Subtle, condescending sexist remarks such as “When are you going to have children?” and “You’d be so pretty, if you tried” are heard by women on a daily basis. Like water torture, what’s subtle and persistent can become debilitating over a lifetime.
Making things more difficult is the contradicting nature of many sexist clichés that women are subjected to starting in childhood, such as “Is that all you’re going to eat?” and “You eat a lot for a girl.” Then there are the big-time, nuclear bomb sexist remarks such as “Don’t be a slut” and “What were you wearing that night?” that are still shockingly common as well.
It’s hard for men to truly grasp this never-ending barrage of sexism because it’s not in their faces. That’s why The Huffington Postcreated the video “48 Things That Women Hear in a Lifetime* (*That Men Just Don’t),” in which women of all ages share the most common sexist comments they hear—but which men never do.
48 Things Women Hear In A Lifetime (That Men Just Don’t)
A great opera voice is a learned art, not a natural-born gift like other styles of singing. It takes discipline, physical training, and to truly wow the audience, the performer must be a great actor and athlete as well. “Singing opera is to ordinary vocal activity what distance running, triple-jumping and pole-vaulting are to ordinary exercise,” said Sir Antonio Pappano, music director of the Royal Opera House wrote for the BBC. “Which means that singers and, almost as important, those who teach them are locked in the same kinds of relationship that obtain between elite athletes and charismatic coaches.”
So what goes on inside of the head and throat of an opera singer while they perform? German baritone Michael Volle performed “Song to the Evening Star” by German composer Richard Wagner while inside of an MRI scan to give people a never-before-seen look at how an opera singer produces such a haunting sound. It’s a pretty freaky-looking image, but shows the amazing control these performers must have to hit such powerful notes.
Gruseliges Video: MRT-Aufnahmen von Michael Volle bei „Lied an den Abendstern“
The forests of Uganda are under severe threat. They are being lost at a rate of almost 2% a year and from 1990 to 2010, the country lost 31% of its forest cover – a reduction from 19,000 square miles to just 14,000.
Deforestation has been caused by a rapid population increase, climate change, agricultural expansion, logging, weak legal protections, and poor enforcement of the laws that are on the books.
However, Uganda is replanting some of its deforested areas thanks to the help of people who live 9,000 miles away.
In 2008, a program was launched in Wales to plant a new tree in the country every time a child is born or adopted. The program was named Size of Wales because the phrase is often used to describe large areas that have been deforested around the globe.
The was so successful that it hit its target goal of planting 7,700 square miles of new forest by 2013. In 2018, organizers decided they would keep the program going with a new goal. This time they would protect an area twice the size of Wales.
They chose Uganda because of its threatened forests, focusing specifically on an area known as Mbale in the eastern region of the country. Mbale is a large hilly area that is heavily deforested and suffers from irregular downpours that cause potentially fatal landslides.
via Government of Wales
Size of Wales works with the Mount Elgon Tree Growing Enterprise to distribute free tree seedlings to local villagers. The trees protect the villagers by helping to prevent soil erosion and their fruit provides a reliable source of food and extra income.
“For more than a decade Wales has developed and deepened its community-based links with sub-Sahara countries in Africa,” Jane Hutt, Wales’ Minister of Social justice, said in a statement. “This mutually-beneficial approach has long supported sustainable development and solidarity, of which we can be justifiably proud.”
Fantastic to see 15m trees planted in a heavily deforested area of eastern Uganda as part of our initiative to help… https://t.co/Fg8M1sATkq
The program which is funded by the long-standing Wales and Africa program has already planted 15 million trees. Now organizers have pledged to plant 3 million a year in Uganda to “support community resilience in the face of environmental challenges.”
“The Mbale Trees initiative is an example of what can be achieved when nations work together to combat climate change,” Julie James, Minister for Climate Change in Wales, said in a statement. “Our pledge to plant three million more every year for the next five years will deliver substantial benefits, not just for those within Mbale, but it will have a considerable global impact on climate change.”
Now whenever a child is born or adopted in Wales, two trees are planted, one in their home country and another in Uganda. Every child that helped contribute to the tree planting is given a certificate made of recycled paper that shows they helped make this incredible environmental accomplishment.
The Eye is a video series that hosts up-and-coming artists for in-studio performances in a gorgeously minimal environment, a set-up that truly lets the music shine. The latest performer to step behind the mic is Faouzia, who delivers stirring renditions of a couple of her premiere tunes, “Hero” and “Wake Me When It’s Over.”
