Latest news with #TheKiss
NDTV
2 days ago
- Entertainment
- NDTV
From "CEO & HR Of Maahishmathi" To " Kaand -Cert": Viral Coldplay Couple Video Meme-Fest Is Pure Gold
New Delhi: The viral video of Astronomer CEO Andy Byron and HR chief Kristin Cabot from the Coldplay concert, Boston, set the Internet on fire. Days after the alleged extra-marital affair caught on a kiss-cam, the Internet is having a laugh-riot with the meme-fest it triggered. From the Baahubali Team to comedian Sugandha Mishra's parody, the viral Coldplay couple memes are here to stay. What's Happening The makers of Baahubali reimagined Prabhas and Anushka Shetty as Baahubali and Devasena in the viral pose of the CEO-HR couple. They captioned the post, "CEO & HR of Maahishmathi." The Internet quickly responded to the post. A social media user wrote, "Admin whoever you are, I love you." Another comment read, "The caption." View this post on Instagram A post shared by Baahubali (@baahubalimovie) On the other hand, comedian Sugandha Mishra shared a hilarious reel in which she, as a news anchor, coined a new term and called the Coldplay concert as " Kaand -cert." Sugandha tickled the funnybone as she shared the full form of CEO as "Caught Embarrassing Openly." "Hugged Responsibly But Not Really", Sugandha also gave new full form to the term HR. The comment thread was pregnant with laugh-out-loud emojis. View this post on Instagram A post shared by Sugganddha Mishra (@sugandhamishra23) The Kiss Cam Fiasco A day after being put on leave, Astronomer Chief Executive Officer (CEO) Andy Byron resigned after a viral video from the Coldplay concert in Boston showed him hugging a female co-worker, despite being married. The US tech company made the announcement of his resignation in a LinkedIn post, saying that their "standards were not met recently." "As stated previously, Astronomer is committed to the values and culture that have guided us since our founding. Our leaders are expected to set the standard in both conduct and accountability, and recently, that standard was not met. Andy Byron has tendered his resignation, and the Board of Directors has accepted," Astronomer said. According to the company, they have appointed co-founder and Chief Product Officer Pete DeJoy as the interim CEO while the board searches for Byron's replacement. Coldplay's frontman, Chris Martin, reacted to them, saying the couple was "either too shy" or "having an affair". Later, in another follow-up video, he was heard saying, "Oh s**t, I hope we didn't do something bad". In A Nutshell The Kiss cam fiasco, exposing a CEO and a HR professional of a US-tech company in an objectionable posture during the Coldplay concert in Boston, triggered a meme-fest on social media. From Sugandha Mishra to the Baahubali makers joined the trend, prompting hilarious reactions from the Internet.
Yahoo
10-07-2025
- Entertainment
- Yahoo
Ozzy Osbourne's Second Memoir, ‘Last Rites,' Due In October
Fresh off what was billed as his final live performances as a solo artist and as a member of Black Sabbath last weekend in Birmingham, England, Ozzy Osbourne has set an Oct. 7 release for his second memoir, Last Rites, from Grand Central Publishing/Hachette Book Group. According to a statement, the book will include the 76-year-old hard rock legend's thoughts on the Back to the Beginning concert, which raised a reported $200 million for charity. It will also chronicle his significant health setbacks over the past seven years, which have left him unable to stand or walk for extended periods of time. More from Spin: Paul McCartney Plots Fall North American Tour Outtakes: The Kiss Jay Som Returns With Help From Hayley Williams, Jim Adkins 'At the age of 69, Ozzy Osbourne was on a triumphant farewell tour, playing to sold-out arenas and rave reviews all around the world,' reads a description on the book's preorder page. 'Then, disaster. In a matter of just a few weeks, he went from being hospitalized with a finger infection to having to abandon his tour—and all public life—as he faced near-total paralysis from the neck down. Last Rites is the shocking, bitterly hilarious, never-before-told story of Osbourne's descent into hell.' The follow-up to 2012's I Am Ozzy will also touch on 'his turbulent marriage to wife Sharon, his encounters with fellow hellraisers including Slash, Bon Scott, John Bonham and Keith Moon and the harrowing final moments he spent with Motörhead's Lemmy Kilmister.' 'People say to me, if you could do it all again, knowing what you know now, would you change anything? I'm like, fuck no. If I'd been clean and sober, I wouldn't be Ozzy,' the Prince of Darkness says. 'If I'd done normal, sensible things, I wouldn't be Ozzy. Look, if it ends tomorrow, I can't complain. I've been all around the world. Seen a lot of things. I've done good … and I've done bad. But right now, I'm not ready to go anywhere.' To see our running list of the top 100 greatest rock stars of all time, click here.
