The Chainsmokers Closed Out 2016 By Debuting Their Very first 2017 Track

It appears like Ed Sheeran is not the only a single kicking off 2017 with new tracks.

The Chainsmokers are not wasting the momentum of their crazy year, and are racing complete speed ahead into the subsequent a single with new music — and they are maintaining it 💯 with their live show thanks to some rad surprises, as well.

At the Los Angeles Convention Center on December 30, Alex Pall and Andrew Taggart didn’t just roll by way of “Closer” and their biggest hits of 2016: They brought out special guests, like Big Sean and the Backstreet Boys, for an epic finale of a concert for their definitively epic year.

A fantastic way to get a crowd of thousands singing along is give ’em “I Want It That Way” fresh from the supply, which is specifically what BSB did.

As for their new song — which fans are tagging as #Paris provided its setting in the City of Light — they have been much more than happy to give their L.A. crowd a full performance of their first single of 2017.

Will #Paris be the “Closer” of 2016? Only time will inform, but it looks like that track is not the only trick they have up their sleeves:


The Suicide, National Theatre, London — ‘Some very funny moments’

THE SUICIDE by El-Bushra, , Writer - Suhayla El-Bushra after Erdman, Director - Nadia Fall, Designer - Ben Stones, Lighting Designer - Paule Constable, Video Designer - Andrzej Goulding, Music - Danilo 'DJ' Walde, The National Theatre, London, UK, 2016©Johan Persson

It’s refreshingly various, that’s for certain. The National Theatre requires Nikolai Erdman’s 1928 comedy and refashions it as contemporary satire, in which a single poor sap’s woes become the focal point of a disconsolate, austerity-reduce, hashtag-fixated Britain. It can be entertaining and wise: Suhayla El-Bushra’s script has pith, venom and some very funny moments and Nadia Fall’s staging brings a surreal, jagged, hip-hop style to it, breaking up the action with freeze frames, drum solos and large selfie projections. But it’s also pretty hit-and-miss – it drifts perilously in locations, the style feels uncertain and the cast often struggle to hold the comedy airborne.

Sam Desai (played extremely engagingly by Javone Prince) is in a miserable state: his advantages have been sanctioned, his marriage is turning stale, he lives in a cramped flat with his overworked wife and oversexed mother-in-law. In a moment of despair, he threatens to end it all. That would be the end of it – had some tiny busybody not filmed his howl of pain on a smartphone and flashed it around the globe. Soon Sam has grow to be a lead to célèbre: a host of individuals come smarming by means of his door to persuade him that carrying out himself in would certainly be the ideal thing – for them.

Exactly where the original takes on Stalin’s Russia, El-Bushra brings us a host of modern scourges. There’s the exhausted social worker who wants to use Sam’s demise to protest against cuts to mental wellness solutions, and the would-be councillor who spies a chance to cut them additional. There’s a preening urban poet, a vacuous hipster café owner, a cheating girlfriend and, loudest of all, Patrick: a trustafarian film-maker (Paul Kaye, outrageously vain and funny) who desires to make Sam the symbol of all that is wrong with society. Quickly Sam is getting the time of his life – so lengthy as he promises to finish it at noon.

Behind all the comedy there are of course serious political points: about suicide among young males, about welfare cuts, about a society where even despair can turn into a USP (it’s no accident that the action takes place in the battered Clement Attlee creating and one scene shows Margaret Thatcher busy monetising heaven). There are too a lot of targets and broad caricatures, nonetheless, and the production labours to preserve it all afloat and to sustain the tone. It’s at its greatest on the twitchy solipsism of social media. “I’d strike quickly,” Patrick’s earnest girlfriend (Lizzie Winkler) advises Sam. “Before men and women get bored.”

To June 25,

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Section: Arts

Ariana Grande Is The Only Very good Portion About This Bizarre Sketch Reduce From ‘SNL’

Ariana Grande’s Saturday Night Reside hosting debut went more than exceptionally nicely last weekend, thanks to her spot-on celebrity impressions, impressive comedic timing, and dazzling musical performances. In reality, the episode was so packed with hit segments, that not each bit produced the final cut — and judging by the newly surfaced vid of one particular of those sketches, that is in fact a truly, actually great point.

In the bizarre sketch, Ari invites two clueless co-workers, JoJo (Kyle Mooney) and BoBo (Beck Bennett), to her property for a March Madness celebration. A series of increasingly insane inquiries comply with, as the two dudes do not know when to arrive (now?), what to put on (ponchos?), or what to bring (nails and frogs?).

