Ikea confirmed the death in a statement praising his legacy, adding that Kamprad "peacefully passed away at his home."
"He worked until the very end of his life, staying true to his own motto that most things remain to be done," the company, famed for its flat-pack furniture, noted. "Ingvar Kamprad was a great entrepreneur of the typical southern Swedish kind — hardworking and stubborn, with a lot of warmth and a playful twinkle in his eye."
Kamprad was 87 when he stepped down from Ikea's board in 2013, some 70 years after he used money from his father as a reward for good grades to register his mail-order business. The BBC reports that Ikea's now-legendary DIY, flat-pack designs were inspired by Kamprad's observation of someone struggling to fit a table into a car, ultimately taking off its legs to make room.
Ikea — as the New York Times notes, the first two letters are Lampard's initials, with the last two referring to the names of his farm and village in Sweden (Elmtaryd and Agunnaryd) — now has close to 400 stores worldwide and has been praised for its simplicity and affordability. Indeed, Kamprad's thriftiness laid the groundwork for the company's economical appeal.
But his reputation isn't entirely unblemished. As the Times reports, a 1994 newspaper investigation exposed him as an active member of Sweden's fascist movement during the 1940s; the revelation prompted calls for boycotts from Jewish groups before the controversy eventually died down. Kamprad called his fascist past "a part of my life which I bitterly regret” and “the most stupid mistake of my life."
The twice-married billionaire is survived by one daughter and three sons, the youngest of whom, Mathias, stepped down as Ikea chairman in 2016.
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It appears that the Grammys have some catching up to do. Of all the artists nominated for Album of the Year, Lorde is the only woman. She was also reportedly the only nominee not offered a solo performance spot at the award show.
According to Variety, Lorde was reportedly approached by the Grammys to perform alongside other artists at the event hosted at Madison Square Garden in a collaborative tribute to Tom Petty. Lorde declined, with good reason.
The pop star is joined by Jay-Z, Kendrick Lamar, Bruno Mars, and Childish Gambino in the Album of the Year category. All of the men in that category were offered solo performance slots and, other than Jay Z (who declined), they will all perform in the show. If every male artist nominated for Album of the Year deserve a solo performance, surely Lorde deserves one as well.
In the wake of movements like Time's Up and #MeToo, award shows are the latest public space where celebrities are showing solidarity for women. In partnership with Time's Up, the group Voices in Entertainment have organized a white rose campaign, a nod to the suffragettes, at the Grammys. Companies have stepped up to support the campaign; 1800Flowers.com donated white rose boutonnieres to be distributed the nominees, Recording Academy members, and red carpet press who want to get involved, according to a press release from Voices in Entertainment.
Neil Portnow, CEO of the Recording Academy, didn't confirm whether he would wear a white rose to support Time's Up to the show when asked by the Associated Press on Wednesday. "This is a decision that I need to know a little more about," he said the day after the email was sent out. "From what I heard about it, I think it's a wonderful expression that we as a society need to be working on and dealing with," adding that he supported similar causes. Executive producer Ken Ehrlich kept the focus on the artists themselves saying, "We're aware of it and we're certainly supportive of the movement, but the reality is we're more concerned with allowing artists that we work with to express themselves and have artistic freedom," he told AP. "If, in fact, that's part of that, then that's something we support."
By comparison to the rest of the entertainment industry, the music industry has seen fewer of the effects of the recent outpouring of sexual assault allegations. That is not because it is a less sexist sector of the entertainment industry, far from it. Women have been fighting for decades to get the same opportunities and respect as men in music. Lorde's mother, Sonja Yelich, tweeted a photo of a New York Times article with the caption, "This says it all." The article shared a statistic and while its theme unsurprising; however, the degree of the disparity is still staggering. It reads: "Of the 899 people to be nominated for Grammy awards in the past six years, only 9% were women."
From Queen Bey to the other B — Cardi, that is — music's biggest stars stunted in the only way they knew how — more really is more. It's no small task for celebrities and their stylists, and it's a mindset that's basically a prerequisite for the big night (with some stars wearing several looks throughout the show). For those of us whose eyes are on the fashion and politics (via white roses and Time's Up pins, of course, which saw an added dose of color to both movements), the most talented in music brought it — and then some. But hey, no surprise there considering the event was hosted in the fashion capital of New York City.
Ahead, you'll find our favorite looks from this year's Grammy awards. Some stars played it safe, some ventured out of their comfort zones and felt the music, so to speak, but — perhaps most importantly — they backed up their statement fashion with some pretty serious knowledge of what's going on in and out of their respective industries. And there's nothing more stylish than that.
Lana Del Rey If you fancy yourself a Hollywood movie buff, you caught Lana Del Rey channeling Austrian actress Hedy Lamarr tonight. This dusty pink Gucci number was as ethereal as her dreamy tunes, with just enough glamour.
Lady Gaga A skirt for days, a strong shoulder, a leg slit, a Times Up pin, and a white rose — and in Armani, no less. We’ve come to expect nothing but major moments from Lady Gaga, but we have to admit, a small part of us does miss her steak and eggs days…
Emmylou Harris To accept her Lifetime Achievement award, singer-songwriter Emmylou Harris wore a black dress and jacket from Johnny Was with gold embroidery (and coordinating jacket). It was a look that stayed true to her country roots, and was an ideal choice for someone whose been the leading style icon for her category for, oh, 40 years.
Janelle Monae Is that Janelle Monae? In...color? Though it may be just a pop, she shut down the carpet (as usual) in a Dolce & Gabbana suit that may see her dipping her toes in a more vibrant palette from here on out. Black and white, rainbow — whatever — Monae upheld her fashion prowess tonight.
Cardi B While the rap star’s engagement ring may have stole the show during her red carpet interview, we couldn’t get over Cardi B’s epic Ashi gown. The Beirut-based couture house lucked out with the “Bodak Yellow” songstress and could soon be dominating award shows all over the world.
Kesha Kesha made her “animals” proud tonight. When the West Coast pop star dropped the dollar sign and returned to center stage, she brought with her a new lease on life — and a brand new look, too. This deep blue suit by Nudie was a calm, refreshing take on her rock 'n' roll roots.
Chrissy Teigen When it comes to Chrissy Teigen, if you’re reading this, you’re already late. Okay, we’re just kidding, but if you missed her look on tonight’s red carpet, stop reading this and rewind your television sets right now. The newly-expecting actress wore a glistening Yanina Couture gown that had enough sheen to be seen from space.
Rita Ora Wearing Ralph & Russo, songbird Rita Ora kept things classic and streamlined tonight, despite the wavelike silhouette of her dress. We hope to see more of these Old Hollywood vibes from the “Proud” singer from here on out.
Eve There were more than a few suits on the Grammy’s red carpet tonight, but no one quite did it like Eve. In a dazzling pinstriped get-up by Naeem Khan, the rapper blew our minds (and yes, that was a pun).
SZA For her first night as a Grammy nominee, singer SZA kept things fairytale-like in a Versace gown that turned heads. It’s a befitting choice for someone whose hard work and persistence has turned her career from dream to red carpet reality.
