Were you as blown away as I was by Rumer Willis on 'Dancing With The Stars'? Yes, she danced with grace and magic. Matched with her charm and appealing personality, I predict she's in it to win it and she will!

Rumer Willis danced away with the highest score (32) on the premiere of Dancing With The Stars with her partner Val Chmerkovskiy, and she earned every point. What a winning start to the season!

'DWTS': Rumer Willis's Winning Performance

Who knew that Demi Moore, 52 and 59-year-old Bruce Willis' daughter, 26, would have such a talent for dance? She looked like a total pro with her lengthy legs and long arms moving swiftly and gracefully around the floor to Hozier's "Take Me To Church."

"Where have you been? That was incredible," judge Carrie Ann Inaba raved. And she was absolutely right. The dance was riveting; passionate. There was even something heartrending about it.

My husband and I were so awed by the performance, we had to rewind the DVR and watch it again.

Rumer's long, flowing, dusty pink, cleavage-baring gown and dark bob accentuated by a dusty pink flower perfectly heightened the romantic mood. Rumer looked like a woman in love, dancing the foxtrot and at one with her man.

"What a vision -- I have chills," judge Julianne Hough, 26 enthused. And I agreed -- I had chills, too. Judge Len Goodman, 70, announced that Rumer and Val's performance was "the dance of the night!" and he was right. The pair tallied the most points -- 32 -- on the season 20 premiere.

Rumer Willis on 'DWTS' -- Sweet And Grateful Towards Her Family

But beyond Rumer's performance, the actress also revealed that she's not just lovely to watch -- she's a young woman who you want to listen to. Yes, she's inherited mom Demi's husky voice and slim figure and dad Bruce's intensity, but she has nothing of the spoiled Hollywood brat about her. Quite the contrary.

While she acknowledged her parents, who were cheering in the audience -- "You probably know me because my parents have been in a couple of movies that you might have seen" -- she was clearly motivated to prove that she's her own woman. "I'm actually very excited to get the opportunity to show people who I really am," she told the judges.

Clips of her practices revealed her perfectionism as she pushed partner Val, 28, to work her harder. I'm "one of five girls so if you break me, there's four other ones," she told him. "There's also a man that dies very hard!"

It was so sweet of her to acknowledge all her younger sisters: Scout, 23 and Tallulah, 21 (who were in the audience clapping), as well as Bruce's younger daughters with his second wife, Emma Hemming, Mabel Ray, 2 and Evelyn, 10 mos.

'Dancing With The Stars'' Rumer Willis: The New Kelly Osbourne

Rumer is the Kelly Osbourne of this season. Osbourne famously competed in season 9 and partnered with Louis Van Amstel, 42. They came in third place -- a terrific achievement. For Osbourne, 30, DWTS was a life-changer. Yes, she dropped a lot of pounds and got into shape. But it was in a much fuller sense -- her butterfly-emerging moment. DWTS allowed her, as the daughter of two larger-than-life personalities -- Ozzie, 66 and Sharon Osbourne, 62 -- to come into her own. She's never looked back.

Now, I predict that DWTS will enable Rumer's loveliness to fully blossom from out under the shadow of her uber-successful parents. While the actress has had roles in The House Bunny, Sorority Row, Pretty Little Liars and 90210, none have done her justice.

But now, she has clearly found the perfect vehicle to become a star on her own. Plenty of DWTS fans agree:

Loved Rumer Willis!!!!!! She has the beauty of her mother mixed with the intensity of her father...good job girl!!!! #DWTS

-- Susan Mallott (@ilvbradpitt) March 17, 2015

Wow! Rumer Willis was stunning! She did such a beautiful job! She is definitely a top contender! #DWTS

-- Jessica Lyn (@j_lyn26) March 17, 2015

I am officially now a fan of Rumer Willis. This girl is in it to win it! #DWTS @DancingABC

-- Amanda Avery (@aavery12) March 17, 2015

Fierce Competition For Rumer Willis on 'DWTS'

There's a shocking amount of strong dance talent in the new DTWS season -- Riker Lynch, 23, Michael Sam, 25, Chris Soules, 33 and Nastia Liukin, 25, all displayed impressive footwork. And then there was a breathtaking cha cha performance by Iraqi war vet and double-amputee Noah Galloway, 33, who proved that, as judge Carrie Ann, 47, said, "was profound, and you're broadening my scope of what dance looks like". All of these competitors will give Rumer a run, or dance, for her money.

Nevertheless, my bet is on Rumer. What about you? Will Rumer win DWTS? Let me know.

In our family we all host a holiday. Easter happens to be mine. It's a refreshing time of year when the weather is breaking and the earth is getting ready to bloom again. All kind of spiritual in many ways. I love hosting Easter, the food is bright and the decor is precious and the mood is sunny ! But as all holidays in our family Easter has a definite Italian touch. We usually dye our eggs on Good Friday and we enjoy trying new kits every year. This year I bought a air brush system by Paas to try. Plus some fun marble effect dye and foil type appliqués. I grew up in the city and though I live in a suburb not far from Chicago I still find that to get all my authentic Italian foods it's best to travel back to the old neighborhood in the days before Easter. It's a fun tradition and my daughter enjoys going back and hearing stories of my youth and seeing places we use to frequent as kids.

On Easter morning bright and early my daughter gets up to search for the indoor eggs and her basket from the bunny ! Then before we serve dinner there is the second egg hunt with cousins. No matter how old they get they all still love a visit from the family Easter bunny and fighting each other to get to candy and money filled eggs hidden all through the yard. The kids gather on the couches to open more Easter baskets from aunts and enjoy tallying up what was in their eggs.

We will normally attend mass on Saturday evening which at our church is the candle light service and can last over two hours. It's a long service but easier than trying to get everything in on Easter Sunday. So with mass done on Saturday night you can focus on the cooking without too much stress. We always start our meals with an antipasto full of meats, cheeses, olives and bread. My sister makes delightful deviled eggs in the shape of Easter chickies. At holidays our appetizers include raw fennel also called finnichio in Italian. We dip it in an oil with salt and seasonings. It's a simple treat but one we always have on table. It's a good accent to the heavy meats and cheeses.

Our menu will include of course a traditional honey ham and usually another meat like beef tenderloin or a roast. We prepare traditional baby potatoes with butter and chives and I always like to serve carrots because they add a beautiful brightness to the spread. Then of course like all good Italian meals we need a giant bowl of pasta - our choice for Easter is artichoke lemon linguine. It's full of parmigiano cheese and the lemon creates a bright flavor. We always have a calzone from Scuidieros back in the old neighborhood. It's full of sausage,cheese and doughy crust- yum !! Throw in a green salad and some fresh bread along with the lamb shaped butter mold and this meal is light but fulfilling. Now every Italian party or holiday meal ends with a sweet table - on ours we always have a homemade lamb cake in addition to a traditional Italian easter pie which is make with wheat, farina and lots of citrus It is one of my favorite things about Easter.

We also indulge in Italian pastries such as cannoli, rum baba, tiramisu and cream puffs. Even as adults my mom still brings us all the traditional Italian Chocolate egg wrapped in beautiful foil and filled with a prize inside. They are available at most authentic Italian bakeries and markets and are a beautiful addition to the table. Its important to put in the extra effort at holidays and parties to ensure that family traditions and heritage is remembered It can be as small as things like a certain dish or decoration that gets used every year but remember each small things creates a huge memory Buona Pasqua !! Happy Easter !

The Seattle Repertory Theatre recently presented the world premier of The Comparables, a new play about three women working in the cutthroat world of high-end real estate. In The Comparables, CEO Bette, the original glass ceiling crasher, is on the verge of debuting a reality television show designed to introduce a whole new audience of women to her no-holds-barred view of business. Iris is the new agent who has just joined Bette's agency while Monica is the veteran who has been with Bette for ten years.



The plot twists and turns for ninety minutes while these three women wrestle with the issues common to many women attempting to climb a corporate ladder dominated by men. Their drama is played out on an elaborate stage that morphs into several versions with well-conceived lighting changes helping keep the audience completely involved in the story.

The three-woman cast of The Comparables works through several interpersonal and business issues all focusing on the question, "How do women survive and thrive in the shark tank of competition dominated by men?" A working assumption of this story is that women want the same things that men want, and this leads these three women to be portrayed as "fish out of water" who aren't happy and have a stereotypical single-faceted life focused almost entirely on work.

The Comparables gives rise to many questions about gender roles, especially in the highly competitive business world.

This is a performance that leaves the audience thinking and talking about such issues while still creating plenty of laughter-filled moments. The Comparables continues through March 29 at Seattle Repertory Theatre.

May all people find a new level of increased cooperation and happiness devoid of the competition that is destroying our ability to survive and thrive as individuals and as a society.

Tony Moore is sitting in a radio studio at After Buzz TV. He is going over the outline of the show with his co-host, Mark Freeman on a Days of Our Lives recap show. As a longtime fan of the soap opera, Moore is thrilled to be combining his passion for broadcasting and his love of the show.

Tony Moore always knew that working in the entertainment industry was for him. Growing up as a military kid, he lived all over the United States and parts of Europe, he eventually settled down in Columbia, South Carolina. He graduated with a degree with a B.A. in Mass Communications (Broadcasting) and a minor in Theatre from Winthrop University in Rock Hill, South Carolina.

After graduation, he moved to Los Angeles to pursue his dream of working in the entertainment field. He has appeared in various television shows and film, but his true passion project is his own web talk show, Loungin' With Tony.



