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Monthly Archives: July 2017

As Kesha’s legal battle with producer Dr. Luke continues, it appears other A-listers are also being pulled into the lawsuit. Lady Gaga, for one, has continually thrown her support behindKesha in response to Kesha’s abuse allegations about the producer.It’s because of thisinvolvement thatDr. Luke reportedlysubpoenaed Lady Gagafor deposition in hisdefamation case against Kesha, according to.

Dr. Luke’s team reportedly want to talk to Lady Gaga abouther involvement with supposed false statements Kesha has made about the producer and his abusive ways.

This motion has become necessary because Dr. Luke’s counsel has not been able to obtain, despite repeated request, a deposition date from Lady Gaga, his lawyers said on Saturday, according to .Elite Daily reached out to Dr. Luke and Lady Gaga’s legal teams but did not hear back atthe time of publication.

It’s the latest step in an ongoing legal battle.

Kesha sued Dr. Luke for abuse in 2014, claiming that the producersexually, physically, verbally, and emotionally abused her, according to . Shelooked to cut ties with the producer, though she ultimately lost the case that would’ve freed her from her contract with him. In response, he sued her for defamation.

Gaga took to Twitter to respondto Kesha’s defeat. There are people all over the world who love you @KeshaRose, Gaga tweeted. And I can say truly I am in awe of your bravery.

But that wasn’t the only instance where Gaga supported the Tik ToK singer. She also shared a photo with the pop star and a caption that read, Free Kesha.

Kesha gifted fans with an emotional comeback this year thanks to her single Praying and thetouchingvideo thataccompanied it. Weeks later, her new hit Woman was dubbed afeminist anthem for summer playlists everywhere. But despite a welcomed return after a nearly four-year hiatus, the pop star can’t break away from this battle withDr. Luke, and now it seems to only be getting more controversial.

Though Lady Gaga allegedlyreleased a written statement to Dr. Luke’s team,she supposedly redacted too muchinformation, which is why anin-person interview could be requiredas the case continues, according to TMZ.

However, Gaga’s team had a different take.

Ronald Martinez/Getty Images

AsLady Gagas legal team will present to the court, she has provided all of the relevant information in her possession and is at most an ancillary witness in this process, her lawyers said in a statement to . Dr. Luke’s team is attempting to manipulate the truth and draw press attention to their case by exaggeratingLady Gagas role and falsely accusing her of dodging reasonable requests.

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No one is actually dead until the ripples they cause in the world die away. So wrote Terry Pratchett in his 1991 novel Reaper Man and, by that definition, he’s still very much alive.

So the question then becomes, how do you keep causing those ripples? Well if we’ve learned anything from the president of the United States, Twitter seems like the best way to make waves. It’s just too bad there’s no way to stay online from beyond the grave… or is there?

No. There isn’t. But thereis a Twitter account for a smart coffin, one that lets you continue posting to Facebook, Twitter, and Snapchat after you’re dead and buried. It may not be a real product, but it’s really fun to read and, for now anyway, that will have to do.

We got a chance to talk with the Robert Abare, creator of the Smart Coffin, or rather the Twitter account for the Smart Coffin, via email, and here’s what he had to say for himself:

Daily Dot:What made you decide to start a Twitter account for a coffin?

Robert Abare:A number of things. I have a friend who Snapchats literally everything–his work poops, his pizza slices, sometimes eating a pizza while pooping. He evengave me his password so I can continue snapping for him in case he died. So I figured, if he did die, this guy could definitely use something to help him continue posting in the afterlife–like a Smart Coffin! I was also a big fan of @SelfAwareROOMBA (since deactivated) on Twitter, so I figured I’d create Smart Coffin in social media parody form.

How often do people think this is a real product?

Very rarely, which I guess is a good sign that people aren’t lining up to tweet after they die.

What’s the best reaction you’ve had so far?

I was informed of a real business called “See Me Rot” that actually installs webcams in coffins. But upon Googling, it looks like another hoax. At least it seems I’m following in a long tradition of fake death tech.

What’s your favorite of your tweets?

Because if Taylor Swift actually offered music via coffin, she’d definitely be picky about which one she partnered with.

What do you want to happen to your body after you die?

I think it would be awesome to be cryogenically frozen a la Walt Disney and then revived onceThe Bacheloris finally canceled after 200 seasons and multiple cast member fatalities. I’d probably go without having my frozen corpse tweet, though.