Andra Day The category? Corporate Realness. Singer Andra Day slayed the carpet tonight in a Victoria Hayes suit-dress hybrid that may not be perfect for an actual boardroom (though Patsy Stone may fight you on that), but was a message well-received to those of us who see a future with more female CEOs and women in office.
Camila Cabello Was it just us, or was Camila Cabello channeling Jessica Rabbit on tonight’s red carpet? Well, whether it was intentional or not, the “Havana” singer took the classic red dress move to the top of the fashion charts with a sweetheart neckline number from Vivienne Westwood that was a welcomed dose of variety among a sea of crewneck numbers.
Miley Cyrus It’s been a minute since we’ve seen a Jean Paul Gaultier look off the runway, even at an event as larger-than-life as the Grammy’s, but Miley Cyrus brought the French couturier back and we loved every second of it. The clashing of militant details with the glamour of a classic, black suit made for a powerful red carpet moment.
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Lady Gaga is arguably the most daring celebrity to ever take the Grammy's red carpet — or any carpet, really. If you need an example of how to push boundaries and tell the world you DGAF, just look at her seven-year history of attending music's biggest night. Whether it's turning lazy smudged eyeliner into the rock 'n' roll makeup trend of the year, rocking an orange wig in tribute to the one and only David Bowie, or skipping the glam squad altogether and arriving in an oversized egg, she always brings the drama. Once again, she showed up in a big way tonight, and fans noticed.
From the front, the singer's disco smoky eyes stole the show. But then, she turned around to reveal an intricate braided look weaved together with black string, corset-style. The little monsters, predictably, lost it over the look.
Within minutes, Twitter was flooded with reactions comparing Gaga's back-grazing braid to another famous mother: Daenerys Stormborn of the House Targaryen, First of Her Name, the Unburnt, Queen of the Andals and the First Men, Khaleesi of the Great Grass Sea, Breaker of Chains, and Mother of Dragons.
And from where we're standing, we can't say we disagree. Lady Gaga is nominated tonight for Best Pop Vocal Album and Best Pop Solo Performance (although Ed Sheeran seemed to have already snagged the former). No word yet on if she's a shoo-in to take home the other Grammy, but if she's anything like her Game of Thrones twin, nothing can stop her now.
There is the expected way of doing something, and then there is the Janelle Monáe way. Case in point: When celebs vowed to wear white roses to music's biggest night of the year — a move that pays homage to the suffragettes, who, led by Susan B. Anthony, fought to get women the right to vote — the multi-hyphenate star took the act of protest one step further... by wearing flowers on her tux, its lapel, her ears, and, like the beauty girl she is, pinned in her hair.
The floral pattern brought a refreshing burst of color to her ensemble and her teal-meets-purple eyeshadow look (created with Buxom's Hold The Line Waterproof Eyeliner in Ring My Bell) was certainly attention-grabbing — but it's the fact that she chose to use her hair and accessories to represent something so much bigger that made the most impact.
Though the white rose symbol was dreamt up by a group called Voices in Entertainment to bring home the message of hope, peace, sympathy, and resistance, this is not the first time Monáe has stood in solidarity of women within the industry. "I am PROUD to wear my BLACK & be a part of this movement," she wrote before the 2018 Golden Globes. "Today I stand boldly w/ my sisters & everyone fighting for equity & parity across all industries . I want safety for every worker in every occupation. I want inclusion of all women & marginalized people. NOW. #TIMESUP."
Daring, expressive, and a nod to feminine rebellion — hair looks a lot better when kissed by a rose, don't you think?
Normally, if we saw Lana Del Rey wearing a diamond-encrusted halo, we'd thinking nothing of it — she's just being Lana. But tonight, her red carpet moment ignited some major déjà vu for fans on Twitter because this star-studded crown looked eerily familiar. After a little social media sleuthing, one fan @eeeeeeeeeehhh called out exactly what the rest of us missed: That crown is a nod to famous Austrian-born actress Hedy Lamarr, who passed away in 2000.
Lana is channeling Hedy Lamarr and I’m crying 😭😭😭😭😭😭 this is my aesthetic 😭😭😭 that headpiece matches my favorite earrings 😭😭😭 pic.twitter.com/AIfULlalYS
That celestial headpiece that Del Rey took inspiration from is straight from Lamarr's role as Sandra Kolter in 1941's Ziegfeld Girl. It's an iconic look, and although the singer's crown is much smaller than Lamarr's, the meaning behind it isn't.
Lamarr may have starred alongside Hollywood's biggest actors in the '30s to the late '50s, but she died being largely unacknowledged for her accomplishments that reached far beyond the movie industry. Not only did she help her Jewish mother escape a Nazi-run Austria, but after starring in several films, she went on to become an inventor. (Yes, you can thank Lamarr for your Bluetooth Beats.) After Vanity Fair reported that the documentary Bombshell: The Hedy Lamarr Story would finally tell the narrative Lamarr always deserved, it had fans everywhere wondering about everything we thought we knew of the star. It's high time we learned more about the real, extraordinary life of the woman who, like most at the time, was given film roles that purely existed to emphasize her physical beauty and sexuality.
Although Del Rey hasn't confirmed Lamarr is exactly who her hairstylist looked to for Grammy-night inspiration, the parallels are uncanny and undeniably meaningful. Even if Lamarr left us before she was recognized for her inventive feats, now — with a little help from Del Rey — we're making sure that women doing the most don't go unnoticed again.
Fresh after Beyoncé showed up to her husband's star-studded pre-Grammys brunch, which brought together the likes of Diddy and Cassie, Mariah Carey, and Brooklyn Beckham inside One World Observatory at the top of the World Trade Center in New York City, the Lemonade singer continued to be the epitome of Black Excellence at the 2018 Grammy Awards — wearing all black.
The mother of three is nominated for Best Rap/Song Collaboration for "Family Feud," a song with and from her husband's 4:44 album, and attended the award show, opting to skip the red carpet. We didn't get a glance of Bey until at least an hour into the show when she was spotted sitting front row, her six-year-old daughter Blue Ivy sandwiched between her and Jay Z.
Photo: Christopher Polk/Getty Images/NARAS.
Beyoncé is wearing what appears to be an oversized-beret-style hat worn on top of cornrow braids, this season's It sunglasses by Alain Mikli — those skinny, Matrix-style frames — and a black velvet long gown with double splits and dramatic cut-outs over her shoulders, and long diamond earrings. While Jay Z is also wearing all black, Blue Ivy shone in all white and glittery shoes, making it a family affair as they wait to see if the rapper will take home any of the eight Grammy awards he's nominated for, including Album of the Year.
Last year, Queen Bey didn't walk the Grammys red carpet either. Instead, she appeared on stage in an ethereal golden gown by Peter Dundas, the former Roberto Cavalli creative director, giving us not just a first look at his namesake brand, but a performance ripe with strong references that celebrated both being a Black woman and motherhood.
