Christine Riding defends the public purchase of the Armada portrait

China’s ancient Shaolin temple is famous for its Kung Fu monks, but it’s also big business.

Musicians will take to the stage of London’s Royal Albert Hall on Friday to honour the life and work of David Bowie, who died six months ago from cancer.

Trevor Noah is confident that President Barack Obama will be remembered long after his term officially ends in January. If not for his policies, then for the frequent touching of his own face.

“The Daily Show” host noticed the president’s hands-on approach on Wednesday during his speech at the Democratic National Convention.

Before the speech, there was a short film discussing the major events of Obama’s two terms in office. The video left its mark on Noah, but not in the way Democratic Party officials might like.

“You realize after watching that video … how much more than any other president in this country’s history Barack Obama has touched his face,” Noah said.

A brief look at HuffPost photo libraries revealed Noah is right: Obama does touch his face a lot, as this gallery shows.

Noah also saw some other things on the president’s face, besides his own fingers, during the DNC speech.

“You see that smile?” Noah said. “That’s not joy. That’s the laugh of someone who’s about to go insane.”

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Can you tell me how to get… how to get to the unemployment office? 

“Sesame Street” is getting rid of three beloved characters, along with the human actors who play them. Bob McGrath (”Bob”), Emilio Delgado (“Luis”) and Roscoe Orman (“Gordon”) have all been let go, Sesame Workshop said in a statement on Facebook, adding that the trio would “continue to represent us at public events.” 

“To us, and for millions of people worldwide, they are a treasured part of Sesame Street. Since the show began, we are constantly evolving our content and curriculum, and hence, our characters, to meet the educational needs of children. As a result of this, our cast has changed over the years, though you can still expect to see many of them in upcoming productions.”

McGrath first broke the news at Florida Supercon earlier this month.

I have completed my 45th season this year,” he said on The MuppetCast podcast. “They let all of the original cast members go, with the exception of Alan Muraoka ― who is probably 20 years younger than the rest of us ― and Chris Knowings, who is also young.” 


(Story continues below video)

McGrath, 84, has been on the show since it debuted in 1969, according to USA Today. Delgado, 76, was added in 1971, while 72-year-old Orman joined in 1974.

The casting changes follow the show’s switch from an hourlong format to a 30-minutes. New episodes will air first on HBO and be rebroadcast nine months later on PBS. However, a statement from the show said the decision to dismiss the veteran cast members wasn’t made by HBO.

“Sesame Workshop retains sole creative control over the show,” the organization said on Facebook. “HBO does not oversee the production.”

PBS also said it had nothing to do with the casting changes.

“’Sesame Street’ is produced by Sesame Workshop, which is an independent production company, and the casting decision was made by them,” PBS president and CEO Paula Kerger said, according to The Wrap. “We did not know about it beforehand. We found out about it after.” 

The news came just one year after another longtime member of the cast, Sonia Manzano, retired. She had portrayed the character of Maria since 1971.

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Artist George Butler documents the lives of those displaced by conflict across the world.

It’s 2016 and she was talking about the founding fathers, so Democratic presidential nominee Hillary Clinton had to do it. She was not willing to wait for it. She could not throw away her shot. 

She name-checked “Hamilton.” 

“Though ‘we may not live to see the glory,’ as the song from the musical ‘Hamilton’ goes, ‘let us gladly join the fight,’” Clinton said in her speech at the Democratic National Convention on Thursday. “Let our legacy be about ‘planting seeds in a garden you never get to see.’”

Lin-Manuel Miranda, who created and starred in the Tony Award-winning musical, seemed pleased. 

Clinton has seen the Broadway show multiple times, and the Hillary Victory Fund held a $2,700-per-seat fundraiser there earlier this month. 

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A video detailing Hillary Clinton’s life and career played just before the presidential nominee took the stage at the 2016 Democratic National Convention on Thursday night.

President Barack Obama and former President Bill Clinton were both interviewed for the film, which was narrated by actor Morgan Freeman and produced by Shonda Rhimes and Betsy Beers.