The 21-year-old singer-songwriter was born in Morocco but moved to Canada when she was a baby. She showed tremendous promise as a teenager by winning a number of prestigious contests, like when she beat out 6,000 competitors to win Unsigned Only in 2017, becoming the first teen to emerge on top. She has managed to deliver on that potential and turn some influential heads, as she has collaborated with industry icons like John Legend, Kelly Clarkson, and David Guetta. Her talent has translated to commercial success as well: Her singles, some of which come from her 2020 EP Stripped, have charted in multiple countries.
As the title of Stripped suggests, the project features minimally arranged songs that put Faouzia’s voice front and center. Indeed, that’s what her The Eye performances deliver as well, as Faouzia’s vocal appeal is undeniable on her rendition of “Hero.” Here, the song is presented in a strikingly intimate arrangement, with Faouzia backed by just a piano as she confidently and passionately delivers her yearning lyrics. She brings a similar energy to “Wake Me When It’s Over,” which again proves that she has the powerhouse vocals to back up the emotional weight of her songs.
Faouzia’s piano-centric approach to her performances isn’t surprising, given that she started playing the instrument when she was 5 years old and went on to take 11 years of classical piano training, as she notes in an interview with The Eye. As for her vocals, she says that she taught herself how to sing, inspired by both pop artists and her Moroccan heritage: “I am self-taught and it was just by listening to amazing pop artists and being like, ‘How do they do that with their voice? I want to learn how to do that with my voice.’ And also listening to Arabic artists because I am from Morocco, so that was a huge part of my life, too. So having those two worlds meshing together and blending is what makes me who I am today.”
It’s unique perspectives like this that bring intrigue into the pop sphere, a space that Faouzia seems set to comfortably call home for years to come.
Watch Faouzia perform “Hero,” “Wake Me When It’s Over,” and “Paparazzi” for The Eye above.
Faouzia is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
If Rihanna is any proof, the pop-musician-to-makeup-guru pipeline is still going strong. After musicians like Halsey and Selena Gomez attempted to break into the beauty industry with their own lines of makeup, Ariana Grande is following in their footsteps. The Positions singer is looking to expand her influence with the cosmetic brand R.E.M. Beauty. And while she hasn’t revealed many details about the products, Grande just shared a video teaser pointing to an impending announcement.
The teaser is only a few seconds long and doesn’t give an idea of what the makeup will actually look like, but it does give some insight into Grande’s targeted aesthetic. The five-second clip shows an upside-down Grande sporting white go-go boots and holding her head in front of a vintage TV. All signs point to Grande pulling influences from the ’60s for her beauty line, including a sample of Walter Cronkite’s iconic sign-off when the Apollo 11 crew arrived back on Earth from the moon landing, “The lunar age has begun.”
So far, Grande hasn’t released very many details about R.E.M. Beauty, other than a vague Times Square billboard and an Instagram account that already has over a quarter-million followers without any posts. But the singer did recently release her brand of vegan, cruelty-free fragrance, God Is A Woman. The scent’s packaging described it as “a soft opening of juicy pear and ambrette” that evolves into “a wonderfully sensuous floral heart of Turkish rose petals, paired with divine orris.”
While COVID safety was the concern that kept artists off the road in 2020, Trippie Redd’s Trip At Knight tour faced an entirely different security scare last night. The Baltimore Sun newspaper reports that Trippie’s tour bus was shot by a passing car on the way to the Baltimore-Washington International Airport after his show at MECU Pavilion.
According to the Sun the bus was shot multiple times on the passenger side at around 2:45 am, wounding the driver, who was still able to pull the bus over at BWI. He was taken to a hospital for treatment. While officials wouldn’t say whether Trippie himself or any of the other performers were aboard, the report does confirm that crew members from venue were. None of the other passengers were injured and while police cordoned off the area and investigated, no arrests or charges have been announced as yet.
Trippie is currently touring to support his new album, Trip At Knight, which released August 20 via 10K Projects and contains features from Trippie’s fellow SoundCloud Rap contemporaries like Juice WRLD, Lil Uzi Vert, Playboi Carti, and Ski Mask The Slump God. It received additional attention, though, for the song “Betrayal” featuring Drake, on which the guest rapper apparently restarted his feud with Kanye West, to Trippie’s own surprise. The younger rapper admitted he had no idea Drake dissed Kanye on the song, but considering all the extra streams the moment probably brought him, he’s probably not all that perturbed by it.