As usual, Beyoncé has made it her brand for the world to “catch her fly, and her cocky fresh, ” and this year's red carpet look did not disappoint. We're counting down to her uploading the look to Instagram in a series of three photos in three... two... one...
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The moment Blue Ivy and Jay-Z took their seats at the 2018 Grammy Awards, there was one question on every viewer's mind: Where in the hell is Queen Bey? (Okay that and, OMG how cute is Blue's all-white ensemble?!) Beyoncé, who is nominated for Best Rap/Song Collaboration for "Family Feud," a song with and on her husband's 4:44 album, appeared to have skipped the red carpet entirely — and only showed up to the show with a few hours to spare. Because of course.
When the camera panned to her seat and she was finally in it, Bey was wearing an all-black velvet gown, oversized diamond earrings, purple lipstick, and cornrow braids. The whole look, according to her stylist Nicolas Jebran, was inspired by the 1960s Black Panther movement — a nod she's made multiple times, from her Superbowl performance to Lemonade, Vogue reports. But people on Twitter were convinced it was the latter detail — her hair — that made the artist late to the awards show.
Considering the braiding process can take anywhere from two to four hours with extensions, the theory is not completely implausible.
Come on now!!! Y’all know why Beyonce was late. Duh! Her braid lady told her it was only gonna take her an hour...we all been there! #GRAMMYspic.twitter.com/A0TpHYbJXA
While most fans took to Twitter to explain their theories about her lengthy hair appointment, others thought her braids signaled something else — like a surprise performance.
Beyonce also has braids in so she can easily slip on a wig later when she comes out to perform.
Whatever the reason, there's one thing we can all agree on: Her braids made the coolest addition to her outfit. Which is a good thing, considering that's all anyone sitting in the audience behind her hat will be looking at for the rest of the show...
It only took four short years for Glossier to become a household name for millennials everywhere and for your entire Instagram feed to be loaded with Glossier Girls. What, you ask, is a Glossier Girl? Well, we don't like to stereotype, but she's in her twenties, has the bright skin of an 11-year-old who has never heard of hormonal acne or under-eye bags, and wouldn't be caught dead in full-coverage matte foundation and liquid lipstick. If the rest of us are Lady Bird McPherson with acne scars, the Glossier Girl is Jenna Walton with a permanent afterglow. Or, at least, that's what we thought before tonight's Grammy Awards.
It's not news to anyone that the Grammys are one of the shows at which celebrities take big beauty risks — for shock value, fun, or to make an important statement. Most importantly, perhaps, it's also the show that Beyoncé is most likely to be at. And although it took a little longer to spot the Queen in the crowd tonight, once we did, we were stunned by her blonde braids, golden highlight, and bold purple lip. But we were even more shocked when we learned the products behind the makeup look were none other than Glossier.
A brand that boasts a "skin first, makeup second" motto is the last we'd suspect one of the biggest superstars in the world to choose for a highly-photographed night out. But according to her longtime makeup artist Sir John's Instagram, it's exactly what was used. Yes, the woman who might as well be a life-sized gold statue uses Glossier Cloud Paint in Beam for her flush. That silky skin? Thank the body-inclusive Body Hero lotion. And those full brows? AllBoy Brow tinted gel.
Even better, Glossier was behind every single look leading up to the awards show for Bey, including the Roc Nation Pre-Grammys Brunch yesterday in New York City. The brand recently posted a photo to its Instagram teasing a new product that she wore, along with the caption: "Beyoncé wears ___ in ___ (coming soon)✨👀." The comments immediately exploded with speculation: It must be an eyeshadow, a glittery one no less. In fact, Refinery 29 report ed the launch almost a year ago. Now, it looks like the magical, soon-to-be sold-out formula is closer than we thought. Even better, it's Beyoncé-approved.
The mani -pedi experience is supposed to be an enjoyable one. Whether you're flying solo or rolling deep, your only goal is to be taken care of and emerge just a bit more put-together and relaxed. But, because the whole thing involves the action of handing over money in exchange for being touched by a virtual stranger, it can be fraught with uncomfortable moments — both for you and your technician.
Of course, you expect a certain level of professionalism and respect from nail technicians, which you should obviously return because you're not a ruthless dictator. Few people would want to be known as difficult (or some other, less polite descriptive term). But understanding what's polite when it comes to tipping, requesting post-pedi smudge interventions, and conducting in-chair phone chats is murky territory.
To quell those feelings of panic that may be bubbling up as you walk through the salon doors, we went ahead and asked those awkward questions for you. Assuming you’re satisfied with the level of service you receive, simply follow this advice from top nail-salon technicians and avoid being an (accidental) asshole when you go for your next nail treatment.
Is it rude to be on your cell phone? In a word, yes. Jin Soon Choi, owner of Jin Soon Natural Hand & Foot Spas in NYC, says that she prefers you limit conversations to emergencies only. “Getting your nails done is about relaxing, and it's very disruptive to hear other people's conversations on the phone, especially for extended periods of time,” she says. “I've even seen some of our clients get into arguments with other clients when they talk on the phone with a loud voice.”
Remember that the manicurist will need to ask you questions during the treatment, so if you’re not paying attention you might not end up with what you think is the ideal mani, says Tenoverten co-owner Nadine Abramcyk. She adds that if you need to take a call, politely explain this to the technician and hang up before polish application. “It’s one thing to smudge a nail by accident, but if you’re being careless with wet nails and handling a phone, then the manicurist might not be as happy to fix them up.”
If my manicure chips within the first day, is it okay to go back and ask for a touch up? "I think a one day chip clause is pretty much implied with the service," says manicurist Whitney Gibson. "Obviously this doesn't mean you should head from the salon to a long day of gardening, but the average nail tech is going to understand if you come back [a few] hours later." According to Gibson, some salons have a price for touch ups, but if they don't, it's polite to tip your manicurist a couple of dollars for their time.
Illustrated by Louisa Cannell.
Should you tip when getting gel removed? "I think you should tip for most services you receive," says Gibson. Like waiters, many nail technicians rely on tips as an important supplement to their wages. "It doesn't have to be a lot, but it's more than just a thoughtful gesture; to me, it's mandatory," she adds.
If you end up not liking the color you chose, can you ask for a do-over, and when is the proper time to chime in? This isn’t an unusual situation, but be sure to speak up ASAP so the technician won’t have to redo the entire thing, which can eat into the next appointment. Patricia DePina, a nail tech at Bliss Spa, says to evaluate and make your feelings known after the tech applies the first coat to the first nail or two; if you’re on the fence, you can even ask to have the second coat applied to one nail to be absolutely sure. Don’t stress about it, but do acknowledge it. Choi adds that it’d be a nice gesture to give a little extra tip if you decide to switch colors mid-mani.
How do you deal with getting a mani-pedi when you have a cold? Things are happening at close quarters in a nail salon, so behave the way you’d want others to. Start by washing your hands — duh — and inform your manicurist that you have a cold, so they can behave accordingly. Abramcyk says to keep supplies, like tissues for a runny nose, on your lap so you can reach them easily. Cover coughs and sneezes with your elbow, not hands, to avoid spreading germs.
