Luna’s New Video is a Cinéma Vérité Portrait of Rose McGowan

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Rose McGowan has “curated” an utterly unique image of the modern Hollywood woman since emerging as a sultry teen star of the ’90s. Solidified in such films as The Doom Generation and Jawbreaker, her cult status is based on a fierce sense of individuality and originality. In recent years, she’s even released her own music and begun writing and directing short films.

McGowan now stars in Luna’s new video for their “curious” cover of the Cure’s “Fire in Cairo.” Shot in grainy black and white, the cinéma vérité aesthetic serves as the perfect portrait of the film-star-cum-artist; it also nods to old Hollywood and some of its iconic leading ladies. In the video, she stops to admire fan art of herself, before sauntering on to Luna’s performance, where she proceeds to socialize with the band.

A Rose by any other name…


‘AHS: Cult’ Credits Filled with Clowns, Bees & Politicians (Video)

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As the weeks until the new season of American Horror Story become fewer and fewer, we’ve been treated to more and more terrifying sneak peeks. From teaser to scripts to character photos, the seventh season, dubbed “Cult” is beginning to take shape.

This week, FX has released the opening sequence for the new season. As it’s been revealed that it will take place during the 2016 election, it makes sense that the eerie theme song is complemented with patriotic-esque horns, a la “Hail to the Chief” but frightening. The clip is filled with bees, clowns, and suspicious figures donning Donald Trump and Hillary Clinton masks.

American Horror Story: Cult premieres September 5. Watch the credits sequence below:


Creative Sao Paulo: Loupe Artist Paul Kurucz’ Fave Spots in the Buzzing Brazilian Metropolis

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Daniel Melim – Image Courtesy of Choque Cultural


The repeated charge that the art world is lofty and often out of reach has been recently challenged by the launch of the exciting new art app Loupe. Allowing for the easy streaming of a well-curated collection right on your computer, phone or television screen, it has something of a populist mission while also maintaining its impeccable sense of taste.

Some of Loupe‘s featured artists have become our new faves – to wit, Brazil’s Paul Kurucz. His provocative photographs play with perception and context, making the seemingly bizarre or surreal seem funny and curiosity-inspiring. They leave you wanting to know more about what you’re seeing.

“I was born in a Hungarian hospital to a French mother,” he explains, “who was expelled as a child from Egypt in 1956 for not being an Arab. She went to Europe instead of Israel because her Jewish family was pro-Arab.”

That tumultuous early life experience would go on to have a profound effect on the way he sees the world. Which, in turn, inspired his approach to creating such unexpected imagery.

“My life has been a long journey outside the boundaries of normality,” he says. “What one sees as bizarre or ambiguous is not only natural for me, but is the very essence of natural. This is how I see, feel and portray the world.”

Continuing a BlackBook-Loupe collaborative series which has included the likes of Bushwick, Atlanta and Denver, we asked him to share with us where local creative types might be found gravitating to in the endlessly chaotic but thrilling city of Sao Paulo.

“It’s Latin America’s New York City,” he tells us. “Its art scene is urban, vibrant, cosmopolitan, competitive, attracting the most creative minds. That could not be said of Rio de Janeiro, where I lived the past four years. One is extraordinarily fertile soil for the mind, while the other is a paradise for the body. Most inspiring is Sao Paulo’s lack of artistic elitism, its joyful habit of embracing new ideas, even the ones that are doomed to fail.”



  • 'abajour'
  • 'acapulco'
  • 'bbq'
  • 'cow girl'
  • 'snex'

Paul’s Sao Paulo Picks


In the alternative-chic district of Pinheiros, Kof is a perfect blend of imported coffees, ultra thick cookies, and race bikes in a small shop. Adorable waiters also serve homemade lemonades on the street, inside and in a small, hidden garden. It has super fast Wi-Fi that makes my home office feel like jail.

Studio Offe

My second home, where we do our shootings. It is an old, 10m-high bunker with no heating or A/C, but always the same nice temperature. It has a wide corridor to the surface from where the light comes in, if we want. It’s a surreal setting, a modern day cavern that inspires us to avoid cliches associated with works done in downtown fashion studios.

