No Other Flower Girl Can Best North West’s Wedding Dance Moves

Upstaging the bride on her wedding day is a big no-no — unless you are North West.

Nori donned an adorable dress and flower crown to serve as the flower girl in the wedding of one of Kim Kardashian and Kanye West’s close friends in Miami, and the little gal was a star in her own correct at the reception.

Kim, ever the proud mama, served as her daughter’s own paparazzi for the festivities, and followed her around the dance floor although documenting her moves on Snapchat. Newsflash: North is a huge fan of “Get Lucky” and wasn’t afraid to show it in her formalwear.

If North winds up joining the loved ones enterprise or beginning a wedding singer venture of her recognized, we’ll know precisely where that thought popped up.

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Hills Tiny Lady: Audrina Patridge Welcomes Baby Girl

Audrina Patridge was recognized for having a properly-known group of girlfriends throughout her Hills days — and now, the former MTV star has a brand-new (tiny) lady in her life.

The 31-year-old — who announced that she was expecting her first youngster back in December — gleefully welcomed daughter Kirra Max Bohan with fiancé Corey Bohan, according to Men and women. Child K created her debut on Friday June 24, weighing eight lbs. 4 oz.

“She’s completely wholesome and Mom is undertaking great,” Audrina’s rep told the magazine.

Ahead of becoming a mama, the SoCal beauty reflected on her pregnancy and gave a final glimpse at her burgeoning belly.

“It’s going to be weird not obtaining a belly quickly or feeling little kicks punches and hiccups allll the time, I’m so utilized to it now and am loving it,” Audrina added to the photograph above. And now that’s she “done” with this phase (had to throw it back to that infamous Hills beach scene), the parent will witness these noises and gestures in individual.

Be sure to offer your congratulatory messages to Audrina and Corey on their brand-new addition! And for a throwback — which hopefully the couple will show Kirra in the future — relive the new folks’ early dates in the Hills video beneath.


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Girl groups: the XX aspect

Manufactured, yes, but there are good causes why such acts endure, says pioneer Ronnie Spector

THE RONETTES POP GROUP 01 June 1964 TA650 Allstar Collection/©Sportsphoto Ltd/Allstar

The Ronettes — from left, Estelle Bennett, Ronnie Spector and Nedra Talley — in 1964

Music snobs reserve their worst contempt for pop songs enjoyed by girls. Boy bands and girl groups receive specifically harsh treatment, mocked as pabulum for a hormonal audience too busy screaming to notice the insipid tunes.

But it was not usually so. When Ronnie Spector arrived in London with The Ronettes in 1964, she was delighted to find herself treated like royalty by the leading bands of the day.

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“I remember how when we had been in England we would go out with The Beatles to a club,” she recalls. “They would often ask us about the American acts, the girl groups: how did we get the various sound, how did we dress, our routines.

“They wanted to know all about the dances: the twist, the hullabaloo, the jerk. When we went to a club, I remember John Lennon would say: ‘Show me that step once more.’ It was the time of my life.”

The Ronettes belong to a time when pop was dominated by young women. In between 1960 and 1965, in the period in between rock and roll and the British Invasion, all-female vocal acts ruled the charts, bearing peppy names such as The Marvelettes and The Cookies.

The term “girl group” was employed to describe them, a coinage that is now almost 60 years old. In contrast, the description “boy band” did not seem until the late 1980s.

Spector, 72, is still performing: she has an album of British Invasion covers out next month, English Heart. When she toured the UK with The Ronettes, their opening act was The Rolling Stones. “We were so innocent back then. There have been no drugs, every person was content when a person had a hit record,” she says.

She formed The Ronettes in New York with her sister Estelle Bennett and cousin Nedra Talley. Girl group pioneers The Shirelles were an inspiration. So was the teenage doo-wop singer Frankie Lymon, a precursor of the sweet-voiced higher tenors who would later be recruited for boy bands.

Ronnie Spector on stage in London, 2014©Redferns/Getty Images

Ronnie Spector on stage in London, 2014

“His voice just pierced me. I got goose pimples. I was 14 or 15 and truly liking guys. When I heard his voice chills ran up and down my spine. I wanted to sing like that,” Spector laughs.

