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Our Services When it comes to essay writing, an in-depth research is a big deal. Need some help? Baxter was the mastermind behind the construction of the stretch of elevated motorway that stamped its massive concrete feet across west London, from Shepherds Bush to Marylebone, in the late s.
Whatever its shortcomings for motorists, however, the Westway's impact on the boroughs through which it sliced was grave. Its stark concrete aspect brutalised an urban landscape of predominantly 18th and 19th-century brick housing, and physically severed neighbourhoods. Noise and air pollution became a local scourge.
Many west London residents claimed at the time that they did not know the route's alignment until construction workers moved into their back yards. Reporting on its official opening, the Guardian suggested that Michael Heseltine, then junior transport minister, had rescripted his speech at the last minute, excising praise for the engineers and planners in favour of a pledge to help those living in the structure's shadow.
Baxter himself acknowledged that the project was conceived and built in an era when engineering was carried out on a "decide, announce, defend" basis, with little or no local consultation.
Insix years after the Westway was opened, he confessed that it had marked the beginning of the anti-roads campaign. Despite the criticism, Baxter, an indomitable optimist, stood up for the Westway, maintaining that, in the mids, it was virtually impossible to imagine the traffic volumes that would clog the capital's roads a decade later, let alone 30 or more years in the future.
He also held that technically the project would have been difficult to better. Because it is massively built of concrete, it is quiet in comparison to a steel bridge; concrete dampens noise, while steel tends to resonate and amplify it. The bridge also included electronic heating to prevent ice forming in frigid winters. Baxter and his colleagues at Maunsell had set out to build the bridge using a pioneering technique - post-tensioned, precast segmental concrete construction - that is still at the cutting edge today.
This method involves precasting a series of short concrete deck elements, transporting them to site on lorries and lifting them into position. By stringing cables through the segments along the length of the deck and jacking them tight, the elements are clamped together to form rigid spans capable of carrying traffic. Its advantages over conventional cast-in-situ concrete are relative speed and simplicity of construction, and its virtues are dramatically shown on the record-breaking, concrete-arched Gladesville bridge, near Sydney, Australia, whose m clear span is thought to be unrivalled 39 years after it was completed.
Gladesville's dramatic arch is actually composed of four arches side by side. Each is made up of more than2. Born in London, Baxter left Westminster City school at the age of 16 because he "wanted to get on and do practical things".
He put himself through a degree course in his spare time, obtaining a BSc in engineering from the City and Guilds Engineering College, London, at Professionally, he cut his teeth on concrete structures working for the Trussed Concrete Steel Company and on chemical factories for Shell There he met the engineering star of the day, Guy Maunsell, and joined the firm of Maunsell, Posford and Pavry inbecoming one of four founding partners of the new firm of G Maunsell and Partners in Maunsell, then in his 60s, had spent much of his life as a contractor, and instilled in Baxter the ethos that buildability is central to good design.
In return, Maunsell was impressed by the much younger Baxter's talent and spirit of get-up-and-go. As senior partnerBaxter expanded the firm of Maunsell from a strong UK practice to an international force of more than 2, It continues to excel in the fields of bridge design and transportation.
This growth was achieved through Baxter's low-key approach to management, trusting his staff and giving them freedom. Inhe was president of the Institution of Civil Engineers. The Clash 's known live concert appearances. Example: List of Beatles concerts. Unhappy - The Excuses (2) - Limited Edition (mate) (CD The first gig we ever played was at what we used to call the Mucky Duck actually called the Black Swan in Sheffield.
We had a song we did called "Listen", which had a bassline that went up in a scale and then down a note to start, and Paul was so nervous that he just kept going up the scale, and we all fell over laughing 'cos we didn't know when to come in. It was the first time that I had ever played on stage. The night before it felt frightening but once we were on the way there then I began larking about.
I tied one of Keith's shoes to a piece of string and hung it out of the back of the van — the door had to be open anyway so we could breathe. So there we were sitting with all the amps and luggage with a plimsoll bouncing around behind us and all the cars behind us slowing down to avoid it. But the moment that we walked out on stage it was like I was in my own living room. I felt really comfortable.
Things went wrong during the evening, and Mick had to come over and tune my guitar, but it didn't bother me. I just wanted to jump around, but Mick wanted it to be in tune. The Independent - Fri 10 Unhappy - The Excuses (2) - Limited Edition (mate) (CD Last gang in Town p. This is a historic for it is the third ever Clash gig and the first known recorded. It is also the earliest known recorded performance and a rare recording of the Sex Pistols with Glen Matlock. The band were also nervous and there is no stage talk from Joe he went to the opposite extreme at the Roundhouse 2 gigs later.
