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- 02/03/15--12:39: Here's what everyone gets wrong about the WWE being fake
- 02/04/15--07:42: Neil deGrasse Tyson: Here are the nerdiest things I've ever done
- 02/04/15--10:37: The most powerful person in Hollywood at every age
"The Walking Dead" returns to TV Sunday.
If you can't wait until then for the season 5 mid-season premiere, AMC has released the first two minutes from the next episode, and they're pretty somber.
If you're not caught up, you probably won't want to watch.
Warning: Some mini spoilers ahead.
When we last left off, Rick (Andrew Lincoln) and his comrades were reunited. In the process, one of the show's main characters was unexpectedly killed off.
Season 5 episode 9 opens as the group copes with their loss and looks onward to finding a new place to call home for their growing numbers.
"The Walking Dead" mid-season premiere airs at 9 p.m. on AMC.
One of the biggest gripes fans had with the initial “Jurassic World” trailer was that the CGI visual effects didn’t look great.
It wasn’t a make or break scenario for movie fans since CG seen in early trailers isn't usually what viewers will see in the final film. “Jurassic World” isn’t in theaters until June 12, so you can bet there’s a bunch of post-production effects still being added to the movie.
Proof of that came when a new 30-second teaser for the film debuted during the Super Bowl.
We've highlighted a few major differences between the two trailers below.
The ocean looks completely polished and less aquamarine in the new ad.Not only is the sky a different shade of blue here, but the shark on the right is incredibly more detailed. Look at his teeth. You can also see the water glistening off him more.One of the biggest changes you may have noticed was to the giant shark-eating dinosaur that pops out of the water at a park attraction.There are a lot of differences in these two images. Can you spot them all?In addition to the water change, the image on the right has an altered background. The monorail and mountains have disappeared and shifted, respectively. The splash has been reduced on the dinosaur to show off more of the beast.Another big change is the addition of even more dinosaurs.
Remember this scene from the first trailer?
It turns out the park attendees were running from pterodactyls.
The new trailer also lightened up a few scenes that were really dark to watch beforehand like this one where the dinosaurs below are easier to make out.Most noticeable is the moment where Chris Pratt is riding his motorcycle alongside a small group of raptors.Here's the original "Jurassic World" trailer that was released back in Nov.
Here's the new Super Bowl spot:
Through its live shows, television broadcasts, and digital network, WWE entertains thousands of fans every week.
Some people still view WWE as entertainment for people on the lower end of the intellectual spectrum. One reason for this is the misperception that those who watch the product think it is "real." Of course, many of the children who enjoy WWE programming may indeed think they are seeing actual conflicts being resolved through in-ring combat. The truth is that most adult fans realize it is all a big production.
In the past few years, WWE cofounder Vince McMahon has loosened his grip on the perception that what you see on TV is "real," as he has recently begun to allow his talent roster to participate in interviews in which performers break character and discuss the business in a real-world context.
Produced by Graham Flanagan
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It's hard to imagine anyone other than Nick Offerman playing Ron Swanson, the hardened, mustachioed outdoorsman and boss on "Parks and Recreation."
In Offerman's memoir, "Paddle Your Own Canoe," the comedian recalls the gut-wrenching five months of auditioning he endured to get the role — and how a Post-it Note helped him land the gig in the end.
In Fall 2008, rumor had it that producers Greg Daniels and Michael Schur were making a spin-off of "The Office" starring Amy Poehler. Offerman and his wife Megan Mullally watched the US reboot of "The Office" religiously.
"I would often remark, 'If I'm going to make it, if I'm ever going to get my shot, it's going to be on a show like this, in a part like Rainn [Wilson]'s,'" Offerman writes in "Paddle Your Own Canoe."
At the time, Offerman had been in the industry for 12 years. The highlights reel of his career included an off-Broadway play, a recurring role on the ABC comedy "George Lopez," improv shows at Upright Citizens Brigade — the improv theatre run by Poehler — and a one-line part in George Clooney's 2009's film "The Men Who Stare at Goats."
Years earlier, Allison Jones, LA's most top-drawer casting director, had called Offerman in to read for the role of Michael Scott, the lead of "The Office." She called him in again to audition for "Parks and Recreation."
