text:
Hong Kong's Umbrella Movement and Beijing's Failure to Honor the Basic Law
Michael C. Davis
Oct 29 2014 • 3800 views
Image by Pasu Au Yeung
Over the past few months, Hong Kong has been deeply embedded in political change and protests. These debates and confrontations in Hong Kong have had a particular constitutional character grounded in disputes over interpretation of the Hong Kong Basic Law's constitutional text. [1] Recent actions initiated by Beijing have, in the public eye, called into question solemn commitments made to Hong Kong under the "one country, two systems" model promised in the 1984 Sino-British Joint Declaration. [2] A series of reports and decisions issued this past year have been the source of public discontent. This paper will consider these causes and suggest avenues to a solution going forward.
The recent protests in Hong Kong have largely been driven by the Hong Kong Basic Law, which provides in Article 45 an "ultimate aim" of universal suffrage in Hong Kong. These disputes over democratic development are grounded in Article 31 of China's 1982 Constitution, which provides for a "one country, two systems" model for China to resume sovereignty over peripheral areas. [3] This model has so far been applied to Hong Kong and Macau, and is on offer to Taiwan.
For Hong Kong, this model took on precise international legal form in the 1984 Sino British Joint Declaration, which is a treaty fully registered with the United Nations by both parties. The Joint Declaration provides for the return of Hong Kong to China under a model that includes Hong Kong people ruling Hong Kong with a "high degree of autonomy, except in foreign and defense affairs." [4] To sustain this autonomy, the Joint Declaration provides guarantees of democratic reform, human rights, and the rule of law, and further stipulates its content into the Hong Kong Basic Law. [5]
The Hong Kong Basic Law was promulgated in 1990, and came into force in 1997 upon the handover. The Joint Declaration's requirement that the legislature be chosen by elections, and the chief executive by "elections or consultations to be held locally," took shape in Basic Law democratic reform commitments. Articles 45 and 68 of the Basic Law provide for gradual and orderly progress with the ultimate aim being universal suffrage to elect both the chief executive and the legislative council. This is accompanied by the promised guarantee of maintaining Hong Kong's existing legal system and a catalogue of liberal human rights, as stipulated in the Joint Declaration. Of particular contention over recent months has been that Article 45 of the Basic Law provides that "The ultimate aim is the selection of the Chief Executive by universal suffrage upon nomination by a broadly representative nominating committee in accordance with democratic procedures."
In 2007, the National People's Congress Standing Committee (NPC Standing Committee) issued a decision declaring that the ultimate aim of universal suffrage provided in the Basic Law could be achieved in the 2017 election of the chief executive and, after that, in 2020 for the legislative council. [6] The failure of Beijing to fully carry out this commitment has been the source of recent protest in Hong Kong. This failure has raised concern over Hong Kong's high degree of autonomy and rule of law that go beyond the mechanics of electoral democracy. The 2007 NPC Standing Committee Decision also indicated that the nominating committee "may be formed with reference to" the existing Election Committee that has elected the first three chief executives. [7] That the Election Committee is generally considered a heavily pro-Beijing body led to the suspicion that Beijing intended to manipulate the nomination process.
The Summer of Discontent
Two documents issued by Beijing have been the source of public discontent over recent months. On June 10, 2014, the People's Republic of China (PRC) State Council issued an unexpected White Paper on the "one country, two systems" policy applied in Hong Kong. [8] This was followed on August 31, 2014, by the NPC Standing Committee Decision on Election of the Chief Executive and the Legislative Council. [9] The NPC Standing Committee Decision imposed a system of vetting candidates to present to the voters that appeared to undermine the Basic Law promise of universal suffrage.
These documents combined to cause great public concern that Beijing is rolling back the commitments in the "one country, two systems" model in Hong Kong. The first response was a boycott of classes by university and secondary students. Student protesters from the boycott and the group called Occupy Central in Love and Peace (hereinafter "Occupy Central") combined to mobilize protesters to block the streets of the central commercial districts in Hong Kong. The public outrage over these Beijing moves, some preliminary reports by the Hong Kong Government, and some heavy-handed police tactics using tear gas brought tens of thousands of protesters to the streets. As reported around the world, protesters occupied and blocked key street arteries near the government offices in the Admiralty area near Central Hong Kong and in the dense commercial districts of Mong Kok and Causeway Bay. [10]
The reform discussions giving rise to these protests got started in 2013, with the Hong Kong Government scheduling a five-month consultation over democratic reform. [11] Such political reform was to be in furtherance of the Basic Law commitment to universal suffrage and the 2007 NPC Standing Committee Decision signaling it could go forward. The protesters also got an early start. Early in 2013, the Occupy Central movement proclaimed it would launch a campaign of civil disobedience to occupy Central Hong Kong if the Government proposal for democratic reform did not match international standards. [12]
As the Government's five-month consultation began in early 2014, issues began to take shape as various groups submitted their proposals for democratic reform to the Hong Kong Government committee set up to conduct the consultation. [13] This committee was lead by the number-two official in the Hong Kong Government with two key ministers rounding out the committee of three. Distrustful of Beijing's intentions, student groups and democratic politicians demanded a system of civil or party nominations to nominate the Chief Executive candidates to be presented to the voters. Though these proposals generally accepted that any such civil or party nominations had to pass through the nominating committee provided for in the Basic Law, the idea was generally that nomination of candidates with sufficient popular and/or party support would be binding to the nominating committee. Some so-called moderate proposals avoided the Basic Law challenge by advancing civil recommendations not binding to the nominating committee.
During the five-month consultation, a parade of Beijing officials, their political supporters, and some local officials lectured Hong Kong on their Beijing-friendly views of Basic Law requirements. Civil and party nominations were condemned as violating the Basic Law Article 45 requirement of nomination by a "broadly representative nominating committee in accordance with democratic procedures." Beijing and Government officials insisted that the nominating committee's powers must be substantive. Hong Kong was told that any candidate for chief executive "must love the country and love Hong Kong," an expression widely viewed as excluding candidates from the more popular pan-democratic camp. Pro-Beijing submissions to the consultation suggested that the nominating committee be roughly based on the existing Election Committee, a committee largely made up of Beijing supporters that was used to elect the first three chief executives. A fifty percent threshold for nomination was promoted and suggestions were made that the number of candidates nominated be limited to two or three. [14] Democrats suspected these proposals aimed to set up a system to vet candidates and exclude pan-democrats.
At the end of the consultation, the White Paper set the tone of the debate to follow. Though it said little about democratic reform, it clearly sent the message that Beijing is the boss. This tone greatly contrasted with the message given earlier to Hong Kong people in conjunction with the Joint Declaration and the Basic Law. Hong Kong investors and people were told throughout the handover period to "put their hearts at ease." [15] These earlier documents were also taken by Beijing to the capitals of the world to invite foreign governments to treat Hong Kong separately for purposes of commercial and other external relations outside mainstream foreign policy and defense.
In a sharp change of tone, Hong Kong people were now being told in the White Paper that all authority for the Hong Kong model comes from Beijing. Some Hong Kong people were said to have "confused and lopsided" views. The White Paper appears to nearly dismiss the continued importance of the Sino-British Joint Declaration, claiming Beijing as the sole authority for the "one country, two systems" policy. As the sole source of this policy, Beijing was said to have the authority to interpret or amend the Basic Law as it chooses. In a surprising claim, given the lack of the rule of law on the mainland, the NPC Standing Committee is now identified as the guardian of the rule of law – a role most Hong Kong people associate with the Hong Kong courts. Over the strong objection of the Hong Kong Bar Association, judges are characterized as administrators and are expected to be patriots and guardians of national security. In a signal of what would come in the NPC Standing Committee Decision, the pro-Beijing Election Committee is characterized as "an expression of equal representation and broad representativeness."
Adding to Hong Kong's anxiety, the mid-July Consultative Report [16] and the Report of the Chief Executive to the NPC Standing Committee [17] on the need to change the method for electing the chief executive were generally thought to misrepresent and distort popular Hong Kong views. This distortion tracked a long-held perception in Hong Kong that the Hong Kong Government generally represents Beijing more than it does Hong Kong. Regarding the consultation, the reports indicate that "mainstream opinion" favors exclusive power to nominate candidates in the nominating committee, that the "community generally agrees the Chief Executive should love the country and love Hong Kong," that "relatively more views" agree the nominating committee should be formed like the current Election Committee, and that "quite a number of views" suggest candidates must obtain the support of a "certain portion" (meaning 50 percent) of the nominating committee to show "cross sector support" in the committee. No mention is made of the nearly 800,000 voters who effectively rejected all of these positions in a civil referendum organized by Occupy Central. Academics later reported that over 90 percent of the submissions considered by the Consultative Committee came from block submissions from the pro-Government camp. Conveniently, no effort was made to look beyond these submissions to more accurately gauge community sentiment.