What do you want to happen to your soul after you die?

Reincarnation would be cool. Would love to be a dolphin!

If you could tweet from the afterlife what would be the first thing you’d send?

I’d finally tell my friend that her introspective Instagram captions are horrendously long and make everyone cringe.

If there was one famous dead person who could tweet to us from beyond the grave, who would you pick and why?

Anyone but Donald Trump, please. Maybe Bernie Mac, because I miss him so much.

Which do you think would be more likely to have internet access, heaven or hell?

Hell, of course! Pornhub probably partners with Satan to boost streaming speed.

Anything else people should know about Smart Coffins?

As fun as this thing is to joke about, I hope the “internet of things” never reaches our afterlives. Dumb wooden boxes are the smartest options, people.

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Another weekend, another new day at the box office!

Dunkirk is the biggest winner this week, thanks to a $28.1 million haul this week and a cumulative $102.8 million domestic pull through its second week on Sunday — and another $45.6 million overseas from 62 more markets.

The war movie has done particularly well in the United Kingdom, with a tally of $35.4 million this weekend — already surpassing the lifetime U.K. cume of director Christopher Nolan‘s last movie, Interstellar.

Meanwhile, The Emoji Movie — which had been getting brutally bad reviews from critics — didn’t do so hot in theaters but actually outshot some of its projections, taking in $25.7 million.

Sony president of worldwide marketing and distribution Josh Greenstein seemed happy about The Emoji Movie‘s weekend, saying:

The $18.6 million showing — plus another $5.9 million from overseas — is actually a very solid showing for Atomic Blonde, which is based on the graphic novel The Coldest City and took a lot of chances in its production.

Focus Features distribution president Lisa Bunnell said of the film:

“This film takes a lot of chances. David takes action to another level, and Charlize Theron an unbelievable job being able to kick ass just likes the guys. This is a stylized, provocative, sexual and brazen film, which is why Focus got involved.”

Meanwhile, as far as older releases go, Girls Trip continues to do VERY well, taking in $20.1 million in its second outing for a domestic total of $65.1 million — by far the most successful live-action comedy move to date this year.

What about you, Perezcious readers?! Did you see anything in theaters this weekend??

Let us know what you saw in the comments (below)!!!

[Image via Warner Bros..]

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We are shocked that a major label released this as a single – and we LOVE it!

Cemetery Sun are taking us back to the ’90s, when radio played more variety and when rock was still rock!

Piece Of Shit is definitely not one but it will get you fist-pumping and it feels so appropriate in our current political climate!

Such a bad ass song!

Check it out above!

Then CLICK HERE to listen to more music from Cemetery Sun!

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While Sheryl Sandberg has long called on corporations to close the gender pay gap and promote more women to senior positions, the Facebook Chief Operating Officer said Sunday that women are discouraged from seeking leadership roles much earlier in life.

In an interview for BBC Radio 4s Desert Island Discs a show in which guests choose the music they would take with them to a desert island Sandberg paid tribute to her mother and grandmother as powerful female role models for her growing up.

Their encouragements were integral to her success, she said, but arent the examples all young girls receive.

What I really believe is, we start telling little girls not to lead at very young ages, and we start telling little boys to lead at very young ages, and thats a mistake, she said. I believe everyone has inside them the ability to lead, and we should let people choose that, not based on gender, but on who they are and who they want to be.

She selected BeyoncsRun The World (Girls) as her first desert island song.

Beyoncs message that women can run the world, that women should run the world, her message that shes the boss I think is super important for not just women, but little girlsand boys to hear.

We should support women early on in tandem with demanding workplaces be free of gender discrimination, Sandberg continued.

We need to start paying women well, and we need the public and the corporate policy to get there, she said. Certainly, women applying for jobs at the same rate as men, women running for office at the same rate as men, that has got to be part of the answer.

American women face a pay gap in every single state and lose out on a combined total of more than $840 billion each year, on average, according to the National Partnership for Women and Families.Overall, women employed full time, year-round in the U.S. earn 80 cents for every dollar men earn and its even worse for women of color.

