connected with lawyers.) A sister initiative has sprung up in Britain; a group of male allies has formed; a partnership with StoryCorps, the story-collecting organization, has been forged; and the process of making the group a nonprofit foundation has begun. “We are global at this point,” Ms. Rhimes said.

MUSIC

Written by: Ilana Kaplan

Content Courtesy of: independent.co.uk

Spotify and Smirnoff have released the “Smirnoff Equalizer” – a feature that maps out a user’s listening habits by gender and could change how you listen to music.

The tool has been released just in time for International Women’s Day, which is Thursday March 8.

Like Spotify’s percentage breakdowns of artists, songs and albums played, the equaliser reveals the percentage of music you listen to in terms of female versus male.

For people who listen to more male artists than female, Spotify will create a more gender-balanced playlist.

According to a press release, the idea for the equaliser stems from the fact that there was a lack of female representation in Spotify’s 2017 Year in Music statistics.

Only two female artists were featured in the top 10 songs and no women were found in the top 10 internationally streamed records.

Ed Sheeran, Luis Fonsi & Daddy Yankee, The Chainsmokers and DJ Khaled took the top five spots for most globally streamed songs, while Sheeran, Drake, Kendrick Lamar, The Weeknd and Post Malone were in the top five most streamed albums worldwide.

Spotify’s latest tool is a step in the right direction when it comes to music.

The equaliser is a pretty cool concept in terms of gender equality and expanding your musical tastes.

In February, Spotify filed an IPO to go public, so there will likely be more news coming from the streaming service soon.

ART

Written by:  Andy Battaglia

Content Courtesy of: artnews.com

The Shed’s Commissions for 2019 Opening Involve Gerhard Richter, No I.D., Steve McQueen, Trisha Donnelly, Steve Reich, Arvo Pärt, Many More

The Shed under construction as seen from the High Line, February 2018.

Credit by: ED LEDERMAN

The Shed, the new multidisciplinary performing-arts center slated to open on Manhattan’s booming West Side in the spring of 2019, announced new commissions for its inaugural season at a press event this afternoon. By way of a panel discussion convened in a room overlooking construction of the behemoth building on West 30th Street in Hudson Yards, talk turned quickly to courting diverse audiences and mixing up artistic modes. “If the range of artists you present represents the range of society, then you have a chance,” said Alex Poots, the Shed’s artistic director and CEO.

The first commission for next year will be Soundtrack of America, a work meant to address the history of African-American music from 1680 to the present as conceived by the filmmaker Steve McQueen, record producer Quincy Jones, New York University professor Maureen Mahon, and Dion “No I.D.” Wilson, whose credits as a hip-hop producer include work with Jay-Z and Kanye West. Charting such a lineage is important because “history can be lost,” No I.D. said in a video presenting the project (with Jones, ever-present in the news of late, in a wild silk smoking jacket). As described by Mahon, the work will address music ranging from spirituals and jazz to techno and house—”we may even get to trap at the end,” she added.

Other commissioned projects include a collaboration matching the painter Gerhard Richter with the musicians Steve Reich and Arvo Pärt; a show of work by the artist Trisha Donnelly; a performance conceived in part by the poet Anne Carson on the subject of Marilyn Monroe and Helen of Troy; Dragon Spring Phoenix Rise, a piece by Chen Shi-Zheng, Jonathan Aibel, Glenn Berger, Akram Khan, and Tim Yip; and a survey show to be the largest thus far in New York for the artist Agnes Denes, whose work will fill two large galleries in what Denes herself called “a funky building that inhales and exhales.”

Also among the announcements was “Open Call,” a large-scale commissioning program for “early-career artists from all disciplines who live or work in New York City,” and “Dis Obey,” a workshop program for teenagers from around town. In addition, Hans Ulrich Obrist was named the Shed’s senior program adviser, and naming rights were granted for the Shed’s main hall, to be ordained the McCourt after a $45 million gift from board member Frank H. McCourt.

ADVERTISING AND BRANDS

Written by: Garett Sloane

Content Courtesy of: adage.com

OVER SHARING

A growing number of people are using Facebook less or leaving altogether. Poisoned politics are only part of the problem

Brad Stulberg gets constant messages from Facebook to come back. It asks him to check in and see what he’s been missing since he stopped visiting in January.

“Facebook texts me five days a week,” says Stulberg, 31, a writer from Oakland, California. “I get emails from them daily. It’s supremely annoying.”

Stulberg is trying to take a break from the social network because, he says, the “cost on my mental health felt too great.” Facebook was pulling him away from real life and it felt like an addiction.

Yet it’s Facebook that just can’t seem to quit him, trying to lure him back with notifications of birthdays that he hasn’t commented on or photos of friends that he hasn’t seen.

There’s an irony here that isn’t lost on Stulberg. Like a growing number of people, he got fed up with the negativity that has beset Facebook in the form of Russian trolls, fake-news sites and hate-mongering by people who use it as a tool for their agendas. To bring him back, Facebook is resurfacing its strengths in shared baby photos and vicarious vacations with friends.

But understanding the problem is a long way from fundamentally fixing it. Last Friday, Facebook said it had given up on one of its attempts to do just that.

‘Anxious and divided’

When Facebook CEO Mark Zuckerberg posted his yearly New Year’s resolution, previously usually a cute personal goal like learning Chinese or wearing a tie every day, he instead spoke to something more existential about Facebook. He indicated that he knows the site can be a source of discontent and pledged changes so it inspires a greater sense of well-being among users.

“The world feels anxious and divided, and Facebook has a lot of work to do,” he wrote, “whether it’s protecting our community from abuse and hate, defending against interference by nation states, or making sure that time spent on Facebook is time well spent.”

In the last quarter of 2017, time spent on Facebook every day declined by 5 percent, or 50 million hours, a drop the company attributed to its intentional efforts to prioritize more meaningful content. But it also saw the number of North Americans on the platform fall for the first time, to 184 million from 185 million in the third quarter.

That didn’t mean trouble for the ad business—far from it. Facebook finished the year with $40 billion in revenue, up 47 percent from 2016. Even as people spent less time on Facebook in the fourth quarter, marketers spent more money there—47 percent more.

Facebook’s issues haven’t affected brands’ appetite for it, says Pivotal Research analyst Brian Wieser. “It has not gotten to the point where a brand is toxic by association for being there.”

And practically speaking, where is there to go? YouTube is enduring its own challenges with marketers, some of whose ads have wound up attached to reprehensible videos. Twitter has a reputation for catering to bots and Russian trolls too; the political dialog there isn’t much different than on Facebook.

In the meantime, however, disenchanted and disappointed Facebook users are becoming harder to miss. One 31-year-old freelance ad director recently spent a month laboriously inspecting every post he made on Facebook over the past decade. He deleted everything, although he kept the account because apps like Spotify use his Facebook credentials to sign him in.

“I did it to see if there was anything I would miss, and there was nothing of value,” the ad director says, speaking on condition of anonymity because he works in the business and doesn’t want to jeopardize future job prospects with brands that buy on Facebook. “I didn’t even see it as a record of anything.”

“Ten years of usage is a lot,” he adds. “It is hard to detach from something you use every day.” But for him at least, it’s worth it.

Facebook says notifications like those that Stulberg gets are meant to be informative. “There are many reasons why users might get notifications from Facebook, a Facebook spokesman says. “We’re always looking for ways to help people access their accounts more quickly and easily especially when there are notifications from friends that they may have missed. People can always manage whether or not they receive these types of messages.”

More broadly, Facebook says it’s working hard to improve.