The NPC Standing Committee accepted the Government reports without question and issued a very conservative decision noted above. That decision adopted the "number of members, composition and formation method" of the Election Committee as the basis for forming the nominating committee, required a 50 percent threshold for nomination by the nominating committee, and limited the number of nominees to two to three. The nominees are required to "love the country and love Hong Kong." These devises under the control of a very conservative pro-Beijing nominating committee will effectively block any pan-democrat from nomination.
In blocking opposition candidates, Beijing dismisses the widely recognized international view that universal suffrage requires not only that everyone can vote, but also that they be given a free choice of candidates, without discrimination for political opinion or otherwise. These requirements were outlined by the Human Rights Committee of the International Covenant on Civil and Political Rights (ICCPR) in its General Comment number 25 on ICCPR Article 25. [18] Beijing has claimed that there are no international standards for elections.
In taking such liberty with the term universal suffrage, the Standing Committee not only undermines Hong Kong's democratic development, but also clearly puts the rule of law in jeopardy. In simple terms, the rule of law requires that nobody is above the law and everyone is subject to the law applied in the ordinary manner. A central government that can take such liberty with terms such as universal suffrage that protect core human rights is clearly operating above the law. In this sense, the NPC Standing Committee Decision appears to exercise the broad authority claimed in the White Paper.
Popular Sentiment and the Looming Outcome
All of these moves generated the fierce public objection evident in the Hong Kong protests and occupation. Many Hong Kong people fear their core values of the rule of law, democracy, and human rights promised in the Basic Law are now being undermined. The widespread participation in the civil disobedience movement led by student activists and Occupy Central tends to demonstrate the gravity of this concern.
Civil disobedience has never been widely practiced in Hong Kong protests. The ongoing protests to the date of this writing have remained peaceful, though the police have used tear gas and anti-occupy demonstrators have used some violence against the pro-democracy protesters. These protests have involved a competition between the protesters and the Government for the hearts and minds of Hong Kong people. A Government that has generally been seen as representing Beijing over Hong Kong people and that issued the recent misleading reports has, to date, been losing the battle for hearts and minds. But the obstructions to daily life caused by the occupy movement, if allowed to persist, may tilt the scales back the other way.
Regardless of the outcome, it seems clear that trust in both the local and Beijing governments has been severely damaged. The public takes a dim view of the many official statements that misrepresent Basic Law guarantees and social reality. Since there is the widespread view that Beijing is unlikely to back down in the face of protests, it rests on the Hong Kong Government to redeem the Government's image. So far, the Government has made little effort to do so. After the disastrous use of tear gas by the police, the Government took a more passive "wait and see" approach. Government leaders first scheduled and cancelled talks with the student leaders. Then, after further protest, talks were held openly in a televised broadcast on October 21, 2014, though both sides mostly just restated their position with no significant compromise.
To redeem the Government's image, much more is required. The Government should be seen to take on board the important public concerns over the threat to core Hong Kong values and Basic Law commitments evident in the Beijing White Paper and NPC Standing Committee Decision. The Government should submit to the NPC Standing Committee an addendum to the earlier Hong Kong Government reports to more accurately reflect local views. [19] The Government should be seen to work with Hong Kong democrats to come up with a solution that opens up the electoral process to meet international standards.
The protesters have insisted on resignation of the current Chief Executive and Beijing's withdrawal of the NPC Standing Committee Decision. While the Chief Executive's resignation is desirable, it would not fully address the current impasse. Beijing is not likely to simply withdraw its decision in the face of protests. Avenues to regaining public trust will not fully be explored without a fundamental change in Hong Kong Government policy to more proactively defend Hong Kong's autonomy and represent public concerns. More honesty in official representations would be a good starting point. None of this would require directly confronting Beijing, but merely a better effort to secure Hong Kong's interests. Then avenues to build trust and secure Beijing's willingness to revise its decision might be explored. The autonomy model that has long served both the interests of Hong Kong and Beijing presumes such an intermediary role for the local government, a role that has long been in short supply. Such a moderate approach would clearly serve Beijing's interests better than the confrontational approach taken to date.
[1] The Basic Law of the Hong Kong Special Administrative Region of the People's Republic of China, 1990, came into force, July 1, 1997. (hereinafter "Basic Law") http://www.basiclaw.gov.hk/en/basiclawtext/
[2] Joint Declaration of the Government of the United Kingdom of Great Britain and Northern Ireland and the Government of the People's Republic of China on the Question of Hong Kong, 1984. (hereinafter "Joint Declaration") http://www.legislation.gov.hk/blis_ind.nsf/CurAllEngDoc/034B10AF5D3058DB482575EE000EDB9F?OpenDocument
[3] Constitution of the People's Republic of China, 1982. (Hereinafter "PRC Constitution") http://www.npc.gov.cn/englishnpc/Constitution/node_2825.htm
[4] Joint Declaration, Article 3(2).
[5] Id., Article 3 and Annex I. The stipulation in Article 3(12) includes both the requirements of the Joint Declaration and the lengthy Annex I, which elaborates the commitments of the main text.
[6] Decision of the Standing Committee of the National People's Congress on Issues Relating to the Methods for Selecting the Chief Executive of the Hong Kong Special Administrative Region and for Forming the Legislative Council of the Hong Kong Special Administrative Region in the Year 2012 and on Issues Relating to Universal Suffrage, Adopted by the Standing Committee of the Tenth National People's Congress at its Thirty-first Session on 29 December 2007. (2007 NPC Standing Committee Decision) http://www.fmcoprc.gov.hk/eng/syzx/tyflsw/t944943.htm
[7] Id. Section 4.
[8] The Practice of the "One Country, Two Systems" Policy in the Hong Kong Special Administrative Region, The Information Office of the State Council, June 10, 2014. (Hereinafter "White Paper") http://www.fmcoprc.gov.hk/eng/xwdt/gsxw/t1164057.htm
[9] Decision of the Standing Committee of the National People's Congress on Issues Relating to the Selection of the Chief Executive of the Hong Kong Special Administrative Region by Universal Suffrage and on the Method for Forming the Legislative Council of the Hong Kong Special Administrative Region in the Year 2016, Adopted at the Tenth Session of the Standing Committee of the Twelfth National People's Congress on 31 August 2014. (hereinafter "NPC Standing Committee Decision") http://www.scmp.com/news/hong-kong/article/1582245/full-text-npc-standing-committee-decision-hong-kong-2017-election
[10] See eg. Chris Buckley and Michael Forsythe, "Hong Kong Police Remove Barriers and Protester' Encampment," New York Times, October 14, 2014. (reporting on police efforts to end the protest and occupation)
[11] Method for Selecting the Chief Executive in 2017 and for Forming the Legislative Council in 2016, Hong Kong Special Administrative Region Government, Consultation Document, December 2013. http://www.legco.gov.hk/yr13-14/english/panels/ca/papers/ca1209-cdoc20131204-e.pdf
[12] "Occupy Central with Love and Peace," Wikipedia, 2014. http://en.wikipedia.org/wiki/Occupy_Central_with_Love_and_Peace
[13] See generally, Centre for Comparative and Public Law, University of Hong Kong, "Universal Suffrage and Nomination Procedures: Imperatives from Article 25 ICCPR," Background Brief, March 20, 2014. http://www.law.hku.hk/ccpl/events/Background%20Brief%20(Universal%20Suffrage%20and%20Nomination%20Procedures%20-%20Imperatives%20from%20Article%2025%20ICCPR)%20(Updated).pdf
[14] Id., Document 14.
[15] Steve Tsang, A Modern History of Hong Kong: 1841-1997 (London: L.B. Tauris & Co., 2007 ) at p. 215.
[16] Report on the Public Consultation on the Methods for Selecting the Chief Executive in 2017 and for Forming the Legislative Council in 2016, Government of the Hong Kong SAR, July 2014. http://www.2017.gov.hk/en/report/
[17] Report by the Chief Executive of the Hong Kong Special Administrative Region to the Standing Committee of the National People's Congress on whether there is a need to amend the methods for selecting the Chief Executive of the Hong Kong Special Administrative Region in 2017 and for forming the Legislative Council of the Hong Kong Special Administrative Region in 2016, July 2014.
[18] ICCPR Human Rights Committee, General Comment 25, U.N. Doc. CCPR/C/21/Rev.1/Add.7 (1996). http://www1.umn.edu/humanrts/gencomm/hrcom25.htm The Hong Kong Government has sometimes sought to hide behind an earlier British colonial reservation to ICCPR Article 25, but that reservation was not a reservation to the entire article but merely "in so far as it may require the establishment of an elected Executive or Legislative Council"—a reservation that has no application to the Chief Executive and which the Human Rights Committee has ruled no longer applies to an now partially elected Legislative Council. See British Institute of International and Comparative Law, "Legal Issues Relating to Democratic Participation in Hong Kong," October 17, 2014, para 36. http://www.biicl.org/newsitem/6087
[19] Rather than acknowledge its mistakes and offer to correct its previous report, the Government in the discussions with student leaders continued to claim its earlier report was accurate and offered to submit only a supplemental report to the State Council.
Hong Kong's Chief Executive Election and Political Future
Rival Securitising Attempts in the Democratisation of Hong Kong
The Hong Kong Umbrella Movement: A Students' or a People's Movement?
Brexit, Hong Kong and the Arab Spring: Voices of the People
Why the West Needs to Stop its Moralising against China
Mechanisms Behind Diffusion of Democracy in the Pearl River Delta Region
Michael C. Davis, a professor in the Law Faculty at the University of Hong Kong, has held visiting chairs in human rights at Northwestern University Law School (2005-06) and Notre Dame Law School (2004-05), as well as the Schell Senior Human Rights Fellowship at the Yale Law School (1994-95). His publications include Constitutional Confrontation in Hong Kong (1990), Human Rights and Chinese Values (1995) and International Intervention: From Power Politics to Global Responsibility (2004), as well as numerous articles on human rights and development in leading academic journals in law and political science. Professor Davis, as a public intellectual, has contributed to the debate over constitutional reform and human rights in Hong Kong for over two decades.
ChinaDemocracyHong Kong