Launched in 2010, the online talk show has gained momentum in the last few years. Since its debut, Moore has interviewed many people in both daytime, reality and beyond. Stars live Raven Symone, Wayne Brady, Chef Dakota Weiss (of Top Chef fame) and Ari Zucker (Days of Our Lives) have sat down with Tony. The show itself is not filmed on a set, but rather in the setting of the guest's choice. This adds a sense of relaxation and no pressure. "I just want people to feel like you get to know these 'celebs' a little better and realize that they are just regular people with cool jobs." Moore says. The casualness of the show does not mean it is not professionally done. While viewing some interviews, it is very clear that Moore did his research on the guest, and it is to the point that the interview comes off less as an interview and more as a conversation. The show is professionally shot and edited by Evan Rossenberg.

In the last few years he has gained a growing following, especially with the Days of Our Lives fandom. He regularly is the MC for events for the soap crowd all over the United States. However, Moore has not limited himself to just this genre. He has currently taken his skills to Australia to MC "Abby's Ultimate Austrian Tour" with Dance Moms Abby Lee Miller. Moore scored the gig after interviewing Miller earlier this year. He has also expanded his hosting duties by recently launching Kickin' It With Tony, an on-the-street style show where the guests are everyday people.

I first came across Mr. Moore over a year ago when I was looking through interviews of Casey Deidrick, actor and lead singer of the metal band "And Still I Rise" (Who is currently on MTV's Eye Candy). After going through a few interviews, it was clear that Moore is not only talented and likable (a trait typically needed in his field), but his drive and passion is apparent through his interviews. Months later, we connected through a mutual friend. Moore's drive and passion remained the same (or I would say even increased) as he spoke about past and potential future interviews with genuine enthusiasm. While it takes more than enthusiasm in the cutthroat world of entertainment, it is my observation that Tony Moore has the attributes needed in order to find a form of success in this field. Will I eventually see him on my TV? It is possible. If anything, he is clearly on his way, and it will interesting to see where the road will take him in the future.

Loungin' with Tony and other videos/shows by Tony Moore can be viewed on his YouTube channel. More information (including videos) can also be found on the show's Official Website.

A few weeks ago the powers that be on television unleashed a stream of new programming upon us. There were comedies, dramas and a mix of things in between. In this barrage of new shows -- and also because I had to binge watch the new season of House of Cards -- the ABC Sunday night series Secrets and Lies got overlooked.

Now I am sure there are some of you out there who did the same thing, just passed it by without a thought. But unlike some of you I had second thoughts about brushing it off and went back and watched the first few episodes and now I am hooked. This show is totally engrossing and fun. It keeps you off kilter from week to week and makes you wonder who is guilty and who is not. What more could you ask for?

The basic plot is that nice, everyday handyman Ben Crawford (Ryan Phillippe) is out for his morning run and discovers the body of his neighbor's five year old son in the woods. He races home to call 911. Once the police arrive he is questioned by Detective Andrea Cornell (Juliette Lewis), who seems to have him tagged as the number one suspect for the killing. And from that point on everything gets more and more complicated.

Week after week your allegiances shift. Is Ben really guilty, or is it his best friend Dave Lindsey (Dan Folger), who lives with Ben and his family? Or maybe it is the boy's father, who seems to have an easy to rouse temper? And why is Detective Cornell so intent on it being Ben? Does she know something we don't know? I dare you to tune out and not find the answers to these questions. I know I can't. I am on this show for the duration.

What also draws me in is the acting. Phillippe has never been this good. He gives the various shades to Ben's personality which make you trust him one moment and doubt him the next. This role could take him to the next level of his career and he seems to know it. He is giving it his all.

Opposite him Juliette Lewis is drop dead awesome. She has stepped out of herself and let the persona of Andrea Cornell take over. She makes this character so intense, so forceful, so intimidating you don't blame Ben for dreading every time she shows up. And she seems to pop up out of the ground.

Then there is KaDee Strickland as Ben's loving, or maybe not, wife Christy. She appears to be loyal but she has those moments when she is not as supportive. Strickland lets all these emotions play across her face. Her role isn't as large as those of Phillippe and Lewis but she is a major component of the story.

So how about it folks, jump in and give this show a chance. It is well worth your time and attention. It has certainly brightened up my Sunday nights and it will yours as well. I'll tell you a secret -- it is a great show. And I am not lying!

Secrets and Lies airs Sunday nights at 9 EST on ABC.


www.jackiekcooper.com

AWOLNATION'S "Sail" had a boomerang effect on radio. It was released in early 2011, killed it on alt-rock charts months later, hit the mainstream Billboard charts by year's end, dropped off of the countdown some five months later, and stormed right back a year later en route to going six-times platinum. Not every song has that kind of whip appeal, and that's not a Babyface reference but "Sail" was that rare track. On a related note, this blogger (or whatever you want to call me) thinks it's one of the best songs to be released in the past 15 years.

Anyway, there's no question that song was the shizz but it's not going to define AWOL's Aaron Bruno or his band. Along with that massive hit, their album Megalithic Symphony went gold, and spawned alt-hits "Kill Your Heroes" and "Not Your Fault." It also triggered a highly successful two-year tour, and now Bruno/the band is/are back to prove there's plenty left in his/their arsenal.

AWOLNATION dropped the 14-track follow-up to Symphony today called Run, and the first single "Hollow Moon (Bad Wolf)" is already getting some serious airplay. The album, which was written, performed and produced entirely by music master Bruno, gels better than Eriq LaSalle's hair in Coming to America and could very well replicate or exceed Symphony. In a phone interview earlier this month, A-Sides chatted with Bruno about Run, "Sail" and Symphony, his creative process, and hitting the road yet again.

Speaking of which, catch AWOLNATION on the road all spring and summer long -- headlining and playing a bunch of festivals including Bonnarro and Firefly. Oh, and if you're at SXSW, like right now, check them out this Thursday! Anyway, read on!

I realize you have a new album out and hit single, but I feel compelled to ask you about your cover of "I'm on Fire" off the Fifty Shades of Grey soundtrack. How'd that come about? It's such an iconic Bruce Springsteen song, and your take is just awesome.

Thanks. I met a woman affiliated with the film. It was a friend of a friend situation. She came by the studio while I was working on some stuff for Run, and she just told me what was on her plate and Fifty Shades was one of them, and gave me a hint that she wanted one of my songs. I hadn't read the book, but word on the street was all the songs would be cover versions. "I'm on Fire" is a perfect song - front to back. I messed around one day, never thinking it'd happen.

The hardest part of recording or anything is the writing of the song and the lyrics. That's the hardest part. The rest you can make the song sound presentable and fill in the painting with all colors. With Bruce, "I'm on Fire" is probably one of my top three favorites with the exception of Nebraska. That whole album is worth mentioning, because it's meant so much to me. Anyway, I took a crack at it, and honestly, it just took a couple of hours to record. I wasn't trying to outdo the original or make it better. I just wanted to give it a darker, low-fi twist. The next day, I sent her a quick mix. I've been in other situations and two other bands before so I know things that are promised don't always happen. You have to keep your sanity in check so I always expect the worse and hope for the best but a year later, they said they were going to use it. I haven't seen the movie yet, but I'm kind of late with movies. I'm a random Tuesday mid-day moviegoer.

You took your time between your debut and Run was that a calculated move since "Sail" and the whole album stayed around so long?
I was consciously aware I had more time than most bands do. I was blessed in that way. I mean "Sail" hit second and third winds, and crossed into the pop world. I kind of had to let that be, and I did some European touring and festivals. But, I was just doing my best to make Run and that's really how long it just took. It's so funny it's called Run because it really sums up so much - running toward something or away from something. To be stagnant, for me, is the kiss of death. The album is to push yourself... to better myself as a songwriter, artist, man, family member, and friend. I just want to get better and better.

Keeping with that, going into this record versus your last must've been completely different. You had a gold record and mulch-platinum song under your belt. Did you feel any pressure? Did you apply any on yourself?
There's something to be said for taking a breath. I never had success before. I really wanted to take time to smell the roses. It's very easy to push yourself too far. I knew I only had one chance to come up with a sophomore effort. I've always felt the best artists push themselves artistically, and maybe shock people a little on their sophomore or third records. The first record is a birth of an idea, but you have to grow a little bit. I wasn't going to be done until I was going to be done. No one heard any of it except people who just happened to be in my car. For whatever reason, Symphony kind of let me in the door of a strange fantasy - a gigantic, weird world. I feel like I kind of snuck into some weird mansion where I'm not supposed to be, and I've had my own room for a couple of years, and started decorating the walls. Now, I'm onto another room.

Dialing into Run a little more. Creatively, how did you decide on these 14 tracks.
I wrote lot of songs for it. I read so many things from bands who are like 'yeah, we wrote 350 demos' and we picked from those. I feel like maybe if they'd written less songs and focused on a smaller number, there wouldn't be as much bulls--t on their record. At the end of the day, I had 30 songs done and picked 14. I'd say five songs were difficult to cut and some of the people I know with very trusted ears found it devastating. I'll save some for B-Sides or film placements. They're all my children - just some of them will find different homes.

What I loved about your last record was how delightfully all over the place it was, and how many different elements were happening simultaneously and meshed so well together. How does Run compare in that regard?
There's a lot of strange stuff on Run. There are some things weirder, some even poppier...
some have rather bombastic sonic moments. But, this record makes more sense, song to song, and tells a story. When you watch a movie if it was just action the whole time, you'd get annoyed. You'd be like 'enough with the fight scenes.' That's why I fell in love with OK Computer the first time I heard it. It's different storytelling. When all is said and done, the world really wants some passion right now. I want passion. I want music that makes me want to sweat, go to a show and release all of my pent-up energy. I think the world is ready for this record.

A-Sides "Delve Into Twelve" Countdown
Each week A-Sides unleashes its top 12 tracks of the week AKA the "Delve Into Twelve" based on the following contributing factors: songs I'm playing out that particular week no matter when they were released (think overlooked songs, unreleased tracks and old favorites), songs various publicists are trying to get me to listen to that I did and dug a bunch, posts and trends I've noticed on my friends' Facebook walls, and, most importantly: what my toddler is currently enjoying thoroughly.