“We know we have work to do to make Facebook a better place for people and businesses to connect,” the spokesman says. “That’s why we’ve recently made adjustments to News Feed. When it comes to the safety, security, and integrity of our platform, there is nothing we take more seriously. With over 1.4 billion people on Facebook every day, six million active advertisers, and more people and businesses joining each day around the world, we know we have a responsibility to make Facebook a safe and civil environment.”

The chorus

One of the first changes Facebook made, even before Zuckerberg’s resolution, was to decrease how often it shows “viral videos.” Sure, people watch them, and maybe even share them, but do they talk about them? Often they don’t, according to Facebook research. They keep scrolling, deriving little value from the service beyond killing time and, Facebook research suggests, giving little in return to advertisers.

Facebook is also going after publishers that share misleading news and employ clickbait tactics to increase views. It even promised to dim the visibility of news, in general, in favor of personal posts.

“When we use social media to connect with people we care about, it can be good for our well-being,” Zuckerberg said in January as he announced that shift. “We can feel more connected and less lonely, and that correlates with long-term measures of happiness and health. On the other hand, passively reading articles or watching videos—even if they’re entertaining or informative—may not be as good.”

“They compromised our democracy.”
Mandy Hoffman, 42

On Friday, though, the company said it was abandoning an experiment in separating professional publishers’ and brands’ posts from the main News Feed. The idea was to let engaging content from friends and family shine through. Users in six countries did not like it, Facebook said, adding that other changes to the News Feed that “prioritize meaningful social interactions” are working better.

“Mostly I just got tired of Facebook. There’s nothing to do there except scroll.”
Nairobi Williams, 19

The chorus of critics, meanwhile, is steadily gaining volume. It isn’t only personal users and it isn’t only politics: Complaints date back before the 2016 election exposed the depths of abuse infecting social media. Two months earlier, Facebook told major advertisers and ad agencies that it had been miscalculating metrics it gave brands on their videos’ performance. Although it didn’t directly affect paid ads, the revelation set off a reckoning that is still being felt as Facebook and other digital platforms submit to greater scrutiny of their ad delivery and measurement.

“I didn’t realize on social media how much natural joy from surprises are taken away because you know everything.”
Brock Lile, 31

Then, of course, it emerged that fraudulent headlines and bad actors had made easy work of Facebook users during the presidential campaign for a mix of profit and international politics. Soon after the election’s surprise result, Zuckerberg called it a “pretty crazy idea” that Facebook had any impact. Multiple investigations later, it’s become pretty clear that the deluge of disinformation targeted to U.S. voters on social media did have an effect, from online acrimony to real-world protests. And Facebook users felt the sting afterward.

Mandy Hoffman, 42, of Memphis, Tennessee, stopped posting to Facebook in the fall, and then quit for good last month. “It made me nervous, honestly, and not just Facebook but Twitter also, social media in general, allowed a lot to pass through in terms of the election,” Hoffman says. “They compromised our democracy.”

Her social interactions during the election were certainly meaningful, a goal of Facebook’s fix-it project, but not in a good way. For years, Facebook had been a lifeline to her family and friends in Arkansas, Hoffman says. But during the election, she started seeing posts that she didn’t want to see from those same family and friends. She is a Democrat; many of her Facebook friends were more conservative. “I discovered a lot of things about those people that I kind of wish I could unknow,” Hoffman says. “I hate that one old elementary school teacher is racist.”

The comedian Jim Carrey last month said he was quitting Facebook and selling his shares because Facebook “profited from Russian interference in our elections and they’re still not doing enough to stop it.”

And it goes beyond the election now too.

At the end of February, David Hogg, a survivor of the mass shooting at Marjory Stoneman Douglas High School in Parkland, Florida, said he was taking a break from Facebook. Like YouTube, the platform had become a channel for trolls and fake-news peddlers to claim that Hogg and fellow students are actors. Hogg and others were being harassed for advocating for gun control, and he said he was receiving death threats on Facebook.

Actor Chelsea Peretti went on Twitter to call out the lies that infiltrated Facebook after the shooting, and said she was quitting the service. “Why doesn’t Snopes partner with Facebook,” Peretti posted on Twitter. “I’m quitting it anyway, but they should put a check by verified news.” Peretti did not return requests for comment, but she does appear to have quit Facebook. Her account is now inactive.

In fact, Facebook tried to implement new fact-checking measures last year by teaming with PolitiFact and FactCheck.org to vet news and apply “disputed” labels to dubious posts. Facebook also said it would survey readers to determine what news sources were most credible and would then prioritize those publishers.

But the results thus far seem meager, and all the misadventures and manipulations have hurt confidence in the social network. “There’s a certain sloppiness. Facebook has been sloppy,” says Pivotal’s Wieser. “Whether it’s the political ads or problems with ad metrics or how to tell what users care about, we’re seeing the consequences playing out.”

Quitter jitters

Reducing publishers’ prevalence in the News Feed may turn down the politics for Facebook users. But what happens when your own network is the problem? “My childhood friends would share these memes that were complete and total lies,” Hoffman says. “And the banter between family members that couldn’t agree on things—it was messy.”

There’s another question for Facebook: What if the “network effect,” the self-reinforcing dynamic that encouraged a cascade of connections around the world to open accounts since Facebook’s founding in 2004, has a ceiling? What if beyond the politics and everything else, Facebook just gets boring?

“Whether it’s the political ads or problems with ad metrics or how to tell what users care about, we’re seeing the consequences playing out.”
Brian Wieser, Pivotal Research

About a month ago, 19-year-old Nairobi Williams deleted his Facebook account. Facebook gives people two weeks before the information associated with the account is fully purged, offering them a chance to reactivate. He didn’t. “I permanently deleted,” Williams says. “It’s gone. It’s not coming back. I’m never signing back on.”

Williams says he was partly moved to leave Facebook because of the Russian trolls and election meddling, which made him wonder whether he was susceptible to being influenced too. “But mostly I just got tired of Facebook,” Williams says. “There’s nothing to do there except just scroll. And you see the same posts just constantly.”

For some people, signing off of Facebook isn’t easy. “The first few weeks is literally like coming off a drug,” says Brock Lile, 31, who quit Facebook around the time of the 2016 election, overwhelmed by the nastiness. “My mind was programmed to check Facebook. Even after I deleted the app, I would randomly pick up my phone and click where the app used to be, just out of habit.”

Now he says his general happiness has improved. “I didn’t realize on social media how much natural joy from surprises are taken away because you know everything,” Lile says, referring to milestones like births that he used to see on Facebook.

Without Facebook, Lile says he’s finding the kind of meaningful interaction that Zuckerberg wants the social network to provide.

“I get to be excited with people in the moments,” Lile says. “It’s genuine and not a replay of what I already read on the News Feed.”

Photo credits by: Mandy Hoffman, Nairobi Williams, Brock Lile and Twitter.

INNOVATION

Artificial intelligence could supercharge hacking and election meddling, study warns

AI programs can make it easier for trolls with minimal technical skills to make fake videos, audio, researchers warn

Written by: Alyssa Newcomb

Content Courtesy of:  nbcnews.com

In the 2020 election, you might not be able to believe your eyes or your ears due to advances in artificial intelligence that researchers warn could be used in the next wave of election meddling.

The rise of AI-enhanced software will allow people with little technical skills to easily produce audio and video that makes it nearly impossible to distinguish between what is real and what isn’t, according to a report released Wednesday from researchers led by Oxford University and Cambridge University.

Entitled “The Malicious Use of Artificial Intelligence: Forecasting, Prevention and Mitigation,” the report was released to sound the alarm about how artificial intelligence is becoming easier to use — and could become a key tool in the arsenal of foreign operatives seeking to spread disinformation. The report was authored by 26 of the world’s leading researchers in artificial intelligence.