Museum of Image and Sound (MIS)

The PS1 and Centre George Pompidou of Sao Paulo. In a city located, or rather dislocated far from the world’s prime art scenes, the MIS brings the best multimedia art exhibitions [recent major shows have include O Mundo de Tim Burton and Frida Kahlo: Her Photos). To survive the hour long waiting lines, I like to call forgotten friends to get a life and or art update.
Museum of Image and Sound – Photo by Leticia Godoy

Pinheiros Galleries

For any art savvy globetrotter, I would definitely suggest to visit the more progressive galleries in Pinheiros. Then hang out at night at Roosevelt Square, where alternative subcultures are celebrated by the city’s “marginals.” Also have a long walk on the Paulista Avenue on Sundays (when the it is closed to traffic), where the best museums and most diverse exhibitions in town are. Some of the notable galleries are Choque Cultural, Galeria Millan and Instituto Tomie Ohtake.

Roosevelt Square

The meeting point of the city’s most eccentric subcultures, my favorite spot for free, open-air electronic parties. I love to chose among the 30 types of fresh pressed juices in one of the square’s hipster juice bars and just watch the the show of new fashion tendencies by the most extroverted people in town.

Mundo Pensante

A music venue with a name that tells it all: “Thinking World.” Mundo Pensante is an agnostic paradise located in a former church. Every night a different style, a different tribe, never mainstream. This is the place where I feel most at home, where curiosity, subversion, and alternative culture feel “true” and flow naturally.

Watch: New ‘Tonite’ Video from LCD Soundsystem’s Upcoming ‘American Dream’ Album

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It hardly needs to be said: the title of the forthcoming LCD Soundsystem album American Dream could not be more timely, more prescient – unless it had perhaps swapped out “Dream” for “Nightmare.”

The third single from the record, the ferociously funky ‘Tonite,” finds James Murphy in a particularly philosophical lyrical mode. Over an exceedingly infectious groove (think Remain in Light Talking Heads), he ponders the monotony of pop music (“All the hits are saying the same thing”), mortality (“Life is finite / But it feels like forever”) and trust (“Enemies haunt you with spit and derision / But friends are the ones who can put you in an exile”). In the accompanying video, he conveys a distinct sense of resigned calm.

Of course, following their run of “final” shows at NYC’s Madison Square Garden in spring 2011, most were sure we’d never have them back. But for our part, both their wisdom, and their ability to always make us shake it on down, are more necessary than ever.

American Dream will be released September 1, and they’ll launch an extensive fall tour in Copenhagen September 7.


Britt Baron Talks Wrestling, Feminism & Her New Netflix Hit ‘GLOW’

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Photo by Jessica Castro Photography, hair by Charles Dujic, make up by Andre Sarmiento, styling by Lo VonRumpf

Neon and spandex have made a comeback in one of Netflix’s hottest new shows. GLOW is a scripted series that follows the Gorgeous Ladies of Wrestling, an actual competitive wrestling program that aired during the ‘80s. The little-known subculture’s cult status is captured flawlessly in the series, which has just been renewed for a second season.

The female-driven cast includes Britt Baron, a New England native who got her start in the Chicago theater scene. After guest roles in shows like Chicago PD and Grey’s Anatomy, she’s truly found her breakout role as Justine in GLOW. Indeed, the youngest of a group of genuinely badass women, Justine’s angsty teen punk persona particularly stands out.

We caught up with Baron to discuss Hollywood’s prejudice, physical demands and working with such amazing women.


Was it fun getting into this ’80s vibe everyday?

It’s funny because I wasn’t born in the ’80s, so I don’t have the same nostalgia as some of the other cast members; but my mom loved the ’80s. I think she was like in her 20s in Manhattan, and she still has a ton of her stuff from then because she’s a hoarder. So that was kind of exciting, because I felt like I was living through all that stuff, with the big hair and the jewelry. A lot of the ’80s fashion is back anyway. So some of the stuff I would wear as Justine, I was like, “I would wear this in real life.”