12. "Lifted Up (1985)" (LW-11) - Passion Pit
11. "Life Underwater" (reentry) - Flagship
10. "Elastic Heart" (LW-8) - Sia
9. "Lampshades on Fire" (LW-5) - Modest Mouse
8. "Contagious" (LW-8) - Night Riots
7. "Electric Love" (LW-4) - B0RNS
6. "Black Soap" (LW-7) - Ex Cops
5. "Somebody New" (LW-3) - Joywave
4. "Prayer in C" (LW-2) - Lily Wood & the Prick, Robin Schulz
3. "No Cities to Love" (LW-6) - Sleater-Kinney
2. "What Kind of Man" (debut) - Florence = the Machine
1. "A Rush of Blood" (LW-1) - Coasts

About A-Sides With Jon Chattman:
Jon Chattman's music series features celebrities and artists (established or not) from all genres of music performing a track and discussing what it means to them. This informal series focuses on the artist making art in a low-threatening, extremely informal (sometime humorous) way. No bells, no whistles, just the music performed in a random, low-key setting followed by an unrehearsed chat. In an industry where everything often gets overblown and overmanufactured, Jon strives for a refreshing change. Artists have included fun., Charli XCX, Imagine Dragons, Alice Cooper, Joe Perry, Gary Clark Jr., American Authors, Echosmith,and many, many more!


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Within the first few minutes in the opening scenes of Pressure, the camera trains in on a sign hanging on board an oil rig off the oceans of Africa. It reads: "There are old divers and bold divers but not any old, bold divers." Directed by Ron Scalpello, the ominous, not-too-subtle portend sets the tone, but surprisingly, it doesn't ruin the anticipation of what's to come. Pressure was shown at the Glasgow Film Festival in Scotland.

It's gripping and suspenseful, adeptly building tension as the back stories of the main characters unfold in surprising ways. When people are put in untenable positions, survival can bring out the best and worst of all of us.

Danny Huston, Matthew Goode, Joe Cole and Alan McKenna are the scuba-diving sailors, each cursed with a hardened core. Each character emotes a sense of psychotic behavior. There's no shortage of hot-button issues that haven't worked themselves out in the therapy sessions that none of these guys would ever partake in in the first place. Each one possesses a deep, dark secret that emboldens them to embark on a lonely career at sea without family or friends, just shipmates.

Fresh from Imitation Game fame, Goode does an American accent as a Bible-loving goody two-shoes. He places his faith in God and the company they work for that a rescue team will come. Neither come through. Cole initially presents himself as the young, vain, seemingly superficial novice who turns out to have more backbone and more to live for than the others. Without the strength of the acting from all four talented actors, the rather simplistic plot might not have floated with the audience but it certainly does pull you along.

The plot is centered on a crew of four underwater divers who weld and repair oil supply lines deep on the ocean floor. They use a submersible to reach hundreds of feet below sea level, where a frantic swim upward to fresh air can burst your lungs into a million, bloody pieces. As a scuba diver myself, I know how the dangers of diving can kill you. You learn to rely on your own wits and technical know-how more than on any one buddy.

As a violent storm approaches the ship, a vital pipeline is fragmenting. The captain, played by Ian Pirie, orders the four men down to the bottom of the ocean, and none of them think it's a wise idea. To work as deep divers who weld in dark waters for a living, you might have to be a bit risky and unwise at times anyhow. They all demonstrate a fearlessness of water that can sometimes defy logic, as many scuba divers feel. After their work is done in the water, their submersible loses all radio contact with their mother ship above. Going out in the waters to investigate, Huston encounters his captain, not in any capacity to pull the submersible back to safety. He's floating dead on the bottom of the sea and the ship has sunk. What happens next is the crux of the story.

How the crew rescue and redeem themselves leaves an indelible mark with the audience. "What would you do?" is a question that inevitably goes through one's mind. In the vein of Open Water and 127 Hours, the survivalist film genre can be fascinating to follow. With strong acting, character development, and a riveting plot, Pressure sucks you into its depths and doesn't let you go.

This past March 8th season five episode 13 of The Walking Dead titled, "Forget," may have just as well also been titled, "Guess Who's Coming to Dinner." Like the previous episode titled, "Remember," this episode was also light in action, though also no less both engrossing as well as entertaining. So much so which proves again the enduring resonating quality of this show.

Since their arrival at the end of episode 11 at the fortified Alexandria Safe Zone Community, those of Rick's group are now seen trying to accept each in their own way this new supposedly tranquil environment. This episode continues just like the previous, titled "Remember," to illustrate all the more the distinguishing characteristics between Rick's group whom all 15 were recently given two mansion homes next to each other, homes beautifully similar to the rest of the community, and those community inhabitants. The new scenery also lends to illustrate the contrasting behavioral characteristics of each group of people.

Deanna Monroe, leader of the Alexandria community and wonderfully acted by Tovah Feldshuh, knows that Rick and his group are a remarkable people to have survived the zombie apocalypse beyond the fortified walls of her sprawling, beautifully-maintained community. She seems sincere in her intentions, though also firm in her belief in maintaining the sustainability of the community. A former Congresswoman before the world had changed, she also tells Rick, Michonne and Maggie in a scene while sharing her vision which is not only to maintain safety, but also as she says, "I see a vibrant community here with industry, commerce, civilization. Real lives." And she looked to all three for agreement in her vision, for a leader has to have a vision, because without a vision among other things a person cannot become a leader.

Both groups of people know of the horrors beyond the protected walls. Yet because Rick's group have survived outside for so long, compared to those of the Alexandria community who have felt safe from the beginning, Deanna sees Rick and those of his group as invaluable. Yet even she needs to be occasionally reminded of this, where Rick tells her of the importance of maintaining a lookout at the clock-tower. For before that after he inspected the fortified walls he says to her, "People are the real threat now." Because if the Governor and his minions can come back to the prison-enclave with a tank in season four, after losing an earlier skirmish against Rick's group, cannot something similar also happen to the Alexandria community? For Rick's group are used to living by the motto, "Fight the dead, fear the living."

Even so, anytime there are group interactions, there may arise suspicions of Machiavellian intentions. Be that as it may, and seeing that Rick's group are new to the community, to take the edge off some, Deanna invites Rick and his group to an evening dinner party at her home. And from there that's when things really got interesting, in every way.

Soon after Rick arrives at the dinner party while carrying his baby daughter Judith, with also his son Carl, to meet Deanna and her husband Reg who built the fortified walls, both Abraham and Rosita also arrive together as a couple. Both looked unsure, that is at first, just before Abraham says, "I don't know about this." For both see those community neighbors who've showed up within Deanna and her husband's beautifully decorated and spacious home. Then Rosita says, "They have beer." Which Abraham follows saying, "I'm gonna try." And from there both began to relax and enjoy.

Next, Noah arrives, and as a somewhat newer member of Rick's group he too, like Abraham and Rosita, also looked unsure. Though unlike Abraham and Rosita, Noah appeared ready to leave soon after he arrived. Yet he was stopped by Glenn and Maggie, as Glenn says, "No way, you're not bailin. We're in this together man." Which Maggie follows with saying, "You're here with us now. You're here with family."

And that, is what it's all about, family. That and more, for the woman named Jessie, played by Alexandra Breckenridge, who cut Rick's hair in the previous episode, said further. As she says,

A lot of things disappeared. But a lot of bulls--t went with it. They're all from totally different backgrounds, different places. They never would have even met. And now they're apart of each other's lives. They are each other's lives. I'm just saying we all lost things, but we got something back. It isn't enough, but it's something.

What she had said, echoed nearly to what Deanna said to Rick, when she later in the day paid a visit to Rick at his new mansion home in a scene in the previous episode. While in the scene not only was Deanna surprised to see a clean-cut and clean-shaven Rick, she was also surprised to see all of his group resting together within a spacious living room on their first night. To which she later says to him, "You said you're a family. That's what you said. Absolutely amazing to me how people with completely different backgrounds and nothing in common can become that." Rick's group we're given two mansion homes, yet Rick as a precaution had wanted everyone together on their first night.

What the character Jessie had said to Rick reminded me of what America was going through just after the September 11, 2001 attacks. In the days that followed, it seemed not to matter what side of the tracks you came from, or were from, nor seemingly for the most part at least, what color you were. Everybody for the most part shared a commonality. Not long after coming home from a workout, I channel surfed and caught Senator John McCain, I believe it was him, on Oprah. Oprah had shared with Sen. McCain before an audience, that a member of her staff had asked her, "When will things get back to normal?" Not long after hearing that, I said to myself, "We don't need no normal. We need abnormal." We need that continued abnormality of commonality that seemed to last at least a month after the September 11th attacks. So what the Jessie character had said in the dinner party scene does resonate. And this is a further testament, to why The Walking Dead is such a great and enduring show. For again it's not all only about zombies, but mostly about humanity.

Carol does a Luca Brasi, from The Godfather film, in this episode. Carol gives the son of Jessie named Sam, the boy who caught her lifting some guns from the armory during the dinner party, an offer he can't refuse. She tells him in her soft-spoken way, that as long as you don't tell anyone what you saw, you'll get cookies, many delicious cookies and you'll stay safe. She offered him a win-win. For earlier Rick, Daryl and Carol planned stealing of some weapons from the armory as a precaution.

I've also come to like Aaron, played by Ross Marquand, in this episode. He seems a decent, honorable chap. The scene where he asks Daryl to take his partner Eric's place as a recruiter because he can tell the difference between a good person and a bad person, echoes from a scene two episodes ago when he tells Rick, "Bad people pointed guns at my face every other week. You're not bad people." For Aaron used to work at an NGO (non-governmental organization) that delivered medicine and food to the Niger River Delta in western-northern Africa.