Should you tip extra if you were late to your appointment? If it helps you feel better, go ahead, but it’s not strictly necessary. However, a phone call in advance is helpful, so the salon can best accommodate you and other clients. Abramcyk adds that it’s also nice if you offer to be flexible (go with another technician instead of your usual, for example). As with every relationship, communication is key, so if yours is good, the salon will fit you in and make sure you’re happy.
Should you still tip 20 to 25% if you get a buff mani instead of polish? Tipping is about customer satisfaction; if you’re happy, let it be known. If 20% is your standard, you’d give that whether you were going out for a plain old diner meal or an elaborate, tasting-menu extravaganza — and the same principle applies to nails. DePina says it’s all about quality. “If you’re satisfied with the service you received, you should tip accordingly,” she says. “Also, note that it may take the same amount of effort to buff the nails as it does to polish them.”
What's the best way to make sure your preferred nail place follows the proper rules and regulations? Now that we know all about the wretched conditions of some salons — thanks to The New York Times' solid investigative work — it's evident that cheap manis aren't good, and good manis aren't cheap. Abramcyk encourages everyone to pay better attention to what's going on as we get our mani-pedis. Look around to notice if the salon looks clean and if the employees look happy, and don't feel awkward about speaking up.
"Ask the salon owner or manicurist how they disinfect tools and if all manicurists are licensed," Abramcyk suggests. "Since there are few regulations in place for salons [in NYC] at the moment, the only official check a consumer can make is by asking to see the manicurists' licenses, which are legally supposed to be on the premises."
Are there any other nail-salon-specific etiquette situations that come up often? DePina says it’s important to know what’s currently going on with your nails, since there are different removal processes for each polish type (think gel, Gelish, Shellac, acrylic, etc.), and not all nail salons are equipped to deal with all these different types of nail enhancements.
Finally, it should go without saying, but the gist is: Don’t be a jerk. “I occasionally see some clients treat their technicians disrespectfully because they think they are entitled to do so,” says Choi. “This really saddens me and is demoralizing to the technician.” Basically, stay away from any behavior that would make you cringe if you saw it on a reality show.
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Once again, Congressional Republicans are trying to implement a nationwide ban on abortion after 20 weeks of gestation — and the argument behind the bill is basically junk science.
The legislation, called the Pain-Capable Unborn Child Protection Act, passed the House in September and it's up for a vote for a Senate on Monday. It falsely claims that "an unborn child is capable of experiencing pain by at least 20 weeks after fertilization, if not earlier." The bill seeks to ban abortion procedures after 20 weeks post-fertilization (or 22 weeks after a woman's last menstrual period), except in cases of rape, incest, or danger to the mother's life. It also imposes a fine and up to five years in prison to those who attempt or perform an abortion at that stage.
Dr. Daniel Grossman, a professor of obstetrics, gynecology and reproductive sciences at the University of California at San Francisco and director of Advancing New Standards in Reproductive Health, told Refinery29 that existing scientific research contradicts the anti-choice claim that fetuses can feel pain at 20 weeks.
"The best available evidence indicates that it's not possible for a fetus at 20 or 22 weeks to feel pain. The neurofibrils that connect pain receptors to the cerebral cortex are not developed, and really don't develop until the third trimester — past 26 weeks," he said.
Grossman's comments are supported by the Journal of the American Medical Association, which in 2005 published what it's considered to be the most comprehensive literature review on fetal pain to this day. (Even though the literature is more than a decade old, the American Congress of Obstetricians and Gynecologists said in 2015 that "no research since its publication has contradicted its findings.") According to the authors of the review, fetuses don't develop the neurological wiring to feel pain until the third trimester, and studies found that premature babies in particular seem not to be able to feel pain until 29 or 30 weeks.
One of the reasons why Republicans claim that "an unborn child is capable of experiencing pain" is because fetuses can demonstrate reflexes at an early stage. But Grossman said that even though a fetus might withdraw a limb in response to a "painful stimulus" that doesn't mean much. "A reflex is something that happens below the level of the brain, [it happens] at the level of the spinal cord, and that's not a sign of a fetus actually feeling pain," he explained.
Grossman added that another talking point used to support the misconceptions about fetal pain involve the rare events in which a fetus might need surgery and anesthesia is used. He said, "The main reason why that's done is to prevent the fetus from moving during the surgery. Again, it's not done to prevent pain."
Dr. Beverly Gray, an assistant professor of Obstetrics and Gynecology at Duke University, told Refinery29 that even though the procedure at that stage might not be as common, the reasons women might seek care are very complex.
"Many of these women are faced with pregnancies complicated by severe birth defects that can only be diagnosed at this stage of pregnancy. Other women are diagnosed with medical complications, such as cancer, where pregnancy can put their life at risk," she said. "Many teenagers don’t realize they are pregnant until the second trimester and often seek care later, especially if they are hesitant to disclose the news to their family. Because abortion after 20 weeks is more rare, there are fewer ob-gyn’s who provide this care, making it logistically difficult to find a doctor, which can also create delays."
"TRAP laws are almost impossible for clinics to comply with and can lead to the closure of the facilities. So patients have to travel farther, it costs more money to arrange transportation or take days off from work and arrange childcare. But also leaving fewer clinics increases the [overcrowding] of remaining clinics," he said. "This is what we saw in Texas, where as clinics closed particularly in the Dallas-Forth Worth area, the wait time to get an appointment at the remaining clinics increased to three weeks or even longer. Obviously, that pushes women [to seek care] later and later in the pregnancy."
The Pain-Capable Unborn Child Protection Act passed the House in 2013 and 2015, but failed in the Senate both times. Former Republican Rep. Trent Franks, who resigned in December after being accused of sexual misconduct, and 170 other representatives co-sponsored the bill this time around. At the March for Life, President Trump called once again for Senate Republicans to pass it and send it to his desk. The bill would need 60 votes to clear the Senate, which makes it unlikely to pass.
But Dr. Gray says in the unlikely instance that the bill passes, it would place an undue burden on women.
"As a physician, I don’t recommend that legislators determine what is right for a woman’s health," Gray said. "These are conversations that are meant to be had with a physician and patient."
Grossman went even further, calling the 20-week abortion ban a hypocritical move on part of Congressional Republicans and the anti-choice politicians who pass similar bills at the state level.
"If the legislators who are pushing for this kind of bill were serious about trying to reduce later abortion, they would do more work to improve access to access to early abortion," he said. "Once a woman has made up her mind about her decision to have an abortion, she should have access to that care as quickly as possible."
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Then, on the Thursday before the ceremony, a study was released by Dr. Stacy L. Smith and the Annenberg Inclusion Initiative, that revealed how exceptionally underrepresented women are in music. Among the statistics was a look at Grammy nominees, of which women only made up 9.3% from 2013 to 2018. Or, as the study breaks it down, "This is a gender ratio of 9.7 males to every 1 female." Less than 10% of the artists nominated for Record of the Year or Album of the Year, the Grammy's two flagship awards, were female. Those are bad optics for the Grammys as a whole, and they were only enhanced at the 2018 Grammys by an Album of the Year nomination field with one female artist nominee (Lorde) and a Record of the Year category with zero female artists.
