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annie omalley Premieres ‘Planet Golden’ & Talks Its ‘Boundless’ Theme – HollywoodLife

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There’s a cosmic truth behind annie omalley’s new song, ‘Planet Golden.’ We have the EXCLUSIVE premiere of her track, and she talks its ‘theme,’ her upcoming EP, and when she knew she wanted to be a ‘rock star.’

The stars have aligned for annie omalley. At nineteen years old, the young songwriter is building quite a buzz for her on her independently released single, “Chase Me Down.” No need to chase down her new song, as HollywoodLife has the premiere of her track, “Planet Golden.” The enchanting track spans galaxies, weaving these heavenly images to spin a song about letting go of past baggage, of letting “gravity” bring you down back to earth.

As part of “Planet Golden,” annie spoke with HollywoodLife about working with Johnny K of Plain White T’s on her upcoming album, what it was like playing for 20,000 people, and when she knew she was destined to be a musician.

HollywoodLife: “Planet Golden” is such a warm-feeling song, which is great since the weather is starting to get cold. What can you tell us about this song?

annie omalley: I wrote “Planet Golden” while I was trying to accept a certain situation that wasn’t ideal. I needed to learn how to accept something you can’t change and leave it behind in the past. I often use themes when I write music. For this song, I used ‘space’ because it has so much mystery and opportunity, and it’s endless. My favorite line in this song is “I’m boundless” because it’s so simple but is so powerful. The word boundless can be used to describe space but also how we are as humans.

You first sparked a buzz last year with “Chase Me Down,” but your story started long before that. When did you start playing music?

Growing up, I was around music constantly. My dad loves alternative, rock, singer/songwriter, country, and more. My mom loves dance, house, disco, and funk. My life has been very music-oriented from the very beginning. The first time I showed an interest in music was at nine months old. My parents and I were on vacation, and they had a piano in the hotel lobby. They held me up in front of it just out of curiosity to see how I would respond.

I started banging on the keys and screaming and continued for an hour. I never lost interest, and it was like I already had known what the piano was for and that I was supposed to sing with it. At two, I was memorizing songs like “Don’t Know Why” by Norah Jones. By five, I was begging my parents to record in a studio and was mesmerized by the idea of being a “rock star.”

You have a debut EP coming. What can we expect when this project drops?

I am very excited for the EP for many reasons, one being that it is all written by me. I started writing music when I was eight. Ever since then, writing all my music has been something that comes with who I am, and I am extremely proud of it. It’s so powerful being able to sing about what I believe in and my honest thoughts. One of the songs on the EP was one of my first songs that really stuck. I wrote it at 14, and it’s about someone being like a drug and needing to be sober. It sounds dramatic, and I’m not sure who was breaking my little heart back then, but the lyrics are so raw and honest.

How was it to work with Johnny K of Plain White T’s?

Johnny K produced my EP, and it was so fun. He was so excited to hear all the songs I had written and had such a great spirit. He has such great passion and love for his job, and we relate in that way. I think it went beautifully.

You opened for Chicago. I wouldn’t think that a lot of 19-year-olds would be into the long-running classic rock band. How was that?

My parents made sure to expose me and my four younger siblings to many different genres and generations of music. Opening for Chicago was one of the coolest experiences. The first night I played in front of 20,000 people, and the idea of being nervous didn’t even cross my mind.

I immediately fell in love with the audience and their energy. The band is so talented, and I watched the show beginning to end every night of the tour. They would even stand backstage and watch me perform, and that meant the world to me. I would love more than anything to headline my own tour. That is the goal.

Who would you like to open up for next? Or is your next goal doing a headlining tour of your own?

I would love to open for anyone to be completely honest. I just love being on stage.

“Planet Golden” is out now.



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Shows Baby Bump As Pregnancy Moves Along – HollywoodLife

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Erica Mena s continuing to slay her pregnancy fashion as her baby bump grows. She rocked a plunging tight dress in a new photo where she looked absolutely stunning.

Hot mama to be alert! Erica Mena isn’t letting a growing baby bump cramp her amazing style. The 31-year-old accentuated it in a new outfit, and she shared the pic of her sexy dress to her Instagram on Oct. 22. The new Mrs. Safaree Samuels wore a skin-tight pale yellow dress with a plunging neckline to show off plenty of pregnancy cleavage. The bra-like top of the dress even featured cutouts under her breasts where she flaunted plenty of skin. She’s clearly feeling super body positive as her baby girl grows inside of her.