The show's creators Daniels and Schur initally had Offerman read for a different role, named Josh (who Adam Scott also auditioned for). Josh was "devilishly handsome and charming and funny," and would be a romantic interest for Rashida Jones' character, Ann.
Offerman and his wife Mullally spent endless hours reading lines in their kitchen. "This is it. This writing. Oh my god, this is it," Mullally said to him. "Don't f--- this up, fat boy."
He didn't get the part. (The character Josh disappeared from the script.)
Producers approached Daniels and Schur and pretty much said, you're joking, right? But Daniels and Schur didn't give up. They said to NBC, "Okay. You're right, you're right, he's really unattractive. But we really want Nick on the show. We have this other part we wrote, the part of Amy's boss, so we'd like to put Nick in that part. His name is Ron Swanson."
Four agonizing months of auditioning dragged on before he (and seasoned sitcom actor Mike O'Malley) were asked to come in one last time and improvise a couple of Leslie and Ron scenes with Poehler on tape. When Schur called with the good news, Offerman cried. And cried.
"I cried like a little baby boy who has just dropped his bacon slice in a pile of cow s---," Offerman says.
He also learned on that call that he was destined for the role.
Schur told him that three years earlier, he was in the room when Offerman auditioned for a small guest-star part on "The Office." Although a scheduling conflict prevented Offerman from getting the part, Schur was sold.
"He liked something about me," Offerman recalls. "So he went home and wrote my name on a yellow Post-it note and adhered it to the bottom of his computer monitor, where it remained for three years until they were creating 'Parks and Rec,' and he said, among other things, 'I want this guy on the show.'"
Offerman and his wife agreed, had he gotten any of the other major roles he auditioned for along the way, he may never have found his bliss on "Parks and Recreation."
"Everthing happened for the reason that you were meant to get this job," Mullally said to him.
The final season of "Parks and Recreation" airs Tuesdays at 8 p.m. on NBC.
Netflix has released the first full trailer for its upcoming "Daredevil" show via IGN, and it looks pretty good.
The series follows blind lawyer Matt Murdock (Charlie Cox) who becomes the crime-fighting superhero.
"True Blood" star Deborah Ann Woll, Rosario Dawson, and Vincent D'Onofrio also star.
The series will be one of four upcoming Marvel series to hit Netflix.
We were able to get a preview of the series back at New York Comic Con, and liked the many teases we saw of the show there as well.
13 one-hour episodes of the series will premiere on Netflix April 10 at 12:01 a.m.
Back in high school, Neil deGrasse Tyson was the captain of his wrestling team. He wasn't your typical jock, though. He had dreams of transforming into "Geek Man" – a superhero who was "the defender of the geek honor." The renowned astrophysicist and host of StarTalk Radio tells us about Geek Man and the nerdiest things he's ever done in his life.
StarTalk Radio is a podcast and radio program hosted by astrophysicist Neil deGrasse Tyson, where comic co-hosts, guest celebrities, and scientists discuss astronomy, physics, and everything else about life in the universe. Follow StarTalk Radio on Twitter, and watch StarTalk Radio "Behind the Scenes" on YouTube.
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Channing Tatum returns in the trailer for "Magic Mike XXL," the sequel to his 2012 box-office smash. The first "Magic Mike" raked in $167 million at the international box office and, according to Box Office Mojo, cost just $7 million to make.
When we last saw Mike, he had gotten out of the exotic dancing world to focus on his dream of becoming a custom-furniture designer. The trailer shows Mike hard at work in his studio, but the funky strains of Ginuwine's R&B classic "Pony" are too much for him and he breaks into an intense dance routine.
For the sequel, the first film's director Steven Soderbergh hands the reins to his longtime producer and first assistant director Gregory Jacobs. However, Soderbergh isn't absent by a long shot. The self-proclaimed "retired" auteur serves as both the director of photography and editor on "Magic Mike XXL."
A notable returning cast member is former WWE superstar Kevin Nash as Tarzan. And the movie's IMDB page also lists pro-wrestling legend Ric Flair as a cast member.
The movie opens in July.
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Arnold Schwarzenegger's career was skyrocketing to a new level in 1975. He was the greatest bodybuilder in the world and had the beginnings of a film career.