“It is an honor to provide America with an intimate portrait of Hillary,” Rhimes said in a statement. “Everyone already knows the powerhouse ― now, with this piece, everyone will also get to know the person.”

Watch the video above.

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Coming soon to your television set (or later to your Netflix binge): Vice President Joe Biden.

He’ll tape an appearance Friday on “Law & Order: Special Victims Unit,” the popular and long-running procedural drama that focuses on sex crimes. Biden’s appearance will focus on the backlog of untested rape kits, according to the White House.

Combating violence against women has been one of the top issues of Biden’s political career. During his time as a senator from Delaware, he introduced the Violence Against Women Act, which eventually passed in 1994, and as vice president he has been involved in efforts to stop campus sexual assaults.

Biden has collaborated with “Law & Order: SVU” star Mariska Hargitay on advocacy efforts several times in the past. The two visited a domestic violence hotline together in 2013 and co-starred in a 2014 public service announcement. Hargitay narrated the video that played before Biden’s Democratic National Convention speech on Wednesday. 

Biden announced plans last fall to award nearly $80 million in grants toward eliminating the backlog of untested rape kits, in a combined effort between the federal government and the New York County District Attorney’s office. Rape kits are containers that include information and specimens, such as blood samples and swabs, gathered in an exam after a sexual assault.

DNA evidence is often critical to prosecuting sex crimes, but more than 100,000 rape kits have never been tested, according to RAINN, an anti-sexual violence organization. In some states, they can be thrown in the trash, and no state gives a victim the right to retain a rape kit until the statute of limitations is up on the alleged crime.

Hargitay founded the Joyful Heart Foundation, which works with survivors of sexual and domestic violence. The organization gave Biden an award earlier this year for his work on the issues.

“When I wrote the Violence Against Women Act over 20 years ago, domestic violence was considered a private matter,” Biden said after receiving the award. “There was no hotline or special-victims units, and the legal system and public opinion routinely re-victimized the victim. I became convinced that if we pulled back the mask on this epidemic that occurred in the country, we can begin to not only change the laws, but we could change lives.”

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Alex Horwitz figured out how to get tickets to Hamilton, the hottest show on Broadway.


He directed a documentary called Hamilton’s America, which weaves the life of the real Alexander Hamilton into the story of the contemporary stage phenomenon. He sold the documentary to PBS, where it will premiere Oct. 21.

And it worked. He saw the show.

Why didn’t we think of that?

“Yes, that is why I made it,” jokes Horwitz, a New York screenwriter whose previous TV work included editing productions on the notorious Whitey Bulger and Nicki Minaj. More seriously, he admits, he has gotten “far too many” ticket requests from friends, casual acquaintances and total strangers who heard he now had a connection.

But in a sense, he says, Hamilton’s America may help ease the frustration of all those people who can’t acquire or can’t afford tickets to Hamilton creator Lin-Manuel Miranda’s live show at the Richard Rodgers Theater.


“We give you some of the Hamilton experience,” he says, “and maybe that will help tide you over until next year, when the situation should ease a little. There will be at least two touring companies and it will open in London.”

At the same time, he says, Hamilton’s America “will give you some things that audiences won’t see at the Richard Rodgers.

“Because we’ve got more time, we can explore Hamilton a little more fully than Lin can do in the show. We can also show you the reaction of the current President, and his family, after the show was performed at the White House.”

What he personally took from his three-year immersion in Hamilton’s life, says Horwitz, is that “Hamilton was a fascinating and incredibly important figure.

“He was brilliant. He was fiery. He had some great ideas. He also had some terrible ideas.

“But that’s true of most of the Founding Fathers. They were big personalities. They were loud. They argued. They said despicable things about each other. They behaved admirably and yet many of them owned slaves.

“Hamilton was involved with all of them, of course. This film touches on George Washington, Thomas Jefferson and Aaron Burr, but there were so many others we just didn’t have room to include. It could have been a 10-part miniseries, because there’s that much material in Hamilton’s life.”