You may possibly muster a chuckle… but that may only be because of the moment Ari adorably almost breaks character. In addition to that, this 1 was possibly ideal left on the cutting space floor.

Embedded from


Boston Museum Acquires Very first Painting Frida Kahlo Ever Sold

Before it moved to the Museum of Fine Arts, Frida Kahlo's Dos Mujeres (Salvadora y Herminia) belonged to the family of American industrialist Jackson Cole Phillips, who purchased it from Kahlo in 1929.

Prior to it moved to the Museum of Fine Arts, Frida Kahlo’s Dos Mujeres (Salvadora y Herminia) belonged to the family members of American industrialist Jackson Cole Phillips, who bought it from Kahlo in 1929. Museum of Fine Arts, Boston hide caption

toggle caption Museum of Fine Arts, Boston

Up till not too long ago, there have been only 12 functions by celebrated Mexican artist Frida Kahlo in American public collections. Now, there’s one more on show at the Museum of Fine Arts, Boston. Dos Mujeres (Salvadora y Herminia) is the first painting Kahlo ever sold, and it is been in the identical household ever considering that.

Kahlo is recognized for her fantastical self-portraits, but Dos Mujeres shows two other females.

“They had been her maids [who] worked in her house in the course of her childhood, we think,” says Rhona MacBeth, conservator of paintings at the MFA. “We’re nevertheless obtaining out a lot more about them.”

They’re indigenous Mexicans — 1 has olive skin and Indian attributes, and the other is paler with a gold hoop in her ear. They stand against dense, green foliage dotted with fruit and butterflies. According to MacBeth, this painting requires us back to the starting of Kahlo’s career, following a violent vehicle crash that left her spine and pelvis permanently broken.

“Her terrible accident was in 1925 this was only 1928,” MacBeth says. “And she actually only began painting seriously right after the accident, so she’s 21 years old at this point.”

The two maids in the double portrait may have taken care of Kahlo although she was recovering. MacBeth gently lifts the unframed canvas off the easel and turns it over to reveal signatures that have been apparently added at a party celebrating its sale.

Kahlo, seen here in 1931, started painting seriously after a car crash left her spine and pelvis permanently damaged.

Kahlo, observed right here in 1931, began painting seriously right after a car crash left her spine and pelvis permanently broken. Imogen Cunningham/The Imogen Cunningham Trust/Courtesy of the Museum of Fine Arts, Boston hide caption

toggle caption Imogen Cunningham/The Imogen Cunningham Trust/Courtesy of the Museum of Fine Arts, Boston

“Frida Kahlo signs it,” she says. “It’s dated July 1929, which, interestingly enough, is the year right after the painting was produced, and it really is 1 month ahead of she marries Diego Rivera.”

Muralist Diego Rivera signed the painting also, and so did the man who purchased it, American industrialist Jackson Cole Phillips. The painting remained with Phillips’ heirs until they put it up for sale at a New York City gallery. That’s where Elliot Bostwick Davis found it. She’s chair of the MFA’s Art of the Americas wing.

“I could not think I was seeing this,” Davis says. “She showed me the back and all the inscriptions, and the truth that it had been exported from Mexico in 1929 and it had been in one particular family. Of course, Frida Kahlo’s work these days is cultural patrimony in Mexico, so we could by no means truly hope to get just any Frida Kahlo unless it had been out of the country for a really long time.”

The museum will not say how considerably it paid for the painting, but the current record for a Kahlo at auction is $ 5.six million. The MFA has been criticized for not possessing a far more diverse Latin American collection, and MFA Director Matthew Teitelbaum hopes this new acquisition will help change that.

“Our dream was to acquire one thing by Frida Kahlo, who is an artist who truly was a pathfinder and a woman with strong political views that animated her heart,” he says. “And this came on the market place and everyone knew that it was going to be essential for us and assist us invite new audiences into the MFA.”

Dos Mujeres (Salvadora y Herminia) is on display via March 1, then it heads back to Rhona MacBeth in the conservation lab to try to resolve some of the paintings other mysteries — like how Jackson Cole Phillips brought it back from Mexico in the very first location.

“I have a suspicion that possibly he just rolled it up and took it home in his suitcase,” MacBeth says, “partly simply because of these tiny cracks here which are rather uncommon and horizontal.”