Schwarzenegger had just finished shooting the film "Stay Hungry" and was participating in the documentary "Pumping Iron," which followed him through his training for Mr. Olympia, which he would win for the sixth straight time. He was also a successful California real-estate investor.
As his international celebrity — and bank account — grew, Schwarzenegger realized that despite his signature extreme self-confidence, he was starting to feel overwhelmed, he tells author Tim Ferriss in the latest episode of Ferriss' podcast.
"Eventually it felt like I've got to do something about it because I have such great opportunities here and everything is happening and everything is going my way, but I'm just clustering [it all] into one big problem rather than separating it out and having calm and peace and being happy," Schwarzenegger said.
He told Ferriss that during this time he ran into a friend at the beach who told him that he was teaching Transcendental Meditation (TM), which prompted Schwarzenegger to reveal he had been struggling with anxiety for the first time in his life.
His friend set him up with an instructor who taught him proper TM technique, which entails sitting with your eyes closed for 15 to 20 minutes while breathing deeply and repeating a mantra.
"I did 20 minutes in the morning and 20 minutes at night, and I would say within 14 days or three weeks, I got to the point where I could really disconnect my mind ... and learn how to focus more and calm down," Schwarzenegger says.
After a year of daily practice, Schwarzenegger's anxiety had subsided, and he no longer felt as if he needed to keep up his TM habit. But he tells Ferriss that his year of intense daily meditation fundamentally changed the way he approached life.
Today Schwarzenegger prefers to work intensely for 45 to 60 minutes on whichever project he is involved in before playing a game of chess to detach his mind from whatever he had been focusing on. He uses workouts in the same way.
Ultimately, TM taught Schwarzenegger that the root of his anxiety was seeing all of his responsibilities as part of a massive, interconnected task that seemed impossible to overcome.
"Even today, I still benefit from [the year of TM] because I don't merge and bring things together and see everything as one big problem," he says.
For example, now when Schwarzenegger studies a script for a movie, he says, "I don't let anything else interfere. I just concentrate on that."
You can listen to the full podcast episode, in which Schwarzenegger discusses his multifaceted career and life philosophy, at Ferriss' blog.
"Game of Thrones" actor Hafthor Bjornsson recently broke a 1,000 year-old Viking record for strength by carrying a 32-foot, 1,433 pound log for five steps at The World’s Strongest Viking competition in Norway, a regional competition similar to The World’s Strongest Man.
Check out the full video here:
The record that Bjornsson broke comes from the Icelandic legend of viking Orm Storulfsson, who it was said carried the mast of a ship with the same specifications for three steps. In the legend, 50 men had to place the log on Storulfsson’s back and, after the third step, he broke his back and was never the same.
Bjornsson had no such trouble, suffering no injuries in the effort.
Bjornsson is now moving on to The World’s Strongest Man competition. Last year, he placed second, losing to four-time champion Zydrunas Savickas.
It's not just celebrities who have power in Hollywood: Directors, producers, writers, and agents also command authority in Tinseltown.
We came up with the most powerful person in Hollywood at every age by looking at each person's command, reputation, past and future influence, and wealth.
From Kim and Kanye's 1-year-old baby North West to 100-year-old actor and comedian Irwin Corey, these are the most powerful people in Hollywood from 1 to 100.
AGE 1: North West
Daughter of Kanye West and Kim Kardashian
What makes her powerful: While all of Twitter had an opinion about the bold name that Kimye chose for their first child, North is developing a personality to match. Nori, as she's known, who appears with her family on "Keeping Up With the Kardashians," is halfway potty-trained and loves selfies as much as her mom.
Another powerful 1-year-old: Everest Lucas is the son of "Star Wars" creator and former Lucasfilm CEO George Lucas and Mellody Hobson, chairman of the Dreamworks' board of directors.
AGE 2: Olive Barrymore Kopelman
Daughter of Drew Barrymore and Will Kopelman
What makes her powerful: The famous Hollywood Barrymore dynasty welcomed a new member, Olive, in September 2012. And if Drew's Instagram is any indication, Olive is incredibly gifted. Her mom posted a photo of her daughter at the beach reading. And not just any book — "Bossypants" by Tina Fey.