Star Trek: Picard is boldly going where most Star Trek series have gone before: straight on ahead to its third season. At last night’s annual Star Trek Day celebration, Picard lead actor Patrick Stewart announced the series has officially been renewed for a third season over on Paramount+. While The Hollywood Reporter was quick to note Star Trek: Picard was technically renewed back in January 2020 as part of its two season order, Stewart’s announcement marks the first official confirmation that the network is going ahead with the series.
According to reports, CBS Studios and showrunner Terry Matalas are scheduled to begin production on Star Trek: Picard season 3 back-to-back with season 2 in a “bid to control costs and accommodate production schedules.” The studio also confirmed the writers room for season three has been “up and running for more than a year.”
As of right now, Alison Pill, Isa Briones, Evan Evagora, Michelle Hurd, Santiago Cabrera, Jeri Ryan, Orla Brady, John de Lancie, Annie Wersching, Brent Spiner, and the one and only Patrick Stewart are all confirmed to be returning to the series for both its second and third seasons. Alex Kurtzman is still attached as the show’s producer, with Alex Kurtzman and Matalas still on board as showrunners.
Star Trek: Picard is merely one of the many Star Trek original series being produced by Kurtzman as part of a nine-figure deal with CBS Studios. Also in the works right now are Star Trek:Discovery, the animated adult comedy Lower Decks, a Nickelodeon children’s series, Star Trek: Prodigy, and the upcoming Strange New Worlds. For all those simply sticking to Picard, the series is set to return for its second season February 2022.
Cincinnati Bengals wide receiver Ja’Marr Chase’s life in the NFL has gotten off to a bit of a tricky start. The No. 5 pick in the 2021 NFL Draft has shown that some rust developed from not playing college football last season, as the sure-fire hands that made him such a dangerous threat in LSU’s national championship-winning offense in 2019 haven’t quite caught up to this level of football yet.
“The ball is different because it is bigger,” Chase said. “It doesn’t have the white stripes on the side so you can’t see the ball coming from the tip point so you actually have to look for the strings on the ball at the top, which is hard to see because whole ball is brown and you have the six strings that are white. But for the most part, just have to get used to it and find out what I am comfortable with catching.”
Let’s head to the rule books to get to the bottom of this. Here is what the NFL’s official rules say:
The ball shall be made up of an inflated (12 1/2 to 13 1/2 pounds) urethane bladder enclosed in a pebble grained, leather case (natural tan color) without corrugations of any kind. It shall have the form of a prolate spheroid and the size and weight shall be: long axis, 11 to 11 1/4 inches; long circumference, 28 to 28 1/2 inches; short circumference, 21 to 21 1/4 inches; weight, 14 to 15 ounces.
It sounds a bit silly on the surface, but Chase is correct about the adjustment. The good news is that the Bengals seem confident that he’ll make it, and Joe Burrow will eventually get to a point where he’s throwing deep balls to his favorite target from his days at LSU again.
Either Donald Trump has finally realized that running for president in 2024 would be a terrible idea, or he’s accidentally begun cultivating a career as some sort of half-witted raconteur. Just hours after announcing that he’ll be commemorating the 20th anniversary of 9/11 by providing color commentary for Saturday’s Evander Holyfield fight, the former president popped up on Fox News, where he had his ass kissed was interviewed by Greg Gutfeld.
As if Gutfeld’s squirm-inducing obsequiousness wasn’t enough to make you want to poke your ears and eyes out with a blunt instrument, Fox News wanted to make sure that no one misunderstood how Team Trump they really are… by adding a bizarre laugh track to the Q&A.
When Gutfeld launched into his line of hard-hitting questions, like what Trump—the man who suggested we all drink bleach to take care of the COVID problem—would tell the Fox News host’s unvaccinated wife about getting a jab. Trump’s response:
“Well first of all I’d say, why is she not doing it? Does she have some kind of religious thing?”
Huh?
When Gutfeld admitted that it was simply because his wife is skeptical of the opinion of medical experts, Trump—Freud incarnate—remembered something about Gutfeld’s spouse: “Well, she’s Russian? That’s the end of that.”
Cue the uproarious laughter.