Then there's Sasha, who seems to be the only one of Rick's group who hasn't accepted their new surroundings. Yet I actually believe she will later. Because that's also what The Walking Dead show is about: character growth and continually evolving story lines. Long live The Walking Dead.

Photo by Simon Mott

"Manning is one of the most respected engineers and producers in music history -- Led Zeppelin III, the first two Big Star records, Al Green, ZZ Top, the Staple Singers, Albert King, Shakira, Lenny Kravitz, and literally over 100 others have benefitted from his work in either or both capacities."
--Tom Jurek, All Music Guide

I was honored to get to interview Terry Manning, the legendary producer, engineer and artist. Terry grew up in Texas and started his musical career in El Paso being mentored by his friend and another Texas legend, Bobby Fuller (I Fought the Law). After Bobby Fuller's death, Terry moved to Memphis and was hired by Steve Cropper to work at the Stax Records studio. His career as an engineer and producer included working at Ardent Studios and Abbey Road and then joining Island Records founder Chris Blackwell at Compass Point Studios in the Bahamas for many years.

Terry has produced or engineered artists such as Led Zeppelin, ZZ Top, Shakira, Lenny Kravitz, Joe Cocker, Wattstax, Alex Chilton, Big Star, James Taylor, Leon Russell, Jason & The Scorchers, Rhino Bucket, George Thorogood and The Destroyers, Joe Walsh, Johnny Winter, The Rainmakers, The Fabulous Thunderbirds, Molly Hatchet, The Angels, Johnny Diesel and The Injectors, Jimmy Buffett, Crash Test Dummies, Shania Twain, Bryan Adams, Widespread Panic, and many others.

Terry has recently returned to his roots as a recording and performing artist, recording his critically acclaimed 2013 tribute album to mentor Bobby Fuller, West Texas Skyline. His most recent release is Heaven Knows on his Lucky 7 imprint through ECR Music Group.

Castle: You are releasing Heaven Knows, a new artist album. That'™s a brave undertaking in the current environment. You also recently released West Texas Skyline, your tribute to Bobby Fuller. Speak a little about your inspiration to make these records and what's the creative direction.

Terry Manning: Ha, I guess it isn't exactly the "best time in music history" to be going back to being an artist, rather than always working for everyone else as a Producer or Engineer. BUT I don't look at it as, "When is it a good time," or "What will the market think of this?" I just do what I feel like I need to do musically to satisfy that inner desire all music makers have to release the emotions from inside, and hope that, in a perfect world, they find someone else, and perhaps touch their heart in some way.

I started out in music as an artist (usually as a member of a band however), but then, because of circumstances, whatever talents I had seemed to be co-opted by other artists, and I wound up producing or engineering or composing for everyone except myself. "Not that there' s anything wrong with that," of course; it was fun, musically rewarding, and fortunately provided a living. But always there in the back of the mind is that nagging thought, "What about what you always wanted to do? What about YOUR music?" Of course, in this world we don't usually get to do just what we want, so I worked for years on other people's music. Finally, it dawned on me that if I didn't get things moving, I would never get back to where I always meant to go! It's just like work if you don't get started, there is no way you can ever finish.

So, being at a stage of my life and career where I now had a bit more flexibility to choose the projects I wanted to work on for others, but to also schedule some time for myself, I knew it was time to "get going." The Bobby Fuller tribute album was a good way to get into things again, doing mostly songs associated with Bobby (by the way, he was my first music mentor when I was a young teenager), while I worked on writing new songs for myself. I actually recorded the Heaven Knows album right after finishing West Texas Skyline, they just couldn't release it that quickly. It was a period of massive creativity, working on things I was more excited about than ever. Eighteen hour days, day after day, and so happy to be back where I had begun.

The inspiration and creative direction of West Texas Skyline is pretty obvious I guess; I was paying tribute to not only Bobby Fuller, but also to HIS influence Buddy Holly, as well as the people, places, and the times of Southwest Texas in those heady days of wild rock & roll. Even the two original songs I wrote for that one (Cold Night In Heaven and West Texas Skyline) were about those very topics.

But much more involved was the inspiration and creative direction for Heaven Knows. There, I wanted to explore the human soul, especially the capacity for love. I wrote about the various stages of being in love, of the yearning for requitement, of the situations in which one displays love, etc. We all undergo life changing events from time to time, perhaps meeting a new person, or finding a new job, or moving to a new city (or even country), any number of things. At times one of these can also affect who and how we love. Shortly after one particular incident, I was inspired to write about it, and literally within just a few minutes, the song Heaven Knows was fully formed. It was like it was dangling out in space in front of me, and all I had to do was catch it, write it down, and record it. All of that happened almost at once. That song inspired another (It's You), then another from that, and it just kept going...searching ever deeper and deeper into the meaning of what we all as human beings feel inside.

Castle: I know that Compass Point Studios closed, tell us a little about the studio's history.

Terry Manning: Yes, both for better, and for worse. We of course were one of the most iconic recording studios ever, and not only were many wonderful recordings made there, but we also had just tons of fun doing it. Almost everyone ever associated with CPS, artists, employees, visitors even feel a sort of "familial relationship" to the whole thing. Chris Blackwell of course (founder of Compass Point and of Island Records) would be very responsible for that. He is such a wonderful man, kind and giving, and totally the lover of musical artistry. But at the same time, it was also very much a service industry. By definition we were there to serve OTHER people, other artists.

Again, that was wonderful, almost every minute very enjoyable and fulfilling. But I had done it for a lot of years. The music industry was changing as well, but despite things being tougher than ever for studios, we were blessed with both an enviable history and a beautiful location. However after a couple of incidents happened which were a bit disturbing (local socio-political type things), we decided we should not continue as a public studio in The Bahamas. Chris and I own the brand name, and we are, and will continue using it for certain things. Whether we will ever have a PUBLIC studio again (in another location) is debatable, but we will continue the name and the legacy. Yes, it was sad to see it go in many ways, and yes, we had to cancel almost a year's worth of bookings when we closed it, but on the good side, it has given me the freedom of time to do, amongst other things, my own music.

Castle: There's been a lot of commercial pressure on the album as a format ever since iTunes launched. Digital services may like the idea of the musical oeuvre but they seem to think more multi-artist playlist than single artist album. Do you feel that pressure as an artist? Did you ever question whether you should record an album? Do you find this question comes up with artists you work with as a producer or engineer?

Terry Manning: Wow, good questions. Yes, the industry has changed a lot. In some ways it has gone back to where it was in the 50s and 60s, more single oriented, with multi-artist playlists (sort of like AM radio in the day). However, I don't think the album concept is dead at all. An album (originally a literal multi-paged album book with 10" 78s put into the envelope-pages, like photographs) is the best way to express a complete musically philosophical thought. One song could do it, but how much better is it to take a concept, and fashion 40-50 minutes worth of music around it? At least that's what I like to do!

I do love the immediacy of the digital world, the ability to make something one day, and have it available to the whole world the next that was never possible before. Of course the big question is, how to get people to know about it, listen to it, want it, and then hopefully buy it? I can see the validity of releasing a song at a time, and maybe some time I will do that as well. I just really like the album concept statement, there's nothing else like it.

As for discussing this with production or engineering clients, yes indeed, especially with artists I am producing. One would be foolish to ignore the marketplace and how it operates. Still, I find most artists also look to the album as a total concept.

Castle: If you were starting out as an engineer today, where would you go to learn your craft?

Terry Manning: When I was getting started, there were no "audio engineering schools," and probably not even any courses in that discipline at the "regular" universities. You had to find someone to mentor you, which meant in most cases meant working in a studio that had professionals already doing the job. In my case I was very fortunate to run across great mentors like Bobby Fuller, Steve Cropper, John Fry, Al Bell, Willie Mitchell, Booker T, etc. Most people aren't that lucky I guess. But, what to do today?

There are the dedicated "Engineering Schools," several of which are quite popular. As good as some of them are, I usually don't recommend to people who ask about it that they go to one of those. There are thousands upon thousands of people going that same road, and the "degree" you get at the end of it may vary from a piece of paper printed in house to a partial "real degree." I usually recommend that people go to a "regular" university that also offers a program in audio technology, and if they are up to it, also go into the music school. There's nothing like a real degree from a fully accredited university, something which shows that, in addition to the specialized training received in engineering and/or music, you have a fully rounded education. Or perhaps something like what Berklee has become, that offers multiple disciplines.

But still, there is no substitute for working in a real functioning recording studio where all sorts of different types of clients are coming in every day, all of the work has the pressure associated with it of pleasing the customer, you end up climbing underneath equipment to solve a problem ON THE SESSION, etc. The sad part is, that's harder and harder to find today, and more and more people are clambering for the positions.

Whatever, I'm so glad I am not starting out today! But if you don't try, you will definitely never succeed.

Castle: If you wanted to start a recording studio today what does it take in the studio business to survive and even be successful?

Terry Manning: The basic criteria of pleasing the clients will never change. You have to be professional, clean, prompt, and ready to adapt to any situation. Our control rooms at Compass Point would change setups almost daily. One day a rock band doing a normal session, the next an ADR session for a film, the next a massive keyboard setup in the control room, the next a 5.1 surround mix...literally whatever. So adaptability is a big key, as is of course competency in your craft. Situations change quickly, equipment breaks, a noise springs up out of nowhere you must be able to adapt, and with calmness and aplomb. Never let the client know things aren't perfect!

Now, also there is nothing like market research and a business plan. No matter how much fun this is, or how excited someone gets about having a bunch of cool gear installed, or hanging out with rock stars, nothing matters if at the end of the day you can't at LEAST break even. So you need to look at the city you are in, and decide, hopefully with good information and research, how much business you can actually get; and determine what your costs will be relative to your income. This IS a business, after all; that's why they call it "The Music BUSINESS." It's both at once, music and business!