It is suggested that the Buzzcocks and The Clash were beset by appalling sound problems that miraculously improved when the Pistols hit the stage. Though this is not entirely born out in this recording Glen Matlock and others have since confirmed that tampering may have taken place. Press reviews at the time were not kind to put it mildly.
Perversely only two years later Album) was describing the Clash as the greatest rock band in the world in the same paper. This is a recent bootleg 2CD released in early on the Punk Vault label. It features all three bands in full from the famous Screen on the Green gig in First up are the Buzzcocks and this has an average sound. The Pistols is slightly better again. Drums are clear, bass is present but not focussed, guitars are good but somewhat distant.
They are also the only recordings of the 5 piece Clash with Keith Levene on lead guitar, Mick on rhythm, Terry Chimes on drums and Joe solely vocals. This recording reveals the The Clash of were a very exciting band. The punk snarl has not quite been added yet and the songs destined to be recorded lack their later subtleties but they are already playing tight and fast. The set ends with warm applause and calls for more. I Never Did It?
How Can I Understand the Flies? Janie Jones Some lyric changes but already sounds great. Mick sings the chorus Joe later at the Roundhouse and there after. The tempo is so much slower at this point. Mark Me Absent Song about schooldays written by Mick. Used later as basis for Clash City Rockers though the resemblance is not noticeable. Again like Janie Jones a much slower version than it would become in Sitting at my Party Fast, furious but slight song.
A song about a girlfriend still and not the USA. Mainly different lyrics but indecipherable. You can go on the web and find any number of complete Clash bootleg discographies. That is not my intention here. What I set out to do here was to provide the curious with what I think is a meaningful representation of the evolution of the live Clash, i.
The emphasis here is on recording quality or historically significance. Part of what fueled my bootleg obsession back in my youth was my need to hear material from Sandinista and Combat Rock played by the Clash, not by Mick, Topper and a bunch of studio hacks. However, as long as you can stomach the recording quality, I also recommend any show the Clash did. The intensity of those shows is unparalleled.
This is an historic and essential Clash bootleg. Despite being only their 5th gig it stands as an exciting performance in its own right and confirms that The Clash were a great band right from the start.
The old circulating tapes are of very poor quality and should be avoided. The boot MS is either from the master or very low generation and has some spots of wear. Vocals are good but somewhat distant. Many of the lyrics on the unrecorded songs can now be heard or at least guessed at. This is partly unfair, Joe is obviously nervous admits to being and unsure how to deal with hecklers but his sincere desire to communicate and get through to the audience Album) clear.
Not surprisingly therefore they were nervous and the easy option would have been to bash out the songs as previous gigs, abuse the audience and make an early exit. Significantly Strummer rejected that and sought to communicate his frustrations with the rock scene to an audience from his own area.
Gray acknowledges that it was a varied and proficient 14 song set, but with pacing ruined by these lengthy interruptions which failed to generate any compensatory dramatic tension. Deny The song fades in losing its beginning.
Lyrics and song structure are very similar to the recorded version. A very good version with the twin guitar interplay coming across well at the ending coda. Many of the lyrics can now be heard. A good song and one of the longest in the set. Another fast and enjoyable unrecorded song. Slight song but enjoyable. Protex Blue Very good performance, guitars clear, same lyrics as recorded, good vocal from Mick. On Midnight Special Mick sang the chorus but from now on Joe now sings the whole song.
Same lyrics as recorded version but not the finished classic yet; it sounds too basic without the punk snarl yet. Did you watch the documentary on TV last year on them, nothing else on, agreed. Deadly Serious Before this other unrecorded song Joe is more successful in getting across to the audience. Guitar work is not very exciting from Levene, a work in progress. Short fast, and with unintelligible lyrics. The ending is weak and not developed yet. Why was this lyric changed, its much more disturbing evocation of the extreme possible effects of alienation and identity, the song's subjects?
There are cheers at end and applause. Joe Strummer's Clash--the best new band of the year? Well, some would claim as much. At least you can garuntee that any band formed by the ers guitarist will bristle with fire and energy. Unfortunately at the Roundhouse the Clash had little more on offer. The Ramones out of an East End squat? Indeed, many of the leather-clad Strummer's new songs were little more than rewrites of this years punk classics.