"I like the color black."

A post shared by Britt Baron (@brittbaron) on


As a ’90s kid, I know you missed the original GLOW. Did you watch any other kind of wrestling as a kid?

Oh my gosh, no. I didn’t know the first thing about wrestling. Coming into this project, I knew nothing. I remember when we started training, I expected it to be like pushups and lunges and running around the block. I didn’t realize we were gonna be learning how to wrestle. I come from a theater background, so when we really started learning the moves, it was similar to stage combat in a way. You’re learning how to fight, but do it safely. So now I’m a huge fan. Now I totally get why people love wrestling. But I didn’t know a thing.

So did you watch any of the original GLOW as research?

Yea, it’s amazing. I loved getting into what the show was and what the girls went through, how little they also knew before they started GLOW. They were all new too, they had to learn how to wrestle. So in a similar way, the actors on this show kind of went through what the real GLOW girls went through. We auditioned for the show, they trained us, and we did all our own stunts.



Did you end up meeting any of the original women?

No, we haven’t met any of them yet. Little Egypt and I have been in contact. She’s doing a podcast for Afterbuzz. So hopefully I’ll be on one of those this summer to talk about the final two episodes. But I would love to meet some of them in real life, definitely.

Each character has their own persona, and yours is kind of this angsty punk. Is that how you are in real life at all?

I don’t think it’s that similar to who I am normally. It’s definitely more of a stretch for me, I’m definitely more bubbly and outgoing. But I remember talking to Liz (Flahive) and Carly (Mensch) before we started shooting, and I think a lot of kids, especially that age, are getting out of puberty. It’s this totally uncomfortable time where everyone is kind of figuring out who they are and yet you’re trying to act like you know everything. So that’s where I think Justine was relatable. I remember at that age, painting my nails black and buying my first pair of Converse, and being like, “You don’t get me, mom!” Everyone goes through that sort of angsty teenage phase. Inside, you’re really this innocent child, just figuring out the world but you try to hide that with your tough outer ego. You don’t want anyone to see you’re vulnerable at that age.

What was it like training with everyone on set?

Chavo Guerrero Jr trained us, and he is really incredible. His uncle Mondo actually trained the original GLOW girls. But he is such an angel of a human being. He was so patient with us, and he really made us fall in love with wrestling, because he’s so supportive and understood that it’s a scary thing. We showed up, 14 of us girls, and we trained for four weeks before we started shooting. And we were really strangers. It’s uncomfortable at first. It’s early in the morning and he’s showing us how to fall on our back safely. But it ended up being so empowering, because all of us felt vulnerable or scared or frustrated throughout the process, and it was really inspiring to see it all come together.



A post shared by Britt Baron (@brittbaron) on

Also, I think it helped us girls become so close. We met at such a vulnerable time, and then we had to be so physically close, putting our faces in each other’s armpits or strangling someone with your thighs. So inherently, I think we just became close quicker than we would in a normal situation. Even before we started filming, I just felt such a sisterhood with the girls on the show. I think that’s really rare among women, especially in Los Angeles; it’s really easy to be catty or competitive. But everyone in the cast loves each other. We have a group text that goes on every single day. So I just feel really fortunate.

What was it like working on such a female-driven show, under Jenji Kohan [of Orange is the New Black]?

It was a real dream come true, as I’m such a fan of Orange is the New Black. So I remember her at my callback, and I was like eternally fan-girling. She’s such a powerhouse in this industry, and I feel like she’s paved the way alongside Lena Dunham. She’s one of those women in the industry right now that I feel is breaking old norms, casting women of all shapes, sizes and ethnicities; and employing women not just in front of the camera, but behind the camera too. There were a lot of women on the crew, and that’s not really the norm in Hollywood. She’s such a role model in a way for me.

The show really depicts that other side of Hollywood and how it treats women and people of color. Is that something you’ve seen firsthand as an actress?