“There is no obvious reason why the outputs of these systems could not become indistinguishable from genuine recordings, in the absence of specially designed authentication measures,” the authors warn. “Such systems would in turn open up new methods of spreading disinformation and impersonating others.”

While the industry celebrates the positive effects AI can have on the future, the researchers warned that equal consideration must be given to the dark side of AI. They hope the community will mobilize now to mitigate future detrimental effects of the technology.

Artificial intelligence will “set off a cat and mouse game between attackers and defenders, with the attackers seeming more human-like,” said Miles Brundage, a research fellow at Oxford University’s Future of Humanity Institute and one of the authors of the report.

The report was a joint project between a group of researchers and technologists including Oxford University’s Future of Humanity Institute, Cambridge University’s Centre for the Study of Existential Risk, and OpenAI, a non-profit AI research company. Other contributors include the Electronic Frontier Foundation, a San Francisco-based digital rights group that advocates for privacy and an open internet, as well as the Center for a New American Security, a Washington think tank focused on national security.

AI-BOOSTED TROLLS

The efforts by world governments and politically motivated hackers to infiltrate computer systems and manipulate online discourse have been exposed as effective but also labor intensive.

The Internet Research Agency, the Russia-backed group named in Special Counsel Robert Mueller’s indictment last Friday, allegedly used identity theft, social media manipulation and virtual private networks to launch their influence campaigns in the United States.

But researchers said artificial intelligence makes launching a disinformation campaign even easier for humans.

“Artificially intelligent systems don’t merely reach human levels of performance but significantly surpass it,” Brundage said.

AI doesn’t just make these attacks easier to execute. It also makes them easier to replicate, Brundage said, allowing the technology to work more efficiently than humans to identify targets and launch attacks.

FAKE VIDEO ON DEMAND

Some of this technology is already out in the public and being used to create videos.

Deepfakes gained notoriety online earlier this month by allowing people with limited technical skills to create fantasy pornography videos. These are created using AI-enhanced software that can take any face, including those of celebrities, children, or an ex-lover, and put them on the bodies of people in previously recorded videos.

The videos have cropped up on pornography websites, with one popular destination, Pornhub, reportedly vowing to crack down on them, since they fall under the category of non-consensual content.

“There has been a night-and-day transition between a few years ago and now,” Brundage said, speaking of the advances. “It’s becoming easy to get copies of these systems. Deepfakes was a proof of concept posted on Reddit that was made easier and easier to use. Large amounts of people were able to download it.”

A program as easy to download and use as Deepfakes could also theoretically be used in other instances. With Parkland, Florida students being pelted with attacks from trolls claiming they’re crisis actors, AI technology could be used to spread false information about their identities through fake videos and audio, furthering a hurtful campaign of misinformation.

Technology to mimic peoples’ voices is already being commercialized, Brundage said. It takes just a small amount of training data to teach machines how to talk like someone. With President Donald Trump and other high profile people, that training data is already out there, ready for anyone with nefarious intent to make the most of it.

Some politicians have taken notice. Sen. Mark Warner (D-Va.) recently spoke out about this kind of technology.

While the sea of disinformation continues to be a game of whack-a-mole, the report also warned of denial of information attacks. Instead of run-of-the-mill bots, which have tell-tale signs, these attacks will be fueled by artificially intelligent bots that can expertly elude detection. They’ll slam information channels with false information, making it difficult to cut through what’s clutter and find the truth.

While researchers, including Brundage, are sounding the alarm, they’re also hopeful the AI community will take notice now to institute measures to keep AI from being exploited. That includes learning from the best practices of older fields that can be used for good and evil, such as computer security.

“It’s one thing to say this could happen, another to prevent it and lessen the damage,” Brundage said. “We need better detection of fake multimedia, more research approaches to make systems less vulnerable to attack, and changes to some norms.”

March is in full swing and we’re taking it all in. As always, WATCH THIS SPACE.

 

JANUARY LEFT US JONES-ING FOR MORE

MUSIC

Grammy Awards 2018

Grammys 2018 Performances: From Lady Gaga to ‘Despacito’ and More

Content Courtesy of: US Magazine

Written by: Tatiana Cirisano and Modification by THE REVIEW

The 2018 Grammys on Sunday (Jan. 28) came with their usual slate of top-notch live acts, from Kendrick Lamar’s riveting opening DAMN. performance to Luis Fonsi and Daddy Yankee’s historic all-Spanish rendition of summer smash “Despacito.”

Missed out on watching one of the awards show’s performers — or just ready to hit replay? Follow along below for videos and recaps of every live performance of music’s biggest night.

Kendrick Lamar – “XXX,””DNA.,””New Freezer,””King’s Dead”

Lady Gaga – “Joanne,””Million Reasons”

Sam Smith – “Pray”

Little Big Town – “Better Man”

Gary Clark Jr., Jon Batiste and Joe Saylor – “Ain’t That A Shame” and “Maybellene”

Luis Fonsi and Daddy Yankee – “Despacito”

Childish Gambino – “Terrified”

P!nk – “Wild Hearts Can’t Be Broken”

Bruno Mars and Cardi B – “Finesse”

Sting, Shaggy – “Englishmen in New York,””Don’t Make Me Wait”

Rihanna, DJ Khaled and Bryson Tiller – “Wild Thoughts”

Maren Morris, Brothers Osborne and Eric Church – “Tears in Heaven”

Kesha with Cyndi Lauper, Camila Cabello, Julia Michaels and Andra Day – “Praying”

U2 – “Get Out of Your Own Way”

Elton John and Miley Cyrus – “Tiny Dancer” Ben Platt and Patti LuPone – “Somewhere,” “Don’t Cry For Me Argentina”

SZA – “Broken Clocks”

Chris Stapleton and Emmylou Harris – “Wildflowers”

FASHION

Grammys 2018 Red Carpet Fashion: What the Stars Wore

Written by: Meg Storm and Modifications by THE REVIEW

Content Courtesy of: US Magazine

Ashanti

Wearing a shimmering gold gown with long sleeves and a high neck and Giuseppe Zanotti heels.

Credit by: Mike Coppola/FilmMagic

Pink

Wearing a pink, blue and black feathered Armani Prive gown, AS29 earring, Borgioni black diamond ring and Time’s Up rose with her daughter Willow Sage Hart.

Credit By: Lester Cohen/Getty

Kesha

Wearing a navy suit, ivory silk blouse, sparkly silver boots, Coomi emerald ring and diamond rings by Roberto Bravo and L’Dezen by Payal Shah.

Credit By: Mike Coppola/FilmMagic

SZA

Wearing a white Atelier Versace gown, Chopard jewels and Time’s Up rose.

Credit by: Lester Cohen/Getty

Cardi B

Wearing a white Ashi Studio dress with train, Christian Louboutin heels and Messika jewels.

Credit by: John Shearer/Getty

Jenny McCarthy

Wearing a black sequined gown with mesh detailing and gloves.

Credit By: Mike Coppola/FilmMagic

Julia Michaels

Wearing a plunging grey Paolo Sebastian gown with butterfly detailing and Chopard jewelry.

Credit By: Jamie McCarthy/Getty

India Arie

Wearing black and white shorts with a matching duster coat.

Credit By: ANGELA WEISS/AFP/Getty

Cyndi Lauper

Wearing a cherub-printed Moschino suit.

Credit By: John Shearer/Getty

Reba McEntire

Wearing a black beaded Jovani gown.