NDTV
08-07-2025
- Entertainment
- NDTV
At Rahul Mishra's Fall-Winter 2025 Show In Paris, A 163-Year-Old Artist Plays Showstopper
Fashion designer Rahul Mishra recently unveiled his stunning "Becoming Love" collection at Paris Couture Fashion Week. The intricate embroidery and philosophical allegory, which are hallmarks of his work, blended seamlessly to create a truly breathtaking ensemble. The show was a testament to Mishra's growing influence in the global fashion scene. What Rahul Mishra's Latest Show Was About Rahul Mishra's latest collection explores the seven stages of love, inspired by Sufism. It is a personal and profound offering from Mishra, who weaved eloquent designs that translated the emotions of love into intricate garments. The stunning haute couture presentation drew inspiration from various sources, including the compositions of Austrian symbolist artist Gustav Klimt, evident in the use of golden threads, curved nets, and halo-like constructions that adorned the garments. The extraordinary PAINTINGS of Gustav Klimt referenced by ✨Rahul Mishra✨ in his Fall/Winter 2025 Couture collection.???? — La Mode Unknown (@LaModeUnknown) July 7, 2025 'Becoming Love' And The Seven Stages Of Love "'Becoming Love' delves into seven stages of love, ranging from attraction to death, and draws from various sources like Sufism and classical art, including the works of Gustav Klimt. These stages aren't just human; they transcend all living beings. Each stage represents an emotion, an essence that's tangible yet abstract. It's been one of the most challenging collections I've worked on, almost like crafting seven different collections within one," Mishra said in an interview with Elle magazine. Mishra's designs featured transparent silhouettes, delicate embroidery, and carefully balanced proportions, showcasing a mastery of form and structure that is a testament to his skill as a designer. "Some pieces feature sculptural elements to mimic the shape of a heart, while others explore floral motifs as symbols of love's ephemeral nature. I also referenced Klimt's works, using the weight of gold and black to represent obsession and passion, and the more delicate, ethereal elements for love and reverence," Mishra added. Who Was Gustav Klimt The artist that Rahul Mishra's collection took inspiration from, is among the world's most famous artists. Gustav Klimt's work helped define the Art Noveau style in Europe. The Austrian paitner's works had as their primary subject the female body. Klimt was born in Austria in 1862, and died in Vienna at the age of 55, in 1918. The Kiss, from 1908-1909, is Klimt's most well-known work today. The painting is housed at the Upper Belvedre Museum in Vienna, Austria, and draws millions of tourists each year, who come to marvel at the artwork. Rahul Mishra's latest collection also references The Kiss in one of his creations. At Rahul Mishra's Paris Show Lisa Haydon walked the runway for Mishra's show, wearing a stunning sheer corset dress with floral embroidery and sequins that embodied the essence of the collection. Rapper Cardi B also made an appearance at the fashion event dressed in a red rose gown complete with rose installations. View this post on Instagram A post shared by FashionTV (@fashiontv) Rahul Mishra's designs are not just visually stunning but also intellectually engaging, making him a name to reckon with in the world of haute couture. With this collection, Mishra solidified his position as a leading designer, and his work will undoubtedly continue to be closely watched in the fashion world.