But 'I've got a Crush on you', 'Janie Jones', and the apocalyptic 'London's Burning' proved there was still power in Strummer's right arm. Unfortunately however, the warmth and love of the old pub rocking ers has been traded for a new aggression and belligerence. At 6 o'clock on a Sunday evening, long before the bar opened, the Roundhouse audience wasn't in the most receptive of moods.
The more they sat down, the more Strummer screamed at them to stand up. It was a brave, if bitter attempt to instill some kind of occasion into the weekly Roundhouse rock and roll binge, but it was not appreciated. There was no disaffection when the Crazy Caven and the Rhythm Rockers hit the stage. The Welsh band's normal entourage of drapejacketed, creep-soled teds were conspicuous by their absence by Crazy Caven's characteristic brand of authentic rockabilly brought out dancers all the same.
Only the hair oil is changed. The new album, tentatively titled 'The Golden Mile', is scheduled for October release but already the Kursaal Flyers are promoting it.
I think I can help clear up the minor omissions at the end of the review last paragraph on RH side on this page. The producer was 'Wombler' Mike Batt. Batt wrote and performed Wombles songs in a Womble outfit! However Batt was also a renowned producer and knew how to arrange a 'big sound' with an orchestra. As did George Martin and most of the studio producers of the 60's. I always will remember the Clash for the rants at Unhappy - The Excuses (2) - Limited Edition (mate) (CD audience.
It was normal to sit down during performances in those days - so it was amazing to hear Joe Strummer shout at us about 'wearing out yer denims'. So I was delighted to see that you have a recording of this gig and that my memory hadn't let me down.
We kept in touch with the Clash in particular - Mick Jones during their meteoric rise to fame and met them 'back at the hotel' whenever our tour dates coincided. The first film was about Pete Doherty which included the studio sessions for his new single - Janie Jones. Funny to think I saw that song performed at the same venue exactly 30 years ago!
The other event yesterday was Paul Weller live - amazing. He must have been delighted as inquisitive newcomers turned up to mingle with the regular punk faces.
Punk was breaking out of the small clubs and the media frenzy following, would give it significant impetus. Savage said the group lacked confidence. Hardly surprisingly as it was their debut as a four piece. Keith Levene had left only two weeks earlier but Terry Chimes is quoted as saying this caused no problems: the band were now more focussed and determined.
Mick's lead style was now developing using further drop out to add more drama to songs. A further benefit was that Paul was now free to move into the front line spotlight, hurling his bass around and completing visually, the classic line up. A short song set was played lasting only 25 minutes. It was on the second night that Sid threw the glass, and it was this isolated violent incident alone that was to preoccupy the 'normal-a-phrenic' national tabloid headlines.
The music press though also went into overdrive, with extensive band coverage, heaping praise praising on The Clash et al. England's Dreaming wrongly attributes this gig to the occasion when with a broken string Strummer switched on a transistor and with the help of Dave Goodman echoed the Northern Ireland news report via the PA. This did take place at the Club but earlier on August 31st.
The previously circulating recording of this gig had awful sound, so beware, but a new source is now in circulation, which is a big improvement. Several older tapes of all had a poor sound of varying degrees. A new copy coming from a 1st gen source has just come into widespread circulation is a significant upgrade and is a 3.
Avoid the others. Whilst still distorted and flat, instrumentation and vocals are much clearer from this much lower generation source.
It is listenable but nowhere near as enjoyable as Midnight Special and 5 Go Mad bootlegs. This was the live debut of White Riot, which has different lyrics to the recorded version, but most of which are indecipherable. The recording loses the opening bars to the song but is otherwise complete with no other edits. Guitar sound is thin, drums distant but bass is not too bad with vocals and backing vocals coming through best. It's a very good performance with some significant differences from their last gig at the Roundhouse.
The songs are stripped down to their basics, and played faster, i. Janie Jones is now "he's in love etc" not "I'm in love etc" and Mick sings the chorus, Joe the verses.
I'm So Bored is the same lyrics of a put down of a girl with references to "you don't look like her" and "public school" but now Joe shouts USA after the verses at the end of the song.
A song and band in transition. The promoter a guy called chris France had also promoted gigs by the jam,the dammed and eddie and the hot rods all in leighton buzzard he also managed john otway and wild willy barrett at this time.
