The Second Coming of Domino Kirke + Premiere of Her New Song ‘Ordinary World’

For Domino Kirke, the concept of normalcy has been rather elusive. Her first foray into singer-songwriting as a teenager landed her on renowned producer Mark Ronson’s radar, resulting in a development deal that allowed Kirke to break out of New York’s coffeehouse scene and onto stages with acts such as Gang of Four and Lily Allen. As her band became more heavily engrained in the frenzied world of touring musicians, Kirke found herself on her way to motherhood, a juxtaposing circumstance that resulted in a rather drastic step away from the spotlight.

The daughter of Bad Company’s Simon Kirke, Domino had become familiar with the difficulties of balancing parenting and the equally testing world of Rock and Roll. After years of focusing solely on her son Cassius and working as a doula, Kirke found herself yearning for the creative realm she’d once thrived in. This time approaching project from a different angle than her singer-songwriter days, Kirke teamed up with Here We Go Magic’s Luke Temple to piece together a four-track EP that faultlessly personifies the phrase “short but sweet.” Independent Channel, which will be available on May 19th, boasts a musical advancement for Kirke, who’s begun incorporating electronic percussion and fragile, layered synths for a renewed sound that maintains Kirke’s characteristic singer-songwriter style.

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Kirke’s first single of the new work, “Ordinary World,” shifts back and forth between down-tempo beats carried by Kirke’s sturdy melodies and faster, nearly House-like percussion enveloped by layers of angelic vocal harmonies. Whether contemplating her own rock star father, sister Jemima Kirke of Girls, or the family she herself has started, the piece is Kirke’s study on what it means to live an “ordinary” life while balancing successful artistic projects, or other challenging facets of one’s life.

Take a listen to “Ordinary World” below, read our interview with Kirke, and make sure to see her play one of her residency shows at Brooklyn’s Baby’s All Right, this May.

I know you started music at an early age, but when did you decide to pursue it professionally?

Well I went to high school for music and then went to college and was like, I need to do more music. I had left high school as a music major and thought I wanted to get away from it, but then I was upstate and was coming in every weekend to play. So I didn’t really get to experience college, because I was too much of a New Yorker. I started performing as a solo artist when I was nineteen. And that’s what I knew that I wanted to only do that.

One of your first “big breaks” was working with Mark Ronson. Can you tell me about the experience?

Mark and I met in two different chapters. The first chapter, I think I was seventeen, and it was this whole pop outfit that they were presenting to me, and Mark was going to be producing. I think I was still in high school and I couldn’t…I wasn’t ready. I think the whole package was not for me. And I grew up around musicians, so I really understood what they were offering me. So I went away for a few years and then met back up with Mark. I had a band at that point and he saw us perform at Piano’s one night and offered us a development deal. We recorded an EP with him, went on tour with a bunch of great people, and then I got pregnant.

What’s the difference between being in a band and working as a solo artist?

I’ve had a few versions of it all. Since having my son, I’d gone back to the kind of singer-songwriter outfit, and then that didn’t feel like where I am right now. So I met up with a friend of mine, Luke Temple, who’s in a band called Here We Go Magic. I’m a friend and a fan. I just wanted to completely revamp my sound and he wanted to write with a woman. He wanted a female vocalist in his life, or a muse, or whatever you want to call it. So we started writing together and we just thought it would be fun to put out an EP that was a little bit more electro, ethereal, and synth-heavy.
I was so sick of the ego that came with being a singer-songwriter. I was just so bored of myself, and I needed to bring in the band piece again, or at least one other person.

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Can you tell me about the venues in New York?

I feel old now. The places I was playing when I was twenty-two, well it’s just not that cool to play there anymore. It’s interesting, I keep saying this but it feels like I’ve had to unlearn everything I knew about and the way I did things ten years ago and kind of relearn the industry. I mean, I’m sure a lot of musicians say that today. Because I’m a mom I can’t really go on tour for three years, so I’m just kind of trying to take a different approach.

There is a different pool now that I’m swimming in. When I first started it was like singer-songwriter’s at Joe’s Pub, Sidewalk Café…you know, pretty girl with a pretty voice, just doing her thing. And then I was lucky enough to get the attention of Mark, who just put it all together. So it feels like I’m kind of starting from scratch, in a way, which is great because it’s not really scratch since I know what I’m doing. Although there is a feeling of being a beginner again.