Scotsman
17-06-2025
- Entertainment
- Scotsman
John Bellany: A Life in Self-Portraiture, Edinburgh review: 'a unique artistic voice'
Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... John Bellany: A Life in Self-Portraiture, City Art Centre, Edinburgh ★★★★★ IN 1965, the year he left Edinburgh for the Royal College of Art, John Bellany painted on the ceiling of his bedroom these lines from Hugh MacDiarmid's A Drunk Man Looks at the Thistle: 'To be yersel's - and to mak' that worth bein', nae harder job to mortals has been gi'en'. So much is encapsulated here: Bellany's Scottishness, his love of a drink, but most of all his passionate commitment to bringing his unique artistic voice into the world. Advertisement Hide Ad Advertisement Hide Ad Installation view of John Bellany: A Life in Self-Portraiture at the City Art Centre, Edinburgh, showing The Kiss | Ian Georgeson Photography Artists use the self-portrait in different ways. For some it is an occasional, technical exercise, for others a building block in a larger project. For a few, it is an obsession, a determination to explore, unflinchingly, their own internal struggles and by that lens to examine the human condition. John Bellany was one of these. A Life in Self-Portraiture is the first big survey of Bellany's work in Scotland since his death in 2013. So important is the self-portrait within his oeuvre that it does not feel like a narrowing down, more an opening up of a rich seam which runs through everything he did. Put together with the assistance of his wife Helen and lifelong friend Sandy Moffat, it feels personal, if not intimate. It includes examples of his sketchbooks, fragments of a handwritten memoir and a good number of paintings rarely exhibited before. These are large works, presented with a minimum of interpretation. Walking among them is a discombobulating experience, a reminder of Bellany's dazzling skill and ambition, but also that the raw material with which he chose to work so fearlessly was the product of a psyche unlike any other. Advertisement Hide Ad Advertisement Hide Ad Once established at Edinburgh College of Art in 1960, having grown up in the East Lothian fishing village of Port Seton, he transformed swiftly from a quiet, studious teenager into the life and soul of every party. He, Moffat and the poet Alan Bold became a triumvirate who imbibed thirstily all they could about art, ideas, politics, culture. Detail from Self Portrait, 1965, by John Bellany | City Art Centre In 1965, just before he left ECA, Bellany painted a monumental self portrait. He is a towering, solemn figure in a fishermen's jersey and sheepskin jacket, paintbrushes in hand, the boats of Port Seton behind him. The dark background adds gives it an Old Master gravitas. The uncompromising stance and broad shoulders recall Hans Holbein's portrait of Henry VIII. In the years that followed, he would paint many more self portraits, but none in which he occupied the space as authoritatively as he did at the age of 23. His early work was in a realist, if always painterly, style. He depicted himself as an uncertain young father, holding the hand of his equally uncertain first son, and a face at the window of a fish-gutter's cabin. In his 1966 portrait of his sister Margaret, his face skulks in a mirror at her side. Installation view of John Bellany: A Life in Self-Portraiture at the City Art Centre, Edinburgh, showing Homage to John Knox (1969) | Ian Georgeson Photography In 1969, he painted his first major triptych, Homage to John Knox. By this time, the triumvirate had travelled in Europe, seen the work of Beckmann, Ensor and Munch, and stood in the ruins of Buchenwald. Now, Bellany was reckoning not only with the guilt-heavy Calvinism of his childhood but the problem of evil in the world at large. Art historian Bill Hare has described him as a religious painter, and with reason. He never stopped wrestling with its hold on his psyche. Advertisement Hide Ad Advertisement Hide Ad And he had evolved a language in which to do it, a personal lexicon of symbolism and allegory drawn from classical myth, seafaring superstition and the folds of his own imagination. He appears in the final of the three panels, floundering among arcing waves. In a Bellany painting, the sea is never far away. Strange creatures and figures began to populate his work as portents and tormentors. In the self-portrait painted on his 30th birthday in 1972, he wears a white spotted cap and a voluminous black cape which opens to reveal a fish, a monkey, and the ribcage of a skeleton. Death always haunted him: he painted an eerie Skull Self Portrait when he was just 27. The 1970s were Bellany's 'wild years' in which he drank heavily and painted prolifically, often working all night. He divorced Helen and married his second wife Juliet. His work became raw and expressive. Demonic faces and skeletons seem to press in from the margins. In Sad