And yes, it's perhaps harder than ever in some ways. There's more competition, including home recordists, and a smaller pool of label clients. But it's also less expensive than ever to put in something that is competitive, equipment-wise, if you are smart about it. Still, there is no substitute for a good sounding acoustic environment and good solid high end equipment to achieve high quality.

Castle: What's your view on the role of a producer in an artist's career in the current environment? Has the producer's role changed over the last 10 years?

Terry Manning: The role of a True Producer will never change. In an ideal world, on an ideal project, a good Producer will be bringing out the very best OF an artist, from what the artist has inside them whatever it takes. Sometimes that means just inspiring the player or the vocalist, and sometime it might mean going all the way to "fixing" them where needed, as long as it's in the intended spirit of the song.

Now today, things have changed somewhat. Many people are calling themselves "producers" when they might not have gathered the requisite skills or credentials. That's fine, but it is only semantics. The proof is always in the pudding: How good is the music?

But the basic skills required for the job are the ability to see things in both a microscopic and a macroscopic view at the same time, the taste to discern a great performance from a merely very good performance from a poor performance, and ideally, musical skills, will always be the definition of a truly good Producer.

Castle: There's a popular meme online that anyone can download free software off the Internet and make a record in their bedroom that sounds as good as the Beatles. This skips over the engineer part, but a lot of people think that's generally true. Since you worked at Abbey Road, how would you respond to that kind of statement?

Terry Manning: Oh yes, I hear this all the time, and I say, "More power to them!" Time will certainly differentiate the wheat from the chaff.

Of course you can spend about $1000 and get everything you need to make some sort of recording. And a few with very great talent might even make a good recording from such equipment. After all, a great song and excellent musical and production skills trumps "gear" any day.

But how many people operating in such an environment have the skills really needed? Not many. And even fewer can do great performances. And even fewer than that can write a great song. Now, having gotten through this not inconsequential part, as I've said before, there is no substitute for a good sounding acoustic space. And very few bedrooms or garages come with a great acoustic design built in. Working at a place like Abbey Road, or Compass Point, or any of several other iconic studios can only be a further advantage. Just because you can order some medical instruments online, should you perform your own surgeries? Or extract your own wisdom teeth? And just because you can go down to AutoZone and buy car parts, are you automatically a great mechanic?

I wish everyone in every recording situation the best of luck, but luck alone, paired with a laptop and some cracked plugins, does not a great recording make.

Castle: We hear a lot about the damage that piracy and low royalties have done to artists but rarely ever hear from producers and engineers. What is your experience over the last 10 years or so? Are producers and engineers working about as much as they were before the Internet?

Terry Manning: Hard for me to say, because I do work all the time. Maybe I'm just lucky, or maybe I have earned enough of a reputation to get the work, I don't know. I hear various stories from out in the field. Some are working a lot, and some are hurting for work.

But there is no doubt that piracy has had some negative effect on the music industry. As long as the labels aren't selling near as many copies of things as they used to, and therefore lower amounts of revenue are coming in, that affects how much they will be able to spend making future product. That passes down the line to less work for studios, for studio musicians, even the music stores and other industries that cater to studio recordists. None of this is good.

On the other hand, as we've said before, decent recording gear costs less, music can be made for less cash outlay, and the Internet provides an amazing platform for release. So there are good things and bad things about the industry today.

But the piracy thing, and in a somewhat similar vein, the steaming outlets with their infinitesimally small pay scale, are certainly not helping foster a robust music industry like we had in some years past.

Castle: Back in 2002, I worked with Leslie Lewis when she was director of the Producers & Engineers Wing of the Recording Academy to get SoundExchange to accept letters of direction so producers could get a share of webcasting royalties. It seems like SoundExchange is one of the only recording royalty streams that producers can count on these days. Do you find that producers are aware that they can negotiate a share of webcasting royalties?

Terry Manning: Actually, no. I don't think many people are aware of this, producers included. The money may not be huge (yet), but it's certainly better than nothing! I myself would like to hear more about this, just to be sure that everything possible is put in place. I'm glad someone is trying to help make things right!

After all, every one of us can say #IRespectMusic.

Tyler Oakley sat down with What's Trending team to talk about his upcoming tours, his giant fundraising project and being an Internet sensation.

While he doesn't like to call himself "the new TV star", Oakley considers himself "a new type of entertainer." He believes that whatever the "next step" is for YouTubers, it won't be moving to television or moving to film, but adding other types of media to a continuing YouTube channel.

It's a lot to take on, and that's before even looking at Oakley's incredible non-profit work. He has been a tireless campaigner for LGBT youth and has been a major supporter of The Trevor Project, a crisis prevention and intervention group.

He's also embraced his move into podcasting, where he'll have more time to explore a topic in-depth, instead of a five-minute video. Oakley's podcast, Psychobabble, co-hosted with friend Korey Kuhl, is available on iTunes.



Check out all of What's Trending's coverage from SXSW on our YouTube playlist.

"LIFE IS a series of natural and spontaneous changes. Don't resist them -- it only creates sorrow. Let reality be reality. Letting things flow naturally forward in whatever way they like," said Lao Tzu.

•THERE are not too many writers around who can make Alzheimer's into anything but a tragedy.

I can't tell you how many friends and acquaintances say to me -- "I love Julianne Moore and I'm glad she won the Oscar for Still Alice, but I just can't go see it because it is too close to my own family experiences."

Others have said the same thing about Julie Christie's 2006 Oscar-nominated performance in Away from Her, which deals with the same tragic disease.

But at last we get Bettyville by George Hodgman. He is a really funny writer who seems to have philosophically accepted the burden of his mother's fight with Alzheimer's and coped brilliantly with it.

Books-A-Million selected Bettyville as a President's Pick and Library Journal has called it a witty, sometimes heartbreaking, "superior memoir."

This is a not too big book of a lifetime's reflections, fascinating stories about a grown man who returns home for his mother's 91st birthday. Back in Paris, Missouri, he discovers there a totality in his old and new selves and his controlling but failing mother. I really liked this book.

Viking just brought this little wonder out so we can all cry and laugh at the same time.

• I have written many words about "gossip" -- it's origins, meaning and a prologue in my memoir, Natural Blonde, asking "Is Gossip Good for You?"

I countered this by saying yes, it is "the tawdry jewel in the crown of free speech."

But now my reader, Jeff Kora sends me something I never heard or thought of before.

To wit:

Early politicians required feedback from the public to determine what the people considered important. Since there were no telephones, TV's or radios, the politicians sent their assistants to local taverns, pubs, and bars. They were told to 'go sip some ale and listen to people's conversations and political concerns.' Many assistants were dispatched at different times. 'You go sip here' and 'You go sip there.' The two words 'go sip' were eventually combined when referring to the local opinion and, thus we have the term 'gossip.'

There are even more ideas of how gossip got its name.

Ain't that a kick in the historical head? I think so.

•AFTER Kelly Osbourne noisily departed E!'s fashion police -- not before throwing her cast mate Giuliana Rancic under a bus, train and SUV -- I noted that the show should retire itself. With Joan Rivers gone, this enterprise struggled to find energy. (Some people think Fashion Police is simply celebrity bullying and wasn't all that much even with Joan Rivers.)

Now, comedienne Kathy Griffin, who was ostensibly Rivers' "replacement" has put in her notice. She's out of there. One report stated that she suddenly noticed the show wasn't a good thing for women's self-esteem. Whatever. The hand-stitching is definitely on the wall!

Griffin, who is now perhaps best known for her annual New Year's Eve stint on CNN with Anderson Cooper, was hilariously funny back in the day. Her red-carpet antics, impersonations of various celebrities, wisecracks and behind-the scenes dish about hosting various events were truly hysterical. But after a few years of this, celebrities and event promoters became gun-shy. Griffin then made herself a career being on "The D List" and courting "the gays." But without access to major events, she seemed to have lost some of her fire.

I think Griffin could probably make excellent comic hay out of her experience on The Fashion Police, just as she did in the good old days, when she was still on the A-list. (She says, diplomatically, "It just didn't work out. No scandal!")

I say, Kelly, Giuliana, Melissa Rivers, gird your loins!

•MOURNING the possible demise of The Fashion Police is one thing -- and not a terribly important thing. But fans of quality are really upset that after four sensational seasons on American Horror Story, the divine Jessica Lange is bowing out.

I won't go so far as to say the show can't go on without Jessica. After all, Lady Gaga is coming on board, and that should be interesting! But Miss Lange's presence will be deeply missed.

•EVERYTIME I hear somebody complain that there are no "family friendly" movies or TV shows anymore -- that the business is run by degenerates who "force" nudity and graphic sexuality on "them" -- I feel compelled to point out the plethora of family friendly feature films and TV shows, including a lot of fascinating history and nature programming.

So here I go again. Disney's charming straightforward live-action remake of Cinderella took in a whopping $70 million over the weekend. And that was just in the U.S.

It has made a big star out of Lily James, revealed quite another side of Cate Blanchett and showed that Helena Bonham Carter is not reliant of her soon-to-be-ex Tim Burton to be marvelous on-screen. (Well, she was pretty great in Les Miserables, a movie I disliked almost as much as I loathed the stage version.)

There is now much speculation that if Lily James returns for the 6th season of Downton Abbey (or the 7th, if creator Julian Fellowes wants it) her salary demands might be over the head of the production cost. I don't know, Miss James seems eager to return to her DA role as Lady Rose -- the character was shipped off to America with her new hubby at the end of season 5. And part of her wants Rose to return to the Downton estate in a mess, "ruined and distraught."

Well, she has the right idea about most of the characters on DA -- none of them remain happy for very long!

Portrait by Daniel Jack Lyons

Big things are happening for Daniel Franzese. He publicly came out, created a string of popular parody videos on YouTube, landed his role on Looking, and is now an ambassador for the Elizabeth Taylor AIDS Foundation. I got the chance to to talk to Mr. Franzese about his new role in HIV/AIDS advocacy.