Last gang in Town p from Time Out mag. This is the second gig on the 5 Go Mad At The Roundhouse CD, and although the sound is not as good as the Roundhouse gig, it is still a rare decent early live recording from the new line up. This Clash performance here is some six gigs on since Keith Levene left after the Roundhouse gig, and where Mick took over lead guitar and Joe rhythm.
John Ingham in a review in Sounds thought their minute set to be their best yet noting "that every song is pared to the minimum required to get it across with maximum energy and zero flab". The 30 people in attendance did not go amiss as Joe remarked upon the next visit to Barbarellas on the White Riot Tour, dedicating at gig to the few soles who where here on this night.
Although no doubt an exaggeration this would have been a small audience which the recording confirms, yet the band is met with warm applause at the end and returns for an encore. Again there were sound problems with a PA malfunction resulting in the vocals being routed through the club system, with the band's own amps required to project the sound of the guitars.
The unfortunate Mr Gray off Last Gang infamy writes that ironically, this made for one of the clearest vocal mixes they had ever experienced. Unfortunately the vocals on this recording are not that clear and somewhat distant and thin. The guitars come across brightly though. It's a good stereo miked audience recording presumably by the same taper as the Roundhouse and very close to the master. Drums and cymbals are very clear with bass there but somewhat buried.
Both guitars are clear but the sound is thin and harsh making this a less enjoyable listen than the Roundhouse. It has a sound quality between a 3 and a 4. The Clash have developed significantly since The Roundhouse, the songs are faster, shorter and now definitely punk as Ingham pointed out.
The recording captures the band midpoint between the early fast, r'n'b Clash, largely singing Mick's songs about teenage love and school, and the Clash that was to come. A new set of songs with a new direction. Lyrics by Joe inspired by Bernie's situationist politics, and a general instruction to write about as Bernie put it "what you know and affects you".
White Riot The gig begins with Joe saying, "Hello got anymore light, can't see my hero! This is the first decent recording of it but it's not that fast and raw yet with a poor solo from Mick.
A good song but Album) yet a classic. There are some different lyrics, sadly indecipherable although Joe does namecheck Birmingham.
Warm but polite applause and someone shouts, "where's the pistols" who had played Barbarella's recently. London's Burning This song is nearly the finished article with the drum crash ending now added. It's sung as Birmingham's Burning and it's with boredom now.
The rest of the words though still sound the same as the Roundhouse version, so a song literally in a state of transition! As well as the lyric changes the song is now faster, rawer, and punk. Joe is obviously surprised at the enthusiastic reaction to at least some of the crowd and asks at the start of the song to some of the audience "you don't really live in Birmingham?
Deadly Serious "its so deadly serious, rock'n'roll". Still a slight song soon to be dropped, but with a better ending, punk treatment and great guitar lick mid-song. Career Opportunities First recording of this future classic in circulation.
Not brilliant yet, a song in transition and with many different lyrics to the later recorded version. What's My Name Joe "In case you're wondering whether, you don't quite know what to do with yourself, maybe join the Police cadets, go on the railways, maybe you wanna work in a bank, or wanna be a popstar, well this is a song entitled What's My Nameeeee! Mick sings a middle section. Janie Jones "Now we come to our big rock'n'roll hit of the year! It's now a punk classic, played faster and tougher than at the Roundhouse.
Not as good as the excellent Roundhouse version. Punk was going overground and the place was full of punks, the interested and students. The stage door policy was loose and backstage was as crowded as out front. The dressing rooms and corridors were seething with talent. Siouxsie Sioux was gathering her tribe to follow up the Punk Festival appearance. Adrian Thrills was starting a fanzine.
If Punk was an attitude then Subway Sect was as Punk as it got. Their complete lack of showmanship and off-centre music really made you feel you were seeing something new.
Then The Jam came on, all two-tone shoes and Shepherds Bush riffs. Somehow the sharp suits and Rickenbackers were at odds with the homemade fashions and Fenders of the Pistols and the Clash and backstage they sat apart from the other bands.
The Clash were incendiary. The sound was big and loud and they climbed all over their brace of songs like kids on a building site, crashing guitars and a rabble-rousing Joe. Then a student threw a beer glass. Joe questioned him and the guy looked sheepish. Then Sid Vicious got on stage, muttering into the mic and looking well-named.