Yes. I don’t want to speak for anyone of color and their experiences. But as a woman, I definitely experience a lot of that in Hollywood. On different shows, it’s still about how skinny you are or a lot of the parts you go out for are still about sexualizing women; or you’re just the token pretty girl. I feel like there aren’t a lot of parts of substance out there. So I’m really happy GLOW brings light to that, especially the racial thing. I think it definitely deals with it in a very unique, wonderful way. And I think for the actors on the show like Kia [Stevens] who plays The Welfare Queen or Sunita [Mani] who plays The Terrorist, that was a real thing. It takes a lot of stereotypes and amplifies them in a way. But I think with GLOW, it kind of switches it up and everyone’s rooting for The Welfare Queen. In a way, she kind of takes her character and makes herself the hero in that episode, which I love.



Now that you have all this wrestling experience under your belt, what would your GLOW persona be in real life?

That’s a hard question. I like playing a bad guy, that’s really fun. I’ve always been attracted to villain characters. I like Justine, but maybe something a little more feminine. Maybe like a ’90s kid, because that’s who I am, I guess. I am the baby of the show in real life… Or maybe – this is so embarrassing – but I’m a huge fan of Survivor, the reality show. So maybe something like that, an Amazonian survivor, wild girl.


Season one of GLOW is now available on Netflix. 


Childhood Friends Kyle Mooney & Dave McCary Discuss Nostalgia in ‘Brigsby Bear’

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Kyle Mooney is a very nostalgic person. Nobody knows this better than his childhood best friend and co-creator, Dave McCary.

“I think you’ll find that most everyone, even if they’re not seeking it out, everyone is nostalgic for the time they grew up,” McCary says. “Kyle takes it in his own life to a bit of an extreme, which is endearing, and I think people love that he’s so specific about that stuff.”

“I’m definitely in touch with that part of my life,” Mooney admits. “More so than maybe a grownup should be. That’s also indicative of contemporary culture. I mean how many people are labeling themselves as ‘90s kids or ‘80s kids?”

There’s certainly a huge market for said nostalgia in today’s pop culture. With sequels, remakes and spinoffs constantly churning out from some of our favorite childhood classics, consumers are loving the reminiscence of modern television and cinema.


Kyle Mooney and Dave McCary behind the scenes of Brigsby Bear.


This emotion resonates in Mooney’s latest film, Brigsby Bear. Directed by McCary and written by Mooney and Kevin Costello, the film is about James (Mooney), a young man who’s lived his entire life in an underground bunker after being abducted as a child. When he’s discovered and returned to his family, he must adjust to a world he knows nothing about. The only thing he does know is what he’s learned from Brigsby Bear, a show that’s been produced solely for him, yet nobody else has ever seen.

I recently met Mooney and McCary at the Lotte New York Palace Hotel in Midtown Manhattan. A friendship spanning over two decades, they’re in sync as comrades and as creative partners.

“I actually believe you can’t do a project unless it’s with your best friend,” Mooney says. “I consider myself incredibly fortunate. I work with Dave on Saturday Night Live, and we made this movie together. I love it. For me, the nice thing is that these are people I trust as humans, and I also trust them creatively. When the cameras stop rolling, we can just hang out and it’s just chilling with your buddies. It feels like it harkens back to being a nine-year-old with your parents’ camcorder and having the neighborhood kids over and just trying to put something dumb together.”

This quality of innocence and creativity is present in Mooney’s James. As he acclimates to his new world, he finds friends who are almost as intrigued as he is by his favorite show. Together, they decide to make a movie that continues the Brigsby Bear story, something that comes across in the film as somewhat of a love letter to the art of filmmaking and creativity in general.

“I remember in reading the script, I responded to it,” McCary recalls. “I just knew this feeling, this experience very well because we lived it, and that somehow just seeped out of him, probably unconsciously. Writers do write what they know and Kyle understands the passion for creating and storytelling and doing it with his friends.”


Kyle Mooney and Mark Hamill star in Brigsby Bear.


Although the film is filled with lighthearted comedy, it treads unknown territory for the comedic actor. After four years of hilarious skits and impressions, he seamlessly slips into the vulnerable persona of this unique childlike character.