AGE 3: Blue Ivy
Daughter of Beyoncé and Jay-Z
What makes her powerful: Nothing is too good for this power couple's little girl. Blue Ivy's second birthday was celebrated at the exotic Jungle Island in Miami; for her third, Blue got an ice sculpture with her name carved into it. Gwyneth Paltrow, who is good friends with the Knowles-Carter clan, said of Blue Ivy: "She is a powerhouse. I love her so much."
Another powerful 3-year-old: Haven Warren, daughter of Cash Warren and Jessica Alba, must be getting some great merch from her mom, who cofounded the sustainable baby and toddler product company Honest Company.
See the rest of the story at Business Insider
The following post is an excerpt from the book Punk Rock Blitzkrieg: My Life as a Ramone by Marky Ramone.
Every time I ran into [my friend] Dee Dee at CBGB in the winter of ’78, he told me I ought to join the Ramones. As if you could just do that, like joining the Y or the ACLU.
He said the band was having trouble with Tommy, their drummer, and I was actually a little upset to hear that. I didn’t want the original lineup of the Ramones to break up. I was a fan. But I didn’t put much stock in what Dee Dee said. He was a nut and known to exaggerate.
It takes a nut to be involved with two psychotic women at once. About a year before, he was living in an apartment with Connie, a violent stalker, prostitute, and drug addict. Dee Dee was also having a fling with Nancy Spungen, the schizophrenic girlfriend of Sex Pistols bassist Sid Vicious. When she came home to find Dee Dee in bed with Nancy, Connie grabbed an empty beer bottle, smashed it, and stabbed Dee Dee in the ass with the jagged edge.
But when Johnny Ramone asked to meet with me about joining the band, the whole proposition turned real. I arrived at Max’s with Marion, and we took seats across from John and Roxy in a booth up front. I was impressed with John. He seemed to have a handle on the Ramones’ business matters and a vision of how to get the band through this difficult transition. Joey wasn’t exactly up to it, and Dee Dee would have sent the whole thing into the toilet.
John laid down some rules. Maybe they were more like guidelines.
Whatever they were, the Ramones didn’t get high before playing. Me neither. Dress on and off the stage was leather jackets, jeans, and sneakers. I was already wearing all that and had been forever. Dee Dee always counts off the songs. Definitely. I know. We don’t go away on tour for more than a month. Sounds good. We travel together, and girlfriends are welcome. Marion can come. Thanks.
The only confusing thing was the audition. There would be one at the Ramones’ rehearsal studio. But John discussed the rules and regs like my being a Ramone was already a done deal. Then I thought, Whatever they call it, I’ll blow it away.
On our way out of Max’s, Marion and I put our heads together. We had heard through the grapevine that the Ramones already auditioned several drummers, maybe more. Marion’s take was the Ramones knew from the start that I had the experience they needed, but in the back of their minds they preferred a nobody they could boss around. It was hard to get all that in the same package, so over time they realized I was their man.
From what I had heard, Dee Dee wasn’t the only one rooting for me. Tommy was, too. In fact, Tommy was the one who first suggested me. Beyond whatever had happened between him and the other Ramones, Tommy still loved the band and wanted it to continue. What better way to do it than with an experienced professional drummer who knew the ropes?
When I walked into Performance Studios on East Twentieth Street in Manhattan and sat down, Tommy was sitting at a drum set behind the set I would be using. It was an unusual way to run an audition, a show, or anything musical unless maybe you were in the Grateful Dead. I asked him what all this was about.
“Don’t worry about it,” Tommy said. “Just in case you need a little help.”
“Thanks,” I said. “I got it.”
I shot Tommy a little smile. I really did have it. The songs “I Don’t Care,” “Sheena Is a Punk Rocker,” and “Blitzkrieg Bop” were on the jukebox at CBGB, on my stereo, and in my world. I had listened to them again before coming down, and that was enough. It wasn’t like learning “From a Dry Camel.” But they were great songs, and I was like Sheena and her friends—all hopped up and ready to go. Even so, I appreciated Tommy’s concern. He literally had my back.