The idea he says, “was to make a film about politics that’s not political. We’re neutral. We want to show his life, the good and the flaws. We’re also making two movies at once, since we’re showing the making of Lin’s Broadway production at the same time. It’s kind of a perfect storm.”


After three years, Horwitz (above) admits he’s ready for a rest from Hamilton, though he won’t rule out returning to that world in the future.

And incidentally, back to the ticket thing, he says the popularity of Hamilton could mark an interesting shift in the whole role of Broadway theater and music.

“Theater used to be popular culture,” he says. “Back around the turn of the 20th century, the highest aspiration was to be an opera star.

“Then the movies came along and people wanted to be movie stars,” and live theater gradually lost its place as everyday entertainment for the masses. For most people, it became a once-in-a-while thing, an occasional break from the movies or, later, television.

“But for a long time,” Horwitz points out, “stage music was still our popular music, the top-40 of its day. With Hamilton, maybe we’re seeing things go back toward that a little bit.”

Even if you can’t get a ticket to the show. Yet.

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The inmates covered the floor of a section of the jail with soapy water and were holding another inmate hostage with what could be a sharp object.

Hillary Clinton ascends to the top of the Democratic ticket Thursday with a keynote address at the convention.

The Sand Fire in the Angeles National Forest is 65 percent contained, but a fire near Big Sur continued to grow Thursday.

The Michael Jordan Crying Face has become perhaps the most well-known sports meme of our time. Whenever there is sadness, the Michael Jordan Crying Face is not far behind. It has been the subject of think pieces in The New Yorker and The New York Times. It has its own Wikipedia page. It just won’t go away. 

Even when Jordan does a good deed, like finally speaking out against police brutality and donating $2 million to help advance police-community relations, he apparently can’t escape his own tears. On Wednesday, a photo of a newspaper article in Malawi went viral, and it wasn’t hard to understand why: the article was about Jordan’s recent personal essay on violence, but the accompanying photo was, well … It was the Michael Jordan Crying Face.

Amused Twitter users from Malawi posted the image multiple times on Wednesday, and within hours, Bleacher Report, Sports Illustrated and CBS Sports had all written about it, expressing disbelief that a newspaper would choose such a photo for such an article, as well as skepticism about whether it was real.

We wanted to find out more. Which newspaper? Why that photo? Are they in on the joke? Or did Jordan’s tears genuinely touch — rather than amuse — the photo editor in charge? These are pressing questions in need of concrete answers. 

With the assistance of Malawian Twitter user @Zosavuta, The Huffington Post tracked down the newspaper. The helpful Twitter user provided us with additional images from Wednesday’s edition of the newspaper to identify the East African outlet.

As it turns out, the newspaper is called The Nation, or The Malawi Nation. When reached for comment on Thursday afternoon, The Nation Senior News Analyst Joy Ndovi stated that using the Michael Jordan Crying meme was intentional, and said Sports Editor Garry Chirwa picked the photo.

Here’s Ndovi’s full explanation:

The article on Jordan reacting to the violence in U.S. was just the perfect one for the meme to be used. It depicts the emotional state of the former NBA star. Though it might seem unconventional, what other photo could be more suitable than the infamous Crying Jordan meme?

Got it. 

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It wasn’t guys with rhymes who started hip-hop. It was guys with turntables, extracting five seconds of the beat from five minutes of a song.

“The deejays were the ones who invented hip-hop,” says Grandmaster Flash, who should know because he was one of them. “The rappers were important, too, but they didn’t come along until a few years later.”


This distinction, along with a lot of other musical and cultural history, forms the core of the new Netflix drama The Get Down, which drops Aug. 12 on the streaming service.

The Get Down, set in the South Bronx in 1977, blends a group of young fictional characters with real-life pioneer hip-hoppers to show how their music began its unlikely and meteoric ascent from a vaguely dangerous street-corner pastime to the world’s dominant popular music sound.


It focuses on a mysterious, elusive aspiring deejay named Shaolin Fanastic (Shameik Moore), who falls into a partnership with a group of musical kids that includes writer Ezekiel “Books” Figuero (Justice Smith) and gifted young singer Mylene Cruz (Herizen Guardiola) (above).