The Grammys, lead by Recording Academy President Neil Portnow, and its telecast, helmed by Executive Producer Ken Ehrlich, did not adequately plan for their telecast to give voice to women. Not that they ever do, but this year it has blown back on them with exceptional ferocity. They offered Kesha a performing spot, which Ehrlich explained to the Los Angeles Times came about after he saw her at the Hollywood Palladium. His decision, by his account, had less to do with her narrative and more to do with her showmanship. While that might be diplomatic, it was not the smartest choice for the Grammys this year. Instead, they should have been all over embracing the voices, presence, and representation of women.
News broke on Sunday ahead of the awards show that Lorde was not performing because she wasn't offered a solo performance slot. All of her fellow (male) nominees were. That is bad optics that sends a message to the public and the industry that Ehrlich does not think she is a good enough performer to deserve three minutes in their four-and-a-half hour long telecast. It also conveys that, despite being nominated for one of the top awards of the night, the Academy does not revere her contributions enough to give her airtime on "music's biggest night."
“It has to begin with…women who have the creativity in their hearts and souls, who want to be musicians, who want to be engineers, producers, and want to be part of the industry on the executive level… [They need] to step up because I think they would be welcome." Portnow said, and let's pause the tape right there. The head of the Recording Academy thinks it is on women to step up and take the jobs they want in music.
"I don’t have personal experience of those kinds of brick walls that you face but I think it’s upon us — us as an industry — to make the welcome mat very obvious, breeding opportunities for all people who want to be creative and paying it forward and creating that next generation of artists," Portnow continued, course correcting his earlier statement to at least acknowledge that men bear some responsibility in the fight for equality.
Here's a suggestion: Make the welcome mat obvious by inviting the single female nominee for Album of the Year to have the same opportunities all the male nominees did. It's called parity.
Not to be outdone, Ehrlich decided to open his mouth and insert his foot as well, according to Variety. In response to a question about Lorde, he said: "I don’t know if it was a mistake. These shows are a matter of choices. We have a box and it gets full. She had a great album. There’s no way we can really deal with everybody."
We, the women in music, also have a box that gets full. Right now it's full of men who think gender or race are boxes to check off, that you can have enough of them. There is no threshold for enough when it comes to representation, but the Grammys certainly aren't near it with their dismal track record when it comes to women. Having one moment in the show devoted to the #MeToo narrative is not representation, it is tokenism. Women aren't an in memorandum or tribute section of the show to check off the list. We are half of the population. Female musicians are some of the most creative, impressive figures in the history, present, and future of music. If Ehrlich and Portnow can't understand those thoughts and reconfigure their box accordingly, then I have a suggestion.
It is not women who need to step up, but these two men in particular. If they are unable to read the zeitgeist, if they are unable to read the statistics, if they are unable to watch their own show and recognize that only one woman, Alessia Cara, winning an award on television is a problem then perhaps women aren't the issue. Yes, the music industry at large has a problem with representation and is clearly stifling opportunities for women. Perhaps the Recording Academy shouldn't wait for the industry to lead it, but step up as a leader in the industry.
And, if they are unwilling to do so, it is the Recording Academy who should step up and find a new president. It is CBS who should step up and find a new production partner for the Grammy telecast. Time's up on this conversation.
Courtney Smith is an editor at Refinery29. The views expressed are her own.
Ancient Greek mythology has it that the Milky Way was formed when the divine hero Heracles was a baby. Legend goes that his father, Zeus, god of the sky, allowed him to breastfeed from his divine wife, Hera, while she slept. Heracles was not Hera’s son, but the son of a mere mortal named Alcmene, and so when Hera awoke she pushed the unknown child away from her, and the milk left streaming from her breast became the Milky Way.
Referencing this myth, French photographer Vincent Ferrane’s recent personal project, Milky Way deals with the colliding of inside and outside worlds as he and his wife navigate the first stretch of new parenthood and, in particular, the ritual of breastfeeding. The intimate, immersive world inside their family home is juxtaposed with the surrounding landscapes, seen mostly from windows and forming a gentle backdrop to this phase in their life as a new family. Sleepy winter scenes give way to spring, and time quietly continues passing outside of their private bubble. “The whole series assumes this balance between everyday reality and poetic symbols and myths,” Ferrane says.
Photographs Courtesy of Vincent Ferrane.
The images in Milky Way are spread over several months starting from the very first days of his child’s life. Aptly milky-hued, they follow a gentle, unwavering repetition of the act of breastfeeding — rhythmic and consistent throughout the project. Ferrane describes it as a “pulse that gradually takes its place among the other cycles of life,” and time and again, mother and child are connected together. As the portrait wears on, we see Ferrane’s wife rehearsing positions and angles, limbs and skin slotting together almost like choreography.
“I tried to let the aesthetics follow the act of feeding, which imposes its geometry on bodies and the space they occupy. In other words, my partner and our baby had to learn from each other at the beginning. The way in which these two bodies approach one another is determined by food, and they express themselves only through gestures and postures. I tried to compose my images focusing on all these little adjustments: the way my wife was sitting, holding and giving her breast to the baby, or the way the baby grabbed the breast and seemed to fuse with his mother.”
Photographs Courtesy of Vincent Ferrane.Photographs Courtesy of Vincent Ferrane.
Ferrane says that the project grew organically, as a visual diary. “I’m constantly taking pictures of my partner anyway, but when I started the breastfeeding pictures, it rapidly appeared that it could be a series living by itself. I did not want to do any sort of ‘report’ on breastfeeding but rather to focus on feelings and atmospheres. I think I was struck beyond words by the beauty of these moments.”
While there is a personal, poetic tenderness to the images, Ferrane is keen to point out that he did not want to romanticize them — there are moments of severe tiredness and signifiers of the harsh realities of being a new mother and the strain of that on the body and the mind. He said it was incredibly important for him to give an honest portrait of it, in all its complexity. “That’s why I also included still-life images of breastfeeding paraphernalia too — the breast pumps, the bathrooms and so on,” he says. “I wanted to take that classical idea of the ‘noble’ image of a breastfeeding mother and replace it with images of the everyday experience of it. As parents, you naturally and immediately incorporate these elements into your life and you find them beautiful, so I tried to do the same as a photographer, finding an aesthetic language that does not stop at what is normally considered ‘beautiful’ or worthy of interest.”
Photographs Courtesy of Vincent Ferrane.
As a result, Ferrane hopes that people will get a moving, but not idealized, chronicle of these universal moments — an honest and tender portrayal of the prosaic reality of breastfeeding. The project includes stark images of nudity and lactating breasts that his partner consented to, and which make for powerful images. “Of course making this series doesn’t make me an expert in any way,” he says, when asked if he hopes the images will contribute in some small way towards normalizing the image of breastfeeding more. “But, for me, it should undoubtedly be seen as an act of life and love that is not always an easy task. It deserves encouragement in all its dimensions — psychological, physical, and social. In modern iconography, it's obvious to say that the female body is often eroticized. In this series, the idea is not so much to try to desexualize the body, but rather to render its function, and to show the beauty and poetry inherent in that.”