The problem is not exclusive to the U.S. Ironically, the channel that broadcast Sandbergs interview, the BBC,recently disclosed a significant gender gap among its own on-air stars. According to the data it released earlier this month, women make up justone-thirdof on-air talent earning above 150,000 pounds (around $197,000). While the highest paid male BBC star earns between 2.2 million pounds and 2.5 million pounds a year, the highest paid woman earns just 450,000 to 500,000 pounds annually.

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The benefits to society would be profound not least that people would learn the difference between a joke and a threat, says comedy writer Jack Bernhardt

We all like to think our chosen profession is the most important. Firefighters will tellyou that they save people from burning buildings. Scientists working at Cern will tell you they pushthe boundaries of human understanding and achievement. They are wrong. The most important profession, objectively and definitively more so than soldier, than paramedic, than the social media intern for Southern Trains is standup comedian.

Right now, we need them more than weve ever needed them. Which is why I am proposing compulsory standup lessons for every single person in the country so that we can all think more like comedians and save our society.

It would work like jury duty. You would get a letter in the post that would summon you to the back room of your local theatre/pub/bingo hall/converted cotton mill that is now a trendy bar, where you would do an intense week-long course in all things standup: how to hold the mic close enough so people can hear you but not so close that you accidentally make out with it; how to deal with hecklers without resorting to screaming, You think this is easy, mate?; and how to alternate your material depending on your audience.

For example, a your mama joke during a Royal Variety Performance in front of the Queen is not suitable, but a your mama joke during a Royal Variety Performance in front of just Charles is to be actively encouraged.

At the end of the week, you would have to perform a 10-minute set in front of 50 randomly selected audience members. Depending on the difficulty of the class, the audience has either been given a free pint each and theyve been warmed up by Angela Barnes (beginner class), or its in a non-air-conditioned room, the show has started 25 minutes late and the warm-up act is a man reading out a list of the dead from the second world war (expert class).

On the face of it, this sounds like a dystopia, up there with Jacob Rees-Mogg becoming prime minister. Hour upon hour of first-time open-mic night sets from every single person in the country? People who hate comedy would dread getting on stage; people who love comedy would dread having to watch it. The only people who would actively enjoy it are people who love performing comedy but also actively enjoy the suffering of others. So, Andrew Lawrence.

But standup is unlike any other artform. With music or theatre, there is something else to keep an audience entertained: a story, a melody, other actors. With standup, it is just a microphone and a comedian. Think of the assumed arrogance of it: a standup is telling the audience that their point of view deserves your undivided attention for at least five minutes their jokes, their observations about Donald Trumps hair, and nothing else.

That power you can hold over an audience is intoxicating. I once span around in a circle on stage for 40 seconds for a joke. It was as underwhelming as it sounds. But I kept going, because I knew the audience had no choice but to indulge me. What were they going to do, leave? Nice try, but I was in front of the only exit. I had the power. Why else do you think every MP tries to cram in a tedious joke about the Mars rover or Andy Murray during PMQs? Because they love the sound of their own voices? No! Its the power.

If everyone was made to have a go at standup comedy not just white middle-class men from Notting Hill, but elderly black women from Birmingham, farmers from Somerset, Bangladeshi teenagers living in Mile End they would feel like their words mattered, if only for a moment. They deserve to have that confidence of a mediocre male politician flow through them, even if only once.

And the words matter. No one standup comedian is the same because no one standup has the same angle on the world. Standup is intensely personal I cant do a set of jokes about growing up delivering Hovis in Yorkshire, or about living as a fabulous drag queen in New York, as much as I desperately want to. I have to stick to tedious middle-class white guy jokes about why Waitrose avocados are squishier than M&S avocados (its something to do with how theyre transported, I think).

Joan Rivers performing in Hollywood in 2002. Photograph: Larry Marano/Getty Images

Not enough people stop and think about what their take on the world is. We just assume were all unremarkable or worse, that were all the same. Identifying what makes us unique not in a bad HSBC advert at an airport kind of way, but actually analysing who you are, and what our biases, privileges and limitations are, makes understanding and empathising with other people easier.

Comedy is as much about making a connection with an audience as it is about self-expression: my jokes about squishy avocados from Waitrose are going to go down great at a corporate event for M&S, but theyd bomb in a working-class suburb of Detroit because no one would be able to recognise it, and even if they did, it wouldnt be relevant. Moreover, if the audience is randomly selected and diverse, jokes that rely on sexist or racist tropes would bomb. Its the same reason Roy Chubby Brown wont ever do a show in Brick Lane, or why the men tweeting tedious jokes about Jodie Whittaker becoming the new Doctor Who will never, ever have sex with a woman, ever.