Fiction Writing 101 — #23 — Do I Need an Agent?
When I wrote my first book, I didn't have an agent. I didn't even know if I could write enough of a story to warrant a book with actual covers. However, as time progressed, I realized I'd have not one book but two, and eventually three, in the series.
I was an absolute newbie when I submitted the manuscript for my first book, and the smaller press I contracted with didn't always use the pattern I'd heard about from other royalty published authors. It was a learning experience, but we managed it.
Then, through a series of events that would sound like coincidence if I didn't believe in the leading of God, I emailed an agent and he agreed to look over my second book contract, for a reasonable fee. I received some good advice, as well as his willingness to represent me to my publisher.
One result of this alliance was a somewhat better contract for books two and three, but another was the fact that I can always contact him when I need advice, or an intermediary between my current publisher and me. The world of book publishing is changing so quickly I can't keep up, but my agent is in the thick of it and gives me information as well as advice and support. Over the years, I've been most thankful that I have an agent, and that he is approachable and willing to share.
So back to the question: Do I need an agent?
I suggest the benefits are very good. Many of the existing publishing houses do not accept un-agented author submissions, so that cuts out quite a number of options. Also, having someone "in the know" offers protection and confidence. He or she may also know the reputation of smaller, newer publishers and be able to advise.
Even if you don't need an agent, it's helpful to have one, and very beneficial for most authors. Remember, although you will be sharing a percentage of the royalties from the book sales (usually about 15%), you don't pay an agent until he or she sells your book. A bona fide agent will never require fees for services outside of your royalty agreement.