Self Portrait (1976) only his face is clearly described, part obscured by a bird hood, while the lower half of the painting fragments into abstract brush strokes. Installation view of John Bellany: A Life in Self-Portraiture at the City Art Centre, Edinburgh | Ian Georgeson Photography In 1985, as his health began to pay the price for the wild years - ironically at the time when he was achieving long-deserved recognition - he painted Charon's Boat, still managing a pun on the vessel's name with the biblical Rose of Sharon; such is the existential force of his painting, its black humour is easy to miss. In the boat, he stands shoulder to shoulder with his demons, stoically playing his accordion like the orchestra on the Titanic. The lifebuoy, with its legend 'Hope', is ignored. Advertisement Hide Ad Advertisement Hide Ad A medical diagnosis that his only hope of survival was a liver transplant seemed, paradoxically, to bring a kind of calm. He remarried Helen; a watercolour self portrait in Êtretat, where they had a brief honeymoon, shows him grounded again in realism (Bellany's watercolours are one of the revelations of this show). In The Old Man and the Sea - Homecoming (1987) he rows his little boat resolutely through shark-infested waters. Installation view of John Bellany: A Life in Self-Portraiture at the City Art Centre, Edinburgh, showing The Old Man and the Sea - Homecoming (second left) | Ian Georgeson Photography When the liver transplant came, in Addenbrookes Hospital in 1988, it was a new John Bellany who emerged from the fug of the anaesthetic asking for pencils and paper. He sketched his way back to life: a man to whom fate had granted a second chance, who had no time to lose. He painted as prolifically and energetically as ever for a further 20 years. This exhibition, however, crescendos up to a wild apex in the 1980s and then loses momentum. There are a few examples of outstanding post-transplant pictures, such as Prometheus III, in which he paints himself as the figure from classical mythology who, as a punishment for stealing fire from the gods, is tied to a rock by Zeus so an eagle can peck out his liver, and his birthday self-portrait from 1993 which is as rich and strange as anything here. But the show then hurries on to a final group of works from his closing years, where the emphasis is on hospital stays and declining health. Vividly, he paints himself painting the portrait of a nurse in Addenbrookes in 2008, but there is little in this show of the reborn Bellany, the one who buys a home in Barga, Italy, becomes a happy grandfather and paints, paints, paints. Advertisement Hide Ad Advertisement Hide Ad His last birthday self-portrait is his 70th in 2012. By then, his health was poor again and macular degeneration was working on his sight - though not on his ability to see himself. He looks diminished but unafraid, wearing a dinner jacket and holding his paintbrushes. Some of the animal symbols are there, but they look more like benign familiars than tormentors. He does not loom, like he did in 1965, but he looks, once again, like a man who knows who he is. Two floors of Bellany is a lot to take in. The strange symbols and bright colours come at one with such force that one has to will oneself to take note of how well and vividly he uses contrasts, how assured and ambitious his compositions are, how he drunk from the well of modern European expressionism while remaining entirely Scottish. My only complaint is what isn't there: particularly the works from the 1990s and 2000s which would allow us to form our own opinions about whether or not the 'wild years' paintings are truly his best work. But they would have needed another floor of the City Art Centre for that. This is a strong exhibition about which the chief criticism is that it's one floor too small.
New Indian Express
24-05-2025
- Entertainment
- New Indian Express
Nishtha Bansal's debut weaves Klimt, couture, and the power of peonies
Chandigarh-based designer Nishtha Bansal is making her debut in couture with her latest collection titled 'Alchemy of Love', inspired by Gustav Klimt's iconic painting 'The Kiss'. 'That painting has so many emotions—it reminds me of something really special in my life,' she says. 'And the colours in it—those reds, greens, and that golden shimmer—I've brought those directly into my collection.' More than just visual inspiration, the painting stirred something deeper in her. 'It's not just about the art, it's about how it made me feel,' Bansal explains. 'There's this long-held emotion in my heart that shaped how I understand love, intimacy, and beauty. That's what I wanted to pour into the collection.' The title itself hints at transformation. 'Like an alchemist turns metals into gold, love has the power to turn vulnerability into strength, longing into creativity,' she says. 'This collection is me trying to distil that magic into something wearable.'