Phillip M. Miner: I learned you're now an ambassador for the Elizabeth Taylor AIDS Foundation and you're out spreading the message about making HIV-related issues more prevalent in TV and the movies. Why is having HIV-positive characters on TV important?

Daniel Franzese: I'm learning a lot about HIV and AIDS. That's what got me this passionate and involved. When this season of Looking started, I was playing the only HIV-positive character on scripted television, which to me seemed so odd and not right. GLAAD has reported that since the mid '90s there have been very few HIV-positive characters on TV, and right now Eddie is only one of two in all of scripted television. I know the power media has. I know the effect filmmaking, television, and stage work have on spreading the word and educating people. I have a memory of growing up and seeing The Ryan White Story and seeing a couple of very special episodes that were meant to educate us. There was a real movement in late '80s and mid '90s in television of helping people understand what was happening with HIV and AIDS and understanding how to protect yourself. When HIV-positive characters were more prominent on TV, the exposure and education was directly affecting the decline in new infections.

Portrait by Daniel Jack Lyons

PM: What do you think changed?

DF: I think there were other things in the gay rights movement that also deserved attention. Hollywood started exploring other stories of gay life -- gay couples and families -- and now trans characters. However, the stories about HIV and AIDS cannot be ignored. I think it's time Hollywood recommit itself to telling these stories until we've eradicated the disease.

PM: Speaking of exploring other aspects of gay life, I love how Looking is telling Eddie's story. It's great to see a story about an HIV-positive person that's about him living his life.

DF: The creators of Looking did not want Eddie to be portrayed as a victim but rather as someone who's capable of being pursued and falling in love. His story ignites hope.

Portrait by Daniel Jack Lyons

PM: You've said there need to be more HIV-positive characters. What type of character would you like to see?

DF: Playing a big guy on Looking, I know that I represent an underrepresented group of people within the gay community. Now that I am playing someone HIV-positive, I realized how underrepresented this demographic is too. I'd love to see an African-American female character with HIV, as they are one of the groups who are at greatest risk right now. We need to see more serodiscordant couples -- more of them, and different types of them, and how they're making it work. People need to see what it would be like to be in a mixed-status relationship.

PM: My day job is writing for an LGBT health center, and we talk about PrEP frequently. I know PrEP is revolutionizing people's attitudes toward serodiscordant couples.

DF: I've learned a lot about PrEP too, and the ways it's become much easier for those with different HIV statuses to have a sexual relationship. I thought I was protecting myself correctly, but I came to realize -- through my experience with HIV-positive friends, the role on Looking, and as an ambassador to the Elizabeth Taylor AIDS Foundation -- that I was actually misinformed in a lot of ways about PrEP. After learning the facts, I realized I need to be vocal and help inform those who don't have the proper information. PrEP is definitely something a lot of gay men don't have the facts on. I feel like the biggest misconception is people can have unprotected sex if they're on PrEP. That's definitely something I didn't understand. Also, heterosexual people might not know PrEP is available to them. Right now we have the tools to end new infections by 96 percent if we use them. If Hollywood recommits itself to using its influence, then we can start to see a real change with the numbers.

Portrait by Daniel Jack Lyons

PM: Here in New York we have the goal of ending AIDS by 2020. It's an aggressive goal.

DF: But possible! I think that's the exciting thing, when people realize it is possible to end HIV and AIDS. When everyone is getting tested, and people who are positive are receiving the care and medicine they need, and those who are positive are utilizing the tools available to not transmit the virus, we can do this! We're in a new day and age, and information can reach people a lot quicker this time. We can stop HIV and AIDS once and for all!

PM: When I type this up, every one of those sentences is going to have an exclamation point. You're fired up.

DF: Yes, I am fired up! When I learned that the numbers of new infections were declining when HIV-positive people were being more accurately represented in film and TV, and once they were portrayed less, the numbers rose, this was a wake-up call, proving the influence Hollywood has on this issue. Now that Hollywood is slowly starting to integrate modern-day stories of HIV-positive characters back into the forefront, it's now time for the public to be proactive and take the steps to educate, protect and prevent. I want to say to everyone who reads this: Get out there and start the conversation with your friends, talk to your doctor, get informed, know your status. These are the first steps to putting an end to HIV/AIDS.

Portrait by Daniel Jack Lyons

For more information, go to elizabethtayloraidsfoundation.org and glaad.org/HIVF, and follow Daniel on Twitter and Instagram @WhatsUpDanny.

Sylvia Robinson (1936-2011) was a singer, composer, and record producer who brought rap music out of the New York City clubs and popularized what was a new genre of music by forming the Sugarhill Gang.

"Rapper's Delight" was the group's first recording, and the record sold more than 8 million copies, reached No. 4 on the R&B charts, and No. 36 on Billboard's Hot 100 in 1979. The song forever changed music by introducing rap and hip hop to the broader world.

Sylvia Robinson is also the person on whom Cookie Lyon on the hit television show, "Empire," is generally based.

These are the reasons why record producer and filmmaker Bayer Mack has created a three-minute tribute to Sylvia Robinson's life. Mack felt she was among the women worthy of much greater recognition during Women's History Month.

Sylvia Robinson: Early Years
Sylvia Vanderpool was born in New York City, and began recording professionally when she was only 14. Her first blues songs were recorded on Columbia Records with trumpet player Hot Lips Page. She went on to make several other blues recordings for Columbia, performing as Little Sylvia.

In 1956 she teamed up with guitar player and singer Mickey Baker, and they performed as Mickey & Sylvia. They recorded "Love is Strange," a No. 1 rhythm and blues song in 1957. The duo performed together until 1962 when Baker decided to move to Paris and perform solo.

Two years later, Sylvia married musician Joe Robinson, and they settled in Englewood, New Jersey. There, they decided to open Soul Sound, an eight-track recording studio. All Platinum was one of their early labels.

Sylvia took an increasing role in record-producing, and one of the groups Sylvia formed and recorded was The Moments, featuring Al Goodman, Billy Brown, and Johnny Moore. Sylvia co-wrote and produced their biggest hit, "Love on a Two-Way Street."

She also continued to record alone, and her sultry song, "Pillow Talk," climbed the charts in 1973.

Looking for a New Path to Success
The mid-to-late 70s was a time of financial struggle for Soul Sound, and Sylvia was looking for a hit. When she heard the MCs and some DJs in the discos speaking rhythmically and doing call-and-response over percussive instrumental breaks during the dance music, she knew this new sound should go out to a wider public.

At the time, the top disc jockeys in Harlem were Eddie Cheba and DJ Hollywood. They worked separately and occasionally together, but they were in such hot demand for what we now know as rap music that they would spend their nights traveling from club to club.

DJ Hollywood was the first to establish the pattern of performing at one location for an hour and then calling ahead to the next club that he was on his way and "to get the [payment] envelope ready." The top DJs followed Hollywood's lead, generally charging $500 for an hour in the disco clubs that primarily catered to a well-to-do Harlem clientele.

In an article by hip hop historian DaveyD posted on "Hip Hop and Politics" (Daily News, 2013), Eddie Cheba tells of the moment when DJ Hollywood confessed to him that Sylvia Robinson had approached him first. She had wanted Hollywood and Cheba to record for her.

In the interview with DaveyD, Cheba expresses momentary, head-shaking regret but says: "We were making so much money from deejaying that making records just wasn't our thing. We couldn't see it."

Sugar Hill
Having struck out with her first pick of artists, Sylvia Robinson went back to Englewood and picked up three unknown rappers. Big Bank Hank Jackson was working in a pizzeria at the time. He rapped while he worked, and when Joey Robinson, Sylvia's son heard him, Joey invited him to audition for his mother (The New York Times, 11-11-2014). Sylvia added Wonder Mike and Master G to her plans, and within days, she had them record a 15-minute improvised rap over a track adapted from "Good Times," an instrumental by the band, Chic.

Sugar Hill was a part of Harlem where musical legends, Duke Ellington and Billy Strayhorn, began. Over time the residential area attracted upwardly mobile African-Americans. (Today it is a historic district.) This all made Sugar Hill a fitting name when Sylvia and her husband, Joe, were looking to build a new label that they hoped would put them on the map for a new form of pop music.

So the Sugarhill Gang were formed and the result was "Rapper's Delight," the first hip hop song to become a commercial hit.

"Rapper's Delight"
Initially the Robinsons sent out a 3-minute version of the song to radio stations but as word got out there was a 15-minute cut, everyone wanted the longer recording because the radio listeners couldn't get enough of it.

The record sold 8 million copies, reached No. 4 on the R&B charts, and No. 36 on Billboard's Hot 100.

Sylvia went on to record other rappers, including Grandmaster Flash and the Furious Five. In 1982 she produced their groundbreaking song, "The Message," one of the first songs to carry a powerful lyrical commentary that spoke to society's ills.

Joe and Sylvia divorced in the 1980s, and he passed away in 2000. Another tragedy befell Sylvia in 2002 when the Soul Sound studio they had devoted themselves to all those years caught fire and burned. Sylvia died in 2011.

To see Sylvia Robinson's story brought to life by Bayer Mack, click here to watch the video by Block Starz. And to learn more about the remarkable life of trailblazer Oscar Micheaux, who was an early and prolific black filmmaker, click here.

To read more about how other entertainers overcame discrimination, read about trumpet player Valaida Snow, singer Marian Anderson, actor Eddie Anderson, bandleader James Reese Europe, comedian Moms Mabley, and actor Hattie McDaniel, among others.

Three years ago this spring, I was attacked by a livery cabdriver in Williamsburg, Brooklyn. He was driving me home and after some number of blocks he pulled over, climbed into the back seat, and got on top of me. I hit and screamed, and in a gesture that didn't seem entirely my own, threw my hands above my head, found the car door handle, and used it to open the door and pull myself out.