Books has the skills to write poetry and lacks the confidence to put it out to the world. Mylene’s father is an evangelical preacher, played by Giancarlo Esposito, who will go to almost any length to keep her from singing the secular music she loves.

Like their family and friends, they live in a world of barely controlled chaos. The South Bronx in 1977 looks like a war zone, with whole blocks reduced to piles of rubble. Traditional services like policing and firefighting struggle to keep up and gangs have moved in to fill some of the void.

At the same time, The Get Down doesn’t paint this world as doomed. There are committed teachers. There’s a big-money developer and connected hustler named Papa Fuerte Cruz (Jimmy Smits), who is as interested in making life better for the residents as he is in making money.

Mainly, the young characters have a sense of hope, energy and possibility, which Flash says reflects his own experience growing up there in the 1960s and 1970s.

“We didn’t have much,” he says. “But I had people who encouraged me. I had turntables and I knew what I was looking for: the beat.”

That’s what The Get Down is about – hunting for the beat, capturing it and incorporating it into something new.

“A record is, say, three minutes long,” says Flash. “And right in the middle there’s a drum solo. Maybe it’s only five seconds. Or two seconds. But to me, that’s the record. The rest doesn’t matter. What I wanted to do was find a way to take that beat, those five seconds, and make them last 10 minutes.”

The solution was to get two copies of the record, set up two turntables and keep playing just the good part – the “get down” – in continuous sequence.

“I was working on that in the late 1960s,” says Flash. He and South Bronx peers like Kool Herc and Afrika Bambaataa started playing house parties and block parties and by the mid-1970s their mix had become the silent shadow of disco. While the radio world was playing Donna Summer, the kids on the corner in the Bronx were hearing Flash, Herc and Bambaataa.


But what’s critical to remember here, says Flash, is that it wasn’t a competition between musical styles. “Hip-hop wasn’t separate from all other styles of music,” he says. “Hip-hop incorporated all those other styles. Disco, R&B, popular music, rock, jazz, blues. When I listen to any of those things, I hear hip-hop.”

The Get Down explores the thousand tiny dramas of hip-hop. When deejays set up a party in the park, they might tap into the base of street lights for power. Deejays would scour record shops all over the city for obscure records – often “cutouts” that had been abandoned by their record company – with great drum breaks.

Deejays, Flash explains, were one of three core elements in the hip-hop movement, along with break dancing and graffiti.

Rappers were originally the “emcees” whose job was to help keep the show flowing. They were an add-on to the deejays. It was only later, as emcees developed more sophisticated rhymes, that the spotlight shifted to what came to be called rapping. Lyrics also made the music easier to get on the radio and sell.

Flash says he understands that evolution. But what shouldn’t be forgotten, he says, is that the deejays are where it started, and they have never gone away. They’re still the ones who find the beat, who integrated all those other genres into hip-hop and who today keep pushing the music ahead.

That’s what The Get Down is all about, says creator/director Baz Luhrmann, who spent 10 years shaping the idea and putting it on film.


In its final form, The Get Down frames those early years of hip-hop inside a story of families and a community.

The Get Down is part documentary and part mythology,” says Flash. “What’s important is that the story it tells is the truth.”

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There are two kinds of people in this world: Those who loathe knowing the ending to a TV show before it happens, and those who enjoy it.

The kind who hate spoilers may like engaging their brains more, according to recent research, and the other kind is just a bunch of monsters.

We kid! But jokes aside, your preference for spoilers could reveal a lot about your personality.

Researchers from Albany State University and VU University Amsterdam examined 358 subjects on their “need for cognition” (the psychological term for how much a person enjoys deeper thinking) and their “need for affect” (how much someone enjoys emotional stimulation) as they relate to spoiled and unspoiled stories.

The participants were presented with previews of several short stories. Some of the previews contained information on what happened in the story, and others didn’t give anything away. The participants were then asked which stories they wanted to read: the spoiled ones or the unspoiled ones. They were also given a personality test that assessed their need for cognition and need for affect.