Credit: Mike Coppola/FilmMagic

Kimberly Schlapman

Wearing a lavender tiered Raisa & Vanessa gown with ruffled sleeves and beading, Jane Taylor ring and a Time’s Up rose.

Credit By: Steve Granitz/WireImage

Alison Krauss

Wearing a red chiffon Sachin & Babi gown with flower embroidery, Temple St. Clair earrings and ring and a Time’s Up rose.

Credit By: Lester Cohen/Getty

Bebe Rexha

Wearing a nude beaded La Perla gown and Lorraine Schwartz jewels.

Credit By: Steve Granitz/WireImage

Karen Fairchild

Wearing an ivory feathered Monique Lhuillier gown and a Time’s Up rose.

Credit By: Jamie McCarthy/Getty

Eve

Wearing a black Naeem Khan beaded suit, Chopard and Paige Novick jewelry and a Time’s Up rose.

Credit By: John Shearer/Getty

Sarah Silverman

Wearing a black, knee-length Maggie Marilyn dress with cap sleeves, Wolford tights and a Time’s Up rose.

Credit By: Jamie McCarthy/Getty

Janelle Monae

Wearing a black Dolce & Gabbana suit with flower detailing, Jennifer Fisher rings and a Time’s Up rose.

Credit By: Jamie McCarthy/Getty

Maren Morris

Wearing a silver beaded Julien Macdonald gown with cutouts, Casadei heels and Lorraine Schwartz jewels.

Credit By: John Shearer/Getty Images

Giuliana Rancic

Wearing a black gown with bead detailing and a high slit, Giuseppe Zanotti heels and a Time’s Up rose.

Credit By: Mike Coppola/FilmMagic

Patrick Starr

Wearing a tuxedo-inspired pink and purple mullet dress with matching over-the-knee boots.

Credit By: Steve Granitz/WireImage

Coco Austin

Wearing a curve-hugging one shoulder black dress with side cutouts.

Credit By: Jamie McCarthy/Getty

Li Saumet

Wearing a water-color inspired gown with a blue patterned wrap.

Credit By: Steve Granitz/WireImage

 ART

Pace Will Open Its Ninth Gallery, in Geneva

Written BY: Andrew Russeth and Modification by THE REVIEW

Content Courtesy of: artnews.com

The big blue-chip galleries just cannot stop opening new spaces!

Just a few weeks back, it was David Zwirner, revealing that he’ll open a new Renzo Piano-designed venue in Chelsea, where he already has a small kingdom of galleries. Today, it is the international behemoth Pace Gallery, which is heading to Geneva to open in March a roughly 3,600-square foot outfit at Quai des Bergues 15-17.

The future home of Pace Geneva.

COURTESY THE PACE GALLERY

This brings Pace’s empire to a full nine galleries, with three in New York, and one each in Seoul, Hong Kong, Beijing, London, and Palo Alto, California. Gagosian Gallery is still leading the space race—sorry—with a whopping 16, but Pace is closing the gap. (Gagosian is also the only other one of the big-gun galleries to have a space in Geneva, though Hauser & Wirth of course has a space in Zürich.)

The first show at Pace Geneva arrives on March 20, and it’s a three-person affair, with work by Louise Nevelson, Sol LeWitt, and Adam Pendleton—all artists associated with the gallery. Pace’s roster also includes James Turrell, Elizabeth Murray, Chuck Close, Tara Donovan, teamLab, and many more.

HOSPITALITY

AccorHotels just predicted 7 hospitality trends for 2018

Written by: David Eisen and Modification by THE REVIEW

Content Courtesy of: hotelmanagement

AccorHotels took to Twitter on Tuesday, crystal-balling seven hospitality trends it thinks will be big in 2018. Of course, its list is a bit self-serving; they are things the Paris-based hotel company, which owns, operates and franchises some 3,700 hotels globally, is hard at work on to provide to its guests. According to AccorHotels, 2018 will be the year of…

      1. Local Services
        Last year, AccorHotels launched AccorLocal, an application allowing residents who live near an Accor property to access the services of local artisans and companies. In its basic form, it allows hoteliers the ability to promote their hospitality services to non-guests. Offerings can include bouquet deliveries, yoga or other fitness classes provided on property, food deliveries, or pay-by-the-hour car rental services througha partnership with Hertz. The strategy is part of the company’s shift to become a technology company, rather than solely a hospitality company.
      2. Mobile Payment
        2018 will hopefully be a year of smoother mobile payment. AccorHotels is looking to be out on the lead on this. In November, the company signed a deal with First Data, a payment solution provider, who will power payments for AccorHotels for in-store, online and mobile transactions. This includes facilitating transactions for AccorHotels’ online booking tool. The phased introduction of the partnership starts with properties in Germany, France and the United Kingdom, before continuing into other countries throughout 2018.
      3. Laid-back Luxury
        Austere and rigid no longer are hallmarks of a luxury hotel experience. There has been a palpable shift in the meaning and promise of a luxury hotel, and one of those traits, as AccorHotels correctly points out, is laid-back living. Donning a three-piece suit in the hotel dining room is no longer compulsory attire; many guests, who still want a luxury experience, want that experience in tennis shoes (the kind that might cost $500) and sweatpants (finely tailored and expensive, that is). Today’s luxury consumer has the same money as predecessors, but uses it in different ways. This is especially true of the millennial generation, which is known to spend money not as much on material goods but on experiences. AccorHotels can count four luxury brands now—Fairmont, Raffles, Sofitel and Banyan Tree—and clearly it believes in nonchalant luxury in 2018.
      4. Meaningful and Sustainable Travel
        See above. A wide swath of travelers today want to draw meaning out of their travels, while leaving a dollop of a footprint. They also want the hotels they stay at to engage in sustainable operations, since the environment to many a world traveler is sacrosanct. AccorHotels’ 21Planet program aims to do just this, outlining specific goals for 2020 based around four strategic priorities: work with its employees, involve its customers, innovate with its partners and work with local communities. Two key issues to tackle will be food and buildings, the company says.
      5. Personalized Guest Services
        Tailored and bespoke aren’t just natty terms. In today’s hospitality landscape, hotels want to know as much about their guests as they can so they can better customize an experience through amenities and services. Hotel companies, like AccorHotels, are better able to do this through platforms like a CRS, mobile apps and loyalty programs. AccorHotels uses products like Adobe to personalize the guest experience with targeted offers and other information.
      6. Chatbots
        Because who doesn’t like talking to artificial intelligence? Last February, AccorHotels’ Mercure brand launched a BOT, an up-to-the-minute instant messaging solution for Facebook and Messenger. “Offering a hotel experience anchored in a specific locality is the very essence of the Mercure brand and its venues,” the company said, and “only a BOT is capable of memorizing the full range of stories from so many places around the world. This handy tool will enable travelers and neighborhood residents alike to discover the “Local Stories” thatsurround them, simply by geolocating and allowing themselves to be guided.” Here’s how AccorHotels further explains chatbots, or virtual assistants, while this video further clarifies

7.                                        Smart and Wellness Rooms
Everyone wants to be smarter these days—why shouldn’t a room be, too? In fact, smart rooms are all the rage, and AccorHotels is tossing its hat into the ring. Back in November, AccorHotels revealed that it’s testing a smart or connected room, relying on things like voice activation and the Internet of Things to enhance the in-room guest experience. Some of the features being tested include a connected tablet to adjust the room’s light and music, close curtains, tilt the headboard and control audiovisual equipment; LED lighting with footboard motion sensors; sleep aids, such as Dodow, a luminous metronome that gets you to fall asleep more quickly, or Dreem, a headband that promotes better sleep; and items like Sensorwake billed as world’s first olfactory alarm clock. With products like these, this room promises to sound and smell smart.