Fox News
Gutfeld asks Trump what he’d say to Gutfeld’s wife to try to convince her to get vaccinated (he announces she’s unvaccinated). Trump responds by saying he recommends she get vaccinated but if she doesn’t want to, that’s okay too. pic.twitter.com/rrn010vS4o
Trump then went off on one of his babbling rants where he’s trying to talk about history and using words that he doesn’t understand (hey, two syllables can be tough). Fortunately, no one was listening, as it was impossible to hear over the computerized hysterics happening in the background. Honestly, if you muted the sound, it would be hard to know whether Gutfeld was laughing, having a stroke, or had accidentally just sharted.
Fox News
The set got even more slap-happy when Trump started talking about the Taliban, which, let’s face it, is always a laugh-out-loud topic.
Somewhere in the Fox News studios, the echoes of Gutfeld’s maniacal laughter is still ringing. Then again, it’s just these sorts of hijinks one should expect from a man with an exclamation point in his show’s title!
Lucifer: The Final Season arrives this week for one final dance with the devil to add up to six seasons of the Neil Gaiman-created leading character, who’s portrayed to gloriously saucy effect by Tom Ellis. Three of those seasons are a testament to Netflix’s ability to successfully resurrect after a network (in this case, FOX) gave up on a fan-favorite property. Mr. Morningstar has progressed down quite a path, too, with one of those stories that started out as a procedural show with a supernatural bent. Then the show grew more character-based, with the stakes growing ever more ridiculous but all the more engrossing. This year, Satan has (absurdly, but does it really matter?) ascended to being God, and there’s the whole apocalypse thing waving around, but most importantly, the show has convinced me that there’s an instance where Unresolved Sexual Tension (UST) can be resolved without ruining a dynamic for viewers.
Yep, I’m talking about UST here. That silly term that dates back to The X-Files, which (I believe, and correct me if I’m wrong) actually put an acronym on it for the fandom. Nowadays, the kids describe the act of rooting for UST to be resolved as “‘shipping,” and people get awfully invested in this stuff, but The X-Files certainly wasn’t the first show in which the concept surfaced. Several decades have built upon the will-they-or-won’t-they aspect of whether good friends (often colleagues who spend an inordinate amount of time together solving mysteries) will finally capitalize upon their chemistry and fall into bed together. Viewers get invested in this type of set-up, which is why we see it happen endlessly, for better or worse. When it comes to long-running series, I’m here to say that, more often than not, I’ve been disappointed in the results of said hookup.
FOX
For simplicity’s sake, let’s give a mention to FBI Special Agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson). For eleven seasons (including a so-so revival effort) and two movies, the polar opposites became trusted partners and friends and lovers and ex-lovers and the parents of a child amid multiple instances of alien abduction. Ultimately, I found that the actual pairing wasn’t nearly as heat-filled (and that link refers to an episode that Anderson directed) as their apparently romantic and sexual chemistry (and fan-fiction) would lead one to believe. I mean, it was disappointing to me (and maybe that’s because the show once suggested that Mulder would die of autoerotic asphyxiation, which is… something), but I don’t want to dive too deep on the mechanics of the pairing — although, damn, it seemed mechanical — because ultimately, this is a piece to celebrate the unlikely victory of Lucifer‘s effective resolution of UST.
Still, let’s look at one more case of a TV pairing (a currently running one this time) that’s dancing awfully close to the same flame. This involves Chris Meloni’s return to the Law and Order universe with his Elliot Stabler-focused spinoff, Organized Crime. For a good decade or so, Stabler and Benson put sexual offenders behind bars on SVU before Meloni’s contractual dispute led Stabler to evaporate from NYC and Benson’s orbit. He surfaced a decade later, and Liv’s understandably rattled. They’ve got undeniable chemistry, although they seemed safe from falling prey to temptation because Stabler was happily married and would never cheat. That won’t do for fandom, though, so the show did some service by killing off Stabler’s wife, which is a sad enough development already, but then Stabler’s going off the rails in his quest for vengeance. That eventually led to an intervention by his kids and Olivia, and then he dropped that “I love you” bomb. No one knows if he meant to say that to Liv, and it was left ambiguous, so [big sigh].