Photographs Courtesy of Vincent Ferrane.Photographs Courtesy of Vincent Ferrane.
A mother and her child are physically connected through the act of breastfeeding. In some ways, Ferrane says, this project involved him as a part of the ritual, too, as an active spectator. “The position you have, and the distance from which you take the picture is a fundamental aspect in photography. I started this candid series as a moved father — a father-photographer, you could say. During breastfeeding moments, as a father you are emotionally involved but already at a distance physically. Yes, Milky Way serially concentrated on breastfeeding moments, but there was ample space for me to express my role as a father, my love and my parenthood without trying to find a way to participate more or to interfere with those moments between mother and child. Taking the pictures was simply an act of love. Having a baby is a little revolution in parents’ lives and in the end those moments are rapidly passing. Taking photographs is a way to enjoy them for a little longer.”
Photographs Courtesy of Vincent Ferrane.
Milky Way can be bought from Vincent here and from the publisher, Libraryman, here.
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As the sexual harassment reckoning has moved from Hollywood to virtually all sectors of society, Washington hasn't been the exception. And now, a group of Democratic women are taking a cue from Hollywood's protest at the Golden Globes and planning to wear black to President Trump's first State of the Union in support of #MeToo and Time's Up.
The lawmakers behind the protest belong to the Democratic Women's Working Group (DWWG) in the U.S. House of Representatives. Several members confirmed to Refinery29 that they will participate as a show of support for survivors who have spoken up. The protest is not limited to the House female lawmakers, however — they're inviting men and women, from both parties, to also don black at the event.
The protest will go beyond their clothes, too. NBC News reported earlier this month that some Democrats are inviting survivors and advocates as their guests. (Lawmakers are allowed to bring one guest to the event.)
In the aftermath of the Harvey Weinstein exposé, several elected officials have been accused of sexual misconduct and the allegations against President Donald Trump have resurfaced. It has led to some of them stepping down or announcing they won't seek re-election. And lawmakers in both chambers, many of them women, have been pushing for new legislation to combat sexual harassment and other types of abuses.
Refinery29 reached out to all 106 women in Congress to ask whether they will support the protest. Ahead is every female lawmaker who has confirmed they will wear black to the State of the Union. We'll continue to update this story as more women say they will join in.
House Minority Leader Nancy Pelosi believes the country is at a historic turning point when it comes to the fight against sexual misconduct. The symbolic protest on January 30 will only go hand-in-hand with other types of action.
"We are supporting the brave women in every industry and every corner of the country who are making their voices heard," she told Refinery29. "We are at a watershed moment in the nationwide fight against sexual harassment and discrimination, and we must continue to keep up the drumbeat of action for real change."
Photo: Alex Wong/Getty Images.
Rep. Lois Frankel, one of the congresswomen spearheading the protest, said that it was important for them to show support for the survivors who have advanced the conversation surrounding sexual harassment.
"By wearing black, Members of Congress are showing solidarity with a movement that is demanding economic justice and a cultural shift that enables men and women to work side by side in safety and dignity, free of sexual harassment, and be paid equally for the value of their work," the Florida Democrat told Refinery29.
Photo: Tom Williams/CQ Roll Call/Getty Images.
Rep. Jackie Speier was the first one to disclose the DWWG members would wear black. The California Democrat expects there will be strong support for the protest on January 30.
"This is a culture change that is sweeping the country and Congress is embracing it," Speier told Refinery29.
For Rep. Ann McLane Kuster, wearing black to the State of the Union is deeply personal. In the summer of 2016, after 40 years of silence, the New Hampshire Democrat shared her own experience with sexual assault on the House floor. Her experience was similar to other young Capitol staffers, and she believes that addressing sexual harassment in the workplace is "long overdue."
"The conversation about sexual harassment and assault in our nation is long overdue but through efforts such as the #MeToo movement it is finally gaining steam. This conversation has been fostered by courageous women and men who are speaking out and saying enough is enough," she told Refinery29.
She continued, "We need to end this all too persistent problem in workplaces and communities around the country, and the highest reaches of government can be no exception. At the State of the Union we will be wearing black to show our solidarity with survivors who aim to end sexual violence and harassment everywhere."
Photo: Bill Clark/CQ Roll Call/Getty Images.
Rep. Bonnie Watson Coleman is not only wearing black to the State of the Union; she's also making a statement in support of women from marginalized communities. The New Jersey Democrat is leading the charge so members of the Congressional Black Caucus wear a red 'Recy' pin to the State of the Union as a tribute to Recy Taylor. Taylor was a Black woman in Alabama who was kidnapped and raped by six white men in 1944. Her quest for justice was a crucial component of the civil rights movement.
"It’s important to acknowledge what has proven to be a transformative movement in this nation’s history and a reminder of the power and promise of women’s leadership, advocacy and organization," she told Refinery29. "But what we must never forget are the many marginalized women — like Recy Taylor — who have spoken up, spoken out and have long been ignored."
Photo: Tom Williams/CQ Roll Call/Getty Images.
Rep. Grace Meng told Refinery29 that wearing black to the State of the Union is a symbol of the lawmakers' commitment to changing a culture that has allowed sexual harassment to flourish.
“We are in the midst of a cultural movement, and Congress must do more to bring attention to issues of sexual assault and harassment," the New York Democrat said. "We cannot let the momentum dissipate. We cannot let these issues escape our cultural consciousness. We are wearing black because we refuse to go back. There is only going forward, especially in Congress. Time’s up.”
Photo: Bill Clark/CQ Roll Call/Getty Images.
Prior to joining Congress, Rep. Val Demings used to work in law enforcement. The former Chief of the Orlando Police Department told Refinery29 that she inevitable investigated sexual abuses cases throughout her career.
"I witnessed the victims' emotional scaring, brokenness, and shame," the Florida Democrat said. "I join my colleagues and women all over the nation in sending a message to the President and others who have engaged in inappropriate sexual behavior and harassment: Your time is up."
Like other members of the Congressional Black Caucus, she will also be wearing a red 'Recy' pin as a tribute to Recy Taylor.
Photo: Tom Williams/CQ Roll Call/Getty Images.
For Rep. Jacky Rosen, a Democrat representing Nevada, the issue of sexual misconduct boils down to how women still face inequality in the workplace and else.
"Achieving full gender equality starts with putting an end to the culture of sexual harassment, which for too long has been tolerated and even normalized among those who hold and abuse power," she told Refinery29. "I stand with the brave women and victims everywhere who are coming forward to share their difficult stories and believe that we have a moral obligation to put an end to this abhorrent behavior once and for all."
Photo: Bill Clark/CQ Roll Call/Getty Images.
Rep. Diana DeGette, a Colorado Democrat, believes that the aftermath of the #MeToo movement should teach every American that the time when sexual harassment was permissible is over.