 FOOD AND BEVERAGE

A Historic Cocktail Speakeasy Sneaks Into Midtown

Gibson & Luce opened in the Life Hotel building

Written by: Serena Dai and Modification by THE REVIEW
Content Courtesy of: ny.eater.com

Gibson & Luce’s bar Photo by Noah Fecks via Gibson & Luce

Midtown now has a new cocktail speakeasy — this time from once-prolific NYC restaurateur Stephen Hanson.

Hanson, who founded hospitality behemoth BR Guest before leaving in 2013, rejoined the restaurant business last month with Henry at Life Hotel, and this week, he added a bar called Gibson & Luce to the hotel’s mix at 19 West 31st St., between Broadway and Fifth Avenue.

Gibson & Luce is run by the same chef as Henry, BR Guest alum Michael Vignola. Here, he makes bar snacks like goose fat potato knishes with caviar and creme fraiche; pizza bianca with black pepper ricotta, potato, and egg; and merguez meatball pizza with chili-roasted tomato and goat cheese. A burger is also available, topped with caramelized onions, American cheese, bacon, and an option to add foie gras.

Drink-wise, the menu has cocktails, beer, wine, and lots and lots of vermouth. Cocktails include the Little White Lie (spiced rum, creme de violette, cream, lemon, laphroaig), Their First Quarrel (ginger, apricot eau de vie, amara blood orange liquor, lemon, egg white), and 1894 (blue gin, dolin dry, orange bitters). See the full menu below.

The historic hotel once housed the headquarters for Life magazine. Gibson & Luce is named for former editor Charles Dana Gibson and publisher Henry R. Luce; it’s rumored that the bar was once a secret place for staffers to party. Now, the bar can be accessed via a hidden staircase behind the elevator bank near Henry, or eventually, via the street with an access code that will likely be shared on Instagram.

Hanson is known for producing crowd-pleasing restaurants that will bring back neighborhood regulars, and he has said that’s his goal with the Life Hotel, too, which he’s a partner in. Gibson & Luce is open from 5:30 p.m. to 1 a.m. daily.

EVENTS

DON’T CALL IT A BLOOD MOON. OR SUPERMOON. OR BLUE MOON

Written by: MATT SIMON and Modification by THE REVIEW

Content Courtesy of: wired.com

GETTY IMAGES

IN FEB ’18, HUMANITY was treated to a celestial trifecta: A supermoon (meaning it’s relatively close to Earth), but also simultaneously a blood moon (orange or red), but also simultaneously a blue moon (the second full moon in one calendar month) passed in the shadow of Earth, for a total lunar eclipse.

But supermoon? Blue moon? Blood moon? Yeah, let’s go ahead and pump the brakes on those terms, because the first was created by anastrologer, the second is highly subjective, and the third was only recently popularized by this-must-be-prophecy types.

First, some basics on the grand astronomical event. A total lunar eclipse is, of course, when the moon passes through the shadow of the Earth. But the Earth doesn’t actually cast one super-delineated shadow. There are two components: the penumbra and umbra.

GETTY IMAGES

“The reason there are these two portions of the Earth’s shadow, umbra and penumbra, is because the sun is not a single small point, it’s got this big disk,” says Noah Petro, a research scientist at NASA’s Goddard Space Flight Center. So the penumbra is more a partial shadow, caused by a portion of the sun being blocked by the Earth.

Check out the diagram above. You can see that light sneaking through in the penumbra. If you glimpse the moon when it’s there, it still won’t have the reddish or orangish or brownish hue it takes on during the so-called blood moon. “Only once it passes completely into the Earth’s umbra does it turn that red color, and the reason for that is because it’s very, very dim,” says Petro. “So just having any part of the moon illuminated by sunlight during an eclipse, washes out that red color that you would eventually see when it’s in totality.”

That bizarre color comes from Earth itself. As sunlight passes through our atmosphere, it interacts with particles like dust, scattering certain colors. Specifically, blue, which has a shorter wavelength. Red and orange with their longer wavelengths will pass right through.

Think about the different kinds of light you see here on Earth. We get blue skies during the day because when sunlight hits us head on, the blue light scatters toward us. “When we have a sunset, the sunlight is going through a thicker portion of the Earth’s atmosphere, and so more of the blue light is scattered away,” says Petro. Thus the reds and oranges of a particularly magnificent sunset.

So we had ourselves a “blood” moon. But … hold on. “I think the term more recently, really in the last decade or so, has become popular by these religious zealots that keep proposing that it’s the end of time and this lunar eclipse is going to be the last one,” says Fred Espenak, scientist emeritus, also of NASA’s Goddard Space Flight Center. Indeed, take a look at the Google Trends of “blood moon” below.

GOOGLE TRENDS

 

INNOVATION AND TECH

Arianna Huffington Tech Addiction Is More of a Problem Than People Realize

Written by: Charles Platiau / Reuters and Modification by THE REVIEW

Content Courtesy of: NBC News

We are at an inflection point in our relationship with technology. Technology allows us to do amazing things that have immeasurably improved our lives. But at the same time, it’s accelerated the pace of our lives beyond our ability to keep up. And it’s getting worse. We’re being controlled by something we should be controlling. And it’s consuming our attention and crippling our ability to focus, think, be present, and truly connect with ourselves and the world around us.

The numbers only confirm what we all know to be true — we’re addicted. A 2015 Bank of America report found that over 70 percent of Americans sleep next to or with their phone. This addiction comes at a cost. A Pew study from the same year found that 89 percent of phone owners said they’d used their phones in their last social gathering, and 82 percent felt that when they do this it damages the interaction.

It’s gotten so bad that the phone doesn’t even need to be turned on for it to negatively affect our relationships. One study found that when two people are in a conversation, the mere presence of a phone can have, as the authors write, “negative effects on closeness, connection, and conversation quality,” leading them to conclude that the mere presence of mobile phones can create a psychological hindrance.

There’s also plenty of research suggesting a link between heavy social media use and depression, especially in young people. – the Think newsletter.

 The problem lies not with our desire to connect, but with our form of connection.

The problem lies not with our desire to connect, but with our form of connection. Our technology gives us a form of connection with the whole world, but at the same time it can limit the depth of our connection to the world around us, to those closest to us, and to ourselves. Technology has been very good at giving us what we want, but less good as giving us what we need.

And what we need is to re-calibrate our relationship our technology. This is one of the most important conversations of our time. And ironically, conversation is the very thing our addiction to our screens prevents. We’re so busy scheduling our lives, documenting them, logging them, tracking them, memorializing and sharing them that we’re not actually living them.

Importantly, our ability to have this conversation won’t last forever. The rise of AI, and the increasing hyper-connectivity of our daily lives, has the potential to erode our humanity even further.

Isaac Asimov saw this coming back in 1988. “The saddest aspect of life right now,” he wrote, “is that science gathers knowledge faster than society gathers wisdom.” And right now, we’re drowning in data, but starved for wisdom.

Wisdom would require thinking about the qualities we consider essentially and uniquely human – about what is sacred and irreducible about our humanity — and then thinking about how can we redraw and protect the borders of that humanity as technology is mounting a full-scale invasion.

And the answer isn’t to stop technology or go backwards. That ship has sailed — and mostly for the better. The answer is smarter and better technology. In fact, I think this is going to be one of the next frontiers in technology — and it’s one of the things we’re doing at Thrive Global with our technology platform — creating apps and tools and even AI that helps rebuild those barriers around our humanity, and reclaim the time and space needed for real connection.