“When I first thought of the idea, it seemed like something maybe darker than what ultimately came out of it,” Mooney says. “But just in the process of writing it with Kevin, we just enjoyed having James interact with this world. The sweetness was just kind of natural. And I think we just moved toward that because it felt good.”

Although his four years on SNL has made him accustomed to working with various celebrities, Mooney’s nostalgia was piqued by the opportunity to work with Mark Hamill. The Star Wars actor plays one of James’ abductors and the man who raised him.

“I mean I’m a fan of Star Wars and a fan of his, so I was just excited to see him kind of do something weird and different,” he says. “It was also nice just being on set with him, and him playing a father figure to me was so crazy.”

Looking back on their childhood, Mooney and McCary recall a shared love of baseball cards and Saved by the Bell. They agree it would be the one show they’d want to watch if they were stuck in an underground bunker.

Brigsby Bear is now in theaters. Watch the trailer below:


BLACKBOOK PREMIERE: Cobra Starship’s Vicky T’s Synth-Poppy New Single ‘Touch’

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Image by Tom Bender


Hard to believe that the beloved Cobra Starship have been gone going on two years this autumn. But for those still in withdrawal, singer and (yes) keytarist Vicky T has some solo love for you.

Curiously, the opening line of her groovy new single “Touch” (which BlackBook premieres here), goes “I don’t want to go back / ‘Cause it makes me look insane.” Of course, she’s actually referring to a questionable relationship that would be best not revisited. But she resigns herself to “commit just one more crime.”

Musically, “Touch” is a sleek electro-pop gem, as atmospherically visceral as it is slinky and sexy -.with lush synths, chunky bass, retro synthetic drums and impossibly irresistible hooks. Think: Madonna 1988.

“This tune is all about going back to the person you know isn’t good for you,” she explains, “but because they’re a forbidden fruit, they’re that much more enticing. All you want is their touch even if you’ll regret seeing them after.”

No definite word on whether a full album will follow soon. But as Vicky intones, “What’s the point of waiting?” We’re pretty sure “Touch” will keep us going for awhile.


Join Bruce Campbell at ‘Evil Dead 2’ Screening in the Woods

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Outdoor movie screenings are one the best parts of summer. With rooftops and beaches offering movie nights in major cities around the country, moviegoers can enjoy their favorite films with a calm outdoors ambiance. If said movie is a gory horror flick that’s screening in creepy woods similar to its setting, it might be a slightly different experience.

SyFy and Alamo Drafthouse are teaming up to screen Evil Dead 2 in the woods of Austin, Texas. Celebrating the network’s 25th anniversary, the 1987 horror classic is part of the SYFY25 Screening Series. Also celebrating 30 years since the film’s release, Bruce Campbell will be in attendance as well.

The price of admission includes a copy of Campbell’s book, Hail to the Chin. Attendees will have a chance to get theirs signed by the actor behind the franchise’s chainsaw-wielding hero, Ash.

Evil Dead 2 will screen September 14 at the Music Ranch in Austin, Texas. Tickets are available online.

St. Vincent Is Directing A New Movie Adaptation of ‘The Picture of Dorian Gray’

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St. Vincent (a.k.a. Annie Clark) is directing a feature film adaptation of Oscar Wilde’s seminal queer novel The Picture of Dorian Gray, according to Variety.

The adaptation will be a female-led version of the story, which takes place during the Victorian era and in the book focuses on a young man who stays youthful as his portrait ages.

St. Vincent won the 2015 Grammy for Best Alternative Album with her self-titled record. She’s also received the Smithsonian American Ingenuity Award and the Q Maverick award for her outstanding contributions to the arts. She’s previously directed the short film Birthday Party, part of the all-female horror anthology XX. 

This version of The Picture of Dorian Gray will be adapted by David Birke, who wrote Elle, the film which earned Isabelle Huppert a Best Actress nom this past year. He’s also a cowriter of the upcoming Slender Man horror film.

Wilde’s novel has been adapted for the screen before, most notably for the 1945 version, where Angela Lansbury received a nomination for Best Supporting Actress.

Take a look at a clip from Birthday Party below.