A few minutes later and they got back to the wonderful racket. People used to say their life changed the first time they saw The Clash. This was the night when that scenario began. This Cd was released by Sonic Books in a dual language format Italian and English It also contains a booklet which just repeats much of what is already written about the Clash.
The CD contains just 7 tracks. This is the original version which is mixed with the Tony Parsons Tube interview. The sound quality for the Polydor session is studio standard though these songs come across a little flat.
Nov 6 Lanchester PolytechnicCoventry 3 photos given as this date, though it is likely to be the 29th Nov. Some Clash photos circulate from this Tour but the venue is unknown, possibly the Winter Gardens at Cleethorpes? Strummer, Jones, Simonen, Harper. The actual gig was played at the Dundee College of Technology Student's Union, known to one and all of a certain age, as the Bowling Alley.
I was too young to get into these premises at the time, although a couple of years later spoke to different punters who described the same incident. One, Gary, winessed Johnny Rotten spending most of their set as far back from the audience as he could get before the speaker stack collapsed on someone.
The other person was the girl the speakers fell on - she got a broken arm. Recent unseen Pistols archive footage was screened on Welsh TV in In earlythe Clash set out their first tour in America. The so-called Pearl Harbour was a short nine date tour, they were supported by Bo Diddley for all of their gigs in America. Started on 31 January and ended on 20 February. Two year-olds from Salisbury were at the head of the queue.
I just want to be involved. Michelle and Bruno are both Their hair is short and neat. Their shirts and ties, leopardskin jackets, stiletto heels, pointed toes and dramatic make-up is variously-repeated down the line. Isn't it all rather aggressive? The violence is part of the music. It's not going to have any psychological side-effects. Over the last eight months a generation of rock fans have quietly developed an extraordinary sense of belonging together.
Excited by the new to them anyway blast of energy in the music played by bands like the Sex Pistols, Eddie and the Hotrods although these particular bands have little time for each other, many of their fans love them both and most of the others on the Punk Rock Festival bill, they are creating a new cultural identity for themselves.
They have their own clothes, language, "in" jokes and fanzines. There is both healthy cameraderie and competitiveness. The established bands share their equipment and rehearsal space, and most of the established musicians are encouraging friends to form bands of their own.
Even apart from the 30 musicians actually playing in the festival, the audience is seething with new talent. Our band's called Alteria Motive Five, 'cause there's four of us, see. Johnny Moped is there, looking to find musicians for his band the Morons. Chaotic Bass is on the loose. Fat Steve of the Babes says he's rehearsing. The creative buzz, the feel that something is "happening," is infectious.
There is a continual stream of criticism and rude abuse poured over each other's favourite enterprises, but having and giving back that kind of attention is part of the fun. Everyone wants to get in on the act. Everyone can. For the Subway Sect, it's their first-ever gig. There's Vic Goddard 19 and Paul Myers bass. Paul Smith 18 has played for five weeks, and Robert Miller lead guitar for three months.
They are familiar faces, having been in the audience at many Pistols gigs. It's been tough for them to find rehearsal rooms, but after a weekend at the Clash's spacious studio their set is debut-ready. They stalk purposefully on stage and, without looking at the audience, start a lengthy, foot-finding warm up. Already they look like they belong together. We're part of the U.
They are unashamedly inspired, by the Pistols. Vic stands before the mike, both arms stretched behind his head, just like Rotten used to.
Halfway through the set he thrusts his left hand deep into his trouser pockets and stuffs his mouth with little pieces of something — like pills or nuts. That's original. Their sound is a grind of frantic, jagged discords which, whether by chance or design, mostly resolve into acceptable patterns of unadorned simplicity.
Paul and Robert, standing each side of Vic, their faces screwed up with intensity, flash- their fingers across their guitars as fast as white lightning. Drummer Paul, though, seems to float his drum-sticks through the air. He chews gum and pounds away with the studied suavity of a young rating on his first day of home leave. They're all dressed in underground grey jerseys and casual grey trousers.
The effect is utilitarian and bland. It suits their nail-sinking rhythms and doomy lyrics. And then, in one of the last numbers, "we're splitting. The end. Take hold of your life. There's something you've got to prove. At the bar, where all through the festival record company P.
But Debbie 15 from Bromley gets it right. In the last two months her hair has been mauve, yellow and raspberry pink. There, I said it," she confesses. This inseparable unit is Steve Bill 22 and Simon 19 — he sells hot dogs off a mobile stand during the day — raspberry-haired Debbie and Suzi herself. They first heard the Pistols at their local tech. They made the trip to Paris, in a ropey old car, to see their heroes' first overseas performance, and Suzi, shocking in her semi-nudity, got punched on the nose.