The increase in automation and AI, what some are calling the Fourth Industrial Revolution, is obviously going to bring profound changes. In the workplace, it’s going to put a premium on essential human qualities like creativity, intuition, decision-making, and wisdom.

The paradox is that these are the exact qualities that are impaired by our addiction to technology. So our ability to succeed in the technology-dominated workplace of the future depends, in no small measure, on our ability to — right now — take back control of our technology, and our lives.

ADVERTISING AND BRANDS

WATCH THE NEWEST ADS ON TV FROM TARGET, GOOGLE, ADIDAS AND MORE

Content Courtesy of: adage.com

Published on January 29, 2018.

Every weekday, we bring you the Ad Age/iSpot Hot Spots, new TV commercials tracked by iSpot.tv, the real-time TV ad measurement company with attention and conversion analytics from more than seven million smart TVs. The ads here ran on national TV for the first time over the weekend.

A few highlights: Target serves up what’s essentially a full-blown music video featuring Zedd and Maren Morris that clocks in at three-and-a-quarter minutes and debuted during the Grammy Awards telecast Sunday night. Google presents a gallery of photos and clips of “real people” who were captured using Google Pixel 2 phones. And Old Spice baffles with an ad that’s entirely in French, with no subtitles (as Ad Age’s Alexandra Jardine notes in today’s Ad Age Wake-Up Call, “People were really confused, and that was intentional”).

Target: 2018 Grammys Zedd + Maren Morris: The Middle

Premiered on: The 60th Annual Grammy Awards, CBS

Target data for the last 30 days

Impressions: 1,135,729,490 (41% of industry)

Est. TV Spend: $18,858,378 (59% of industry)

Attention Score: 83.61

Attention Index: 77 (23% more interruptions than avg.)

Old Spice: Red Sweater

Premiered on: The 60th Annual Grammy Awards, CBS

Old Spice data for the last 30 days

Impressions: 513,973,648 (15% of industry)

Est. TV Spend: $6,569,297 (19% of industry)

Attention Score: 96.59

Attention Index: 144 (44% fewer interruptions than avg.)

adidas: Original Is Never Finished

Premiered on: The 60th Annual Grammy Awards, CBS

adidas data for the last 30 days

Impressions: 77,085,840 (10% of industry)

Est. TV Spend: $5,813,384 (40% of industry)

Attention Score: 96.53

Attention Index: 152 (52% fewer interruptions than avg.)

Tide: Bradshaw’s Locked Out

Premiered on: Will & Grace, NBC

Tide data for the last 30 days

Impressions: 1,747,130,963 (33% of industry)

Est. TV Spend: $19,372,835 (35% of industry)

Attention Score: 91.31

Attention Index: 110 (10% fewer interruptions than avg.)

Google Phones: The Picture Perfect Life

Premiered on: The 60th Annual Grammy Awards, CBS

Google Phones data for the last 30 days

Impressions: 952,135,002 (24% of industry)

Est. TV Spend: $27,947,193 (22% of industry)

Attention Score: 87.21

Attention Index: 104 (4% fewer interruptions than avg.)

Data provided by  iSpot.tv, Attention and Conversion Analytics for TV Ads

 TV Impressions – Total TV ad impressions delivered for the brand or spot.
Est. TV Spend – Amount spent on TV airings for the brand’s spots.
Attention Score – Measures the propensity of consumers to interrupt an ad play on TV. The higher the score, the more complete views. Actions that interrupt an ad play include changing the channel, pulling up the guide, fast-forwarding or turning off the TV.
Attention Index – Represents the Attention of a specific creative or program placement vs the average. The average is represented by a score of 100, and the total index range is from 0 through 200. For example, an attention index of 125 means that there are 25% fewer interrupted ad plays compared to the average.

February is up next with Fashion week and the exciting and inspiring event of a stepping down of one and the swearing in of another South African President!

Our hearts go out to all effected by the school shooting in Parkland Florida. Let us focus much more on gun control and keeping these harmful weapons out of the hands of as many as possible. More on this and what many brave and incredible people are doing about it up next. Hint: #ACTION is the name of the game.

AS ALWAYS. WATCH THIS SPACE.

2017 WENT OUT LIKE A QUEEN

2017 WENT OUT LIKE A QUEEN

The last year had many ups and but as 2017 bid us adieu, it did so with a whimsical wave and a friendly reminder that in 2018, there is much to do.

Hands to shake and babies to kiss is the mantra of the year as we all focus on the empires we are destined to build, both internally and beyond.

Here’s some notable news as the year came to close.

Wishing all a happy, healthy and exceptionally prosperous New Year!

MUSIC

THE BEST VIDEO’S OF 2017

Written by: Quinn Morel and & Ryan Dombal and Modification by THE REVIEW

Pics And Content Courtesy Of: Pitchfork

7. Lil Peep: “Downtown”

Released in the days after Lil Peep’s death, this candid montage by the rapper’s videographer runs like a hopeful highlight reel. Over a track that samples the poignant sweep of Beach House’s “Silver Soul,” the shaky footage shows Peep embracing friends onstage in front of packed rooms when he’s not trying on very colorful, very expensive-looking clothing. But the clip also dials back to offer a glimpse of the 21-year-old behind the hype, the guy who’d kneel down to kiss a cute dog on the street or take serious calls while getting his head shaved. It has the feel of something to look back on, fondly, years later. –RD

6. Brockhampton: “BOOGIE”

There’s an early “Simpsons” episode where a bored Bart and Milhouse bribe Kwik-E-Mart clerk Apu into making an “all-syrup Super Squishee,” which sends the boys into a sugar bender. The video for Brockhampton’s “BOOGIE” imagines a world where the buddies never emerged from their trip, painted themselves blue, and stalked around a convenience store like they owned the place. It’s as overstimulating and vibrant as the track’s own barrage of horns, voices, and braggadocio. Or, as one esteemed critic put it, “I’m overwhelmed.” –QM

5. Kendrick Lamar: “LOVE.” [ft. Zacari]

This video is as subtly complex as the hook upon which it is built, the plea to “love me, just love me.” Those words may sound simple, but embedded in them are worlds of vulnerability, trust, and mercy, qualities that even Kendrick admits require work. “LOVE.” visualizes this through the rapper’s relationships with several women, which range from lighthearted to turbulent. But the video is largely composed of shots celebrating these same women and placing them on a pedestal. “Am I in the way,” he asks, and as if taking the worry to heart, he fades into the shadows and contemplates the majestic power of the women who raise him up. –QM

4. Migos: “MotorSport” [ft. Cardi B and Nicki Minaj]
Director: Bradley & Pablo, Quavo

The recent Blade Runner sequel expanded the original film’s perpetually rainy dystopia, but it also left a lot of questions unanswered. Such as: Where will our iconic rappers of the drenched future go to look impossibly cool in front of sleek sports cars? Luckily, Migos, Cardi B, and Nicki Minaj fill in that blank with this video, which mostly takes place in a neon-lit showroom where the gleaming suicide doors are always up and models make their living examining every single detail of a Lamborghini tail light. Migos look nonchalantly fly, as usual, but the real stars here are Cardi and Nicki. While the Bronx upstart preens in a wet-look seapunk wig alongside her fiancé (?), the Queens icon gets her very own white-on-white penthouse, where she whips around floor-length pink braids by herself. Nicki’s special treatment here doubles as a tragic sort of flex: Even in an imagined future filled with flying Lyfts, she’s still at the top, all alone. –RD