"As the Golden Globes showed, the entertainment industry is trying to find productive ways to wrestle with its sexual harassment demons. The leadership that many in that community are now showing, through symbolic as well as concrete steps, should be a lesson for the rest of the country – starting with elected officials in DC," DeGette told Refinery29. "Congress is slowly coming to terms with its issues on this score; President Trump still hasn’t faced such a reckoning. I will wear black to say 'Time’s Up.'"
Photo: Tom Williams/CQ Roll Call/Getty Images.
Rep. Norma Torres told Refinery29 that it's important to remember that women are not the only ones who face sexual harassment and abuse.
"This issue is not limited to just women. People of all gender identities suffer from sexual misconduct, and the threat is heightened for people of color and trans people," the California Democrat said. "I am wearing all-black during the State of the Union because I support and applaud the courage of every person speaking out against their abusers, and I stand with them."
Photo: Bill Clark/CQ Roll Call/Getty Images.
For Rep. Carolyn Maloney, wearing black to the event is as important as taking action to put a stop to sexual misconduct and harassment issues.
“The #MeToo movement and the Time’s Up campaign are linked by one very important message: unity. In wearing black to the State of the Union, we will be saying ‘we hear you, we’re with you, we are fighting for you,'" she told Refinery29.
The New York Democrat continued, "I have already introduced two bills to combat sexual harassment in the workplace. We must take full advantage of this moment as an opportunity to raise awareness and inspire real, lasting change so that no woman has to say ‘me too’ ever again.”
Photo: Paul Morigi/WireImage.
Elected officials are responsible for setting the example on how to deal with sexual harassment, according to Rep. Lisa Blunt Rochester, a Democrat from Delaware.
"With all eyes on the State of the Union, I’m proud to join my Democratic women colleagues and sisters in the #MeToo and Time's Up movements in standing up for those that have been victimized and have suffered in silence for far too long," she told Refinery29. "Congress has a responsibility to set an example of how to address sexual harassment, and the way to do that is by holding wrongdoers accountable and speaking out against these injustices.”
Photo: Bill Clark/CQ Roll Call/Getty Images
Rep. Debbie Dingell made a point to highlight that we should be pushing to make the workplace safer for everyone.
"At the State of the Union, we will show solidarity with women and men across this country who are standing up, speaking out and joining together to say ‘Time’s Up,’" the Michigan Democrat told Refinery29. "Serious and important dialogue is taking place, but what we have to do is continue working every day to make this movement real for everyone – whether she’s a farmworker, a teacher, a waitress, a lawyer trying to make partner, or a worker on a factory floor. Everyone deserves to work in an environment that is safe and free from harassment and assault.”
Photo: Andrew Harrer/Bloomberg/Getty Images.
Rep. Barbara Lee told Refinery29 that the congresswomen will continue working to create change and stop the sexual misconduct epidemic.
"For too long, women have been subject to rampant sexual assault, harassment and discrimination in the workplace. The #MeToo movement has shone a light on the reality that no industry is immune from this epidemic," the California Democrat said. "I will be wearing black at the State of the Union this year in solidarity with the women in offices and classrooms and factories and restaurants who are bravely speaking out against sexual violence. Time’s up for sexual harassment — we won’t stop until women everywhere are treated with respect and dignity.”
Photo: Paul Morigi/Getty Images.
For Rep. Betty McCollum, a Minnesota Democrat, the protest is a way to remind everyone that the era where harassment and gender inequality were acceptable is over.
"From retail floors to the floor of Congress, women have faced sexual harassment and been treated as second-class for far too long. As a society, we must say that time’s up," she told Refinery29. "The days when inappropriate behavior was tolerated in our workplaces must end, and I hope that joining the other 61 Democratic women in Congress wearing black to the State of the Union will send that message loud and clear.”
Photo: Bill Clark/CQ Roll Call/Getty Images.
Rep. Julia Brownley told Refinery29 that the protest is just another way to showcase gender inequality and sexual misconduct are unacceptable.
"I will be standing in solidarity with my fellow members of the Democratic Women’s Working Group, women across the nation in the #MeToo movement, and others who have been silenced for far too long," the California Democrat said. "Gender discrimination and sexual harassment have no place in our society, and we will continue to use every platform available to spread that message."
Photo: Bill Clark/CQ Roll Call/Getty Images.
Rep. Suzan DelBene believes just one simple thing: There should be no tolerance for sexual misconduct at the high levels of government — or anywhere else. That's why the Washington Democrat is donning black at the State of the Union.
"I don’t care if you’re a Member of Congress, a Supreme Court Justice or the President of the United States," she told Refinery29. "We should have a zero tolerance policy for sexual harassment in our government – just as we should in every aspect of society."
Photo: Tom Williams/CQ Roll Call/Getty Images.
A spokesperson for Rep. Chellie Pingree confirmed to Refinery29 that the Maine Democrat will participate in the protest as a show of support for survivors of sexual harassment and abuse.
"Congresswoman Pingree believes the stories of women who’ve bravely broken their silence about sexual abuse and harassment—from the military to the halls of Congress—deserve to be heard and those who've harmed them physically or professionally should be held accountable," Victoria Bonney, communications director for Rep. Pingree, told Refinery29.
Photo: Joel Page/Portland Press Herald/Getty Images.
Rep. Nanette Diaz Barragan, a Democrat from California, will join the protest as a way to support the survivors who have spoken up in the last few months.
"I am wearing black to stand with the brave women who have come forward to share their story of sexual assault and say #timesup," she told Refinery29. "I am proud to be part of the #MeToo movement. I’ve shared my story, share yours."
Photo: Aaron P. Bernstein/Getty Images.
A spokesperson for Rep. Gwen Moore confirmed the Wisconsin Democrat will participate in the protest.
“Congresswoman Moore will be wearing black during this year’s State of the Union address as a symbol of support and solidarity for the Time’s Up campaign, the #MeToo movement, and the allies working to end sexual assault, harassment, and workplace inequality," Eric Harris, Moore's communications director, told Refinery29. "It will serve as a strong message of defiance to those who have and continue to subject women to a toxic masculinity that has plagued our society for far too long. The congresswoman wants them to know that their time is indeed up, from the world of media and entertainment to the halls of government."
Photo: Tom Williams/CQ Roll Call.
Rep. Rosa DeLauro stressed that the survivors who have spoken up need our support. That's the reason why the Connecticut Democrat will wear black to the State of the Union.
"I plan to wear black to the State of the Union later this month in solidarity with the brave women and men who are working every day to eradicate sexual assault and harassment from our society," she said. "The stories they have courageously shared must be heard, and they deserve our unwavering support."
Photo: Zach Gibson/Bloomberg/Getty Images.
A spokesperson for Rep. Louise Slaughter confirmed to Refinery29 that the New York Democrat will wear black to the State of the Union as a show of support for the survivors of sexual misconduct who have spoken up.
Photo: Bill Clark/CQ Roll Call/Getty Images.