I walked away, calling the NYPD. The driver would try and coax me back into the car before driving off. Two NYPD officers arrived and asked me some questions. After 10 minutes more of driving around looking for the guy, they told me they were going to put me in a cab home.

Fuck that and fuck this.

I met with a detective later that week. On his desk was a coffee mug that featured the image of a gun and the words "Bitch Get My Coffee". It remained within my peripheral vision as I browsed photos of potential suspects on his computer.

Three years later, I'm the front woman and drummer of a rock band that I started with a guy I met on Craigslist who turned out to be the love of my life. I'm a brilliant, gifted, black girl who makes magic happen. This past December when my boyfriend/ our guitarist Mike was told to remove the words "black lives matter" from his guitar amp by a D.C. venue, I was in a position to say something about it and I did so on stage. I was in a position to refuse to allow my humanity to be subject to controversy and I faced it with tears in my eye and words clawing up my throat. Ultimately, the venue apologized.



It was terrifying but I did it because I'm tired of this shit. I'm tired of swallowing what I think for fear of making people feel uncomfortable or inconvenienced or judged. Yet while I'm mustering the bravery to proudly and persistently proclaim that black lives matter, a band of white guys from Portland are running around calling themselves "Black Pussy" with no consideration for how that registers in the mind of a black girl who has actually been reduced to that by a stranger.

In that cab, I wasn't a human or a person capable of my own spectrum of feelings and wants and emotions. Put simply, I was objectified. There are no words to account for what that feels like. And so when I try and find the words to explain why the band's name is offensive I struggle. I'm at a loss to explain a band enlisting a name so callous, so devoid of historical context, so irresponsible with our lives to represent their art. I struggle with understanding how a band with the name "Black Pussy" has no problem booking a national tour while our band's attempt to feature the words "black lives matter" on a guitar amp was too hot for D.C. I struggle with even dignifying the name with a response but here's the thing -- I know that there are people petitioning and protesting and feeling awful and unseen. I want you to know that we see you. We love you. We're creating music for you. My heart knows we're one band of many and while the stories you hear are of bands like this, the very bands you dream of exist and are dreaming of you, too.

I think saying offensive things for the sake of a reaction is lazy and stupid. Words matter and intentions aren't enough. The band's name is inherently violent because it evokes and desensitizes the stories, circumstances and actions of people that view us as less than human. You can't do that casually and shrug it off as part of the "positivity and love" that you're all about.

I'm not suggesting that the band change their name or be anything other than who they are. If it turns out that who they are is a band that's okay with casually objectifying girls like me, then so be it. They wouldn't be the first but so we're clear, that's who they are and they can't use "love" to shield themselves from responsibility.

In the end, "Black Pussy" is no better than the coffee mug at the police department -- taunting me of the very conditions that make my existence as a whole and sane human feel like an impossible task.

Fuck that and fuck this.

You can click here to sign the petition boycotting the band and the venues who host them.

A version of this post originally appeared on MusicBones.tumblr.com.

YouTube star Bethany Mota sat down with What's Trending at this year's South by Southwest festival to talk about stardom, hard work and how to be true to yourself.

A poster-child for Internet stardom, Mota has a massive YouTube channel and her own fashion line at Aeropostal and has even made the move to television, appearing on ABC's Dancing With the Stars."

If that's not enough for the 19-year-old, Mota recently announced she's invested in BeautyCon, a live event hoping to turn itself into a major brand.

"I started making videos six years ago, and I didn't even know it was possible to do anything big with it," Mota said. "I had no idea it could grow into what it has been."

Speaking in the Samsung Blogger Lounge, Mota said, "I think the coolest thing that I can represent is that anyone can do it. You don't have to be a specific person, and you don't have to audition."

Creative control is a huge benefit of creating content online, according to Mota. "I have all these crazy ideas all the time, and I never have to run them by anyone! I can just do it."

In a milestone for #TeamInternet, Mota was selected to appear on Dancing With the Stars. For Mota, it shows "the power of the Internet."

"It's crazy, and it's all because of my audience," she said. "I owe it all to them."

The YouTube sensation has certainly come a long way, but what advice would she give her younger self if she could?

"Not to limit myself," Mota said. "I think limiting ourselves is something we do on a daily basis, even with small things, like, 'Oh, I can't do that. That could never happen.' Now I'm like, 'Wow, I can actually do this if I set my mind to it. That's a great life lesson that I've learned."

On Tuesday, Nintendo emailed me, saying that it was celebrating Women's History Month. How? By putting some of its female characters on Rosie the Riveter-style posters. It's a cute idea, but there's a big issue: Nintendo doesn't really have many powerful or playable female characters.

"Paving the way for diverse and interesting female protagonists in video games, Nintendo has picked a few of their popular leading ladies that merit this recognition for the month that honors outstanding women," the email reads. Those "diverse and interesting female protagonists" include a pink version of a toadstool and a pink version of a bomb, called Toadette and Bombette.



Here's the full list of female characters that Nintendo intends on celebrating for Women's History Month: Tetra from "The Legend of Zelda: The Wind Waker HD," Toadette from the Mario series, Bayonetta from "Bayonetta," Rosalina from the Mario series, Lucina from "Fire Emblem," Samus Aran from "Metroid" and Bombette from "Paper Mario." Have you heard of most of these characters? Didn't think so.

You may notice that one of Nintendo's most famous female characters, Princess Peach, isn't included in this list. That's likely because she generally plays the damsel-in-distress character rather than hero. Princess Peach appears in 15 Mario platform games (the ones where the characters jump from platform to platform) and is kidnapped in 13 of them. She's playable in only two of the Mario platform games, the ones she's not kidnapped in. She is, however, playable in the "Mario Kart" games, thankfully.

It's also worth noting that one of Nintendo's featured characters, Tetra, is kidnapped in the game "The Legend Of Zelda: The Wind Waker" and must be saved by a male character. Once it is revealed that she is actually Princess Zelda, Tetra is forbidden from leaving the castle, since it's "too dangerous." Not cool.



When the female characters aren't being saved, they're just what feminist media critic Anita Sarkeesian calls "Ms. Male Characters," or "female versions of an already established or default male character." See: Bombette and Toadette. These two are just pink versions of the male characters.

The biggest issue with this "Ms. Male Character" trope, as Sarkeesian says, is that it makes the character's gender her most important quality. Male characters can have all sorts of personality traits that are expressed through their character's design, but when a character is female, that becomes her entire identity. Female characters are often just "female," rather than possessing any personality traits.

Even the more famous, developed characters are problematic in their unnecessary sexualization. Check out this clip of Bayonetta:



Studies have shown that sexualized portrayals of women in video games negatively influence peoples perceptions of women in life.

So what's to be done? You have to admit that there's a problem before you can make a significant change. By sending out this press release about all of the steps Nintendo is making for women, Nintendo is minimizing the fact that women are not only underrepresented in games but are also sexualized and marginalized in games. And, of course, we haven't even scratched the surface of female gamers' harassment in games and online.

There are a few games that showcase powerful women characters -- games like "The Last Of Us" and "Beyond Good And Evil" -- but they are few and far between and, for the most part, aren't made by Nintendo.

The company did not respond when I expressed my concerns about this press release and asked if the company planned to include more female leads in future games.

Jason Schwartzman and director Patrick Brice came by the Samsung Blogger Lounge at South by Southwest to talk about their new movie, The Overnight. It features Adam Scott, Taylor Schilling, and a prosthetic penis.

The film is about two couples with children who befriend each other. And then things get weird, apparently.

Brice said, "The film's really about the convergence of four characters and kind of what it brings out in them."

But the reason this film is making waves is the much-discussed scene where Schartzman and Scott drop everything in a full-frontal nudity scene, though the actual penises are in fact prosthetic.

"That was my decision," says Brice. "It was a story decision."

"They're wonderful," Schwartzman said of fake phalluses. "It's sort of like slightly more solid memory foam, almost like Tempur-Pedic -- like Tempur-Penis."

It turns out Schwartzman wasn't the only person in the interview who's had experience with a manufactured member. Burnie Burns learned about these for a film of his own. "We found there's a whole market for these, that guys will wear these to clubs," he said.

And of course, no plastic penis conversation can avoid bringing up Mark Wahlberg and his famous scene in Boogie Nights. According to Burns, the actor "had to inform future partners, 'Look, that was a prosthetic that I wore in the movie.'"

"The best was I was rehearsing a scene with Taylor Schilling, and we were in this giant house with a courtyard," said Brice. "And then I hear this tapping noise, and I go to the window, and it's Jason, just full-frontal, across the courtyard. That was the first time I'd seen it."

If you want to see it for yourself, The Overnight will be out on June 19.

This Tuesday would have been actor Steve McQueen's 85th birthday.

I met McQueen in 1979 as a high school student in Los Angeles, and learned some valuable lessons that day.

Back then I worked for The Federalist, my school newspaper, as editor-in-chief writing stories, shooting photos, and having a good time. One afternoon I noticed movie production trucks parked in the school's main quad. I cornered a few members of the crew and asked what they were filming. McQueen's stunt double told me they were shooting a movie at the high school: The Hunter.

I decided to interview the guy and take his picture for my school newspaper.

The men in the crew laughed. "Steve McQueen never lets anyone take his picture, and he never, ever gives interviews," one said.

I spotted McQueen going into a food truck. I followed him in.

Introducing myself, I told him I worked for the school newspaper. Would he let me interview him and take his photograph?

He said sure, suggesting I come back later that evening. Write up some questions, and he'd do the interview.

Lesson #1: Don't trust anyone who says you are not able to accomplish something -- regardless of your age.

I walked home, feeling pretty good. It never occurred to me that this superstar would say no. It wasn't even a possibility on my radar. Call it the optimism of the young.