These goose bumps had a wealthy historical pedigree. Teenage girls and young females have long been a focus of the recorded music sector, dating to the dance craze of the 1920s, the era of “flappers” and “jazz babies”.

“If it have been not for the flapper, the Victor individuals may possibly as effectively go out of enterprise,” a trade journal commented, referring to Victor phonograph players. “They acquire 90 per cent of the records — mainly dance records.”

As well as being marketed to, women also became a lot more visible as performers in the 1920s and 1930s. The girl group phenomenon of the 1960s intensified the approach as teen-pop. Spector was 19 when The Ronettes recorded their very first hit, “Be My Baby”, not a lot older than her audience.

Girl groups had a sturdy image: towering beehive hairstyles, dark mascara and tight dresses in The Ronettes’ case, a appear adapted from their Spanish Harlem neighbourhood. “We took it from the streets, every little thing we did,” Spector says. “Not like the groups of today, they have a complete entourage of individuals, make-up artists, choreographers. We in no way had that.”

Today’s music snobs deride “manufactured pop” as fake, a lazy complaint that makes no allowance for the high quality of the manufacturing. With The Ronettes and their girl group peers, the good quality was of the highest.

The Shirelles on US television show ‘Dick Clark Presents the Rock and Roll Years’ in 1973©ABC Photo Archives/Getty

The Shirelles on US television show ‘Dick Clark Presents the Rock and Roll Years’ in 1973

Songs were composed by the leading songwriters of the day, operating from New York’s Brill Developing, house to scores of music publishers. The distinctive girl group sound, blending doo-wop, pop and rhythm and blues, essential revolutionary arrangements and production. When the Beach Boys’ Brian Wilson first heard “Be My Baby”, a beautifully orchestrated evocation of juddering wish, he was hit by an epiphany. “I wanted to try to do one thing as excellent as that song and I by no means did. I’ve stopped attempting,” he when mentioned.

Strong, typically unscrupulous guys played a function in the rise of the girl groups, assisting to mould these young, largely African-American women for a mass market place. Phil Spector was the producer behind The Ronettes, a visionary musical creator but also a violent bully. He married Ronnie in 1968, subjecting her to a reign of terror until 1974, when she emerged as although from a kidnapping. “I was sort of taken from it in the ’60s,” she says. “I was like, who am I, what am I? Oh you’re a performer: get back up on stage.”

Despite the presence of male Svengalis, girl groups projected an image of female independence. The Cookies’ “Girls Grow Up More quickly Than Boys” is an early instance of what the Spice Girls would come to label “girl power”. The Shirelles’ “Tonight’s the Night” addresses a teenager’s ambivalent feelings about losing her virginity, although their “Will You Enjoy Me Tomorrow” anticipates the aftermath.

Little Mix perform at the 2016 Brit Awards©Dave J Hogan/Getty Images

Little Mix execute at the 2016 Brit Awards

Modern girl groups could have skimpier outfits and racier routines, but they carry out a equivalent role to their predecessors a lot more than 50 years ago. Small Mix, for instance, make the tradition explicit with their Ronettes pastiche “Love Me Like You”. Along with their US counterparts Fifth Harmony, the UK foursome are bidding to reverse a fallow decade for girl groups. The conditions for revival are promising.

One particular Direction’s short-term split has left a void in teen-pop. Solo stars such as Taylor Swift and Beyoncé (formerly of Destiny’s Youngster) preach a message of female solidarity that finds its embodiment in the girl group. All-female acts thrive in the so-known as K-pop and J-pop scenes in South Korea and Japan.

Meanwhile Ronnie Spector continues touring. “When I walk out there and I see these girls with the large beehives, I freak out,” she laughs. “I cannot look too much or I neglect my lyrics, you know! To see that 50 years later girls are nevertheless coming to my shows. It’s thoughts-blowing.”