The study authors found that the participants who preferred to read the spoiled stories also scored the lowest on a need for cognition in the personality test. Their results were published in the journal Psychology of Popular Media Culture.

“When choosing between stories, low need for cognition individuals appear to have found spoiled stories as potentially more comprehensible and more in keeping with their preferred level of cognitive processing,” the researchers wrote.

The researchers continued the experiment by having the participants actually read the selection of stories for which they had seen spoiled and unspoiled previews, ranking how much they enjoyed each story when they were done.

Something interesting happened in this part of the experiment: Those people who had scored higher on the need for affect took more pleasure in the unspoiled stories. Need for cognition didn’t really make a difference when it came to whether or not the individual enjoyed the story.

This could suggest that those who are deep thinkers hate spoilers, but spoilers don’t necessarily ruin the story for them. It also implies that people who enjoy surprises that speak to their emotions dislike spoiled stories.

However, there are quite a few limitations to this study. The experiments didn’t take into account personal preferences for certain stories. Most people in the real world would be furious if someone spoiled, say, “Scandal,” if it was their favorite show. A story they’re not really invested in, like those read by participants in this research, may not prompt the same feelings.

The study’s sample size was also small and consisted of college students, a group that may not be totally indicative of how everyone thinks.

There’s also conflicting evidence in scientific literature about this topic. As Science of Us points out, previous research from 2013 found that giving away endings seemingly improves the experience of consuming stories. A follow-up study suggested the complete opposite of these results.

In other words, it’s too complex to definitively determine what spoilers’ effect is on the human experience. However, what this most recent study may reveal is that our core characteristics could inform our preferences.

But if you ask for our completely unscientific conclusion, spoilers are the worst regardless of your personality type. Basically, don’t post “The Bachelorette” results or what happened in the last “Game of Thrones” episode on Facebook. Or else.

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The Huffington Post has been nominated for three awards by the National Association of Black Journalists and the National Association of Hispanic Journalists. 

The two organizations, who have teamed up to host the first-ever joint convention that kicks off on Aug. 3, recognized HuffPost among their list of journalists included in this year’s group of finalists for various awards.

Zeba Blay, a HuffPost Voices culture writer whose work is featured heavily in Black Voices, was nominated for best Commentary/Weblog by NABJ for her powerful personal essay published in November titled, “The Psychological Toll Of Racism In The Wake Of Mizzou.” Blay’s essay explored how writing about race as a black journalist affected her as a black woman with a mental illness, especially in the aftermath of the campus racism protests at the University of Missouri. 

HuffPost Politics reporters Mariah Stewart, Julia Craven and Ryan Reilly were nominated for best Online Project: News by NABJ for their collaborative piece titled, “The Ferguson Protests Worked.” The detailed article, which included original artwork made by the HuffPost multimedia team, discussed how Black Lives Matter protests ― that erupted in Ferguson, Missouri, against the tragic police killing of Michael Brown ― helped to lead the city to much-needed reform. 

Lastly, Carolina Moreno’s coverage of outstanding and influential Latinos in her project, “Latinos Break The Mold” was recognized by NAHJ as a finalist under the category “Latino Issues – Print/Digital Journalism.” Moreno’s multimedia piece, which included striking imagery assembled by HuffPost photographers Damon Dahlen and Christy Havranek, helped to shatter harmful stereotypes often painted of Latino men and women by celebrating the beautiful diversity among the Latino community. 

The three nominations are recognized among a list featuring incredible work from outlets like The New York Times, CNN, BuzzFeed and more. 

Awards will be announced at the NABJ Salute To Excellence Gala and the NAHJ Gala Reception, both of which will take place on Saturday, Aug. 6.

Congrats to all those nominated!  

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Every year the Hollywood Bowl presents an amazing musical and this year A Chorus Line will be taking the stage.

The iconic show will take place July 29, 30 & 31 and star many vets of various versions as well as some new faces. The show will star Sabrina Bryan as Valerie Clark, Robert Fairchild as Mike Costa, Spencer Liff as Larry, Mario Lopez as Zach, and Ross Lynch as Mark Anthony.