She is nothing if not magnificent. Her short hair, which she sweeps in great waves over her head, is streaked with red, like flames. She'll wear black plastic non-existent bras, one mesh and one rubber stocking, and suspender belts variousall covered by a polka-dotted, transparent plastic mac. Over the weeks the Bromley Contingent's parade of inventive dress it's rarely the same two weeks running has set the fashion pace of the scene. It was only a matter of time before they took their street theatre to the stage.
Apart from Suzi, it wasn't decided who would actually end up doing the festival until the day. It was not to be. Two-tone Steve his hair is black on top, white at the sides was on the bass he picked up for the first time the night before. Sid Vicious, Johnny Rotten's friend and inventor of the Pogo dance, was on drums.
He had one rehearsal. And a mature gent called Marco was the lead guitarist. The prayer begins. It's a wild improvisation, a public jam, a bizarre stage fantasy acted out for real. The sound is what you'd expect from, er, novices. But Sid, with miraculous command, starts his minimal thud and the beat doesn't fluctuate from the start to the finish of the, er, set. Sid's smile flickers. Marco, his guitar feeding back, rolls up his sleeves, and Two-tone Steve two-tones.
The audience, enjoying the band's nerve and audacity, eggs them on, gets bored, has a laugh, and then wonders how much more it can take. Twenty minutes later, on a nod from Marco, Sid just stops. The enthusiastic cheering is just recognition of their success. If the punk rock scene has anything to offer then it's the opportunity for anyone who wants to get up and experience the reality of their wildest, stage-struck dreams.
The bar-flys are horrified. But Suzi is not interested in contracts. The Clash: "They're great! We see just a glimpse of their very considerable potential. They have reduced their line-up. Rhythm guitarist Keith Levine is off forming a new band. The audience is instantly approving. The band is fast, tough and lyrical, and they've mastered the way of dove-tailing Joe's mellow approach with Mick's spiky aggression.
Terry Chimes drums breaks up his solid bass drum surge with hi-hat splashes. The sound, though disciplined, is bursting forth. Later, I asked Paul Simenon, who has only played bass for six months, how he felt about the set.
I'm never content. I know I can do a lot with the bass. Most of them stand still like John Entwhistle. I want to move around and give the audience a good time. And give myself a good time, too. Joe Strummer, whose last band was the now fabled 'ers, has played with very experienced musicians.
What was it like with someone like Paul? It's not exciting for them, and they start playing for playing's sake, and the emotion disappears.
The Clash are a fine, visionary rock band with a wild style. I've seen them four times now, they've never played the same set. Their humour and spontaneity is uncontrived and, now that they've settled into their new line-up, they'll be a cornerstone for the developing punk rock scene. The Sex Pistols: The atmosphere in the club is feverish and high-pitched. This band is what everyone's been waiting for. Not everyone, however, is happy about the Pistols' growing success and notoriety.
The private party is over; the band are public property. It had to happen. But with mixed feelings the band's nucleus of fans are holding their breath as their champions start their steady climb.
Will the businessmen spoil them — that's the anxious question? Already the band has changed — especially Johnny Rotten and Steve Jones. Once Rotten would poke his pretty mug into any camera lens. Now he's likely to sweep his arms across his face with an Ava Gardner gesture of exclusivity.
Jones, once the brooding loner unsure of his sex appeal, is now exuding a confidence which guarantees exotic women. As the Raven's Home theme song notes, it's crazy when things turn upside down—and that includes cast shakeups. Find out who won't be returning for season five. Say hello to Emily Ratajkowski's baby boy.
Seven months after welcoming her first child with husband Sebastian Bear-McClard, the star unveiled her son's face to the world in new pictures. It's a process," she wrote. Ever wonder what exactly goes down when filming an episode of Ghost Adventures? Paranormal investigator and TV personality Zak Bagans told us what it's really like to make his spooky show.
The "Love Story" singer surprises fans by announcing her album "Red" is dropping sooner than expected, but what does Adele have to do with this?
Get the details! Christine Quinn shows how to stay flawless with her Ciate London makeup collab. See Lizzo's thoughts on the history of twerking and Black culture! Plus, Cynthia sets the record straight about her new man! Get the details.
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