Ronnie Spector’s ‘English Heart’ is out on April eight. Tiny Mix play the O2 Arena in London on Sunday. Fifth Harmony’s album ‘7/27’ is out in Might

Photographs: Sportsphoto Ltd/Allstar Redferns/Getty ABC Photo Archives/Getty Dave J Hogan/Getty

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Section: Arts


The Danish Girl — film overview: ‘A dire movie’

Eddie Redmayne and Alicia Vikander in 'The Danish Girl'

Eddie Redmayne and Alicia Vikander in ‘The Danish Girl’

Eddie Redmayne works so tough in The Danish Girl, as the painter and
pioneer sex-adjust patient Einar Wegener, who became renowned as “Lili Elbe”, that you want to sit him down, wave a towel and spray water in his mouth. It’s acting as histrionic slugging: except that Redmayne must be counter-macho for ten rounds, not punching but preening and simpering. That’s how you win trophies — or feel you win trophies — in gender reassignment roles.

It is a dire movie. Via the distorting glass of David Ebershoff’s semi-fictionalised book about Einar/Lili (which inter alia airbrushes out wife Gerda’s lesbianism), screenwriter Lucinda Coxon and director Tom Hooper generate a period drama that is all period and no drama. 1920s Denmark is a Vienna Secession-style delirium: art nouveau by the tonne, Klimt-like dresses and poses. And dialogue like mottos written about a painting’s frame or gilded speech balloons. “This surgery has never ever been attempted before,” declares, for the hard of hearing or apprehending, the surgeon professor. And “I want my husband!” emotes Alicia Vikander’s Gerda earlier, as Redmayne-Einar begins morphing into Redmayne-Lili.

Some commentators have attacked the film for casting a “cis” actor (a single comfy with his personal gender) in a “trans” function. That appears the least of The Danish Girl’s offences or failings. It is like criticising a white actor’s assumption of Othello in a Shakespeare production falling apart wherever you appear.

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Section: Arts


Funny Girl, Menier Chocolate Factory, London — ‘Wonderful, but . . .’

Sheridan Smith, centre, in 'Funny Girl'. Photo: Marc Brenner©Marc Brenner

Sheridan Smith, centre, in ‘Funny Girl’. Photo: Marc Brenner

Sheridan Smith is already a British national treasure at the age of 34. A organic comedian on stage and tv and an outstanding musical actress, she has also won an Olivier award for her performance in Terence Rattigan’s Flare Path . She would seem a organic match for the function of Fanny Brice in this revival of the 1964 Jule Styne/Bob Merrill musical about the star of the Ziegfeld Follies and her relationship with gambler Nick Arnstein. But Smith, in Michael Mayer’s production at the Menier Chocolate Factory, somehow doesn’t get there.

It might be the inherent Jewishness of subject and remedy alike: Smith offers us pert when what is necessary is brash. It requires a specific sort of defiant Brooklyn sardonicism to get away with a lyric in a initial world war propaganda quantity like: “I’m by means of and by way of red, white and bluish/I speak this way due to the fact I’m . . . British.” The non-rhyme might be faux-coy, but the obvious “real” rhyme is wholly unapologetic. Similarly, impassioned argument scenes and numbers such as “Don’t Rain on my Parade” need to be belted out, not basically in fidelity to Barbra Streisand, who originated the part on each stage and screen, but since that’s what the material demands. Smith only begins to unleash her complete power on the final couple of bars of “Parade” and its reprise.

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The performers may possibly be reining in due to the fact of the intimate size of the Menier, just before unmuzzling themselves on the show’s transfer to the West Finish next year (which had been announced even ahead of this initial run began, promoting out inside a day). Likewise, it at times feels as if we are right here seeing only the bottom half of Michael Pavelka’s set style.

The show (original functioning title My Man, following one particular of Brice’s signature numbers) has a dual focus: it is about each Brice and Arnstein. It also whitewashes their history together: we see Brice sharing what is in effect her initial kiss with him, when in reality she was already divorced by then, and he is portrayed as a risky wheeler-dealer rather than an outright conman.

Darius Campbell (formerly Danesh) is marvellous at adorning a stage, but he nonetheless can not really act. As Arnstein, his voice is smooth as chocolate, but it is commercial chocolate that most likely wouldn’t meet the EU needs to carry the name. As for Smith, she is by no means much less than wonderful, but this time she’s not very the correct sort of wonderful.

To March five, menierchocolatefactory.com

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Section: Arts