The dress was sheer but with a layer of fabric underneath that grazed her upper thighs while the rest of the knee-length frock allowed for her gorgeous legs to be seen. It looks like Love & Hip-Hop: New York star Erica might have taken a page out of the fashion book Kim Kardashian, 39, mastered during her 2015 pregnancy with son Saint West, now three. While her dress was tight and sexy, she wore a copper-colored duster jacket over it to only show off the front of her body.

So far Erica doesn’t seem to have issues with swollen feet or ankles, because her footwear was fab in the photo. She wore clear plastic heels with large ankle straps, and the look showed off her perfect red pedicure. That also matched her bright red nails as Erica is keeping up her glam during her pregnancy. She wore her hair in loose waves and had a flawless face of makeup on.

“2019 Scorpio season starts Tomorrow. Let’s get this the serious slay baby girl,” Erica captioned the photo. Her 32nd birthday is on Nov. 8 and her zodiac sign begins on Oct. 23. While other Scorpios responded with “Yassss!” comments, others couldn’t get over how gorgeous Erica looked. User mrs.lateenatwe wrote, “U are slaying this pregnancy 🤰🏾 💕😍,” while sharper2952 added, “STUNNING. SO HAPPY FOR YOU. YOU DESERVE IT ALL. SAFAREE IS YOUR SOUL MATE😍😍😍❤️❤️.” The couple announced Erica’s pregnancy on Oct. 1 and on Oct. 7 they secretly married. Their wedding will be seen on the upcoming 10th season of Love & Hip-Hop: New York, as cameras from the show were reportedly present for the nuptials.





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‘For Colored Girls’ Review: Ntozake Shange’s Women Endure

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Their individuality was always undeniable. But in their latest appearance on a New York stage, it’s clear that their combined strength is what has made these women so vital, so enduring.

There are, technically, seven title characters in “For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf,” Ntozake Shange’s milestone work of theater from the mid-1970s. But in Leah C. Gardiner’s loving, collective embrace of a revival, which opened Tuesday at the Public Theater, seven also equals one.

Such mathematics are of course essential to any ensemble performance, where interdependence is a given. Yet the team of actresses here, channeling what Shange called a choreopoem, takes onstage symbiosis to a radiant new level of both reliance and defiance.

Their lyrical soliloquies may find their characters in extremis. But don’t ever think that they’re helpless in their vulnerability. These women always, but always, have one another’s backs.

And as you watch a show that begins tentatively but keeps swelling in confidence, you realize that their number isn’t limited to seven, or more than twice that, if you count the all-female creative team. Legions of unseen others stand behind them. That includes the many actresses who played these parts in earlier productions, the women who inspired their stories and the female relatives of the cast members, whose faces are printed on their dresses, created by Toni-Leslie James. And of course, Shange herself, who died a year ago and who contained multitudes.

“Colored Girls” was one of the most unexpected theater hits to emerge from the chaotic 1970s. First performed in bars and clubs, it found a more fixed home in New York’s Henry Street Settlement Theater, before moving to the Public Theater in 1976 and then, in short order, to Broadway, where it ran for 742 performances.

Mainstream theatergoers had seen nothing like it. Shange’s free-form text was neither linear nor literal in its depiction of black women struggling to claim their own voices from a society that had either ignored or actively silenced them. “Bein’ alive and bein’ a woman and bein’ colored,” as one character says, “is a metaphysical dilemma I haven’t conquered yet.”

Often they spoke in lush and startling metaphors — about the confusions of girlhood, the salvation of music and, above all, the men who used and abused them — and moved with hypnotic urgency. (“We gotta dance to keep from dyin’,” one says.) They were identified only by the hues of the dresses they wore, as in Lady in Red and Lady in Purple. And the term “colored girls” was neatly sprung from any patronizing racial context.

Despite the rich specificity of its language, the play has proved surprisingly malleable in subsequent adaptations, which include a starry 2010 film by Tyler Perry. The last time I saw “Colored Girls” onstage — in 1995, with Shange directing — the palette of names had been changed (to shades like aqua and rose), and there were references to newly topical subjects, including AIDS.

Gardiner’s version dispenses with those revisions. The text used here rearranges some of the original material. Other poems by Shange have been added and set to sensuous music by Martha Redbone, hauntingly sung by the siren-voiced Sasha Allen, as the Lady in Blue.

But what’s most striking about this incarnation, which is choreographed by Camille A. Brown, is its pervasive sense of women talking to — and being deeply invested in — one another, as if in an eternal support group. It’s a sensibility that starts with its circular stage (Myung Hee Cho did the set, lighting is by Jiyoun Chang), which seems to exert a centripetal force, repeatedly pulling the performers into a single huddle.