Sandbank village, in Argyll, Scotland was enhanced this week by the appearance of new signs at both entrances to the village. Ronnie was approached around 18 months ago to design new signs to be made by local blacksmith Finlay Currie. Both Ronnie and Finlay have a long family history in Sandbank and it was appropriate that they both devoted their time to this exciting project.
After creating around 15 design ideas, Ronnie got together with Finlay to discuss technical practicalities and put the final 6 designs on display in the village hall for residents to vote. Funding was procured by the Sandbank Village Council and the project has finally come to fruition.


Ask what inspires him, and Hans Ruinemans can't shut up. The cofounder and chief inspiration officer of GloCorp NV, a consulting firm in the Netherlands, is positively juiced by the idea of connecting people and ideas. But that's his job, after all. Each year, Ruinemans advises banks and telecommunications companies on how to build creative business models for the new world of work.
How do you inspire good ideas?
I'm good at making people smile. Humor is an effective way to open up the mind. It's disarming and gives perspective. Some companies are so focused that they completely lack a sense of humor. They forget that there's a human side of their business. It's okay to stick a clown nose on your competitor.
Before people implement ideas, they usually need a friendly kick in the pants. Stories, examples, and metaphors help people think beyond conventional space and inspire them to move forward and act. Sure, it's easy to get overwhelmed by change. But meaningful examples scale down the challenge and make it tangible.
So, what inspires the inspirer?


Nursing students in developing countries are about to get even more access to resources and even more support from Nurses International.
Nurses International is a registered 501(c)3 nonprofit.
Get a free 30 min - 1 hour consultation to discuss your needs and issues as an educator.
Please enter the following information to access our program resources.
Are you interested in joining a global network of educators for support and collaboration?
Are you interested in participating in a study related to how open access nursing courses are used?
Would you like to be contacted when new materials are available?
I agree to allow my biographical information to be used for research purposes. My name and email address will be removed and my data will be reported only in aggregate.
I agree to follow the licensing terms.
Attribution Under the following terms: Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. Please, email info@nursesinternational.org if additional permissions are needed.
I agree to follow Nurses International's licensing terms.


Is Ireland still a lefty paradise?
Must economic growth bring inequality?
Have centuries of throne-kissing prepared Europeans for socialism?
Will attending a peace march get you stopped at an airport?
Money in politics: What's not to like?
Good and bad conservatives: Eric names names!
The war on liberal hawks: Good housekeeping or petty score settling?
Obama a uniter, Sharpton a divider?
Do bloggers control the Democratic Party?
Thompson for president. No, not that Thompson.
Rosa asks: Why did we send so many nobodies to Gitmo?
Is Iran irrational (and does it matter)?
Has Bush demoted democracy promotion?
Mickey drains Iraq-withdrawal-timetable showdown of all drama. Thanks, Mickey!


JERUSALEM—A Hamas force wearing Israeli army uniforms emerged from a tunnel inside Israel this morning and inflicted losses on Israeli troops before being wiped out.
The Hamas squad numbered at least 10 fighters, Israeli sources said. Nine were killed but an Israeli officer said at least two may have escaped through the tunnel.
In initial accounts, which gave conflicting narratives, the Hamas force was said to have emerged from a hidden tunnel on the Israeli side of the border only 200 yards from a kibbutz, and split into two groups. Israeli soldiers whom one group encountered shortly afterwards reportedly took them to be fellow Israelis until it was noticed that they were carrying Kalashnikov rifles used by Hamas.
An exchange of fire ensued. The other Hamas group meanwhile ambushed an Israeli army jeep, which it hit with an anti-tank grenade, killing its four occupants. Israeli aircraft attacked at least one of the Hamas teams.
Israeli losses as of tonight in the four-day-old incursion were 25 dead and several score wounded. An Israeli official said the number of Hamas combatants killed amounted to "several hundred." Hard fighting was continuing in Gaza as dusk fell, with artillery and air strikes pounding Hamas positions. The fighting focused on the town of Shujaiya. Located only a mile from the Israeli border, it is the source of many tunnels leading towards the border.
The commander of Israel's southern front, Gen. Sami Turgeman, told reporters afterwards that "tens" of Hamas fighters had come through the tunnel. He said that Hamas had noted the day before that Israeli aircraft had bombed an area inside the Gaza Strip where the mouth of the tunnel was located and had reason to assume Israeli ground forces would soon reach it.
"They wanted to take advantage of this asset before we got there," he said. "They paid for it. … We also paid a heavy price."
Meanwhile, Israel's Channel Two reported that 20 Hamas gunmen have been killed in the past two days after they emerged from the mouths of tunnels inside the Gaza Strip. Ten of them emerged from a tunnel inside a mosque. Among them was a female suicide bomber who attempted to charge the Israeli soldiers.
A senior Israeli officer in Shujaiya said yesterday that one tunnel he had examined was 27 meters deep—equivalent to a seven-story building—and was lined with at least 800 tons of reinforced concrete. He said the existence of such tunnels leading into Israel would have permitted Hamas to send commando forces at night through all of them simultaneously to wreak havoc in the Israeli villages in the area.
This entry was posted in National Security and tagged Gaza, Hamas, Israel. Bookmark the permalink.


Thanks to Kevin Levin at Civil War Memory for bringing this series of collectibles to our attention. Buy the courthouse and get the R. E. Lee figurine for free. Buy Confederate Station and they'll throw in Stonewall Jackson.
It's not as realistic as this photo of Richmond in ruins, but then I don't suppose the intended audience wants a free figurine of Presdient Lincoln, surrounded by joyous slaves, strolling over to the White House of the Confederacy to rummage through Jeff Davis's desk.
SYDNEY -- One of the last two known veterans of World War I celebrated his 110th birthday Thursday with at least three generations of family and a contingent of navy officers in dress uniform. His daughter said he didn't want a fuss. Claude "Chuckles" Choules, who sneaked into the British navy in 1915 aged just 14, has lived quietly in Australia for more than 80 years, though his longevity has brought him closer to history with the passing of each comrade who fought the war that was meant to end all others.
They say the last Civil War veteran died around 1959, the year I was born. Now, a mere half century later, my grandfather's generation of WWI veterans are down to two (that we know of). History is a work in progress. Every day we watch it unfold, and the events of today are profound even if we cannot discern the ramifications. The nightly news is nothing short of astonishing. Not the Charlie Sheen part. The medical and technological advances part. The revolutions in the Middle East part.


Looking to try the top gyms around?
Hoodline crunched the numbers to find the best places to get fit in Fresno, using both Yelp data and our own secret sauce to produce a ranked list of where to venture next time you're looking to shake up your workout routine.
Topping the list is MetalMark Climbing & Fitness. Located at 4042 N. Cedar Ave. in Mclane, the gym, climbing and yoga spot is the highest-rated fitness center in Fresno, boasting 4.5 stars out of 37 reviews on Yelp. Visitors can expect a weight room, cardio machines, myriad classes and, of course, climbing walls.
Next up is Bullard's Gb3, situated at 7825 N. Palm Ave. With four stars out of 85 reviews on Yelp, the gym, which has multiple locations, has proven to be a local favorite.
The gym features a cycling room, aerobic gym with a floating spring-loaded hardwood floor and a 75-foot indoor pool and sauna. Classes are available in cycling, Pilates, Zumba, yoga and kickboxing.
Gb3 also offers child care services in its facilities. The day care is available during the weekdays and on Saturday, according to the gym's website.
Bullard's Orangetheory Fitness, located at 7735 N. Blackstone Ave., Suite 106-112 between the Villaggio and River Park shopping centers, is another top choice, with Yelpers giving the fitness studio four stars out of 28 reviews.
The gym -- with locations nationwide -- offers proprietary workouts that include a series of cardio, resistance and power exercises involving three blocks with 12 stations each. Orangetheory offers heart-monitored training, designed to keep participants' heart rates in a target zone that stimulates metabolism and increases energy.


When our cells are not fully hydrated they cannot function at their optimal level. This leads to much of the tissue damage that we call ageing. The HydraFacial™ takes its name from the root word hydrate "to cause to take up moisture". The ability to moisturise the skin separates the HydraFacial™ from all other skin resurfacing procedures and it can also be customised to treat all skin types and conditions.
A pick-me-up that exfoliates extracts and rehydrates dull, tired-looking skin.
Powerful jets of cooling water combine with botanical extracts to remove dead skin cells and impurities, while simultaneously bathing the new skin with cleansing, hydrating and mositurisng skin solutions. The treatment is soothing, refreshing, non-irritating and immediately effective, resulting in clearer, brighter, fresher and more youthful skin.
Customised to detox, purify and control breakout, congested and problematic skin.
Deep-cleansing and exfoliating using formulated anti-bacterial serums in combination with a vacuum-based skin abrasion tip, removes dead skin cells, and extracts impurities. Next a customised concentration of Salicylic Acid is delivered deep into the dermis layer of the skin via the Hydropeel™ Tip, combined with calming blue light LED therapy, destroys acne bacteria. The combination of the Hydropeel™ as a pre-treatment to the blue LED light means that dead skin and debris is removed first, so that the blue light is better targeted and absorbed by the acne prone skin layers beneath. A series of six treatments, one treatment a week is recommended for improving the appearance of oily/acne prone skin. A visible difference can be seen after just one treatment.
Following a course of six treatments the visible improvement is maintained with just one treatment every four to six weeks.
An instant refreshing and uplifting boost for tired, thirsty and lethargic skin.
A hand held wand is used to deliver powerful jets of cooling water combined with botanical extracts to gently exfoliate and deep-cleanse the skin; using the patented tip technology this dislodges dead skin cells, loosens sebum deposits and prepares the skin for extractions. Next a customised concentration of Beta Hydroxy Acid is delivered deeply into the dermis layer of the skin to flush out any black heads, blocked pores and to reduce pigmentation. The Beta Hydroxy Acid is then passed over any surface deep lines and wrinkles to smooth and plump up their appearance. A cocktail of six anti-oxidants, including vitamins A and E, White Tea Extract, along with Hyaluronic Acid is then pressed deep into the skin for intense re-hydration and anti-oxidant protection. Rejuvenating red light LED therapy is then passed over the skin which stimulates the production of healthy new skin cells and collagen fibres, producing an instant brighter, more tightened feel to the skin. This is followed by a bespoke mask to leave the skin looking firmer, lifted and luminous with immediate effect.
To deep-cleanse, exfoliate and re-balance for smoother, more flawless skin.
Customised to your skin's needs, a hand held wand delivers powerful jets of cooling water combined with botanical extracts to remove dead skin cells and impurities while simultaneously bathing the new skin with cleansing, hydrating and mositurisng skin solutions. This is followed by calming visible blue LED light therapy and a customised mask with a hot towel compress, to soothe and refine the skin. A relaxing massage completes the treatment.