3. SZA: “The Weekend”
Director: Solange

All of the videos for SZA’s Ctrl have been as beautiful as the record itself, but the prospect of a clip for “The Weekend” concerned me. What if they went literal with the song’s talk of timeshare romance? Who could possibly be worthy of playing SZA’s weekend lover?! My fears ended up being for naught, because Solange (!) worked her magic and channeled the song’s most cherished virtues: desire and independence. As SZA comes to terms with her communal affair, she’s shown dancing alone on the balcony of a geometric building, in a parking garage, and throughout other minimalist, abandoned locales. Together, the two R&B visionaries sidestep the song’s side-chick drama and capture its empowered sexuality. –QM

2. Yaeji: “Raingurl”

A certain amount of FOMO accompanies the video for Yaeji’s “Raingurl.” The emerging house producer-vocalist and her friends are shown having such an amazing time tearing up the dance floor of a Brooklyn warehouse, you’ll wish you could jump through the screen and join them. Sadly, such technology does not yet exist. But there’s nothing stopping you from drawing inspiration from the image of Yaeji breaking it down in a sheer plastic raincoat and umbrella combo as you plot your next bedroom dance party. –QM

1. JAY-Z: “Marcy Me”

“Marcy Me” is a prayer for the past, present, and future of JAY-Z’s native Bed-Stuy, Brooklyn, and the song’s stunning video follows suit. It takes place on a clear summer night, through two perspectives. On the ground, black men and women run footraces, make out, and pick up snacks at the local bodega. In the sky, white NYPD officers man a helicopter, blasting its spotlight onto those same people down below, turning their everyday acts into blinding accusations. Directed by Good Time auteurs Ben and Joshua Safdie, who are masters of tapping into whatever human grit New York City has left, the clip exposes the detached, bird’s-eye view so often used to vilify underserved black communities like the one JAY-Z grew up in. As the track fades out, the cops eventually switch off their light, but not before its beam sears into the psyche of one young boy; in the final shot, he looks directly at the camera—at a complicit society—with a face full of disgust. –RD

ART

THE 2017 REVIEW

Written by: The Editors of ARTNEWS and Modification by THE REVIEW

Pics and content Courtesy of: ARTNEWS

Lets get right to it: following below is a chronological list of the 20 most-read articles published on the ARTnews website over the past 12 months. Trump fills three slots, and Damien Hirst fills two. There are stories on luminaries we lost this year, auction records that were shattered, and controversies that gripped everyone’s attention. Thank you for tuning in this year.

Report: Trump Administration Plans NEA, NEH Elimination, by Alex Greenberger, January 19
– MoMA Installs Works by Artists From Banned Muslim Countries, by Andrew Russeth, February 3
– Andrea Rosen, Chelsea Stalwart, Closes Permanent Space, by Andrew Russeth, February 21
– Disowning Ivanka: The Art World Stares Down the First Daughter, by Nate Freeman, March 7
– ‘The Painting Must Go’: Hannah Black Pens Letter to Whitney, by Alex Greenberger, March 21
– Glenn O’Brien, Writer and ‘TV Party’ Host, Dies at 70, by Zoë Lescaze, April 7
– Vito Acconci, Bedrock of Performance, Dies at 77, by Andrew Russeth, April 28
– A Disastrous Damien Hirst Show in Venice, by Andrew Russeth, May 8
– Which Collectors Are Actually Buying from Damien Hirst’s Venice Show?, by Nate Freeman, May 12
– The 2017 ARTnews Top 200 Collectors, by the Editors, September 12
– On the Guggenheim’s ‘Art and China after 1989′ Removals, by Stephen F. Eisenman, September 27
– Dirty Looks Presents a Gay Porn Theater for 24 Hours in New York, Maximilíano Durón, September 29
– Holly Block, Executive Director of Bronx Museum of the Arts, Dies, by Alex Greenberger, October 7
– Christie’s to Offer Last Leonardo Painting Left in Private Hands, by Nate Freeman, October 10
– Following Knight Landesman Suit, More Women Come Forward, by Nate Freeman, October 25
– Artforum Editor Michelle Kuo Resigns, David Velasco to Succeed Her, by Nate Freeman, October 25
– Michelle Kuo on Why She Resigned, by Andrew Russeth, October 26
– Linda Nochlin, Trailblazing Feminist Art Historian, Dies at 86, by Andrew Russeth, October 29
– Leonardo’s ‘Salvator Mundi’ Sells for $450.3 M., Shattering Records, by Nate Freeman, November 15
– Jewish Museum Suspends Jens Hoffmann, by Andy Battaglia, December 4

ADS AND BRANDS

NEWEST ADS FOR SOME OF THE LARGEST BRANDS OF 2017

Written by: The Editors of AdAge and Modification by THE REVIEW

Pics and content Courtesy of: ispot.tv

Every weekday, we bring you the Ad Age/iSpot Hot Spots, new TV commercials tracked by iSpot.tv, the real-time TV ad measurement company with attention and conversion analytics from more than seven million smart TVs. The ads here ran on national TV for the first time yesterday.

A few highlights: Coca-Cola wants you to know that Coca-Cola Zero Sugar—the successor to Coke Zero—”really tastes like a Coke.” Royal Caribbean, the cruise line brand, says that it’s “not a vacation factory” in an ad that hypes “adventures from $549.” And the latest Colonel Sanders brags about finding “a cheaper way to make commercials” (spoiler: a green screen is involved) for KFC.

Outback Steakhouse: Outback Bowl Is January 1st
Premiered on: SportsCenter, ESPN
Outback Steakhouse data for the last 30 days
Impressions: 443,296,499 (7% of industry)
Est. TV Spend: $5,627,109 (9% of industry)
Attention Score: 87.52
Attention Index: 104 (4% fewer interruptions than avg.)

Coca-Cola Zero Sugar: Nailed It
Premiered on: College Football, ESPN
Coca-Cola Zero Sugar data for the last 30 days
Impressions: 94,100,627 (2% of industry)
Est. TV Spend: $2,252,991 (4% of industry)
Attention Score: 92.15
Attention Index: 120 (20% fewer interruptions than avg.)

KFC: Green Screen
Premiered on: Vinny & Ma Eat America, Cooking Channel
KFC data for the last 30 days
Impressions: 1,066,088,584 (5% of industry)
Est. TV Spend: $15,943,968 (8% of industry)
Attention Score: 87.22
Attention Index: 76 (24% more interruptions than avg.)

Fabletics.com: Stand-Out Pieces
Premiered on: Damnation, USA Network
Fabletics.com data for the last 30 days
Impressions: 127,453,579 (5% of industry)
Est. TV Spend: $924,869 (2% of industry)
Attention Score: 94.64
Attention Index: 148 (48% fewer interruptions than avg.)

Royal Caribbean Cruise Lines: Not a Vacation Factory
Premiered on: Good Morning America, ABC
Royal Caribbean Cruise Lines data for the last 30 days
Impressions: 42,744,311 (24% of industry)
Est. TV Spend: $190,697 (10% of industry)
Attention Score: 87.94
Attention Index: 57 (43% more interruptions than avg.)

Data provided by iSpot.tv, Attention and Conversion Analytics for TV Ads

TV Impressions – Total TV ad impressions delivered for the brand or spot.

Est. TV Spend – Amount spent on TV airings for the brand’s spots.

Attention Score – Measures the propensity of consumers to interrupt an ad play on TV. The higher the score, the more complete views.

Actions that interrupt an ad play include changing the channel, pulling up the guide, fast-forwarding or turning off the TV.

Attention Index – Represents the Attention of a specific creative or program placement vs the average. The average is represented by a score of 100, and the total index range is from 0 through 200. For example, an attention index of 125 means that there are 25% fewer interrupted ad plays compared to the average.