Dee Dee counted “One, two, three, four!” and we launched into “I Don’t Care.” It was one of the purest rock-and-roll songs written after the year 1962. With a deliberate, powerful beat underpinning a progression based on E, F, G, A, it was a song a novice could learn on but never tire of playing: not caring about the world or the girl was the entire message served up in two lines, repeated over and over like a punk mantra.
The song clocked in at a minute forty seconds. We were locked in as a band within the first ten of those seconds. Thirty seconds in, the audition—if there ever was one—was over. We were relaxed and smiling. Rehearsal had begun.
I had my work cut out for me. Recording for the new album, Road to Ruin, was set to begin in less than three weeks. We'd be doing shows immediately after. We were scheduled to do fourteen songs for the album, and the Ramones’ live set was twenty-four songs.
So I had almost forty songs to learn, minus the three for the audition, in about the length of a honeymoon. The Ramones handed me a pair of cassette demo tapes with all the songs. I stopped in at Sam Ash on Forty-Eighth Street and picked up a set of drum pads.
When I got back to the apartment on Ocean Avenue, I hooked up a pair of headphones to the boom box I had gotten with the Voidoids advance. Right next to it, I set up the pads. And that’s where I spent most of the next eighteen days.
My favorite song on the Road to Ruin demo was “I Wanna Be Sedated.” It was catchy and huge even in stripped-down form on a cheap cassette tape.
It was pop but without sacrificing hardness. Lyrically, being sedated could mean any number of things, but at its simplest level it was about needing a drink. The song captured being on the road just about perfectly. Of course, I had never been on the road with the Ramones, but I would be finding out what that was like soon enough.
I also really liked “I Just Want to Have Something to Do” and “Go Mental.” “Mental” was faster than most Ramones songs—and faster than most songs, period. It felt like what it was about: sitting in a hospital bed and losing your mind. The album’s one cover song, “Needles and Pins,” was written by Jack Nitzsche and Sonny Bono back in 1963.
The original single was done by Jackie DeShannon, but the Searchers had more success with it the following year, giving it an early-Beatles feel. The chord changes and subject matter—heartbreak and holding back tears—were right up the Ramones’ alley.
We recorded at Media Sound in Manhattan. I was prepared, but everyone there totally expected that of me. I understood my role from the get-go. I was not a ringer, mercenary, hired gun, or session player. I was a member of the band who could nonetheless deliver what a ringer, merce- nary, hired gun, or session player could deliver. But I wanted to take it a step further. I wanted to help take the band’s sound to the next level.
There was a lot of heavy competition out there. Not so much from the punk bands. I considered the Ramones the originators of punk, so in that sense there was no one to compete with. But the Ramones were a punk rock band with the emphasis on rock. In rock, there were a lot of big boys with heavy drums: AC/DC, Black Sabbath, Aerosmith, and Van Halen. Van Halen were the new kids on the block, and someone the Ramones might not even have considered. Yet their self-titled album had just come out and it was worth considering.
Van Halen stood out from the corporate rock clones being churned out monthly by the music industry. Eddie Van Halen loved Page, Beck, and Clapton but squeezed his influences out of his black-and-white-striped red Charvel with a new, wild hammer-on style of playing that was melodic, smooth, and raucous all at the same time. Alex Van Halen’s drums were huge, sounded huge, and were locked in perfectly with his brother’s play- ing as well as bassist Michael Anthony’s. The band didn’t take itself very seriously. They were kind of campy, thanks especially to lead singer David Lee Roth, who brought his Las Vegas A-game to the show. The album was a fun listen and made me think.
The idea for Road to Ruin, I thought, was not to be Van Halen or anyone else. The idea was to be a heavier Ramones. We had our fans and would keep aiming to please them. And we had our punk/new wave competition—the Clash, the Police, the Cars. But there was no harm in letting the metalheads and all their cousins know that the Ramones could rock a stadium if they needed to.
To begin with, I tuned my snare a lot tighter than Tommy’s and used larger cymbals. I wanted to get more projection and impact from the sound. There were a bunch of other factors involving microphone placement, levels, and even the way I struck the kit that would give the songs a bolder, more muscular feel. The beauty of the situation was that I had a great producer who worked closely with me to get that sound: Tommy. He hadn’t just passed me a golden baton. He was clearing the track for me. Tommy was there alongside me every step of the way.