text:
Tag: british
MATTHEW STONE
Beginning his career with an involvement in numerous counter-cultural movements, and rising to notoriety as a founding member of the South London art collective, !WOWOW!, Artist and Art Shaman Matthew Stone is bringing bodies together through his life-sized digital paintings.
Photography by Wikkie Hermkens | Styling by Sonny Groo | Interview by Ashleigh Kane
In the early 00s, Matthew Stone took the teachings of Andy Warhol's Factory era and the concept behind Joseph Beuys' Social Sculpture and transplanted them to London, where he and a group of friends had just graduated from Camberwell College of Arts. Consciously eschewing the rental market, they founded !WOWOW! and housed it, and themselves, in an abandoned store in South London with a revolving roster of exhibitions, residencies, studios and parties. "When I was young, I had a really strong vision of how I wanted to live my life", Stone recalls over the phone from his studio in Hackney, "and I was specifically interested in squatting." Having grown up with his family in a cottage on a canal in Bath, England with no permanent source of electricity – just a generator which Stone says was often not in use – it's not hard to understand his draw towards other people. Now 35, content with living alone and much less the party animal he once was, Stone's work is still crowded with bodies. He contributes to his own series titled "Interconnected Echoes" whereby he interviews the people he admires, has participated in several group as well as solo exhibitions, photographed the cover of FKA Twigs' M3LL155X album cover, and most recently exhibited his life-sized digital paintings at Somerset House under the title Healing With Wounds.
Here he talks to IRIS Covet Book about connection, spirituality, and shares some invaluable advice for young artists.
Upper World Portrait, 2017
Can you talk about the process in which you make your paintings?
I physically paint and then photograph the strokes individually and create really high-resolution images of each brush stroke. Then I cut them out in Photoshop and use them to texture 3D models that I make of people. I'm working in 3D CGI software and using virtual cameras and lighting setups. Then with a printer, they're finally printed onto linen with a technique that I developed. I only ever print each once so they live like actual paintings in the sense that there is only one of them.
Why did you want to work in a digital realm?
I didn't want to make something that was backwards facing. I wanted people to look at them in a way that they look at contemporary imagery, in that they have not seen something else exactly like it before. To look at it with that freshness, with those eyes, and then start thinking about their bodies and each other. For a long time, I wondered whether that was through photography, or pushing photography into sculpture. With this technique, I feel like I've nailed the method (laughs) and now I can get on with just making paintings. The majority of the work was developing the technique and there were years when I worked on it without showing anyone any development. I went through waves of development without over-excitedly sharing it with everybody, and that was a big education for me.
One of the reasons that I've stopped doing lots of other different things and focused on the paintings is because I've realized that I can do everything I need to do within other realms, within this world of painting. Because of the way that I work in 3D virtual space, I can't help but think of them, when I hang them on the wall, as a window into that space. Increasingly, I'm doing things in life-size so as you look at them, you're looking into a virtual reality or mixed reality.
The people who appear in the paintings are not based on real people, they are completely invented like avatars that I've posed and painted. But those figures have started reappearing through different images, so it's almost as if I'm investing in these metaphysical beings that live in the world that is my painting.
You came to London from Bath at age 18 and began to study at Camberwell College of Arts. What artists did you admire back then?
I wrote my dissertation on the spiritual content in Andy Warhol's work and argued that you could read a religious trajectory in his work. Then I came across Joseph Beuys and was really interested in his work from a performative perspective. Through him, I developed these ideas around the artist as Shaman.
Were you always intrigued by spirituality?
My mum was a Catholic and as a result – and as a reaction to that – she was very much like, 'You are not going to be indoctrinated in any way.' We were left to work that stuff out on our own. Looking back, I had an interest from a very young age in mysticism; The X Files and UFOs, which I feel were very much of the times.
Can you talk about the out of body experiences that you have had?
They're not something that I had a ton of but there are some significant ones – and I wish I could go into them at will, but I can also go into altered trance-like states. I used to do a series of performances where I would perform under the stage name "The Art Shaman" and the structure of the performance was that I would get a cover band to play Paint It Black by The Rolling Stones, and I would use the song to enter altered states.
What was the significance of Paint It Black?
Maybe something about the drumming. It has this rhythmic pull. In a sense, me talking about myself as a Shaman stemmed from that period. At that time it was very playful, essentially. But people, other artists, have found it intensely problematic. Someone wanted me to publicly apologize – which is almost as pretentious as me calling myself a Shaman (Laughs).
Why did it bother people?
I think they thought that it shouldn't be a self-bestowed title. There's definitely a question about using something like that – like spiritual appropriation – but, for me, the word itself, in its contemporary usage, describes behavioural patterns that are different on every continent and so it doesn't feel super specific as a term, it feels quite general. I'm not trying to cut into any tradition that I'm not a part of. It's more in an abstract sense that I'm trying to push the boundaries, or trigger thoughts, about the role of the artists and whether that extends beyond an individual creating expensive objects.
I use it to trigger intellectual debate because increasingly I'm interested in intuitive moments of thinking. There are certain points when I've thought – because of explaining it, over and over again – 'why am I doing this?' and that maybe I should just say that it was a phase, but I realized that me having said it had its own resonance and power anyway and that I have to live with the consequences of that – whether or not they are uncomfortable. More recently, I feel like I've gotten a bit more of a practical and personal practice that relates to it – there's more humility. But I'm not going to take it off my Instagram account.
After university, !WOWOW! was founded. Did that come about because of situational circumstances or was it planned?
When I was young, I had a really strong vision of how I wanted to live my life and I was specifically interested in squatting. In college, I was obsessed with reading about Warhol's Factory and had this idea of collaborative and collective living. I was thinking about Joseph Beuys' Social Sculpture, which was the idea of an evolving artwork that was multi-author – it was all of society.
Once we graduated, we were like 'let's not pay rent, let's go and squat!' and so we started it and invited people in and it spiraled from there. My hope at that time was that people would perceive some of my activities within it as being a kind of living artwork and certainly not one that I'm the only author of. I was really interested in the idea of presenting a network of people as an artwork and I always had a great reticence to concretely transfer that to a gallery – in terms of installing people into a gallery. So yes, it felt like something that was situational in a sense because if you took it out of the environment that it had sprung from, it would become an illustration of it.
Feminine Teachers, 2017
Other People's Energy, 2017
You mentioned earlier that you want to see if the artist can be more than someone who is just making expensive objects. What do you think the role of the artist is today?
Everyone as an individual has a political responsibility, so obviously, that includes artists. I don't think my work has ever really been about art or the art world. Obviously, it emerges from the history of art and in lots of ways my work is very much about the history of religious art in terms of the use of the body and flesh, but I feel like my work has always been about interactions between people. Looking at the idea of collaboration over competition. Coexistence and compromise in conflict and how complex networks of power and connection occur. When I was younger I felt like I had the answers for things, but as I go on my thinking changes. Now I know that my thinking will probably change again in the future. I feel, with my work, I'm trying to frame the development of that thinking more than my thinking specifically.
Healing With Wounds featured the Somerset House show titled Utopia. Is utopia something you explore in your work?
I've always been interested in the idea of being engaged in developing ideas or using creativity to envision a more just world, but I've never claimed to be an activist. Essentially my thinking about optimism and utopias has always been about questioning if these dialogues are useful? Is it better to acknowledge the violence that already exists by making violent work? Or should I, as an artist, focus on promoting visions of a post-violent world? I've looked at art and culture that has explicitly been violent and understood it as potentially being part of a critique of violence, but instinctively, I've never said, "well I'm going to make violent imagery because that is a way to show people that it's a bad thing." I feel uncomfortable thinking in that way and I don't know if that's because I'm naive and I can't deal with reality, or it's because that type of imagery can be traumatic and does little to destabilise violence.
I go back and forth between thinking about how the power structures unfold in the images I make and how they deal with violence and what they suggest. More recently, I'm realizing that there is a lot of ambiguity in the ways in which you can read the body language of the people in my paintings. That's quite important because I don't think the world needs simple illustrations like "violence is bad" because the world is more complex and intelligent than that. If I can create anything where when people look at it and think about what's happening, then that feels like the more useful contribution. Ultimately, when people look at my work, I want them to feel something and I want them to think about what they feel.
What advice do you have for young people coming up?
I always say, "listen very carefully to the advice that you give others because we verbalize our own insecurities when we criticize other people, when we give them advice." The other thing is, "pay attention to your own mistakes, they might be the only original ideas you have."
Matthew Stone with his dog Beau. Follow Beau @ beauthehound on Instagram
All art work © Matthew Stone images courtesy of Choi&Lager
For more information visit matthewstone.co.uk
Posted in Art, Creatives, Feature, From the BookTagged art, british, culture, digital, editorial, exclusive, Feature, fine art, gallery, london, matthew stone, oil, oil painting, painting, talentLeave a Comment on MATTHEW STONE
Charmingly-maximal, Luke Edward Hall's whimsical take on interiors offers an escape from the mundane white box of minimalism.
Photography by Wikkie Hermkens | Styling by Sonny Groo | Interview by Dustin Mansyur
Full look by Burberry
Peruse through Luke Edward Hall's instagram feed, and one will find a story vibrantlylayered in color-clad interiors, candy-colored hues of hand painted ceramics and drawings, and peppered with images documenting the 27-year-old creative's quixotic travels. Stylishly dandy and tousle-haired, Hall curates a dreamy world as if seen through the most decadent shade of millennial pink lenses. A visit to his North London studio enforces the idea, with it's bubblegum-painted walls and scatter of colorful tools and materials strewn across his work table. Daring fabric remnants, bouquets of colored pencils and brushes sprout charmingly in a collection of vintage mugs and vases, vintage photographs, magazine clippings, and the occasional tchotchke clutter the artist's space like a decorated nest. In the center, a spot is cleared away, just big enough to entertain a drawing in progress.
Hall has been dubbed by Vogue.com as the 'interior design world's wunderkind', a hefty seal of approval for a budding artist and designer. With a variety of blue-chip collaborations with companies like Burberry, Drakes, and Stubbs & Wootton already in his portfolio, Hall is positioned thoughtfully for longevity. His idyllic watercolor brush strokes, and gestural, simplified drawings elicit an understanding of the same subtleties of Matisse or Picasso's more expressionistic works, while an array of products he's created in-house suggests similar branding sensibilities of such design heavyweights as Jonathan Adler or Kelly Wearstler. The romance exists in the visual language Hall uses to couple his creative vision with commercial potential, resulting in the fanciful prism of his nostalgia inspired work.
Here IRIS Covet Book offers a glimpse into the auspicious world of Luke Edward Hall.
'Gervase by the Pool', 2017 (has been sold)
You actually studied menswear at Central Saint Martins before you established your studio in 2015. Your career has really blossomed as an artist, but also as a designer of objects. What influenced your decision, or what shifted your focus, I should say rather, post-graduation, so that you went down this career path as opposed to choosing to stay in men's wear design?
I always had an interest in antiques and interiors as well as fashion. While I was studying menswear, I was also selling antiques online. When I graduated I met an interior designer in London, whose style I really admired. So I ended up going to work for him, and that's how I got more involved with interiors. It wasn't something that I decided, it happened quite naturally.
Then what helped you to make the decision to venture out on your own after working with that architect that you mentioned?
I always knew that I wanted to have my own thing. When I was working full time, I started designing fabrics. I began putting more work up online, and I started doing much more drawing. Then, eventually, I got a few commissions — enough that allowed me to set my own thing up. I worked quite hard to get my work out there, so that I could be able to go out on my own.
What avenues did you pursue to increase your exposure?
Obviously, I've had a lot of work up on Instagram from the beginning. But, early on, I started making products like cushions, fabrics, and prints of my work. I had a lot of product that I could sell. I just tried to make sure that I had my work out there as much as I could. Eventually it began being published in magazines.
Do you do all of your fabrics in-house or are you licensing your designs through a fabric company?
It's full-time in-house. Coming from a fashion and interiors background, I always appreciated good fabric. After I sketch up the design, I'll print them out and work with a factory to produce them in very small runs to be used in my cushions and other products.
Can you describe what your studio's like? Do you share space with others? What is it like when you are there?