These are all pretty good reasons, but the most compelling is simple: a lesson in standup would let everyone know what a joke is and isnt. Over the past few months, it has become increasingly hard in this country to tell whether its the disgusting hate speech of Rhodri Colwyn Philipps against Gina Miller, poorly disguised as irony, or Trumps use of a gif of him beating up CNN, or basically anything that comes out of Boris Johnsons mouth to do with the EU. After each scandal, each gaffe, someone inevitably offers up the defence that it was just a joke.

The problem is that more often than not it wasnt originally presented as one its a veiled threat that is retroactively bestowed with the status of a joke when someone challenges it. Its intent wasnt to amuse or to satirise, but to intimidate and ultimately silence. Maybe, just maybe, if were all forced to craft our own comedy, well be able to spot the difference between a joke and a threat masquerading as a joke.

Perhaps next time more people would be able to look at the death threats and racism that Philipps spewed out online and realise that it doesnt have a set-up and it definitely doesnt have a punchline. Unless you count the fact that Philipps is now going to prison which, to be fair, is a pretty solid punchline.

Yes, it may be arduous. Yes, the idea of listening to millions of five-minute sets on why self-checkout machines are so hard to use fills me with dread (its because theyre a machine that replaced actual humans. Try replacing your mortgage adviser with a toaster, see how that works out). But for the good of society, we have to try to think more like comedians to spot those bullying threats, to empathise with our fellow man, to give confidence to those who have none. So please, dust off that Letterman-style jacket, grab a microphone, and start asking what the deal is with those compare the meerkat ads. Its our only hope.

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Acclaimed Northern Irish writer Bernard MacLaverty has taken 16 years to finish his latest novel. A lot of things just got in the way, he says

In his jacket endorsement for Bernard MacLavertys Midwinter Break, the celebrated American novelist Richard Ford describes the new book as much-anticipated. It is a polite way of saying that MacLavertys fifth novel has been taken its time in coming. Sixteen years, to be precise, since his last, The Anatomy School, and longer still if you go back to the glory days of the 1980s and 1990s when this Belfast-born but Glasgow-based writer was everywhere, winning plaudits and prizes in equal measure for his short story collections (A Time to Dance, Walking the Dog and The Great Profundo), his novels Cal and Lamb, both of which he adapted as acclaimed films starring respectively Helen Mirren and Liam Neeson, his television series and radio plays, and his Booker-shortlisted Grace Notes in 1997.

A case of writers block? More life getting in the way of art, MacLaverty replies, perched nervously on the edge of his armchair in a central London hotel as we talk. I have a diary note from 2001, when Madeline [his wife] and I went to Amsterdam for a break in January. So I presume I was starting to think about the project from there, but there were so many things that came along to get in the way.

Among the distractions he lists and this affable and unassuming 74-year-old has a prompt sheet to hand were: an un-turn-downable invitation from Scottish Opera to write a libretto; two years as a classical music DJ on Radio Scotland; a five-year stint on a movie script based on Robin Jenkinss wonderful 1950s novel, The Cone Gatherers, which finally came to nought when the producer behind the project died; a collection of short stories; and Bye-Child, a Bafta-nominated short film of a poem by his close friend Seamus Heaney, which he directed in 2003.

And, he adds, Ive also had eight grandchildren in that time. Or we have. His four grown-up children, two boys, two girls, all live in the same postcode as he does, so he has his hands full. Its a new twist on Cyril Connollys line about the pram in the hall being the enemy of good art.

MacLaverty would be the last one to take himself so seriously, but his brief run through those 16 lost years reveals him as a man of many talents to which should be also added teaching stints at British, European and American universities. With so much he is good at, what would he choose if he had only time left for one more project? Id paint something good, he answers without a pause.

No hint of any autumnal narrowing of horizons here, but Midwinter Break is, by contrast, a tale of quiet disappointment, about long-married Gerry Gilmore, a retired architect, and his wife Stella, as they head off on a mini-break. Both are at odds with their lot and with each other. He is retreating into drink, she into religion.

She is thinking, MacLaverty says, on a different plain. This is not a story about old people. Its the story of two young people who got old and they have fallen out of step.