The very first song we tracked was “Sedated.” I speeded up the tempo a bit from the demo. The song itself didn’t feel right sedated. It had to be manic and in need of sedation. I added a few fills here and there that helped distinguish the parts, plus a critical fill in the break. It sounded nice when we did it. Then it jumped out of the monitors and had all of us smiling.
During recording, I noticed Joey had a funny habit. He would touch a spot somewhere—the mixing console, a chair, a microphone stand—and then touch it again. And again. And again. It didn’t matter. His vocals were great, and he didn’t need to do them again and again and again. It was just a little weird.
Igot to meet and talk to the full Ramones entourage, including Seymour Stein of Sire Records. Seymour was already my boss from the Voidoids, but he especially loved the Ramones. He appreciated the way they took the chord changes and vocal approach of the doo-wop era and spit it back out as their own—harder, faster, and a little warped. Seymour was knowledgeable, easygoing, and quiet.
His wife made up for the quiet part. Linda Stein was a short, loud, opinionated, outgoing quintessential New Yorker. She started out as a schoolteacher—probably one you would never want to be caught throwing a spitball at. She learned the music business from her husband, and the Ramones were lucky to have her managing their business.
Danny Fields was the other half of the Ramones management team.
Danny had started out doing publicity for the Doors and later was instrumental in signing the Stooges and MC5 to Elektra. In 1975, he brought the Ramones to the attention of Sire. Danny was the hands-on manager for the group, plying connections at rock magazines, booking venues, getting the band radio interviews. Together, the Steins and Danny Fields spearheaded a professional organization behind what looked like four punks in street clothes.
It was this professional team that asked me about changing my name. I was off to a good start, but we weren’t going to be Marc Bell and the Ramones. My new last name was a done deal, but I needed a first name that ended in a long-e sound. Rocky Ramone was either too suggestive of the Sylvester Stallone movie or made me sound like a gangster. Timmy, Jimmy, and Willie Ramone and a dozen others made me puke. And just adding a y to Marc came out to Marcy, which was not only a girl’s name but happened to be the name of the discount store Marcy’s, across the street from Erasmus High School. The fewer reminders of high school, the better.
So I said, “Let’s go with Marky, with a k.” My grandmother called me Marky as a kid, and the name was made famous by Marky Maypo. In the fifties and sixties, Maypo was one of the big three hot cereals, along with Farina and Wheatena. Mickey Mantle was a pitchman for Maypo, literally crying if he didn’t get a bowl of the stuff. Marky Maypo was the goofy, whinny, cartoon mascot wearing a cowboy hat. For the sake of nostalgia, I could live with that. So Marky, like the cereal, stuck.
There was no need to change my name legally. My bills would still come to Marc Bell. And so would my paychecks. The Ramones team let me know that I would be receiving a nice check every week, on time, from our accountant Ira Herzog. The check would come whether we were on the road or off. When we toured, there would be extra per diem payments based on the shows we did. This was all a load off my mind and off Marion’s. Moving into Manhattan was on the horizon.
From PUNK ROCK BLITZKRIEG: MY LIFE AS A RAMONE by Marky Ramone and Richard Herschlag. Copyright © 2014 by Mark Steven Bell. Published by Touchstone, a Division of Simon & Schuster, Inc. Reprinted by permission.
But it was hard work leading up to the performance that 114.4 million people saw on TV.
Perry explained to Elle magazine: "In my show, I am boss daddy. I am boss mommy. They call me Boss. Everything goes through my eyes; I call all the shots, 100 percent of it."
But, says the singer, "With the NFL, I have to be accountable to several levels of red tape."
After past Super Bowl halftime show snafus like the 2004 Janet Jackson wardrobe malfunction, sounds like the NFL is now pretty controlling over musicians and their entire production.
Perry explains in the new issue of Elle magazine:
There are many committees I have to go through for my costumes, the budgets of my show, every interview—everything, I have to report to somebody. So I am no longer the boss; I have to relinquish that control.
We love this opportunity, but once you decide you're gonna do the Super Bowl, you're gonna have no f------ life for six months. It is the biggest thing. Anyone that's ever done it has been scared sh--less. You stay off the Internet for the five days afterward."