I work with my friends in an art gallery where I have a space in the back. It's really nice because it's very close to where I live, five minutes away. I have this corner of a room that I've painted pink. It's where I work on all of my projects.
What's a typical day in the workroom like for you?
I go in every day because there are lots of new things happening. I always have meetings and a variety of projects to work on. Sometimes I'm working on foreign accounts, sometimes I'm drawing, other times I'm painting pottery or sourcing fabrics.
Voluta and Luca Cushion by Luke Edward Hall
You describe your aesthetic as being informed by a love of history, an appreciation of beauty, and a sense of playfulness. Do you have any specific historical influences that you find inspiring from which you pull inspiration?
I draw inspiration from history because often I'm inspired by the stories. I love looking back at ancient Greek myths and legends, also English folklore. I love reading about times in history, like the 1920s and '30s, especially in London. I'm quite nostalgic.
Your work is very sophisticated. How do you draw the line between playfulness and something that's considered kitsch?
The thing is, I do like a little bit of kitsch, but I don't want what I do to be so gaudy and outrageously mad that it becomes off-putting. I think you can be playful with color and print without sacrificing elegance and sophistication, which is a nice balance for interiors. I love playing with tradition or history, and trying to achieve the balance of pairing something very old with something very new. Curating the right pieces together is always a fun process.
I feel like today people consider minimalism and modern design as being somewhat synonymous, especially when we're talking about interior spaces. Your approach is anything but minimal and yet reads as modern. Do you think there is a shift in the consumer market towards a more "decorated" approach?
There's a general shift toward people being more interested in a more maximal approach, which I think there's lots of reasons for that. Like with fashion, things come in cycles. I don't really think of my lifestyle as maximal…it's more that I just like being surrounded by my "stuff ". I like having lots of color and pattern, and that look is typically classified as maximalism. The thing with maximalism in the interiors I like, is that it offers a little bit of a fantasy. I guess that's why I look at the past, as well. I like the idea of creating something magical into which you can escape. The world we live in at the moment is quite grim at times. I think that's partly why more people are taking to this trend because perhaps they need an escape from the everyday as opposed to living in a white box.
Based on your Instagram, it appears as though you travel a great deal. Is it a source of inspiration as well?
Travel is a huge source of inspiration. Italy is a really inspiring place for me to visit and work; I go there a lot and bring inspiration back. I always feel refreshed after going to the countryside in England because I find the city to be quite intense. Travel for me is just as important as my studio days. When I travel, I end up working every day, and always get re-inspired by the many things I come across.
You've collaborated with so many high profile companies already across several different luxury consumer markets, Burberry, Drakes, Christie's, Stubbs and Wootton, and even Samsung, what have been some of your favorite collaborations to work on and why?
They've all been great for their own reasons. I only collaborate when it feels like the right fit. It has to be something that I feel really passionate about and connected with. Burberry is an amazing company to collaborate with because their reach is worldwide. It was very exciting when that opportunity happened. I also have always loved Stubbs and Wootton, so it was really fun to work with them to turn my drawings into embroideries for their slippers. Drakes was also a great collaboration that gave me the opportunity to see my drawings on silk for ties and scarves. It's a great experience working with other people when they do something really well. It allows me to add my touch to it, and we come together and create something beautiful.
Luke Edward Hall x The Store 'Face Bowl' (available from The Store x Soho House Berlin and The Store x Soho Farmhouse)
Vases From Left: Lemons, 2016, Flower Prince, 2017 (Personal Collection)
You're working on many different projects that span different disciplines, do you do all the your own business development or do you work with an agent?
It's sort of a mixture. I don't employ anyone. I just work by myself. I have an agent for Europe and they get me more illustration jobs. Most of the work comes to me, though. If the project involves working with a bigger company, I may hire someone short-term if needed, and I have relationships with vendors to produce what needs to be done.
I feel like drawing, itself, is such pure, analog art form. Now, we're living in a post-digital world, all connected to a screen, advertising ourselves online on whatever platform we can. Do you think that social media and the Internet are simply just an extension of the artist's tool kit?
I don't think everyone has to engage in social media. I completely appreciate the people being like, "Oh, I'm not doing it. I'm not doing Instagram," and that's totally fine. For me, I like having a visual diary to see and process what I'm working on. I've always liked working on blogs and documenting what I'm doing. I've received lots of work through Instagram. When I got my first big job, which was for the Parker Palm Springs, it came from Instagram. So I owe a lot to it really, because it's helped me. If you don't need it, fine, but it can definitely be a great tool. If you can get greater exposure, then I think, why not make the most of it?
Warhol said, "Being good in business is the most fascinating kind of art." You have an ecommerce portal on your website, you also have 1stDibs shop, and you did a pop-up shop last year. I'm curious what entrepreneurship means to you. How do you maintain the balance between art and commerce, being commercial without sacrificing your vision?
I've always been fascinated by retail. And while I like drawing and painting, I also like making products. When I first started selling antiques online, I'd go buy old antiques and restore them for resale on 1stDibs. I love graphic design and the process of branding things, so creating a variety of products with my artwork was natural. Now, I'm thinking about doing a little exhibition next year, so I'm setting aside time to work on those pieces. Maybe people think, "Oh, well, you're not a real artist, you're more of a designer." I don't really mind what label I've got. I think you can have all of these worlds that fit together, and I quite enjoy doing it.
I saw images online of your pop-up shop. Do you ever think you'll venture into doing a little shop, a flagship store, for all your creations to live within?
At some point, I will probably do some shop type of thing. The thing is that at the moment I'm doing one-off pieces. I almost went down the route doing more products, but I'm now fixating more on hand-made ceramics, which are hand-painted and all one-off pieces. During the holiday season, I make more pieces and products for online and pop-ups. Right now my focus is on projects like the exhibition next year, which is going to be drawings, prints, and ceramics.
Do you have any advice that you might give to a young person considering to choose this as a career path?
Make sure you feel it pulling your heart; be brave. Go for it and believe in yourself. When something is completely yours, I think people always pick up on that. So do what makes you happy, because that's what people respond to. You need to couple that with being on it as a business, thinking about social media, and having a bit of a strategy to give you direction. I do think you do need to have both sides – a creative side and a business side – in order to make it a success.
You've worked on many of amazing projects and I'm sure you only want more, but what do you envision for yourself in your future?
That's the thing. I don't actually have a plan. I've got so many exciting stuff happening, like the exhibition next year, and I'm going to carry on doing more interior projects. I've only been doing it for two years by myself so there's still a lot that I want to do. I'd love to do a book and I like the idea you have, maybe, opening some sort of showroom. But for now I'm also just playing it by ear. I'm happy to just let things happen. For more information visit lukeedwardhall.com
Posted in Art and Design, Creatives, From the Book, InteriorTagged art, british, burberry, ceramics, colorful, culture, dandy, design, editorial, exclusive, Feature, illustration, interior, interior design, london, luke edward hall, maximalism, men's fashion, painting, pink, talentLeave a Comment on LUKE EDWARD HALL
WEB EXCLUSIVE – JULIAN MORRIS ON MODERN INTIMACY, TRUMP'S ASSAULT ON FREE SPEECH, AND HOLLYWOOD SEX SCANDALS
Photographed by Karl Simone | Styled by Alvin Stillwell @ Celestine Agency | Interviewed by Matthew Rettenmund
Michael Kors jacket and shirt
After three seasons with the Royal Shakespeare Company, he built a following with magnetic turns in horror fare like Cry Wolf (2005), Donkey Punch (2008) and cult-fave Sorority Row (2009). Though originally from England, he honed a foolproof American accent studying his Valkyrie (2007) co-star Tom Cruise.
Hot off a role on New Girl (2014-2015) and a return to the ABC Family teen drama Pretty Little Liars as Dr. Wren Kingston this year, just in time for that series' sign-off, he appears to be making a clean break with less challenging roles, stunning in this summer's British miniseries Man in an Orange Shirt as a gay man navigating empty hookup culture who discovers his grandfather was himself closeted — and had far more serious roadblocks to maneuver in the '40s.
Continuing his pattern of upward mobility, he is currently playing Watergate lid-blower Bob Woodward in Mark Felt: The Man Who Brought Down the White House, and will next be seen in a new film adaptation of Little Women.
His good looks have made him an easy casting decision, whether in genre flicks or on PLL, but he has always given layered performances that rise about what's on the printed page, which may be why he's managed to work with Carrie Fisher, Vanessa Redgrave, Liam Neeson and Dame Angela Lansbury. Unsurprisingly, in his Iris Covet Book interview, he was similarly complex, speaking comfortably about politics, the abuse scandals sweeping Hollywood, and his sex-symbol status.
COS trench coat and trousers, Jacob Holston shirt
You started with some very intense training at the Royal Shakespeare Company. How did that stage training compare to your Hollywood experience?
Never at any point did it feel intense — it was just fun! I think what I learned in that time was that it's about teamwork and the importance of the company and that it takes many, many people to build a production. When I got to America, I starting doing film and TV, and film work is very different, but in terms of what you do as an actor, the approach is the same. I'm lucky that as a teenager it was fun — and it still is.
You soon had a following for doing suspense and horror films like Sorority Row and Donkey Punch — are you naturally attracted to darker roles like that?
It's not the genre. As long as the character has many layers and is interesting and challenging, that's what I'm drawn to. I really dig horror. Some movies I've seen the last couple of years — The Witch (2015) and Under the Shadow (2016) — I love how they utilized horror to tell a bigger story. I'm in talks right now with a director named Kieran Evans, who I worked on Kelly + Victor with, to do a psychological horror.
There was a lot of psychological horror of a different type going on in Pretty Little Liars! Did being a part of PLL expose you to a whole new level of fandom?
Yeah, that happened. It was a really fun job. It wasn't the most challenging work, but I had a really enjoyable time doing it from the get-go. I met one of my best friends on it, Ian Harding, and the girls and I always got along great. I remember at the time when I got the role I was supposed to go on this big trip to Africa and it was like, "Am I going to delay this trip or play this role in this pilot that may or may not go?" I wasn't fully committed to the pilot and looked into who was making it, and it was Alloy Entertainment, who'd done tons of really successful shows, and Marlene King, whose work I really enjoyed. My gut told me that it would go, it would be special, and do well, and it did.
I never signed an option agreement with the show, despite one being offered, because I loved the people and I believed in the project, but I definitely always had an eye toward wanting to do more challenging material. The first few months of shooting that show, I was also shooting My Generation (2010-2011) in Austin, TX with Noah Hawley and Warren Littlefield. It was one of those shows where the ratings were not great. They'd be amazing now, but back then, they weren't good enough and it was ripped off the air. Noah Hawley and Warren Littlefield went on to make Fargo (2014-present).
You left PLL and then returned this year for the final season. Was that strange leaving and coming back?
It wasn't a strange thing; it was familiar. I continued to see and hang out with the people in the show. What was great was that in that time in-between I'd done work I was really proud of, in Hand of God (2014-2017) and New Girl and Kelly + Victor, and I'd told them I wanted to come back for the fans.
Banana Republic cardigan, Slow Build Heavy Grind shirt, Wings and Horns trouser
The great thing about that project is that once you've done it, you could have two Oscars in the future, but there will always be a certain sector of people who will be like, "Oh, yeah — from Pretty Little Liars!"
You and my mom say the same thing. [Laughs]
You mentioned your trip to Africa, and I saw on your Instagram that you did eventually make it to Rwanda. What was that like?
I've always loved animals, and I had this incredible in Borneo when I was 18 working in an orangutan sanctuary and have wanted for years and years to see the gorillas in Rwanda. It finally happened last Christmas.
It's utterly magical. What's so magical about it is that you see another species that is so similar to us, so like us. They're another species, and yet you have such a sense of their humanity — you see it in their eyes, you see it in the way they interact with each other, and you see it in the way they interact with you. It's breathtaking, and you can't help but leave a situation like that thinking we've got to do everything we possibly can to help these very close relatives of ours.
Seems like an amazing observational exercise for an actor.
You're absolutely right. One of the powers of acting, or at least what drives me to it, and why I think it's so important or can be so important, is how universal it is — I really believe that as different as we may be superficially from each other, and it really is a superficial thing, we all experience the same emotions and dream the same and hope the same and feel devastated in exactly the same way no matter our politics or our superficial identity.
You described Hand of God as a role of a lifetime because you admired Marc Forster, who directed Monster's Ball (2001). It's sometimes said you shouldn't meet your idols.
I wouldn't say that I have "idols" in terms of my industry, I just admire them deeply. I think one of my idols was Christopher Hitchens in terms of his work in human rights, in terms of his eloquence, in terms of his integrity — and I did get to meet him. It was the only time in my life where I was completely starstruck to the extent that I couldn't speak! He was talking to me and I just remember I had this grin on my face. I think I was speaking to him — I couldn't tell you what I said or even what he was saying to me, I was totally starstruck.