What was it like working with Here We Go Magic’s Luke Temple?

I know for Luke, he’s not used to writing with other people. He’s been in other people’s bands, but I don’t think he’s sat down for someone, or with someone, and written. He’s always the front man, and I’m always the front woman. So for two front people to come together and create a sound, I think for both people it was a huge learning experience. I didn’t know what to expect, and I didn’t know if he and I would gel because we were friends socially, and I just didn’t know how we would do in the creative space together. He’s a bit of a mad scientist and a genius songwriter.

For me, I didn’t know if I would get in the way of his process. I don’t think he knew what to expect from me, because he met me as a mother. He didn’t know me as a musician. It’s two different brains. So many people met me four years ago; they met me as a doula. I’m a birth doula, or a labor coach, for my day job. People knew me as a mom and a doula. They knew that I used to be a musician but that I don’t do it anymore. So it was like reintroducing myself to my community as a musician.

Did Temple understand how you spent your time outside of creating music?

It’s funny because I was there for the birth of [Luke’s] nephew, so he understood what I did. He finally went, “Oh, you don’t just wake up and write songs every day, or record music. You do other things that don’t involve being creative or yourself. It’s a pretty selfless job. It helped us I think, for when we were writing together, for him to understand that I wear so many hats. I went in as such a fan of his. Here We Go Magic is one of my favorite bands, and Luke’s solo stuff is bananas. So when he wanted to write with me, it took a few times for me to kind of calm down and to feel like his equal, because I was just in awe the whole time. But I think that’s good for the creative process, to be a little bit in awe of the person you’re writing with.

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Who came up with the lyrical content and subject matter on the EP?

It was just mixed. He would come up with a lyrical idea really more to show me a melodic concept he was coming up with, and then whatever came of that idea, I would run with it. I tend to go more autobiographical and Luke is very much a storyteller. He’s always like, “Stop talking about yourself!” That’s what I mean when I say I had to relearn. I had to fully take the way I wrote and toss it, and really get into this other uncomfortable space with someone I admired. The whole thing was like shedding the skin as well, because I hadn’t written a record that I was excited about before I had my kid and I have a lot more to say now, as a mother. I’m not the same twenty-two-year-old that does nothing all day but talk about myself.

How did the song “Ordinary World” come about?

“Ordinary World” was the last song we wrote. It was my favorite melody that Luke played for me. It was almost like saving the best for last. He sent me a batch that I thought were great and special, but this one really stuck out…It’s the only song where I did the vocals with Luke in the room, and as one of my favorite singers, I was like, “Oh god. Please don’t judge me.” He had so many genius ideas as we were going along for the layering and the harmonies. I think it was the most collaborative song on the EP. And it’s a bit of a weird song, but it’s kind of beautiful in its weirdness.

What does an ordinary world mean to you?

Luke presented the idea of “Ordinary World” and I was like, this is so interesting because I feel like both Luke and I are in this transitional place, where I’m coming out of the first phase of motherhood, having a six-year-old, and he’s having a little bit of a “what am I doing” phase. We both have kind of come into our own this year, and it’s funny to circle back and have kind of found him again and to be doing this with him now. Because I think we’re both kind of trying to figure out what is normal, as musicians who have both gone through a lot of family stuff. There was a lot of truth that came out this year, and I think we both met when we were trying to figure out how to land from various…everything.

It’s also just talking about not getting caught up in the chaos and letting it spit you out on the other end. It’s more about grounding and finding yourself, and sort of building a wall around you, which is why I wanted it to be thick with layers, and a lot of synth and a lot of whirly, trippy effects. I wanted it to be a strong melody, but I also wanted it to kind of spin you out, because that’s how this year has felt for me. And as a mother, you have to be so firmly planted in the ground while all of this stuff is happening around you.

I’m sure if nothing else, motherhood requires a type of stability that not a lot of musicians have.

You have to be stable, and I didn’t grow up with a lot of that stability with having artist parents and only knowing people in that world. I mean, they’re crazy people. So I tried to figure out what my normal was, and I’m still figuring it out. But the song is really about making your own normal, and what one has to do to achieve that.

What did you learn about parenting as an artist, having had a father in a famous band?

I think musicians back then were very different than today. But I did grow up kind of with the understanding that the lifestyle of a touring musician was really crazy, and very unstable, and that people can have multiple worlds when they’re on tour all the time. There’s the touring world, the band world, and when they’re home, sleeping and eating well. I think what I’m trying to figure out is if you can be in that world without the chaos. Because everyone I know who’s in a band has a hard time coming down from the experience, like finding their day-to-day and not being a total alcoholic and not being a total drug addict. They’re addicted to this adrenalin all the time because that’s what you get when you perform. I think I stopped needing that from people.

When I was younger, I was like, “Like me! Approve of me.” And then I had a kid and I’m like, “I don’t give a shit. I just want to sing.”
And the need to sing changed, and the need to write music changed. I have a lot of friends who don’t have kids who are like, “God, I’m so sick of myself. I have to sit and just write songs, and I get disappointed when people don’t like it, and it sends me into a depression.” And I’m like, “I can’t be depressed if I played a bad show or wrote a song that people thought was cheesy. I don’t care anymore the way I used to care. Somehow music is more of a pleasure, now. It’s just something for me to…it’s just therapy.

What You Missed at Chanel’s #TheOneThatIWant Party

Karl Lagerfeld, Gisele Bündchen and Baz Luhrmann cozy up while enjoying dinner. Photo: Billy Farrell/BFAnyc.com

Were you a victim of Chanel F.O.M.O.? Just minding your own business on a Monday night, maybe sipping a glass of wine to ease the stresses of your busy day, and then you check Instagram. A sea of images boasting Gisele Bündchen’s amazing derriere and Lauren Santo Domingo’s long legs. Pubescent teenage boy’s fantasy or just another Chanel party? Try both. Chanel and Karl Lagerfeld pulled out all the usual suspects in celebration of Chanel’s new No.5 campaign starring supermodel extraordinaire Gisele Bündchen and her surfing skills. Here’s what you missed while you were trying to maintain a normal life.

1. You missed Giselle wearing Chanel, posing in front of Chanel, at her Chanel event.BFA_10462_1265592Photo: Billy Farrell/BFAnyc.com

2. You missed model GiGi Hadid wearing Chanel leather sweatpants.BFA_10462_1265603Photo: Billy Farrell/BFAnyc.com

3. You missed Poppy Delevingne doing what she does best, wearing Chanel and going to parties.BFA_10462_1265598Photo: Billy Farrell/BFAnyc.com

4. You missed Lily Allen, her purple hair, and her Chanel bag that you can find in the meat isle at your local supermarket (Chanel supermarket, location to be determined.)BFA_10462_1265582Photo: Billy Farrell/BFAnyc.com

5. You missed the up and coming modern day male versions of Paris and Nicole, Peter Brant Jr. and Harry Brant smizing at the cameras. BFA_10462_1265615
Photo: Billy Farrell/BFAnyc.com

 

Basically, you missed out.

BlackBook Tracks #46: Music Videos Of The Week

Here’s a selection of music videos that were released this week that don’t involve Lily Allen, because you’ve probably already seen that one. Also, you’ve probably read eight different takedowns/celebrations of it. Spoiler alert: there’s no ironic or unironic twerking involved in the videos below, sorry.

http://youtu.be/ec7A0-asYEQ

Phoenix – “Chloroform”
Lest you forget that Phoenix frontman Thomas Mars and Sofia Coppola form one of entertainment’s top power couples, the filmmaker has stepped in to direct a music video for her husband’s band. The French quartet’s capping off another banner year with the latest single from Bankrupt!, “Chloroform,” a mournful tribute to cruel love. The sepia-toned clip features Coppola’s favorite subject, crying white girls.

Keep Shelly In Athens – “Oostende”
Greek synth-rockers Keep Shelly In Athens soundtrack the kind of passion worth crossing an ocean for, as shown in their new video for “Oostende.” Directed by Brendan Canty and Conal Thomson, the clip follows a couple whose love might be written in the stars, but still can’t quite connect. At the very least, they get to see some gorgeous landscapes along the way. Keep Shelly In Athens’ powerful album At Home is out now on Cascine.

SZA – “Ice Moon”
Over the course of this year, SZA has inducted as a member of the new R&B generation. Hailing from St. Louis, the singer’s been self-releasing work, but that’s not going to last any longer with her quietly attention-getting tunes. The “Ice Moon” video follows SZA on a walk through the woods that’s as dreamy as the track, her fragile vocals both crystal and cotton candy.

http://youtu.be/Q5CcouOLjOA

Charli XCX – “SuperLove” (Yeasayer remix)
British pop princess Charli XCX is one of the hardest-working people in music, releasing the single “SuperLove” hot on the heels of her debut LP True Romance earlier this year. While the original already got its own video featuring motorcycle gangs and Japanese nightlife, it’s all eyes on Charli for this slowed-down take, brought to you by Brooklyn indie rockers Yeasayer. True Romance is out now on Asylum.

Lucius – “Tempest”
Have you ever been trapped in a house where everything’s a little bit off and you’re being followed by a man who looks like some kind of cult leader and also maybe you killed a guy? No? Experience all that and more in the fever dream that is Leblanc + Cudmore’s video for Lucius’ “Tempest.” The 60s-inspired indie rockers are on a roll after releasing their debut album Wildewoman earlier this year on Mom + Pop.

The Voice Behind The Voices: Top Vocal Coach Liz Caplan

You’ve heard her joyously thanked in Tony and Emmy Award acceptance speeches, and you’ve sung along with the fruits of her work on record-breaking pop/rock albums, blockbuster movie musicals, and Broadway shows about Mormons and Dublin street musicians. As the voice behind the music industry’s top voices, vocal coach-teacher-supervisor Liz Caplan is a story all her own. Since arriving to New York in 1978 with just $300-worth of babysitting money, she’s amassed a clientele that includes The Goo Goo Dolls, James Blunt, Lily Allen, Neil Patrick Harris, the Broadway casts of Book of Mormon and Once, and more. And when you couple her students with her two apps, her consultation to all major record labels, and her team of associates that teach her licensed technique, a Liz Caplan empire is born.

But you’d never know it when you meet her. Clad in a bright tunic in her sun-lit Chelsea studio where you’re greeted by her very vocal and gentlemanly dog Schanuzee, Liz is the image of contentment. Better yet, joy. The secret: her mind-body approach to coaching. By mixing homeopathy, physical alignment, and nutrition, Liz has created a style that seeks to, as she explains, "melt" people – drawing forth their true spirit, and giving it the freedom to be heard in their voice. 

And she does exactly that. For an afternoon, I had the chance to have a lesson and conversation with Liz, where she shared some of the most thrilling moments of her career, a shocking singing no-no, the truth behind tone-deafness, and one miraculous story.

You have a kind of sixth sense, and you’re also a bit of a guru. When did you realize you have this talent to understand voices?
Since I was a child, I’ve always had this freaky gift of being able to hear what frequencies are missing in somebody’s voice. I’m able to locate it and hear when someone is locking their head, their shoulders, tensing their feet. The moment that tension is released, the sound pops open. I truly believe the voice is completely perfect; it’s what we do to it before we breath and sing that makes it imperfect. 

What’s it like for you to watch a live performance? Are you constantly in coaching mode?
I can’t help it, but the answer is yes. For instance, I work with Amanda Seyfried, and worked with her on the movie version of Les Miserables. When I sat down next to her to watch the premiere, which was so exciting, I told myself, "Okay self, relax, let the movie just wash over you." But I couldn’t help but dive into every person’s voice. It’s just what I do. When it comes to what you were put on this Earth to do, for me it’s analyze voices.

How did you prepare her for the role of Cosette?
Amanda didn’t just get an offer; she had to audition a bunch of times. She came into classes pretty much everyday for six months. There was a moment where I said, "I’m going to make this happen for her. I’m going to do everything I possibly can to get her this role." And I still have the voicemail on my phone when she called and said, "Hi. I’m calling to let you know I just got off the phone with the director. And I’m Cosette." 

You have so many thrills like this.
I think it’s the kind of thrills I’m supposed to have in my life. When I was a singer, I couldn’t handle them, but when I apply them to my students, I can; it’s so joyous because it’s in my heart but outside of me. It’s like the energy my client, composer/lyricist and performer Lin Manuel Miranda, gives off everyday. It’s pure joy, because you’re doing what you’ve always wanted to do. So my applause is when my client gets the part.

What about the time Book of Mormon actress Nikki M. James won the Tony? 
I was in the third row because I was working with Neil Patrick Harris on the Tony Awards, as I always do, and when Nikki said, "to Liz Caplan, my voice teacher who saved my life and my voice," my husband turned to me and said: "She just said your name." And I went into this place where a vacuum happened and I had to watch it myself to remember it. 

You work mostly with clients sent by Broadway producers and management companies. But you also do emergency consulting work with record labels. 
Yes, recording companies will call me when an artist has to do a really huge gig and they were on tour and suddenly lost their voice. I’ll be with them for an entire day and give intermediate voice lessons – 15 minutes here, 20 minutes here, 30 minutes here – from 9am to when they do their gig at night.

And that doesn’t overwork their voice?
Nothing I do will ever fatigue the voice. I feel like when I’m teaching, I have a miner’s cap on with a flashlight. I’m always inside the voice and throat and trying to get a feel for what’s going on. Everything I do is to limber up the intrinsic muscles that cause that fatigue and are overcompensated. 

What’s it like promoting a healthy, holistic vocal approach in an industry known for debauchery?
I’ll never judge what artists want to do with their mind and body, but I do feel that if you want to be at the top of your field and aim for that award, then you want to take care of yourself; do yoga, meditate for just 10 minutes a day, eat properly. It can be a hard, depressive industry, and if you’re not taking care of yourself, you’ll always feel a step behind the artists who work out, eat right, win awards. If you treat yourself positively, all of that will actualize itself positively into your career. 

Besides drinking and depressing yourself to death, what’s the #1 worst thing for your voice?
Advil. Do not take Advil. Ibuprofen is a blood thinner, so it thins the blood going to the vocal cords. If you’re singing something really hard and you’re taking ibuprofen, the risk of hemorrhaging your vocal cord is tremendous. Take extra strength Tylenol. 

Be honest: do you think anyone can sing?
Yes. If you can hear the pitches of police or fire engine sirens, then you can sing.

Then what about tone-deafness? Does that exist?
Actually, no. People who say they are tone deaf were just not exposed to music growing up. I call them "tone-ignorant." They were usually very into athletics as a kid, and rarely saw shows or listened to music, so they weren’t exposed to any music. With a good deal of lessons, it’s easy to reverse, and always a revelation for them when they finally hear themselves sing in-tune. 

Four paws appear underneath the door, as Schnauzee scratches to come in. Liz opens the door, and he takes a seat beside her.

Your dog can really sing. How old is he?
Eleven. He got diagnosed with cancer in June, during Tony week when I was working with Neil. They gave him 30 days to live and said he has the worst kind of cancer an animal can get. So I called all of my homeopathic healers and medical intuits, and today is day 188. He’s on supplements and enzymes and I cook him organic food. 

And it’s gone?
He’s in remission. He went into remission on the day they said he would not live. While the medical professionals told me nothing would help him, my homeopath said, "This is going to be hard, but if you do this regimen, you might be able to get him okay." And he was. I will tell you, I have had students who have won Tony Awards, Grammys, all of that, and this is my biggest accomplishment yet.

Josh Gad

Morning Links: T.I. Thinks Gays Are Sensitive, Lily Allen Has A Baby

● T.I. thinks that Tracy Morgan’s "If you can take a dick, you can take a joke" joke about gay people being too sensitive is really funny and also "kind of true." And he thinks it’s his American right to do so. "If you’re gay you should have the right to be gay in peace, and if you’re against it you should have the right to be against it in peace," he told Vibe, sounding about as clear on the First Amendment as he is on the Second. [TMZ]

● Brad Pitt and Jennifer Aniston were almost at the same movie theater at the same time. [NYDN]

● Lily Allen has at last welcomed a little girl into the world, an experience she described as "totes amaze" after a difficult miscarriage last year. [Daily Mail]

● Over the weekend, Prince William helped rescue sailors from a sinking cargo ship in the Irish Sea. Where can we get one of those sinking ships? We wouldn’t mind a royal rescue. [Huff Post]

● Chris Martin thinks that he’d be "just terrible" if he went solo. "I think me and my keyboard would be outside Woolworths most days, getting shouted at," he says. [NME]

● Ryan Gosling and Eva Mendes spent a reportedly romantic weekend at Paris’ Père Lachaise Cemetery, where they "ducked into a family vault for some couple time." [NYP]

● Don’t call Michelle Williams "a star;" she much prefers "trash compactor" — “That’s what I felt like every day on the set. Like I was being pressed up against the wall of my own abilities,” she says of playing Marilyn Monroe in My Week With Marilyn. [NYT]

Morning Links: Selena Gomez Checked Into Hospital, Taylor Momsen Flashes Audience

● Selena Gomez checked into a hospital complaining of “nausea and a severe headache” after her appearance on The Tonight Show. Jay Leno gives us migraines, too. #getwellsoonselena [DailyMail] ● Last night was a big one for live-tweet aficionados: there were a lot of theater jokes, a lot of basketball jokes, and a lot of jokes about all the bad jokes. The Book of Mormon won nine Tonys, and on the court, the Mavericks beat Lebron James and the Miami Heat, taking home their first championship trophy (and some cool wide-brims). [NYT/NYT] ● Demi Lovato’s worst-life-ever continues, with her mom now in rehab and her boyfriend, Wilmer Valderrama, now her ex. Sometimes things don’t get better… [Page Six]

● Lilly Allen walked down the aisle with her pregnant belly on full display last weekend for her wedding to Sam Cooper, where she announcing that she is, once again, pregnant. [DailyMail] ● Spencer Pratt is trying to dump his “midnight metallic-blue” monster truck on eBay, and not because he and Heidi need the money. No, just because it “gets too much attention driving a monster truck around L.A.,” and really, who would want all that attention? [TMZ] ● Taylor Momsen might like that attention! Here she is flashing a festival audience in England. She just can’t get enough. [ONTD]

Kanye West Tackles Abortion & Gold Diggers

This formula might sound vaguely familiar: Controversial topic + inappropriate Kanye comment + angry outcry from the public and fellow celebrities = all-caps apology and maybe an explanation. So far, we’re stalled at three out of four. Last night, Kanye West was feeling particularly inspired on the topic of abortion and wanted to share his thoughts via Twitter. Queue the inevitable outcries from the Twitter nation, and even an outraged tweet from Lily Allen.

Kanye posted the following tweet: image

With the following citation: “It ain’t happen to me but I know people.”

Which triggered the following response from Lily Allen: @kanyewest never has a tweet put me in such a bad mood. This is wrong on so many levels.

It’s possible that Kanye and Justin Bieber (his new “beat protege“) discussed the teen star’s misconstrued abortion comments in Rolling Stone during their recent studio session. Ye simply wanted to put his feelings in print, thus avoiding any misplaced question mark issues when shit hit the fan.

Links: Lil Wayne Must Stay Away from Free Alcohol, Miley Cyrus Probably Should Too

● Lil Wayne’s probation states that he must go three years without alcohol – his welcome home party at a strip club, which had 48 bottles of champagne paid for before anyone even walked in the door, must’ve been difficult. [TMZ] ● Lily Allen, just after announcing her second miscarriage, has been hospitalized with septicaemia, a “potentially lethal blood poisoning condition.” [Us Weekly] ● There are no naked pictures of Emma Watson on the internet, so leave her alone. [Daily Mail]

● Miley Cyrus, 17, was spotted drinking beer in Spain, where the drinking age is 18, but Spanish authorities insist the drinking age is no big deal. Neither are the paparazzi or parents! [TMZ] ● Katy Perry does not plan on posing for Playboy because she likes to tease. “I’m like a burlesque girl,” she said, but with fireworks and whipped cream shooting out of her chest. [People] ● The Situation has a sleazy brother, believe it or not. [Page Six]

Links: Demi Lovato Heads to Rehab, Charlie Sheen Files for Divorce

● Disney singer Demi Lovato has left her tour with the Jonas Brothers in order to treat “emotional and physical issues” believed to be an eating disorder and cutting. Mamas, don’t let your daughters grow up to be Disney stars. [LAT] ● Pop star Lily Allen, who recently announced she was pregnant and due in January, had a second miscarriage this week. [People] ● Bill Maher claims the joint Zach Galifianakis sparked on his show was “cloves or something.” We were born at night, but not last night, Mr. Maher. You’re grounded. [Vulture]

● Charlie Sheen and Brooke Mueller filed for divorce today, amid swirling reports that Sheen was off the deep end on a cocaine bender and could “die this week.” Ladies, you heard that right — Charlie Sheen is on the market. [People] ● Portia de Rossi opened up to Oprah about her eating disorder — she was down to 82 pounds in the ’90s — in advance of her upcoming memoir, Unbearable Lightness: A Story of Loss and Gain, which gets an A for “awesome title.” [PopEater] ● The inimitable announcer from Wheel of Fortune, Charlie O’Donnell, died Monday at the age of 78. [Variety]