PDF Modern Divas Boxed Set: Women of Substance Behind the Sex, Scandals and Controversy

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Quentin Tarantino on Uma Thurman, Kill Bill Crash & Harvey Weinstein – Deadline

Ward, a portly, bearded introvert better positioned for the drawing board than the microphone, started to get weary. As you can tell from the show, Pen is a sensitive guy. He needed to step back, for his own sanity. Good poetry is like that. Penn is letting that happen. That also made him retreat from the pressures of fame. He was a young, quiet, shy artist who just wanted to draw and tell stories. The challenge for our specific U. He recalled a conversation with Tom Kenny, who voices the Ice King.

Osborne does the voice for Joshua. You know? And again, it charted. Paul is hardly the first entertainer to be loved by the kids for unclear reasons, but he is somewhat novel in the fact that his product is himself — and that before YouTube, he could have never become successful in this specific, multidisciplinary way.

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But his success potentially augurs a future where every teenage-ish idol with decent engagement numbers will be enticed to write some raps — no matter how bad — and reap the potential rewards. If it beggars belief that someone like Jake Paul can inspire such unending devotion, this confusion is the point.

For the half of the year that the singer, songwriter and pop savant Charli XCX lives in Los Angeles and not her native London, she stays in an old Tudor-style house up a canyon in Hollywood. When I arrived there on a recent Monday morning, one of her housemates — an old high school friend named Katie Rowley, whom everyone calls Twiggy — greeted me at the downstairs gate.

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After showing me around the house, she made us tea. Charli was busy around the corner, in the breakfast nook. In high school, they were on the same netball team. Charli played midfield and was very good, and she was moved up to a wing attack position. This made perfect sense: Charli is excellent at assists. The song helped her break through as a solo artist, but it marked her.

But having a hit like that helped her better understand her own relationship to fame and success. She canceled a tour and began logging more and more studio time, writing constantly — for Gwen Stefani, Rihanna and, more recently, Blondie — while surrounding herself with producers who made the kind of music she heard at 4 a. Charli, in many ways, is both the genius behind and the one in front, writing songs and shaping sounds for herself and for others.

But the studio, and what happens inside it, are misunderstood by the rest of us, she said. When I asked her what she thought people often got wrong, she pointed to the popular idea that hits are, essentially, written by committee. There are so many production credits. Charli has always juggled pop instincts with her slightly stranger, less crowd-friendly inclinations — with the kind of sounds she encountered at 4 a.

For much of her career, these twinned tendencies toward and away from pop have been in conflict. She wrote megahits while her albums were indie darlings. But last year felt like a true arrival, or emergence, where song and sound were perfectly married. Later in the summer, she and her frequent collaborator and producer A. We were sitting out in the courtyard; inside, Twiggy was D.

I remarked that she seemed more interested in the process of song-making than in the result. I like going places. By which she meant: the studio.

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  • She was going back later that day, with Cook and Petras. But Charli wanted to highlight the more dance-friendly number, which features Tove Lo and Alma, Swedish and Finnish singer-songwriters, who dominate the first verse, the hook and the chorus, all before Charli even arrives to sing. It was just in her nature. She was a wing attack. She gave assists.

    Matter of fact, Glacier Boy Blue. Print that! Drake, Nicki Minaj and Kanye West are among the stars he counts as fans and collaborators; Migos, Young Thug and 21 Savage are among the younger chart-toppers who owe him debts. Gucci Mane is also a recovering drug addict, busy rebuilding a life he came close to destroying. This is a different Gucci Mane from the one who rose to prominence a decade ago. A series of assault and weapons- and drug-possession convictions put him behind bars for years at a time; he lost his major-label contract with Atlantic.

    He created mixtapes high, offsetting grimy drug-dealing vignettes and brags of sexual domination with virtuosic wordplay and off-kilter humor. He went on engrossingly candid, unabashedly nasty Twitter tirades. In , he tattooed his face with a triple-scoop ice cream cone topped with lightning bolts — a move that, in its combination of whimsy and possible derangement, inspired a queasy titillation in fans uncertain whether to be concerned or delighted.

    One thing that old Gucci and rehabilitated Gucci share, though, is a feverish productivity; in the last year and a half alone — re-signed to Atlantic — he has put out six albums.

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    Addicts commonly figure into hip-hop lyrics, but typically as objects, not subjects. I brought up the once-paradigmatic hip-hop figure of the unflappable hustler — never under the influence, always in control — epitomized by New York dealers-turned-rappers like Jay-Z and 50 Cent. Soulja Slim. Geto Boys. But it was survival. Gucci pleaded guilty to criminal charges but has disputed her account.

    He frowned, searching for a different way to put it. Might never get out because of things I did. Videographer: Kenny Suleimanagich. Editor: Steven Rico. Stylist: Jason Rembert.

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    Groomer: Marcos Reggae Smith. F or a brief time, I lived near a black gospel church on the southeast side of Columbus, Ohio. When I say I lived near it, I mean that I lived above it, and this is how I knew that it was a black gospel church. I would be awakened on Sunday mornings by a uniform trembling of the floor — the kind that comes only when people clap their hands in unison or stomp their feet in a chorus of sound, when the wave of praise hits every spirit at once and has to find a way out.

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    My mattress was on the floor, and I was sometimes sprawled across it diagonally or sometimes sprawled across it with my clothes from the night before still on. When the floor trembles with something holy and the vibrations rise into a body that is unholy, it is easy to convince yourself that you are being saved. Baker is a year-old singer from Memphis who grew up in the church. Baker is openly gay, and inside her work is a tension between belief and doubt — the joy of praise and the sometimes plain sadness of living.

    Baker sounds as if she believes she is singing to a higher power that might actually answer her back. Her voice pulls the stars down and makes you think they are each named for a moment you cherished but thought you would never touch again.

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    • There was a time, when I was growing up, when contemporary Christian music relied on thinly vague sentiments to find a home on the popular charts. Bands like Lifehouse wrote love songs to a God who could also be a wife who could also be a mother.