Returning that night with my film camera and a bunch of questions written on note cards left over from my Bar Mitzvah, I kept to myself behind the crew. We watched McQueen stand in one place, turn his head to look down the hallway, then -- "Cut!" the director called out.

McQueen spotted me lurking behind the adults. He stopped the filming and motioned for me to come over.

Lesson #2: Trust that some people -- even celebrities -- will follow through on a promise.

He wanted to do the interview right then and there. I sat on the steps of the science building, McQueen sitting at my feet. Then a funny thing happened.

The entire crew gathered around us. Many of them sat on the floor in a circle, watching the interview. I didn't know it at the time, but most of them had never seen him interviewed.

I had no tape recorder. No video camera. No iPhone (not invented yet). Just paper, a pen, and questions.

"When was the last time you were interviewed?" I asked.

"How long is a decade?" he asked, a little embarrassed at not knowing the answer. Someone said 10 years. "It was 10 years ago," he said.

Lesson #3: It's okay to admit you don't know something. Even if you're a famous celebrity.

Looking back, it's clear that Woodward and Bernstein had nothing to worry about. My questions were pretty soft. I asked about his first movie (The Blob), his plans for making more movies (he wasn't sure), why he rarely gives interviews ("The press is full of shit"), and his advice for young people who want to get into acting ("I don't advise going into acting at all.") When I asked about his idols when he was a teenager, he refused to answer, saying I wouldn't remember any of his idols. I pointed out that teachers read our newspaper, too. "But this isn't for the teachers. It's for the students," he said.

When I finished the interview and said goodbye, he asked if he could add anything to the article.

Lesson #4: When conducting an interview, always ask the interviewee if he/she has anything to add.

McQueen walked me down the darkened hallway, away from the crew and producers. He told me how expensive it is to act, in both time and money. If you're going to go into acting, make sure to eat and sleep right. "See some of life so that you can peel life and put it to use in your acting." And he talked about the importance of family.

As we rejoined the group, I asked if I could photograph him. He grimaced, but agreed to pose for a few shots. A crew member handed me an 8x10 glossy head shot of McQueen. Another grimace, but he autographed it.

First thing Monday morning the calls started coming in to my journalism classroom, starting with legendary publicity mogul Warren Cowan, head of the world's leading PR agency, Rogers & Cowan, who represented McQueen.

"Did you interview Steve McQueen?" he asked me, incredulous. "I've got cover stories ready to go at Time, Life, Newsweek, Rolling Stone, and other publications, if McQueen will just sit down with them and do an interview. He won't do it! I can't believe he gave an interview to a high school student instead. You have to bring me your school's newspaper when it's printed," he said excitedly.

Lesson #5: By simply trying, sometimes you can do what the most powerful people in the world cannot.

Fast forward to one year later. McQueen had pleural mesothelioma, a cancer associated with asbestos exposure, and died of a cardiac arrest. He was 50 years old.

My high school interview was his last.

Since then, Steve McQueen has become a cult figure. The truth about his efforts to help youth -- not publicized during his lifetime, at his request -- is now well documented. Whether it involved donating basketballs to low income kids anonymously while filming in their city, or giving an exclusive interview to a kid who had the nerve to ask, he always looked for ways to help young people.

Books have been written about him, movies made, TV documentaries filmed -- and I've gone along for the ride. Often at the last minute, just as they're almost completed, I get a call.

"Were you the kid who interviewed Steve McQueen?"

Whenever I hear someone say they can't do something -- when I think I can't do something -- I think about Steve McQueen.

Photo by Rick Penn-Kraus.

They say diamonds are a girl's best friend. Well, Marina And The Diamonds have long been your ears' BFFs - both of 'em. The band fronted by the beautifully talented Marina Diamandis, dropped her third album entitled FROOT last week, and it's almost certainly going to propel MTD her/them to such great heights. The title track, by the way, is already blue whale big scoring millions of views on thee YouTube. Why shouldn't it? The song is bananas good as is the whole album. You can never go wrong with piano/keyboard-driven songs with razor sharp lyrics and vocals.

The Welsh singer/songwriter recently sat down for a chat with A-Sides in New York City to discuss the Froots of her labor, and totally annihilated two new songs. It doesn't get much better than this, people. You're welcome. Watch them below on their short climb toward pop domination. Dearest Apache, jump on it.

"Happy"


"Froot"

Interview:




About A-Sides With Jon Chattman:
Jon Chattman's music series features celebrities and artists (established or not) from all genres of music performing a track and discussing what it means to them. This informal series focuses on the artist making art in a low-threatening, extremely informal (sometime humorous) way. No bells, no whistles, just the music performed in a random, low-key setting followed by an unrehearsed chat. In an industry where everything often gets overblown and overmanufactured, Jon strives for a refreshing change. Artists have included fun., Charli XCX, Imagine Dragons, Alice Cooper, Joe Perry, Gary Clark Jr., American Authors, Echosmith,and many, many more!


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James Baldwin, one of the most prolific writers and intellectuals of the Harlem Renaissance, suggested a very specific process for escaping the crippling confines of hatred and oppression as a man of color in America. Deriving from the philosophy of existential alienation, Baldwin's practice of Black Existentialism prescribed that black men displace themselves from their native environment, dwelling within uncomfortable solitude to forcefully strip themselves of their learned identity and develop a true definition of who they are. This process reshapes individual perspective in a way that allows black men to return to their native environment with a clear vision for how they can empower fellow black men in their communities.

Existential alienation is a philosophy emphasizing that a man is responsible for his own actions and possesses the freedom to choose both his development and destiny. It is the process of claiming control over your life. Thus, detaching from your predetermined identity provokes the transformative questions required to achieve enlightenment and discover purpose. By experiencing extreme vulnerability, a black man must inescapably confront the inner demons that fuel his self-destruction. As a result, he can run nowhere but within, incapable of blaming the known dynamics of race, nor leveraging the realities of history as an excuse to settle in conformity. The singular point Baldwin sought to make is that for black men to truly experience liberation in society, they must first be removed from that society to liberate themselves.

All good things come to those who stay true. You only have five years in this country before America takes the heart and soul out of a black man. You only have that time to fight back.

-- 2 PAC (Mortal Man)

As a remarkably progressive period for black music, art and culture -- the Harlem Renaissance produced many iconic pioneers who provided America with an insurgence of soul, style and personality. Genres like Blues, Jazz, Swing and Beat music presented a soothing soundtrack for stories of intense struggle to defeat oppression. Out of anguish, poetry arose as a thriving art form used to gracefully express the complexity, confusion and combativeness of the times. In a racially-charged period, the people of Harlem never relinquished their joy. Rather, they took pride in creating an entirely new culture of their own. It is that spirit of creativity, community and resilience, intertwined with a sheer hunger for wisdom and prosperity that still underlines the beauty of blackness today.

Channeling the revolutionary essence of the Harlem Renaisance, Kendrick Lamar's To Pimp a Butterfly is a gripping, soul-driven melodrama that masterfully depicts the story of a courageous young man fighting through the painful process of liberating himself. Maneuvering through songs, Kendrick shatters America's expectations to walk in his own definition of power as a free-thinking individual. With piercing lyrics laid over an assortment of funk beats, bellowing horns, heavy drums, scattering keys, entrancing saxophones and angelic harmonies -- To Pimp a Butterfly captures the conflicting emotions of a king chosen to lead a generation, who's become soberingly aware of the treacherous adversities that stand in his way. The 16-track album is Kendrick's catharsis, skillfully unleashing the explicit fury buried beneath the surface of the street-bred scholar who has outrun the grips of failure, but remains held captive by depression and the exhaustive effort to evade nihilism. Kendrick consistently attacks racially-charged topics, expanding the conversation to boldly challenge our perceptions of belief, religion, purpose, manhood and maturity.

While a diversity of subjects are explored, an overarching theme throughout the album is deconstructing the corrupt and contradicting concept of the American Dream. As a people, and as a culture, we celebrate achievement -- but what are we really celebrating? When we believe we've made it -- where have we made it to? As race is socially constructed in this country, so are its core values of worth and success. The common notion of the American Dream favors the privileged, formally excluding the poor, while eluding to wealth. The engrained idea of the American Dream took precedence in a time when black people weren't a priority to society, unless used as workers or assets to assist in acquiring the dream.

This American Dream dominates culture today. It is a misleading dream rooted in riches, recognition and status. For the disadvantaged, scrapping for significance with their backs against the wall -- there's nothing to lose in the chase to taste the dream. Consequently, this chase further feeds into the cycle of poverty, imprisonment and the gradual death of a powerful people. To Pimp a Butterfly discussed the death of potential at the hands of a trap, disguised as a dream, that can't be escaped until we go through the painfully honest process of freeing our minds.

You can't conquer the system if you're trapped in it. You can't overthrow the system while you're locked up, poor or sucked into the streets. You can't overpower the system if you're silenced or marginalized. It is like Kendrick's metaphor in describing the caterpillar, you are trapped in confinement, until you make the fearless effort to claim your freedom, because the butterfly does not know it is beautiful until after it has gone through the natural evolution of becoming one.

The caterpillar is a prisoner to the streets that raise it. Although the butterfly and the caterpillar are completely different, they are, in fact, one in the same. He sees how much the world shuns him and praises the butterfly. The butterfly represents the talent, the thoughtfulness and the beauty that lives inside the caterpillar.

-- Kendrick Lamar (Mortal Man)

Kendrick Lamar's brilliant body of work proves that freedom and the true American Dream is to be enlightened and self-aware. It is only at that point that a person becomes an individual, developing a new respect, appreciation and perspective on the society they live in. Dreams are more than amassing wealth, achieving success, or assimilating into a prototype. Dreams reflect our deepest and most authentic desires. We won't change the world until we become unwaveringly and unapologetically ourselves -- until we find our voice, our fight and our calling. That is living the dream. Yet, as Kendrick says, a dream is only a dream if you chase after it.