The painting will be permanently installed in the MFA’s Art of the Americas wing later this year.

Arts &amp Life : NPR

From Trading Beads To The Very first Wristwatch, A History Of Shiny Objects



According to Aja Raden, a Hungarian countess commissioned the first wristwatch from watchmaker Patek Philippe around 1868. &quot[It] was a spectacularly expensive piece of jewelry,&quot the author says.

According to Aja Raden, a Hungarian countess commissioned the 1st wristwatch from watchmaker Patek Philippe around 1868. “[It] was a spectacularly costly piece of jewelry,” the author says. Courtesy of the Patek Philippe Museum by means of Harper Collins hide caption

toggle caption Courtesy of the Patek Philippe Museum through Harper Collins

Aja Raden’s new book, Stoned, is about jewelry, but on the 1st page she lays out a bold statement: “The history of the globe is the history of want.”

“There is no far more powerful statement than ‘I want,’ ” Raden tells NPR’s Audie Cornish. ” ‘I want that. I want them.’ … Even if it is an issue of survival, you still are driven by what you want and what you are compelled to take or have or sustain.”

As Raden tells it, jewelry is the quintessential object of need — and it really is the excellent lens via which to view human history. She makes her case via the stories of eight noteworthy jewels, starting with the glass beads a Dutchman utilised to purchase Manhattan from the Lenape Indians in 1626.

Interview Highlights

On the worth of the glass beads which, along with buttons and trinkets, were utilized to acquire Manhattan

The worth of these beads was famously calculated at $ 24. We mass generate them now in the billions and they are worth nothing. At the time, they had been hand-blown. They have been made by Venetians, either in Venice or in Holland, and they have been known as trade beads and they were used all over the globe sort of like Renaissance-era traveler’s checks, because glass was extremely valuable in areas exactly where it didn’t exist, like the Americas.

The query … is “What tends to make a stone a gem?” Simply because they’re all just rocks, genuinely some of them aren’t even rocks, like amber – it really is just fossilized resin, you can really melt it. What tends to make a stone a gem is that other men and women never have it, that it really is exotic, that it’s uncommon, that it excites you when you see it. And that was true of glass beads.

On the very first wristwatch

Stoned book cover

There was a Hungarian countess who needed one thing that would make a splash. And there were guidelines, there was a pecking order about how massive your diamonds can be, and so she couldn’t step outside her rank but she did have a excellent deal of income. And so she went to Patek Philippe, which every person knows is 1 of the greatest watch makers in the planet. So she asked them, “Can you make me a real, working clock little adequate to replace the diamond in my bracelet?” And back then technologies — just like now — miniaturization meant money. And this was a spectacularly high-priced piece of jewelry and it produced a sensation. And over a few years, men and women started to receive them and they had been referred to as “wristlets.”

On how Planet War I machine guns helped popularize wristwatches

All of a sudden it was not possible to synchronize firing an automatic weapon with two hands and simultaneously hold pocket watches. And so, for the duration of the [Second Anglo-Boer War], which came correct just before Globe War I … [the British] remembered wristlets and they snapped the fronts off [pocket watches] and then strapped them onto their wrists.

When they got home, the war commission started looking into what have been referred to as “trench watches” for males. And in Planet War I, they have been the lynch-pin piece of technology that permitted all the other technologies to function, from timed explosives to silent synchronized firing. It does not get its due in military history, but it must.

On how the value of jewelry changes more than time

There will usually be one thing that is the rarest rare, that is the most useful, that quickly telegraphs to everyone … you happen to be portion of the proper class, you are privileged. But whether or not it really is diamonds in the 20th century or emeralds in the course of the Spanish Empire or glass beads amongst the Iroquois, these things absolutely do alter. Simply because, what tends to make a stone a gem? Is it uncommon? It is hard to get? Did it come from far away? At some point, we might be trading rocks from Mars as even though they were huge sparkly jewels no matter what they look like. Just since: How in the world did you get that?

On whether writing the book produced her look at her jewelry differently

The truth only ever enhances the luster of one thing for me. I enjoy becoming capable to look at my pearls and know that that was a parasitic infection 15 years ago. I adore being aware of that, you know, this glass bracelet I am wearing was the crown [jewel] of the Iroquois in terms of rarity. I don’t discover it at all diminishing to what I personal. And I am very the jewelry hoarder, as you can picture.

Arts &amp Life : NPR