The cast also includes Sarah Bowden as Cassie Ferguson, Mara Davi as Maggie Winslow, Courtney Lopez as Kristine Ulrich, J. Elaine Marcos as Connie Wong, Krysta Rodriguez as Diana Morales, Jason Tam as Paul San Marco, and Leigh Zimmerman as Sheila Bryant.

The Hollywood Bowl’s production of A Chorus Line will have choreography adapted and re-staged from the Michael Bennett original by director and choreographer Baayork Lee, who appeared as Connie Wong in the original Broadway production and choreographed the Broadway revival in 2006.

We had the chance to hang out at rehearsals with Ross Lynch & Sabrina Bryan where they talked about their characters and being a part of the iconic show. They both agreed that “One” is their favorite number and we can’t wait to see it live! Check out our interviews below. We also chatted with Ross about his upcoming projects.

To get tickets, visit or

For more, visit

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Get ready world. SOFI TUKKER will make you get on your feet and sweat it out this summer. Starting tonight, the duo is going on the road and taking the dance party with them. From Chicago to Louisville, fans of dance music are in for a treat over the next few months. I recently got to chat with Sophie Hawley-Weld and Tucker Halpern about the release of their new EP “Soft Animals” and upcoming show at Baby’s All Right in New York City.

Hey Sophie and Tucker! Thanks for doing the interview. How did you two meet?

Tucker: We both went to Brown but didn’t actually meet until our senior year when we were both playing at an art gallery.

Sophie: I was playing acoustic bossa nova music in a trio and Tucker was the DJ that night. He came early and saw what we were doing and ended up remixing one of my songs on the spot…We have been working together ever since!

Tucker: Her songs were beautiful but painstakingly slow, so I had to spice it up a little and it ended up sounding really cool.

That’s how magic is made. What made you both decide that you wanted to get involved in music?

Sophie: Making music has always been important to me. I started writing songs in the 6th grade–badly, but happily. Dancing and moving and singing and making music has always made sense to me as a way of being. I didn’t know whether it was a viable career path but I tend to be idealistic.

Tucker: I always loved music but it was a passion that I had put to the side for my whole life. I dedicated most of my life to basketball, and that was my plan until my junior year of college when I got ill and was bed-ridden for eight months. In those months I wanted to be productive and I taught myself how to produce music on my computer. When I went back to school I started taking all my classes in music and DJing a lot.


It seems like the dream has become a reality for both of you. Very cool. Being New York based, what are a couple of your favorite things to do in New York City?

Tucker: My favorite thing about New York is my friends. I love them. When we get off tour my body tells me to sleep for days, but all I want to do is be out in New York because I miss it when we are traveling. Anywhere with house music and my friends and I’m happy.

Sophie: New York is the best. I love my home, cuddling with my roommates, being with friends. When we are back, we spend a lot of time dancing around the city. Miss Favela is one of my favorite spots. I spend a lot of time trying out new yoga studios around the city too…Shoutout to one of my home away from homes “Strala!” One of the great things about the city is that every time we are back, I feel like it’s a new world and a new adventure.

My sister Jillian is an excellent yoga instructor. You should take a class with her at studio ANYA Sophie! The music video for “Drinkee” makes me want to put on my dancing shoes and shake my money maker. It’s the perfect song for the summer! What was the process like shooting the video?

Tucker: We filmed it in a warehouse in Bushwick and there was a rave next door that was still going on when we arrived on site at 7am. It lasted till the late afternoon so we danced throughout most of the shoot even when the camera wasn’t rolling. It was a fun day…We got to bring our friends in as extras and everyone working had great energy and was on top of their shit!

Squad goals indeed. For those readers out there that only speak English, what is the message behind ‘Drinkee’?

Tucker: The song is purposefully not about the meaning! Our message is for people to get lost in the repetition of the words like a chant and move their bodies. The lyrics are a poem by the Brazilian poet Chacal. Sophie met him while studying Portuguese poetry at Brown. He’s the best.