NBC
This, actually, was a coupling that I mildly rooted for to happen, but now that we’re on the cusp of it all, with Stabler and Olivia finishing up last season on another SVU crossover episode where they’re wistfully staring into the sky together while attending a wedding for Ice-T’s character, I find myself thinking, “Oh please, TV gods, don’t let this happen.” There’s simply been too much buildup, and these two would seriously get on each other’s nerves after a while. Stabler likes the old-fashioned relationship vibe with his wife holding down the fort, and Olivia’s blissfully independent. He might think that he needs her, but she won’t need him for sure, and yeah, this sh*t would be a mess. Don’t do it, Dick Wolf and company.
The problem, quite often, is that the magic of UST is in its unresolved nature. There’s a heat there that threatens to evaporate when the coupling finally happens. Yet Lucifer has changed my mind about how UST can be resolved in a fulfilling way for both characters and audience. And I realize that talking about other shows is an unorthodox way to recommend watching a different show, but UST resolution is a large part of what this Netflix series has to offer to the skeptical.
What I’m saying is this: I was prepared for enjoying Lucifer already on a few fronts: (1) The procedural framing of the show, which has (in the later seasons) taken an increasing backseat, although damn, it’s highly enjoyable to watch the Devil decide to be an LAPD detective because he’s bored with Hell and gets his jollies from solving human crimes; (2) It’s a Neil Gaiman property, which means the characters are drawn in such a way that you can appreciate their most superficial and deepest qualities in equal measure; (3) It’s simply a fun show, and one that makes great use of the most ridiculous fantasy elements imaginable, including warring angel-and-devil wings.
The UST factor, though, is what (surprisingly) make this show the long-game standout. At first, though, I groaned over how both Lucifer and Chloe danced around each other as “co-workers,” before their undeniable physical chemistry evaporated every time because she’d catch him having sexy times with a stewardess or whomever. And boy, did I roll my eyes at Chloe’s origin story, which was that she was created for Lucifer. That pissed her off for a short period of time, and then she somehow didn’t mind it. I wanted more for Chloe and actively cringed as it became inevitable that they’d sleep together.
Warner Bros./Netflix
Yet when they did fall into bed in Season 5 (relatively late in the game, so kudos to the writers for drawing it out that long), the fallout for Lucifer was spectacular and hilarious. Chloe walked away with his “mojo” power, and he was left scrambling without it. And she could even use the mojo against him, which was delightful. There’s nothing more disarming than a sputtering Tom Ellis, after all, and eventually, he got that mojo back, but he appeared to have walked away while learning a lesson, one that has reverberated into this final season: being a pain-in-the-butt is highly overrated. And it’s a waste of energy. There are more important and rewarding endeavors, and that’s part of what the final season is all about.
We see Lucifer transform, and the writers really do the leg work. He’s still a bit of a dick, yes, but he’s somehow a genuinely good “person.” It took six seasons for the show to make that reveal, and he makes grand sacrifices and learns to stop putting himself first in this final season. He does this not only out of love for Chloe but for other, spoiler-y reasons, but chief among them: the resolution of the Unresolved Sexual Tension took Lucifer other (unlikely) places beyond the carnal. The UST was actually a building block to better places, so the show turned out to be a lot less shallow than expected, and that goes for other characters, too. Major props go out to Warner Bros. for being able to wrap up this show with a surprisingly profound ending to what originally began as pure fluff.
At the heart of it all, the UST managed to take the show to unexpected places and far beyond the sexual realms. Instead of fizzling out of energy, like what can happen when two ‘shipped characters finally give in and sleep together, these characters went to more interesting new heights. And that, somehow, extended to supporting characters, too. Lucifer’s messy therapist gains dimension. Eve and Lilith and Amenadiel find purposes beyond their initial supernatural intent, the forensic-team characters find purposes beyond the obvious (Ella Lopez is still great), and somehow, this show gets deep, even addressing the Black Lives Matter movement in a fitting way. The new layers and texture all feel earned, too, rather than tacked on for a final, initially unplanned season that could have simply been fan service and gotten away with it.
Ultimately, lots of credit goes to Netflix for picking up a network-canceled show and giving it three more seasons while making it a series that got better with time, churning out mythology and moving past its initial gimmicks to give us characters worth caring about. And heck, I cried (a tiny bit) at the end. Got all emotional about the Devil and his friends and enemies, and yep, I’ll miss them all. Lucifer turned out to be a much better show than it ever needed to be, and the final season is a downright pleasure to witness.
Netflix’s ‘Lucifer: The Final Season’ streams on September 10.
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