But it seems like Perry was pleased with her performance, judging by the tattoo she got after the show to commemorate the experience.
"It is a hundred times harder a dream than the dream that I dreamt when I was nine," says Perry. "You think you signed up for one thing, but you automatically sign up for a hundred others. And that is why you see people shaving their f------ heads."
Read Katy Perry's full interview with Elle magazine here.
Katy Perry’s dancing sharks broke out as fan favorites of Super Bowl XLIX.
The sharks appeared on stage with Perry while she performed the Pepsi halftime show.
Since then, the Internet went on a mission to uncover the identities of both of the sharks. We already know the shark pictured on the right is long-time Katy Perry backup dancer Scott Myrick, but who's the left shark?
Perry's backup dancer Bryan Gaw took to Twitter and Instagram to reveal he's the face behind the meme that has become known as "left shark."
Business Insider is looking for a social media editor to join our growing social media team. This team manages the site's Facebook, Twitter, LinkedIn, and other social media accounts, and directs our social media strategy across the web.
Responsibilities include writing Facebook posts, tweets, and other posts for social media, working with editors to identify and promote stories, and engaging with readers across social media platforms.
This person will also play a larger role in integrating social media into the newsroom and developing Business Insider's long-term social media strategy.
The ideal candidate has a voracious appetite for news and a knack for finding stories that people want to share. He or she should be obsessed with Facebook, active on Twitter, and inherently interested in the news.
He or she should be comfortable working in a fast-paced environment, possess excellent communication skills, and be excited about building Business Insider's social media presence. He or she will have 1-3 years experience in a newsroom, and a background in journalism.
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Katy Perry is getting her own mobile game, and it's being developed by Glu Mobile, the same studio behind the wildly popular "Kim Kardashian: Hollywood" game.
The new game, which has yet to given an official title, will feature Perry's voice and likeness and promises to "introduce players to a digital playground of global success and talent," according to the press release.
"Kim Kardashian: Hollywood" was also a free-to-play game, but the game offered in-app purchases that allowed players to use real money to purchase additional playing time and virtual clothes with the game's currency, "K-stars."
The strategy worked well for Glu Mobile and Kardashian. "Kim Kardashian: Hollywood" dominated the Apple App Store charts, peaking at the #1 overall spot and #4 in top-grossing apps. It raked in $1.6 million in its first five days on the market, and has since been downloaded 22.8 million times, generating $43 million in revenue from its June launch through the end of September.
There's no firm release date for Katy Perry's game, but Glu is planning to launch the app on iOS and Android in "late 2015." The only lingering question we have: Will we be able to play as one of the Super Bowl sharks?
You can read our interview with Glu Mobile's CEO right here.
Ryan Seacrest thought he had a genius idea.
He got an iPhone but missed the keyboard on his Blackberry. So he launched Typo, an iPhone case that has a keyboard built in.
Typo was popular. Pre-orders on the $99 case sold out quickly. But a few months after its launch, Blackberry filed an injunction against the startup for infringing on the company's patents.
"We are flattered by the desire to graft our keyboard onto other smartphones, but we will not tolerate such activity without fair compensation for using our intellectual property and our technological innovations," Blackberry's general counsel Steve Zipperstein said in January 2014.
Typo continued to accept orders even after the injunction. Now it's being forced to pay more than $860,000 for continuing to sell items, Recode's Ina Fried reports. Seacrest's Typo 2 product, which has a slightly altered keyboard, is not affected. The patent litigation is ongoing.
A Typo spokesperson sent us the following statement: "This is a ruling as part of the ongoing patent litigation related to the initial Typo product. It has no impact on the Typo 2 product currently in the marketplace or our other planned product releases for the tablet. We cannot comment any further."
Here's what the Typo looks like:
When the annual Sports Illustrated swimsuit issue hits newsstands Feb. 9, readers may notice something a little different.
For the first time ever, the magazine will include a plus-size model — in a paid advertisement.
Ashley Graham, 27, will be the first size 14-16 model to appear in the much-hyped annual issue.
Graham's appearance is part of an ad for the plus-size bathing-suit company swimsuitsforall.
She said in a statement: "I know my curves are sexy and I want everyone else to know that theirs are too. There is no reason to hide and every reason to flaunt."