What is your creative process when putting together a song? How do you two compromise to find a happy medium where you both are happy with the final product?

Sophie: We do no compromising. If we both aren’t fully in love with it, it goes in the trash. We realized early on that there’s a place where our minds (that come from totally different influences and musical knowledge) meet. Right where that happens is SOFI TUKKER.


I know the release of your EP “Soft Animals” must have been a special moment for you both. Can you describe what it felt like putting it out there for the world to listen to?

Sophie: It felt great to finally share a larger body of work and show different sides of ourselves all at the same time…When we only had one or two songs out, we felt a little strange because people only had a small piece of the story. We have been performing a lot of newer songs as well lately and can’t wait to continue sharing and expanding what we do and who we are!

Who are a couple of your favorite dance artists that you would like to work with in the future? Who did you guys listen to growing up that helped shape you as artists?

Sophie: Our musical influences have come from totally different places.

Tucker: I didn’t know any of the music Sophie was inspired by and she didn’t know any of the house music that inspired me. We’ve taught each other a lot. Stromae is probably the dance artist we both look up to most and would love to work with! We just played a show in Milan with Grimes and she blew our minds. Love her.

I saw Stromae perform at Madison Square Garden a couple of months ago and it was one of the best shows I’ve ever been to. I would love to see that collaboration! “Awoo” is such a fun song. Speaking of other artists, I know Betta Lemme is also featured on the track. How did you guys wind up working together? It seems like the perfect fit to me.

Tucker: Betta is a good friend of ours in New York. We were all hanging out one day, not intending to make a song. Sophie and Betta were fooling around at the piano and I started making a beat to it and we were like… shit, let’s record this… and “Awoo” happened. It came together really fast, we even have a video somewhere of the first time we all played it live before it was recorded. The dance we always do with it came on the same day. We were just having fun.


That’s what friends are for. I dig the vibe of “Hey Lion.” The beat is straight up fire! Who exactly is this lion that you are singing about?

Sophie: I don’t want to get into the specifics but I needed to stand up for myself that day.

Respect. I’m thinking about getting a couple of tattoos in the future so it’s no surprise that “Moon Tattoo” is one of my favorite songs from you two. What is the meaning behind the song?

Sophie: It was a full moon the day we wrote it and I had painted a string of full moons on my clavicle in celebration. I am fascinated by the moon…I’m still trying to seduce it.

(Tucker rolled his eyes at Sophie’s answer.)

What can music lovers expect from your show at Baby’s All Right on July 30th? I know I am so excited to be there and see you two do your thing.

Tucker: Wear comfy shoes, don’t eat too heavy a meal beforehand, and stretch. We don’t want you to pull any muscles.

With an amazing EP released and a sold out show in NYC, where do you two go from here?

Sophie: We feel like we are just beginning…Every time we get in the studio or on the stage, we discover something new about who we are and what SOFI TUKKER is. We have such a long way to go but we are loving the ride.

Where can fans check out your music and follow your journey?

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If you’ve watched “Stranger Things,” you know it is overflowing with homages to the popular culture of the 1970s and ‘80s. From “The Goonies” and “E.T.” to “Poltergeist” and “Alien,” the Netflix series is a treasure trove of nostalgia. (It’s also a damn good story on its own. Read our interview with the show’s creators here.)

A Vimeo user named Ulysse Thevenon has compiled a side-by-side supercut of the many film references featured throughout “Stranger Things.” It’s a sweet tribute to both the show and the classics that inspired it. Watch below.

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BOSTON, July 28 (Reuters) – Activist hedge fund Marcato
Capital Management said on Thursday it has bought a 5.1 percent
stake in crane manufacturer Terex Corp, marking its
second big investment in a…

July 28 (Reuters) – A Massachusetts judge on Thursday
rejected Sumner Redstone’s bid to quickly end a case that will
likely determine the future of the media mogul’s holdings and
set an October trial…

* Fintech Acquisition Corp shareholders approve definitive
merger agreement with Cardconnect

1 thought on “Today”

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