Vilebrequin shirt, COS trousers, Hermès bracelet
You're currently playing Bob Woodward in Mark Felt: The Man Who Brought Down the White House. Why did you refer to it as "almost impossibly timed for its relevance"?
Clearly, we're living in a time when institutions that support our democracy, that are fundamental to it, are under attack. I love what The Washington Post said: "Democracy dies in darkness." It's absolutely right. We need a functioning free press, and yet we have our leaders attack it daily and also of course institutions like the FBI, or our court system, our legal system, which I think is a really dangerous thing to do for politicians. I think when you use our court system to attack a political opponent or you defame an institution like the FBI when it is legitimately investigating something that is vital to our interest that it be investigated properly, that is when our institutions are under attack. In this film about Watergate, its relevancy today was very timely and striking.
What did you learn about how Woodward and Bernstein were looked upon by their fellow Americans while they were reporting these unpopular facts about Nixon. Were they similarly attacked?
I didn't know, embarrassingly, nearly enough about Watergate going into it. It is incredible how similar it is to today, although they are very different. I think the level of attack today is really concerning and it's coming from so many different places, not just the White House, that it makes our time, I think, so much more dangerous. Whereas back then, you had political parties that I think stood for something, today… I think they're so… I don't want to get too into politics, but I think at least back then you had really good people who could withstand an attack on democracy in many different places, and I think that today, it seems that we're really wanting for good people in our legislature, and that's concerning.
In terms of the role, it was fascinating to me to see how someone as young as Woodward was at the time of his investigation could take on someone so much more powerful than him in Mark Felt, and sort of manipulate him as any good journalist does to acquire information that would eventually bring down a government. That was an incredible discovery to look into Bob Woodward's history to see how he might have been changed by fame.
Did Bob Woodward do a courageous thing? I think he was doing his job and was driven by his personal destiny, and that's how I wanted to play him.
It was really an incredible time in my life making that project.
Ralph Lauren sweater
Your miniseries that aired in the UK in August, Man in an Orange Shirt, is another look back at a very different time. You play a gay man struggling with relationships who discovers his grandfather was gay and closeted in the '40s. Aside from working with the legendary Vanessa Redgrave, who I'm going to come back to, what did you find most compelling about the project?
There's a number of things. I guess the first thing was the story. I think it showed something that I think is really important in society that should be revealed, and I think that any great film or artwork has that imperative to do so. It was this character that I found so moving and painful to read on the page and thinking how I might play him and thinking, "I have to play him," and then of course the joy of working with Redgrave. But it really was a story that I felt was really important to tell.
It's incredible to think that things were so different not so long ago.
It's incredible how things have really changed and also how they haven't. What was really interesting to me was to see how — it's a multigenerational story— in the first episode it looks at what it was like to be a gay man in the '40s, where society deemed that an impossibility and a criminal offense. You have a man who falls in love and is denied that love by society, and then compared to my character, which takes place today in our time, where you're able to get married and have a job and be yourself, at least in most places, although certainly not everywhere, and yet the shame that my character has carried with him all his life forced upon him by the relationship he has with his own grandmother, played by Vanessa Redgrave, makes him his own jailer. He is the one who, because of his shame, the shame that has been put upon him, his repression, denies himself love. I can't think of anything more important in life and more sacred than that — to be loved and to allow yourself to be loved.
3.1 Phillip Lim sweater, COS shorts, Michael Kors belt
My impression is that Man in an Orange Shirt is very much about intimacy. What do you think about social media? Is it a doubled-edged sword because while in some ways we're able to be much more connected much more easily, we question whether it's a true connection?
One thing about social media and the internet is that it does connect. It connects people together and people who certainly might not feel a ready connection in their small environments. So, if you're in a small town and put-upon, you can reach out and find someone who's like you and there's a strength in that. You can reach out and find people who are similar to you and then find people who are not like you and that connection is wonderful, too.
The challenge, though, is that it's such a new technology and the change is happening so rapidly that its challenges are here and yet we're taking too long to adapt to them. Before, when change came about, we had time to adapt to it, and yet now clearly we're finding that hard to do. You see how the promise of social media to be this great connector, to be great for democracy, for freedom of speech, was in fact not so great in the last election or in Europe and is no doubt being utilized as a tool of propaganda by the enemies of free speech and liberalism and democracy… and we didn't even know it! It was happening and yet we allowed it to happen because we didn't know it was happening. Now, the conversation is about how we adapt to it. How do we prevent the manipulation of a tool of such potentially good things to be used against us?
I'm really against identity politics. I don't like the atomization of it where we're just individuals living alongside each other without any connection. I think that type of atomization leads to the populism that we've been seeing, certainly in Europe, and is the source of the dysfunction in society that I think we have.
Speaking of change, you're in an industry going through turmoil due to sex-abuse allegations. Is it an exciting time? A scary time?
I have two feelings about what's happening right now, and of course it's not just happening in our industry, it's happening across the board. I'm devastated reading the stories of these women and men who have been preyed upon. But also, there seems to be a cultural shift that hopefully will prevent these sorts of acts from happening again. I think if you look at any shift in terms of a progression of society, whether it's civil rights or gay rights, the liberalization of society, it's a cultural one and it's a really positive one. So I think if we can come out of this time with a change, determined to really help people feel open enough to tell their story, we can hopefully stop people from preying on the vulnerable.
Chris Evans has talked about a provocative shoot he did for Flaunt, saying his publicist was against it because it showed too much skin. You show a lot of your body in Man in an Orange Shirt, and also did a revealing shoot a few years ago that was every gay man's screensaver for a while — what's your approach to nudity, whether on film or for a photo shoot?
I'm not fazed by nudity. I don't have a hang-up about being naked. In terms of work, it has to serve the story and the director's vision or it becomes gratuitous.
Back to Vanessa Redgrave.
Genuinely, she is amazing to work with. I love and adore her. We got really close making Man in an Orange Shirt, in part because the material was so intimate, and all her scenes were with me, long days, just the two of us. I really admire her, I admire her of course for her talent, her intelligence, her silliness. She's so silly on set in a fun, dramatic, and really funny way. I adore her. I loved being with her. As an actress, she is formidable. She is fierce. She is highly intelligent. She picks apart the script like only a truly great and truly intelligent actor can. You'll do takes and she'll be good — she's always good — and then suddenly it will connect and something amazing will happen! And I'm like, "Fuck! How do I match that? How do I bring my game up to her level?" You're pushing yourself and she's pushing you and it's wonderful. The other great thing is — and this isn't true of every big actor that I've worked with — she is always there for you. She is giving her all. She is always there for you.
Leaving Pretty Little Liars, the dream was to work with people like this and be challenged. This is the dream.
Grooming by Mira Chai Hyde at The Wall Group using Caudal Skincare Profound Beauty Hair
Special thanks to Simon Shwartz
Posted in Celebrity, Pop Culture, Web ExclusiveTagged actor, alvin stillwell, british, gay, Hollywood, julian morris, karl simone, london, man in the orange shirt, matthew rettenmund, MEN, new girl, pretty little liars, sex symbol, sexy, star, talent, UKLeave a Comment on WEB EXCLUSIVE – JULIAN MORRIS ON MODERN INTIMACY, TRUMP'S ASSAULT ON FREE SPEECH, AND HOLLYWOOD SEX SCANDALS
DAVID HOCKNEY – THE METROPOLITAN MUSEUM OF ART
For nearly 60 years, David Hockney (British, born 1937) has pursued a singular career with a love for painting and its intrinsic challenges. A major retrospective at The Metropolitan Museum of Art—the show's only North American venue, opening November 27, 2017—honors the artist in the year of his 80th birthday by presenting his most iconic works and key moments of his career from 1960 to the present. Working in a wide range of media with equal measures of wit and intelligence, Hockney, has examined, probed, and questioned how to capture the perceived world of movement, space, and time in two dimensions. The exhibition David Hockney will offer a grand overview of the artist's achievements across all media, including painting, drawing, photography, and video. From his early engagement with modernist abstraction and mid-career experiments with illusion and realism, to his most recent, jewel-toned landscapes, Hockney has consistently explored the nature of perception and representation with both intellectual rigor and sheer delight in the act of looking.
Born in West Yorkshire, where he attended the local Bradford School of Art, Hockney moved to London in 1959 to study at the Royal College of Art. His career is distinguished as much by early successes as by his willingness to flaunt conventions both societal and artistic. Hockney's works from the 1960s brazenly reference homoerotic subject matter, from Walt Whitman to Physique Pictorial muscle magazines, while his dedication to figuration throughout his career runs against the grain of predominant art world trends on both sides of the Atlantic.
Many fine examples of Hockney's work from California in the late 1960s and early 1970s, as well as his double portraits from New York, London, and Los Angeles, show the artist's interest in the tension that exists in social relationships and the difficulty of depicting transparent material such as glass and water. By the late 1970s and early 1980s, Hockney turned to a brightly hued palette and fractured, cubistic perspective that mirrors both his interest in Pablo Picasso and his own experiments with Polaroid photography. In recent decades, Hockney has ventured outdoors to paint the changeable landscapes of his native Yorkshire across the seasons, while simultaneously returning to the study of figures in social groupings. Keenly interested in scientific innovations in the aid of art, Hockney recently experimented with an old technology: he created a series of portrait drawings using a camera lucida, first employed by artists in the Renaissance to render one-point perspective. He has also always embraced new technologies, including the possibilities for colorful composition offered by applications on the iPhone and iPad. Examples of the artist's experiments in that medium will be included in the galleries. The exhibition ends with his most recent, near neon-toned landscapes, painted in the last three years in Southern California, where he returned to live in 2013. The Met presentation marks the first time the series will be exhibited publicly in the United States. Even to the most committed follower of Hockney's art, the unprecedented unification of his renowned early works with the newest, will be revelatory.
The Lewis Collection
© David Hockney, Photo Credit: Art Gallery of New South Wales / Jenni Carter
Large Interior, Los Angeles
Oil, ink on cut-and-pasted paper, on canvas
The Metropolitan Museum of Art, New York. Purchase, Natasha Gelman Gift, in honor of William S. Lieberman, 1989 (1989.279)
© David Hockney
"Garden, 2015"
48 x 72″
Photo Credit: Richard Schmidt
Domestic Scene, Los Angeles
Private collection, courtesy of Richard Gray Gallery
© David Hockney, Photo Credit: Tom Van Eynde
Cleaning Teeth, Early Evening (10 PM) W11
Astrup Fearnley Collection, Oslo, Norway
Tate, purchased 1981
© David Hockney, Photo Credit: ©Tate, London 2017
Iris and B. Gerald Cantor Galleries,
At The Met, David Hockney is curated by Ian Alteveer, Curator, with assistance from Meredith Brown, Research Associate, both in the Department of Modern and Contemporary Art.
The exhibition is made possible in part by The Horace W. Goldsmith Foundation, The Jay Pritzker Foundation, the Jane and Robert Carroll Fund, and the Aaron I. Fleischman and Lin Lougheed Fund. It is supported by an Indemnity from the Federal Council on the Arts and the Humanities. It is organized collaboratively by Tate Britain, London; the Centre Pompidou, Paris; and The Metropolitan Museum of Art, New York.
The exhibition is accompanied by a fully illustrated, scholarly catalogue published by Tate
Posted in Art, Culture, Events, TrendingTagged art, artist, british, colorful, David Hockney, fine art, gallery, gay, icon, legend, london, met, MET Museum, metropolitan museum of art, museum, oil, painting, pioneer, queerLeave a Comment on DAVID HOCKNEY – THE METROPOLITAN MUSEUM OF ART
HARRY STYLES RELEASES NEW SINGLE "KIWI"
Harry Styles has released the music video for his new single "Kiwi." Directed by acclaimed duo Us (Chris Barrett and Luke Taylor), the video was shot in the UK and features young breakout actress Beau Gadsdon (Rogue One: A Star Wars Story).
Harry Styles released his first piece of solo music with his self-titled debut album Harry Styles in May 2017. The 10-track album features the platinum single "Sign of the Times," and current single "Kiwi." The album made history in the U.S. with the biggest debut sales week for a U.K. male artist's first full-length album since Nielsen Music began tracking sales in 1991, topping official charts at #1 in more than 55 countries. Following the album's release, Styles made his acting debut in Christopher Nolan's critically acclaimed film "Dunkirk" in July 2017. "Dunkirk" topped the US box office in its first weekend and was one of the top grossing films of the summer, rounding off an incredible year for Styles as the first British artist with a #1 debut single, album and film in the same year. Styles is currently on his sold-out Fall 2017 world tour, Harry Styles Live on Tour, which kicked off with intimate venues and will expand to arenas in 2018.
For more information, visit: http://hstyles.co.uk/
Posted in Music, Pop Culture, TrendingTagged british, fame, gucci, harry styles, hit, kiwi, Music, new, pop, pop music, pop star, sign of the times, single, solo, tourLeave a Comment on HARRY STYLES RELEASES NEW SINGLE "KIWI"