HOSPITALITY

HERE’S WHAT’S TRENDING AS WE APPROACH 2018

Written by: Virtuoso for The Latest Hotel Trends and Modification by THE REVIEW

Pics And Content Courtesy Of: Virtuoso®’s

To discover what’s trending in 2018, travelers need only to browse through Virtuoso庐’s newly released 2018 Best of the Best catalog of the world’s best hotels and experiences. The largest edition to date, featuring 1,250 hotels, resorts, villas and private island retreats in 108 countries alongside 54 one-of-a-kind experiences, Best of the Best showcases Virtuoso’s Hotels & Resorts Program, a hallmark of this renowned global luxury travel network. New this year: a record-setting addition of 110 properties, courtesy of unprecedented expansion.

Virtuoso’s curated collection of hotels boasts diversity in both size and feel, with properties ranging from four to 4,004 rooms. The portfolio’s impressive breadth spans hotels, resorts, lodges, tents, camps, private islands, villas and apartments. More than 550 of the featured hotels work exclusively with Virtuoso, choosing not to associate with other travel organizations. Almost half of Virtuoso’s hotels are under 100 rooms, and a similar number are independent properties not affiliated with a collection or brand.
Here are the most significant trends observed among the new additions to the industry-leading collection:

The Cool Factor: Stunning design, on-point amenities and unique character define a new breed of Virtuoso lifestyle hotels and resorts, which deliver a cutting-edge experience unlike traditional properties.

Trusted luxury brands grew their Virtuoso presence with Pendry San Diego, Thompson Seattle, Andaz Scottsdale and The London EDITION.
NUO Beijing offers a dynamic atmosphere where Ming Dynasty tradition meets hip modernity.

Sao Paulo’s innovative Hotel Unique is where architecture, design, gastronomy and service intersect.

Adventure Abounds:With its wide appeal to all travelers, the allure of adventure remains hot, with experiences ranging from soft adventure to nature immersion all the way to the extreme.

Guests at Anantara Peace Haven Tangalle Resort in Sri Lanka can discover the area by bicycle, go whale watching and explore national parks.

Tutka Bay Lodge and Winterlake Lodge in Alaska offer activities such as deep-sea and freshwater fishing, river rafting, bear viewing, glacier trekking, ocean kayaking and hiking.
Cities Rule:Virtuoso stayed ahead of the curve by adding an array of properties in the world’s most alluring cities. Shopping, spa treatments, art and architecture, and culinary wonders abound at these urban retreats.

European grande dames steeped in history are what define properties such as Hotel Kamp in Helsinki, the Hotel Bayerischer Hof in Munich and the Hotel de Crillon, A Rosewood Hotel in Paris.

Understated elegance reigns at properties including London’s The Langham and Four Seasons New York Downtown.

Indulge passions such as art at The First Hotel Roma and cultural immersion at Hoshinoya Tokyo.

Exotic Glamping:Demand for luxury camping thrives as interest in authentic, off-the-beaten-path experiences grows.

Minor Hotel’s tented camps in Kenya and Tanzania provide valuable perks for Virtuoso clients. At Loisaba Tented Camp, guests learn about preserving the local wilderness, then enjoy a private sundowner with cocktails and canapes. The Manor at Ngorongoro offers a coffee tour of the estate and private gourmet picnic with sparkling wine.

The Ultimate Travelling Camp offers unprecedented access to India’s mountains, deserts, jungles and festivals. These deluxe camps include spacious tents, complete with a private butler.

Family Fun:The 2018 Virtuoso Luxe Report identified family travel as a dominant niche, bolstered by the network’s portfolio of family-friendly properties.

Nemacolin Woodlands Resort in Pennsylvania houses a Wildlife Academy with animals from all over the globe to educate and entertain guests.

Switzerland’s Kulm Hotel St. Moritz offers a variety of perks as part of its Very Important Kids program, including free hot chocolate and ice cream.

VILA VITA Parc Resort in Portugal provides an array of children’s activities including an adventure playground, painting and baking.
Best of the Best is currently being distributed to the homes of 150,000 of Virtuoso’s best clients worldwide, as selected by their advisor. To view the directory online, click here.

Virtuoso Hotels & Resorts is the longest running and most prestigious program of its kind, with more five-star properties than any other. Virtuoso provides guests with exclusive benefits valued at up to $450 per stay such as spa treatments, golf and dining experiences.

EVENTS

HOW THE WHITE HOUSE CLOSED OUT THE YEAR

Written by: Greg Lovett for New Year’s Eve party at Mar-a-Lago and Modification by THE REVIEW

Pics and content Courtesy of: The Palm Beach Post

Barron Trump, left with his father, President Donald Trump and first lady Melania Trump walk the red carpet to the ballroom for the Mar-a-Lago New Year’s Eva Gala at Mar-a-Lago in Palm Beach, Sun., December 31, 2017 in Palm Beach, Fla. (Greg Lovett / The Palm Beach Post)

UPDATE 12:15 a.m.: Hundreds of people attended the pricey New Year’s Eve party at Mar-a-Lago, including Treasury Secretary Steven Mnuchin, former baseball star Keith Hernandez and Donald Trump’s three oldest children.

PHOTOS: New Year’s Eve red carpet at Mar-a-Lago

Revelers inside the ballroom of the Mar-a-Lago New Year’s Eva Gala at Mar-a-Lago in Palm Beach, Sun., December 31, 2017 in Palm Beach, Fla. (Greg Lovett / The Palm Beach Post) Greg Lovett

The president predicted a “fantastic 2018” as he arrived to ring in 2018.

RELATED: Trump spends day with governor, golf, attends party with wife, son

Barron Trump, left with his father, President Donald Trump and first lady Melania Trump walk the red carpet to the ballroom for the Mar-a-Lago New Year’s Eva Gala at Mar-a-Lago in Palm Beach, Sun., December 31, 2017 in Palm Beach, Fla. (Greg Lovett / The Palm Beach Post) Greg Lovett

Tickets for the New Year’s Eve gala were for $600 for club members and $750 for guests, Politico reported.

RELATED: “Trump Squad” gets surprise invite to Mar-a-Lago

Lou Dobbs and his wife Debi Lee Segura walk the red carpet to the ballroom for the Mar-a-Lago New Year’s Eva Gala at Mar-a-Lago in Palm Beach, Sun., December 31, 2017 in Palm Beach, Fla. (Greg Lovett / The Palm Beach Post) Greg Lovett

UPDATE 10:40 p.m.: Dr. Gina Loudon, media personality and regular guest on Fox News and Fox Business.

Jared Kushner and Ivanka Trump arrive with daughter Arabella Kushner and son Joseph Kushner for a New Year’s Eve gala at Mar-a-Lago, Sunday, Dec. 31, 2017, in Palm Beach, Fla. (Greg Lovett / The Palm Beach Post) Greg Lovett

UPDATE 9:03 P.M. Eric Trump and wife Lara on the red carpet tonight.

Eric Trump and Lara Trump arrive for a New Year’s Eve gala with President Donald Trump at the Mar-a-Lago club in Palm Beach, Fla., Dec. 31, 2017. (Greg Lovett / The Palm Beach Post) Greg Lovett

Donald Trump Jr. arrives for a New Year’s Eve gala to join his father, President Donald Trump at the Mar-a-Lago club in Palm Beach, Fla., Dec. 31, 2017. (Greg Lovett / The Palm Beach Post) Greg Lovett

UPDATE: 8:55 p.m. There was some good eating at Mar-a-Lago. Lobster ravioli, tenderloin, sea bass and the traditional New Year’s Eve baked Alaska.

2018, we’re ready for you! Let’s go!

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