A two-hander, it covers the same broad territory as 45 Years, the 2015 Tom Courtenay/Charlotte Rampling film, based on a David Constantine short story. In the case of Midwinter Break, though, the past trauma that haunts the couple is bound up in the Troubles in Northern Ireland, which they moved to Scotland to escape.

The parallels with MacLavertys life are plain. In 1974, he, too, made the same refugee journey with his young family. The Troubles were awful and bloody, he recalls, bombs and people being killed on their doorsteps.

His homeland, though, has continued to loom large in the books he has published in exile. You write from what you know, and one of the things you know is that you are not telling your own story, but bits of it are your own story. Its like tessellation of a mosaic. You take a bit that happened to you and you put it beside a bit that you make up.

It requires a delicate touch, he emphasises, and can be a time-consuming process. We are edging back around to that long space between novels but now he is more willing to address what has been keeping me back. Whatever backdrop, or even tone his books may share, he explains, the story you have just finished is of little help to writing the next one. He quotes Thomas Mann in his defence. Didnt he say, a writer is someone for whom writing is more difficult than it is for other people?

There was at least one false start with Midwinter Break, he admits, with an opening section, set in the now derelict modernist Catholic seminary at Cardross in Argyll and Bute, that had to be scrapped.

Is he a perfectionist? MacLaverty gives a warm, intimate laugh. Im a writer. Theyre the same thing.

Religion is one feature of his novels. Though he long ago rejected the Catholicism of his childhood, it continues to fuel his imagination. I cease to believe in one aspect of it, but I continue to believe in the trappings.

Another hallmark is the spareness of his writing, not a wasted word or detail between the covers of what become as a result small masterpieces. Its not like putting together Lego, he agrees. You have to be very careful that you are weighing the words.

The phrase makes him remember something his mother once used. Shed found a wee dead bird. She picked it up and she said, youd have known by the weight of it that it was dead. He chuckles. And its the same with a story. You know whether you can accomplish it in six pages [as a short story] or whether it will take 200. And this one he points to the copy of Midwinter Break on the table between us is hefty material. It is about love and life and death and religion and what matters.

And then, of course, theres his other recurring theme, Ireland. All the novels nod to what is happening to Ireland, he agrees. Lamb [1980] was at the worst of the Troubles. Cal [1983] also had a downbeat ending, but then there were the ceasefires and things began to mend. So Grace Notes had an upbeat middle, and a downbeat end, or two endings. I was hedging my bets. And this one well, I mustnt say more about the ending, but Im mildly optimistic about Ireland. I dont think they are going to go back to slaying each other.

Midwinter Break by Bernard MacLaverty will be published by Jonathan Cape on 3 August (14.99). To order a copy for 12.74 go to or call 0330 333 6846. Free UK p&p over 10, online orders only. Phone orders min p&p of 1.99

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An ugly incident backstage could turn into charges… but first, we need to know who exactly is involved!

One problem: Mariah’s bodyguard wasn’t having any of it. When James tried to go in for a selfie with Mariah, the bodyguard

Drama, drama, drama!

Who do U believe, Perezcious readers?!

Let us know in the comments (below)!!!

[Image via ATP/WENN.]

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Well… give him credit for staying true to himself??

Last night, R. Kelly had his first concert since the ‘sex cult’ allegations came out over the last few weeks, and judging by his performance it’s very clear that the rubbing, touching, groping parts of his act are here to stay — no matter what.

Related: Another Woman Alleges R. Kelly Tried To Lure Her Into His Sex Cult!

The performer was singing in Virginia Beach, Virginia on Friday, and even though he referenced his recent troubles — saying cryptically that the “boss man” wanted him to tone things down — it’s clear that’s just not going to happen.

As he usually does, Kelly wasn’t shy about having female fans wipe sweat off his body, and he encouraged them to grab his crotch for good measure, too. Of course, there were still some female fans there in attendance, going crazy in the first few rows, but apparently Kelly couldn’t even fill HALF of the 20,000 seat venue!!!

It’d seem beyond the die hard fans, maybe people are finally starting to abandon him?!?!

Of course, he also went on stage 90 minutes late, and was then forced to end the show after less than an hour of performing, no thanks to a local curfew rule.

Still, that’s the least of R.Kelly’s problems right now — he’s going to need a lot more than a few adoring female fans to get out of all this sketchy sex cult shit!!!

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