redpajama_set_name: RedPajamaCommonCrawl


text:
Who Uses Hotel Newswire?
What Can I Send Out?
Who Will See It?
Tips On Posting
Select a Posting Option
Daily Headlines Appointments & Promotions Business & Finance Conference & Event News Construction & Development Convention & Visitor Bureau News Energy Technology Expansions & Renovations Hospitality Schools & Academia Hotel Awards & Recognitions Hotel Openings & Acquisitions Hotel Packages & Loyalty Programs Information Technology Market & Trends Reports New Products & Services
Pacifica Hotels Acquires Residence Inn by Marriott Anaheim Hills Yorba Linda
USA, Orange County, California. February 05, 2019
Pacifica Hotels, the largest owner and operator of independent hotels on the Pacific Coast is expanding further into the global brand select service category with the acquisition of the Residence Inn by Marriott Anaheim Hills Yorba Linda, a joint venture with Santa Barbara Capital. This latest acquisition joins Pacifica's other branded assets including Courtyard by Marriott King Kamehameha Kona Beach Hotel, Hilton Garden Inn Kauai Wailua Bay, Hilton Garden Inn at Port St. Lucie and Springhill Suites by Marriott Paso Robles Atascadero.
The property is situated along the southern edge of California Highway 91, approximately 20 miles from John Wayne International Airport, which welcomes over 10 million travelers annually. The hotel's location serves as a gateway between the Anaheim metro area to the west and the Inland Empire to the east. In the epicenter of Orange County's entertainment venues, Residence Inn by Marriott Anaheim Hills Yorba Linda offers ideal accommodations for guests enjoying iconic attractions and institutions, including Disneyland, Big League Dreams Sports Park, Knott's Berry Farm, and the Anaheim Convention Center.
Residence Inn by Marriott Anaheim Hills Yorba Linda features 128 rooms and recently underwent a $3.5 million renovation, which consisted of a redesign of the lobby, breakfast room and event spaces. The hotel also now offers new spaces and amenities, including hot breakfast served daily, evening socials, an outdoor terrace with a firepit and a built-in grill, sport court, swimming pool, fitness center, and business center.
"As Marriott is one of the world's most recognizable hotel brands, Residence Inn by Marriott Anaheim Hills Yorba Linda will share not only the name but the impeccable hospitality standards that Marriott holds," said Matt Kou, Vice President of Investments & Acquisitions. "We are thrilled that this new property is in close proximity to Pacifica Hotels' headquarters in Aliso Viejo and are ready to bring Pacifica's and Marriott's brands together to create a superlative guest experience."
Chris Marquis, Executive Vice President of Investments & Acquisitions adds, "Due to where we are in the current market cycle, we believe this asset fits well within our strategic plan to add select service hotels with a strong location and brand affiliation to the Pacifica portfolio."
With the addition of Residence Inn by Marriott Anaheim Hills Yorba Linda, Pacifica Hotels now owns or manages 40 properties in valuable California urban and coastal locations. Having closed 2018 with a total revenue of $220 million, Pacifica is proving to be a key player in the West Coast hospitality industry with a growing collection of unique, boutique and experiential brands.
Share this article with your industry colleagues
for more Hotel Newswire articles
Tags: Marriott International, wi-fi, wi-fi blocking
About Marriott International
Marriott International, Inc. (NASDAQ: MAR) is a global leading lodging company based in Bethesda,Maryland, USA, with more than 4,200 properties in 80 countries and territories. Marriott International reported revenues of nearly $14 billion in fiscal year 2014. The company operates and franchises hotels and licenses vacation ownership resorts under 19 brands, including: The Ritz-Carlton®, BVlgari®, EDITION®, JW Marriott®, Autograph Collection® Hotels, Renaissance® Hotels, Marriott Hotels®, Delta Hotels and Resorts®, Marriott Executive Apartments®, Marriott Vacation Club®, Gaylord Hotels®, AC Hotels by Marriott®, Courtyard®, Residence Inn®, SpringHill Suites®, Fairfield Inn & Suites®, TownePlace Suites®, Protea Hotels® and MoxyHotels®. Marriott has been consistently recognized as a top employer and for its superior business ethics. The company also manages the award-winning guest loyalty program, Marriott Rewards® and The Ritz-Carlton Rewards® program, which together surpass 50 million members. For more information or reservations, please visit our website at www.marriott.com, and for the latest company news, visit www.marriottnewscenter.com.
newsroom@marriott.com / (301) 380-7770
Paramount Hotel Group Announces Grand Opening of New Tru by Hilton in Middletown, New York
AC Hotels by Marriott Makes Brand Debut in Jamaica With Opening in the Heart of Kingston
Crescent Hotels & Resorts Adds Embassy Suites by Hilton Chicago North Shore Deerfield
W Hotels Debuts Newly Reimagined W Atlanta – Midtown, W Atlanta – Buckhead and W Atlanta – Downtown
Key Hotel & Property Management Set to Open Courtyard by Marriott in Toledo, Ohio
Radisson and Jin Jiang Launch First Co-Branded Hotel With Radisson Blu Hotel, Frankfurt Opening
Tikehau Capital and Le Groupe de l'Hôtellerie Acquire Two Hotels in Paris
Aiden by Best Western Opens in Austin, Texas Marking U.S. Brand Debut
Castlerock Asset Management Diversifies Hospitality Portfolio With the Acquisition of Westin Tampa Bay
Days Inn® by Wyndham Debuts in New Zealand With Opening of Days Hotel & Suites by Wyndham Hamilton
Hotel Newswire Top Pick
Why Growth in the Wellness Market Requires a Shift in Thinking for Hotel Spas By Jill Carlen, Global Director of Spa Brands, Hilton Hotels & Resorts
As access to wellness and healthy options becomes increasingly important to travelers, hotel spas have an unprecedented opportunity to simultaneously introduce themselves to a new customer base and to grow their businesses. However, success will require innovation, adaptability and finding new ways to fit into guests' lives. Hilton has discovered new ways of integrating wellness and the spa experience by meeting guests where they are at all points of the hotel stay. Here's what the hospitality giant has learned in its journey to bring wellness into its spa and hotel concepts. Read more.
Hyatt Launches New Lifestyle Division Following Its Fall 2018 Acquisition of Two Roads Hospitality Brands
Hotel Openings & Acquisitions
O'Reilly Hospitality Management Opens Cambria Hotel Omaha Downtown
Noble Breaks Ground on Element by Westin in West End Neighborhood of Nashville, Tennessee
Expansions & Renovations
Owned by Key International and Managed by LBA Hospitality, Hampton Inn New Smyrna Beach Completes Major Renovation
Radisson Hotel Group Celebrates Opening of Radisson Blu Forest Manor Shanghai Hongqiao in Shanghai, China
The Wayfarer Downtown Los Angeles Announces Francis Dimitrius as Executive Chef
Hotel Motel Inc. Breaks Ground on 104-Room Cambria Hotel Fort Lauderdale Beach in Southern Florida
Sam Moon Group Begins Construction of Hyatt House in North Houston's Metropark Square
Hyatt Enters Agreement With Sun Hung Kai Properties Limited for 665-Room Hyatt Centric Victoria Harbour Hong Kong
Amy Johnson Named General Manager of The Confidante Miami Beach
Sheraton Hotels & Resorts Unveils Sheraton Grand Tbilisi Metechi Palace Following Full-Scale Renovation
Park Hotels & Resorts Reopens Caribe Hilton in San Juan Following $150 Million Restoration
CoralTree Hospitality Group to Manage The Eddy Hotel in Golden, Colorado
Gurney's Star Island Resort & Marina Opens in the Hamptons With 107 Guestrooms


The Carlton C100 Synthetic Shuttlecock 6 Pack is an inexpensive durable all synthetic shuttle design..
The Carlton F1 Shuttlecocks are perfect for your next badminton match. These shuttlecocks are constr..
The Carlton T800 Shuttlecocks are perfect for your next match and are constructed with durable synth..
YELLOW SHUTTLES : MEDIUM SPEED PACKED IN TUBES OF 6 When smashed, a MAVIS shuttlecock recovers..
WHITE SHUTTLES : MEDIUM SPEED PACKS OF 12 YONEX AEROSENSA shuttlecocks are the official shuttl..
WHITE SHUTTLES : MEDIUM SPEED PACKED IN TUBES OF 6 When smashed, a MAVIS shuttlecock recovers ..
WHITE SHUTTLES : FAST SPEED PACKED IN TUBES OF 6 When smashed, a MAVIS shuttlecock recovers in..
WHITE SHUTTLES : MEDIUM SPEED PACKED IN 6'S Yonex precision MAVIS Nylon shuttlecocks are the c..


text:
Eminem Home
Eminem's Daughter Hailie Jade Sends Fans Wild With 'Golden Hour' Selfie
4 October 2019, 12:20
Eminem's daughter Hailie, 23, looks stunning in her latest selfie. Picture: Getty
Eminem and Kimberley Ann Scott's 23-year-old daughter, Hailie Jade, has amassed quite the following on Instagram.
Hailie Jade, the daughter of Eminem, has taken to Instagram to share a stunning, sunkissed selfie - and her followers are loving it.
Eminem Fans Convinced He's Dropping A New Album After Mysterious Song "Leak"
The 23-year-old daughter of the rap icon and his ex-wife Kimberley Ann Scott admitted she took advantage of 'golden hour' - the time of day with optimum lighting - for her latest snap.
"i tried harder than i'd like to admit to get a "golden hour" photo today..." she wrote. Her followers soon commented on Hailie's makeup, suggesting she become a beauty blogger.
Hailie Jade, 23, posed during golden hour for her sunkissed selfie. Picture: Instagram/@hailiejade
"Your makeup is so cool!!" wrote one, while another said, "Girl will you be open on doing video tutorials on make up? I'm in to this look!" Other commented on the striking similarities between Hailie and her father.
During a rare interview ast year, Hailie admitted that she was considering a future career being an influencer, having graduated from Michigan State University with a degree in psychology.
Hailieg famously voiced the hook of her father's song "My Dad's Gone Crazy" when she was just 6-years-old, earning her the Guinness World Record for Youngest R&B Chart Entrant.
> Download Our Free App For All The Latest Eminem News!


The Independent National Electoral Commission (INEC) has confirmed the nomination of Governor Aminu Waziri Tambuwal as the governorship candidate of the Peoples Democratic Party (PDP) for Sokoto State in respect of the 2019 election.
The emergence of Tambuwal as the governorship candidate followed the substitution of Manir Muhammad Dan'iya whose name was previously submitted as the governorship candidate of the Peoples Democratic Party (PDP) in the state. National Commissioner and Chairman, Information and Voter Education, INEC, Mr Festus Okoye who disclosed this in an exclusive chat with Sunday Telegraph also said that by the substitution, Manir Mohammad Dan'Iya is now the deputy governorship candidate of the PDP for Sokoto State.
"So it is the responsibility of political parties to nominate candidates for elections but such a party can withdraw a candidate properly nominated if the candidate withdraws his candidature by a notice in writing signed by himself and delivered to the political party that nominated him.
"As at yesterday (Friday), the PDP carried out a substitution in relation to their governorship candidate for Sokoto State. They have now nominated Aminu Waziri Tambuwal as the governorship candidate of the PDP for Sokoto State," Okoye said.