Not that the form of the individual monologues has been jettisoned. But while I remember “Colored Girls” as a series of vivid star turns, this version feels like an endlessly fluid collaboration. Some of the separate pieces have been divided, so that more than one person speaks them — or in the case of the balletically graceful deaf actress Alexandria Wailes, signs them.

The individual narratives, many of which were drawn from Shange’s personal experiences, are often dense and elliptical in their imagery. And especially in the early sections, meaning is sometimes muddled.

Other, later monologues land with an impact that shakes the house. They inevitably include the harrowing, climactic piece about a young mother in a disastrously destructive relationship (performed with scalding intensity by Jayme Lawson).

But I was also blown away by Okwui Okpokwasili’s declaration of independence to the unnamed lover who “almost walked off wid alla my stuff.” It’s a great, trenchant piece of writing, irresistibly insistent in its repetitive accusations. But Okpokwasili knows just how to calibrate its quickening cadences.

Throughout, you’re conscious of how all the performers — the others are Celia Chevalier, Danaya Esperanza and Adrienne C. Moore — are so completely there for the actress speaking. They snap their fingers and occasionally murmur in affirmation. If need be, they’ll step in to offer physical support, to prop up another woman if she seems overwhelmed or drained.

They more or less enter dancing, by the way, in a prefatory passage that has them stretching their muscles, finding their grooves and loosely establishing a common physical vocabulary, as if in a workshop. It seems fitting that the show’s exhilarating high point isn’t a single soliloquy but a great, luminous coalescing of everyone onstage.

This boisterous epiphany begins with one woman’s declaration, “My love is too delicate to have thrown back in my face.” The others join in, with a panoply of adjectives that define the incalculable worth of their love: It’s “too beautiful,” “too sanctified,” “too magic” to ever be taken for granted.

Their voices meld, their bodies tumble and tangle together. And sisterhood becomes a single hydra-headed, multitongued entity, invincible and indivisible. God help the man who dares to cross it.

For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf

Tickets Through Dec. 1 at the Public Theater, Manhattan; 212-967-7555, publictheater.org. Running time: 1 hour 30 minutes.



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See Photo Of Her Darker ‘Do – HollywoodLife

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Kailyn Lowry once announced she hated ‘life as a brunette,’ but she’s had a change of heart. The ‘Teen Mom 2’ star dyed her hair multiple shades darker, and apparently, it won’t be her last time undergoing such a makeover!

There’s going to be another brunette on Teen Mom 2, and we’re not talking about a new cast member. Following years of dirty blonde hair, Kailyn Lowry, 27, decided to join the darker side! The MTV star debuted her hair makeover in an Instagram post shared on Oct. 22, which revealed her toffee-tinted brunette waves. Consider this dramatic change as a sign for big things to come.

“A woman who changes her hair is about to change her life 💃🏻,” Kailyn captioned the hair makeover post, and now we’re excited! Taylor Kline from Delaware’s Gem Beauty Co. salon was the hairstylist responsible for Kailyn’s new ‘do. Apparently, this won’t be Kailyn’s last time sitting in her chair! “@kaillowry went darker and wants to go even darker next time 💗😍💎,” the hairstylist captioned her own post of the MTV star’s hair. You read that right — Kailyn might dive deeper into the color wheel of dark browns for her next hair appointment!

Ever since Kailyn made her debut on 16 and Pregnant, she has been blonde — well, except that one time she experimented with brown hair in 2013. Kailyn wasn’t quite as happy with the results six years ago, because she tweeted, “I hate my life as a brunette! What was I thinking? On my way back to BLONDE.” Oh, don’t you just love how tweets age. But we think Kailyn’s new tresses look gorgeous!

BEFORE: Kailyn Lowry is seen here with platinum blonde hair at the MTV Video Music Awards in New York on Aug. 20, 2018. (Shutterstock)

What’s next after Kailyn’s visit to the salon? Well, the mother of three sees another baby in her future — with one condition. “No more babies until there’s a ring on this finger,” she tweeted on Oct. 20. So, let’s backtrack — new ‘do, and hopefully, a new man one day? That’s what Kailyn wants, because she also tweeted on Sept. 17, “I’m ready to be a wife & be w my best friend forever.” Kailyn has previously been in relationships with Jo Rivera, Javi Marroquin and Chris Lopez, and shares a son with each ex.





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