Graham, a Nebraska native who was discovered in a mall at age 12, has previously appeared in campaigns for Levi's, Target, Hanes, Bloomingdale's, Nordstrom, Macy's, Old Navy, and many more.
Just last year, she was one of five plus-size models who earned a spot on IMG's coveted modeling roster.
In 2010, Graham starred in a commercial for the plus-size clothing retailer Lane Bryant that was later banned for apparently being too hot for TV. Lane Bryant, however, argued that networks stopped airing the ad because they're "turned off by big gals."
In a recent essay for The Edit, Graham writes of body image:
I was told to look up to Marilyn Monroe and J.Lo, because those were the only two curvy women considered beautiful. We need role models for young girls who say, 'Embrace your curves. Who cares that your body isn't perfect?' There's too much anorexia, obesity and suicide in this generation and nobody is addressing the issue.
Young girls don't have much to look at, curvy women are not on covers of magazines, they're not talked about on social media as much as other celebrities. Jennifer Lawrence is the media's poster girl for curves — [but] she's tiny.
Watch Graham's #CurvesInBikinis commercial below for SwimsuitsForAll.
"NBC Nightly News" anchor Brian Williams addressed his admission he made up a story about being in a helicopter that was shot down in Iraq in 2003 on his show Wednesday night.
"I made a mistake in recalling the events of 12 years ago," Williams said, adding, "I want to apologize. I said I was traveling in an aircraft that was hit by RPG fire. I was instead in a following aircraft."
Williams first recanted the story in an interview with the military newspaper Stars And Stripes published Wednesday. His admission came after he repeated the tale on Friday during NBC's coverage of a New York Rangers game where a soldier who helped provide security for the grounded helicopters was honored.
On his show Wednesday evening, Williams described the story as "a bungled attempt by me to thank one special veteran." He did not address prior times he shared the tale.
After the Rangers game, crew members who were on the aircraft told Stars And Stripes Williams was "nowhere near" the helicopter "or two other Chinooks flying in the formation that took fire." Instead, they said the anchor "arrived in the area about an hour later on another helicopter."
Williams told Stars And Stripes he "made a mistake" and confused the helicopter he was in with the ones that actually came under fire.
"I don’t know what screwed up in my mind that caused me to conflate one aircraft with another," he said.
In a Facebook post, which NBC sent to Business Insider, Williams suggested the fact he arrived in the area where the helicopter went down soon after the incident may have confused him.
"I have no desire to fictionalize my experience (we all saw it happened the first time) and no need to dramatize events as they actually happened, I think the constant viewing of the video showing us inspecting the impact area -- and the fog of memory over 12 years -- made me conflate the two, and I apologize," Williams wrote.
Spokespeople for NBC have not responded to multiple requests for comment from Business Insider asking whether the network will take disciplinary action against Williams.
On Wednesday night, "NBC Nightly News" anchor Brian Williams apologized on air for his "bungled" story about getting shot down in Iraq.
Williams said on air, "I made a mistake in recalling the events of 12 years ago ... I want to apologize. I said I was traveling in an aircraft that was hit by RPG fire. I was instead in a following aircraft."
Shortly before the broadcast, Mashable editor Brian Ries dug up this video of Williams recalling his story on "The Late Show with David Letterman" in 2013.
Williams starts telling the tale at the 3:00 minute mark:
It's official: 24-year-old model Hannah Davis (aka Derek Jeter's girlfriend) landed the highly coveted cover of this year's Sports Illustrated: Swimsuit Edition.
"I told my mom there was no way I'd get the cover," a surprised Davis told Sports Illustrated after the big reveal. "I told her, 'They do beaches for covers and I'm on a farm. There's no way. It's not possible.'"
"I've always enjoyed the whole Swimsuit experience, and said that anything extra — a little square on the cover or anything like that — was a bonus," Davis added. "But still, this was my dream."
Watch the Sports Illustrated team reveal the cover to a shocked Davis below:
For Sports Illustrated's 50th anniversary last year, the magazine chose a cover with three models. Chrissy Teigen, Nina Agdal, and Lily Aldridge all made the cover.
Teigen tweeted late Wednesday after the Davis announcement: