A gossip guru ponders our love for scandalous hearsay
After this prelude, McKinney spent the remainder of each episode regaling her guest with an 'anonymous morsel of gossip from the real world,' sent in by a listener and retold with McKinney's own emphases and embellishments. (McKinney has recently handed over the reins to another host, her colleague Rachelle Hampton.)
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Associated Press
30-06-2025
- Associated Press
Newcomer Jenn Smith Makes Bold Entrance with Empowering Track 'Mirror Mirror'
Jenn Smith breaks onto the scene with 'Mirror Mirror,' a sonically captivating and emotionally-driven debut that's catching early industry buzz. 'This song is for anyone who's ever been made to feel small by someone who needed to shine at their expense. It's about recognizing the game—and choosing to walk away.'— Jenn Smith MCKINNEY, TX, UNITED STATES, June 30, 2025 / / -- New Artist Jenn Smith Makes Bold Entrance with Emotionally-Charged Single 'Mirror Mirror' Rising singer-songwriter Jenn Smith breaks onto the music scene with the release of her debut single 'Mirror Mirror,' a genre-blending pop track that fuses raw emotion with commercial polish. The track is now available on all major streaming platforms. With haunting lyrics and a driving beat, Mirror Mirror peels back the layers of toxic charm, manipulation, and emotional survival. Inspired by personal experiences, Smith confronts narcissism head-on, reclaiming her voice in a powerful narrative of self-liberation. With vivid lyrics like 'Mirror mirror, who's the fake in the glass / A kingdom built on fiction can never last,' Smith delivers a powerful anthem that speaks directly to a generation navigating toxic relationships, public personas, and personal growth. 'This song is for anyone who's ever been made to feel small by someone who needed to shine at their expense,' says Smith. 'It's about recognizing the game—and choosing to walk away.' The single marks a pivotal moment in Smith's artistic journey, showcasing her as both a powerful vocalist and a fearless storyteller. With production rooted in moody pop and cinematic undertones, Mirror Mirror is already gaining traction across streaming platforms and social media. 'Mirror Mirror' highlights Jenn Smith's vocal strength and lyrical maturity, setting the tone for what promises to be an impactful music career. Early reactions from tastemakers and playlist curators suggest Smith's debut is already making waves among fans of emotionally-driven pop and singer-songwriter genres. Making a compelling entrance with 'Mirror Mirror,' the single showcases commercial potential, lyrical depth, and mainstream appeal. With a unique blend of vulnerability and grit, Jenn Smith positions herself as a fresh voice in modern pop—one with the authenticity and talent to leave a lasting mark. Listen to 'Mirror Mirror' now on Spotify, Apple Music, and all major platforms. For press inquiries, interviews, or promotional materials, contact: Jennifer Smith Jenn Smith Music email us here Visit us on social media: TikTok Instagram Facebook YouTube Legal Disclaimer: EIN Presswire provides this news content 'as is' without warranty of any kind. We do not accept any responsibility or liability for the accuracy, content, images, videos, licenses, completeness, legality, or reliability of the information contained in this article. If you have any complaints or copyright issues related to this article, kindly contact the author above.
Yahoo
06-06-2025
- Yahoo
Harvey Weinstein Doubles Down On Innocence Anthem Ahead Of Retrial Verdict
Harvey Weinstein is standing on business concerning his innocence. The film producer insists he might have been an extremely sexually expressive person, but never did he forcefully have his way with someone of the opposite sex, as his accusers have alleged. Harvey Weinstein was convicted of first-degree criminal sexual act and third-degree rape in his 2020 trial, receiving a 23-year sentence. Weinstein recently spoke out during the jury's deliberations in his rape retrial, expressing "regrets" about his immoral behavior while maintaining his claim of innocence. In a phone interview conducted at Manhattan's Bellevue Hospital, where he is receiving medical treatment, Weinstein reiterated familiar lines he has used in the past. This interview took place on Thursday with "Good Day New York" host Rosanna Scotto, highlighting his ongoing legal situation while he continues to address various health issues while in custody. The disgraced Hollywood film mogul expressed his regrets about the impact of his actions on his family and friends. He acknowledged the emotional pain he caused his wife and others close to him, describing his behavior as immoral and foolish. Yet, he maintained that he never engaged in anything illegal or criminal. As the jury in his Manhattan retrial for rape and a criminal sexual act began their deliberations after six weeks of testimony, TMZ shared that he admitted to feeling "nervous" about the upcoming verdict. As noted by PEOPLE, Combs and Weinstein have now both been accused of sexual assault by model Crystal McKinney. McKinney, in an amended complaint filed against Weinstein on May 30, alleged that Weinstein raped her and a friend in 2003. McKinney had previously filed a lawsuit in 2024, accusing Combs of drugging and sexually assaulting her. In McKinney's new complaint, she allegedly received a call from an unnamed executive at a modeling agency who arranged a business meeting with Weinstein at a popular lounge in the West Village. McKinney explained that she took a fellow model and roommate with her, hoping that Weinstein might also consider her for an acting role. After waiting at the lounge, they were eventually directed to Weinstein's table. It was there that McKinney noted Weinstein expressed a desire to get to know them better, suggesting they move their meeting to his place, as he deemed the lounge "too loud and crowded" for a discussion about potential acting opportunities. Upon returning to their hotel room, McKinney alleges in her complaint that the film producer excessively provided alcohol, serving multiple bottles of Boulevardier and Dom Pérignon, along with vodka cocktails. She claims that during this incident, Weinstein inappropriately touched her by grabbing her breasts and tearing at her tank top, causing drinks to spill onto her shirt and prompting a quick trip to the bathroom. In her complaint, she stated that her friend had accompanied her when Weinstein entered the bathroom uninvited. He allegedly demanded that the two women strip and join him in the bathtub, where he then exposed himself. McKinney and her friend felt coerced and complied with his demands, fearing retaliation if they resisted his advances. The model further recounted an incident involving Weinstein, where she alleged that he coerced her and her friend into engaging in sexual acts in a bathtub before forcibly dragging them to the bed. She accused him of raping both women and leaving the hotel room abruptly afterward. McKinney described herself as feeling disgusted and frightened at Weinstein's actions and emphasized that she had been heavily intoxicated at the time of the incident. Afterward, she claimed that when she reported the assault to Weinstein's assistant over the phone, instead of addressing her concerns, the assistant instructed her to leave the hotel room immediately. Following this traumatic experience, McKinney reported suffering from a range of mental health issues, including depression, anxiety, anger, self-blame, suicidal thoughts, body image problems, and a sense of demoralization. Since he resumed serving time at the correctional facility, the producer has been exposed to a plethora of illnesses. As noted by The Blast in April, his legal team said that he was battling cancer and diabetes alongside severe coronary artery disease that caused chest pain from reduced blood flow to the heart. He also reportedly struggled with obstructive sleep apnea, thyroid problems, obesity, chronic pain in his lower back and legs, anemia, and hypertension, among other ailments. Some of these illnesses did not happen overnight or on their own; according to his attorney, his living conditions at Rikers Prison did damage to his health. Weinstein reportedly had to survive under freezing temperatures and was made to wear dirty clothes. All this worsened his already failing health, making him susceptible to COVID-19 and double pneumonia. The producer also had to undergo critical surgery to address a fluid buildup in his heart and lungs. His lawyer, Imran Ansari, criticized New York City officials for contributing to his client's suffering. Ansari revealed that he had made multiple attempts to have Weinstein transferred from Rikers Island to Bellevue Hospital, but city officials consistently ignored those requests. He emphasized that this transfer was vital for Weinstein's health, asserting that it could potentially save his life and prevent premature death. The convicted sex offender's attorney also demanded a monetary settlement for their troubles. As noted by The Blast, Weinstein and his attorney requested a $5 million settlement from Bellevue Hospital, which has treated Weinstein multiple times in 2024, including a stay in the ICU. Despite their previous care, Weinstein criticized the hospital for releasing him back to prison before he had fully recovered. His compensation claim extends beyond the hospital; he also demanded remuneration from the City of New York and its agencies. Weinstein alleged that he had suffered both physically and psychologically due to "horrific" treatment and adverse health conditions while incarcerated. His lawyers argued that the prison had severely mismanaged his health and failed to provide optimum medical care. What verdict awaits Harvey Weinstein in his retrial?
New York Times
04-03-2025
- New York Times
TEFAF Turns From the Classic to the Contemporary
The European Fine Art Fair in Maastricht describes itself as a fair that spans 7,000 years of art history. For a long time, those 7,000 years mainly encompassed pre-20th-century objects: Egyptian figurines, Roman busts, African masks and Rococo clocks. In the last decade, responding to a major shift in collecting patterns, TEFAF has embraced contemporary art in a big way. This year, a quarter of its more than 270 exhibitors are galleries of 20th- and 21st-century art. They include the first-time exhibitor Marianne Boesky, a New York-based contemporary-art gallerist whose roster of artists includes Frank Stella, who died last year at 87; the artist and filmmaker John Waters; the Egyptian-born artist Ghada Amer; and the American painter Suzanne McClelland. Why TEFAF? 'It's a fair that I've always been really intrigued by and heard amazing things about and never attended, so it's been on my bucket list to get there,' Boesky, the gallery's founder, said in an interview. 'It's not as big a lift as Art Basel, for example, in terms of expense, and it's an audience that we wouldn't otherwise be able to present this work to.' Boesky said TEFAF's much broader collector base and its deeply European identity made it 'scary for us,' but added, 'I'm in my 29th year of the gallery, and every day has required bold moves to survive in this business.' Her gallery's maiden TEFAF booth will feature eight new paintings by the American artist Danielle McKinney. They will be paired with watercolors and etchings by another American painter of atmosphere: Edward Hopper. Boesky said she chose 43-year-old McKinney — a Black artist who started painting five years ago after beginning her artistic career as a photographer — because of her 'reverence' for painting and for European painting. Showing her alongside Hopper is not to compare the two, but to demonstrate that 'these two artists are able to create a mood through color and light,' she said, adding that there were already more interested buyers than there were McKinney paintings headed for TEFAF (their price range: from $60,000 to $150,000). Boesky grew up surrounded by art. Her father, Ivan Boesky — a Wall Street financier who served time in prison for insider trading in the late 1980s — was deeply interested in culture, she recalled: He collected the sculptors Alberto Giacometti (at one point acquiring an edition of the famous 'Le Nez') and Auguste Rodin, as well as the 19th-century painter Édouard Vuillard. 'He responded to very gutturally tough work, so he would come home with a really challenging Giacometti sculpture,' she recalled. 'My mother would want to put it in the closet. And that was the only thing that I'd want to look at.' She became a primary dealer in 1996, with a mission to represent and nurture emerging artists. Today, her clients are wealthy art lovers who will spend the equivalent of 'what they might buy a watch for, or a fancy coat' on a work by an emerging artist, she explained. While some of her artists have stayed with her, Boesky noted, others — such as Takashi Murakami, Yoshitomo Nara, and Lisa Yuskavage — have moved on to bigger galleries. A few of her current artists — including McKinney — were being courted by bigger galleries. One modern and contemporary gallerist who is a TEFAF regular is the French dealer Kamel Mennour. He first exhibited at TEFAF Maastricht in 2019. 'It's the only fair in the world with such an exhaustive offering,' he said, adding that he enjoyed having his stand 'positioned across from an exhibitor of antique statuary, or of Japanese porcelain.' TEFAF collectors spend not just one afternoon, but three or four days at the fair, and have 'a much wider spectrum,' he said. 'They stroll around and dig into very, very different things.' He noted that Mennour's sales at TEFAF had 'crescendoed' over the years and that the 2023 booth — a face-off between artists Daniel Buren and Anish Kapoor — did very well. This year at TEFAF, Mennour is showing a small bronze Giacometti figurine, a gouache on paper by the American painter Joan Mitchell, and a sculpture by the Kosovar contemporary artist Petrit Halilaj. The question is whether TEFAF's identity — as the only major international fair dedicated to antiquities, old masters and period furniture — is being eroded by its embrace of the contemporary. Mennour said the transition to newer art was 'necessary for the health and survival of the fair, because otherwise, it would have become much too niche.' Alexander Dorey Flint, a director at the White Cube gallery, concurred. 'I don't think that one damages the other,' said Dorey Flint, who is overseeing White Cube's booth at TEFAF Maastricht for the second year in a row. He said he did not believe that TEFAF's scholarly profile and the 'breadth of knowledge and expertise' of its exhibitors were 'affected by the participation of further contemporary galleries.' White Cube's booth at TEFAF Maastricht this year will feature paintings by Georg Baselitz and Tracey Emin (priced at about $1 million each), and a work by the Vietnamese-born artist Danh Vo, which incorporates two fragments of ancient Roman marble statuary (priced at about $400,000). TEFAF's particular appeal is that 'we meet a lot of new people,' said Dorey Flint: collectors from Netherlands, Belgium, Germany and other parts of Europe, but also 'a large number of American collectors who travel in,' he said. Maastricht is 'not geographically convenient for them to attend. The quality of what is there draws Americans to it.' This is not a particularly prosperous time for the art market, which is in a two-year downturn. Sales at the world's three biggest auction houses in New York in November were down 40 percent from 2023 and 60 percent from the market peak in 2022. A number of prominent names have shut down, including the Marlborough Gallery, a postwar art dealer; Cheim & Read; and Simon Lee. Soaring inflation and operating expenses are very much to blame. Boesky said the cost of crating and shipping artworks had risen 30 percent every year since the start of the pandemic, making participation in art fairs — which typically cost her gallery $150,000 to $200,000 each — exorbitant. Still, statistics show that of the $65 billion in annual sales generated by the global art market each year, art dealers and galleries account for a 55 percent share. And they happen to do an increasing proportion of their business at art fairs. Mennour described fairs as 'a necessary evil,' because although his gallery was one of Paris's most visited, there was less visitor traffic at the four physical spaces he runs in the French capital, which host a regular rotation of carefully curated exhibitions. Boesky had a similar assessment. She explained that in the post-Covid era, travel had certainly resumed, but clients were remote-working and not living in cities full time — so there were fewer New Yorkers going on Saturday afternoon gallery crawls, for example. At her peak, Boesky recalled, she was doing 12 fairs a year, meaning an average of one a month. Now, she's doing half as many — including the three Art Basel fairs, and no longer including any of the Frieze fairs. TEFAF is her newest addition to the mix. 'We need to bring the art to people more than ever,' she said.