A spokesperson for Rep. Congresswoman Alma Adams confirmed to Refinery29 she will join the protest on January 30.
“Rep. Adams will wear black to the State of the Union to honor the courageous women who have come forward to tell their stories and to give a voice to those who can’t. Rep. Adams will also join the women of the Congressional Black Caucus in wearing a red pin to honor the life and legacy of Recy Taylor, an African American woman who was kidnapped and raped in Alabama in 1944 and who passed away last year without justice," the spokesperson said. "The #MeToo movement showed us that we need reform across all industries, including Congress. Powerful men have abused their power for too long but women across America are standing up to say #TimesUp.”
Photo: Tom Williams/CQ Roll Call.
Rep. Nita Lowey, a New York Democrat, said she will join the protest as a way to support survivors of sexual misconduct.
"I will wear black to the State of the Union to stand in solidarity with the survivors of sexual assault and harassment, and to send a clear message that women of Congress will not tolerate these abuses and will continue to fight for meaningful change," she told Refinery29.
Photo: REX/Shutterstock.
A spokesperson for Rep. Katherine Clark told Refinery29 she will wear black as a show of support for survivors and that the Massachusetts Democrat wants to highlight how sexual harassment is also an economic issue. Clark will be accompanied by Anny Gonzalez, an airplane cleaner who was harassed to the point she was forced to find another job.
"When the president looks up at our guests, I want him to see the face of a mom who was forced to decide between reporting abuse and making sure her daughter was fed,” said Clark said in a statement provided to Refinery29. "Millions of women in the service industry contend with assault, harassment, and abuse from more powerful people because they feel like they have no other choice. The #MeToo movement has to be about creating a safe environment for victims to come forward, establishing accountability, and demanding action from our leaders, including our president."
Photo: Bill Clark/CQ Roll Call/Getty Images.
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By all means, U.S. ambassador to the United Nations Nikki Haley is one of the most accomplished women in the Trump administration. But in a recent interview, instead of talking about you know, herjob, she was forced to deny she was having an affair with President Donald Trump.
Haley called the rumor "highly offensive" and "disgusting." She also said that women in positions of power often face gossip of how they must have slept their way to the top. And you know what? She's absolutely right.
Haley is not the first woman on Trump's team to face such allegations. White House Communications Director Hope Hicks and adviser Kellyanne Conway have also been said to be having an affair with Trump. These speculations are downright insulting and by going into the old-age stereotype that women can't find success unless they sleep their way to the top, we're completely erasing the accomplishments of these women.
These three women have climbed so high in the power ladder because they're pretty goddamn good at their respective jobs, full stop. But by saying that they got there by maintaining an extramarital relationship with their boss is demeaning and wouldn't be acceptable in many circles if it was directed at someone such as Sen. Kirsten Gillibrand. Remember when Trump crudely said the New York Democrat would do "anything" in exchange for donations? The attacks against these conservative women are pretty much in that same line.
Kellyanne Conway, counselor to President TrumpPhoto: Cheriss May/NurPhoto/Getty Images.White House Communications Director Hope HicksPhoto: Andrew Harrer-Pool/Getty Images.
He went on to tease readers, saying they would know what paragraph he was talking about. People concluded he must have been referring to: "The president had been spending a notable amount of private time with Haley on Air Force One and was seen to be grooming her for a national political future." But the UN ambassador denied that the characterization was even remotely true. "I have literally been on Air Force One once and there were several people in the room," she said, adding she's never alone with the president.
This is not even the first time that Haley, who's been married for 20 years and has two kids, has faced similar allegations. During her run for governor, there were loud whispers that she was having an affair. There was never proof of such liaisons, and throughout it all, Haley has categorically denied she has been involved with anyone other than her husband. But alas, here we are again.
The rumors about Trump having an extramarital affair with any of the high-profile women in his administration has less to do with his well-documented philanderer tendencies and everything to do with putting these women in their rightful "place." Because — people seem to imply — how in the world would they be able to climb to such a powerful position without using their bodies to get there?
Here's the thing: You can absolutely disagree with the politics of the high-profile women in the Trump administration and that's not sexist. Think Hicks should be using her magical PR-skills elsewhere? Not sexist. Saying Haley's politics are problematic? Not sexist. Does it drive you up a wall when Conway goes to battle with anyone at any given network and peddles her so-called alternative facts? Not sexist. Think all these three women should disavow the president, given the sexual misconduct allegations against him? Not sexist.
But saying they are sleeping with the president without offering proof, reducing them to just a messed up stereotype that has no place in 2018? Yeah, that's a cheap misogynistic shot.
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It's 7 a.m. and SportsCenter: AM co-anchor Sage Steele is rushing to the studio. She's about to spend the next three hours sparring with her co-hosts. She charges ahead — there’s only two minutes before the show goes live — so it seems as though the towering 5’11” anchor is going to pass me by with no acknowledgment. Then she stops.
“Do you hate me?" Sage asks.
It’s a jarring question given the fact that we haven’t yet formally met. At first I don't know if she's referring to the many people who love to hate her on Twitter and the comments sections on sports websites or if she’s referring to the fact that I had to get up at 3:00 a.m. to make it to the set on time. I figure it’s the latter, and she confirms as much when she apologizes for the ungodly hour I must have roused myself to be there with her in Bristol, Connecticut. And then she’s off, focused on the show ahead, a version of SportsCenter that requires five shots of espresso to keep up.
Sportscenter: AM is the longest live show on ESPN’s lineup and Steele and her co-anchors, Randy Scott and Jay Harris, will engage in the fast-paced verbal volleys, quips, and analysis the trio is known for. (“He’s showboating!” Steele yells after a Golden State Warriors highlight featuring an absurd play to end the game.) It all moves so fast that from the sidelines it looks like an exercise in endurance: “It was designed that way,” Steele says when we meet for an interview in ESPN’s cafeteria after the broadcast. “In the mornings… the average viewing time is 11 minutes. And so let’s give people what they want — let’s go, go, go!”
In the six months since she's joined SportsCenter: AM it's clear that Steele, who has emerged as a cornerstone of ESPN’s morning coverage, thrives on the hyperspeed and saying what she thinks. This is the reputation she's built after a decade at the network. While reporting from the sidelines of the NBA All-Star celebrity game last year, she shut down Arcade Fire frontman Win Butler when he tried to get political; another time she gave former co-host Bill Simmons epic on-air side eye after he complained about having to wait too long to speak. She has also become known for her controversial opinions on everything from athletes protesting during the anthem (she's anti) to airport demonstrations (she did not care for the inconvenience). In this interview, she even had some thoughts on Jemele Hill’s political comments (more on that later).
These are all bold moves for a biracial woman at a network known for bolstering white men. But the 44-year-old broadcaster doesn't care: “I’m finally okay being me and it’s taken me a long time to figure out who I am on air,” she says. “That means sometimes I get a little hyper during highlights because I love this. Those are genuine reactions. And so sometimes I talk too fast and sometimes I get too excited and sometimes I jump in on questions or accidentally interrupt people. It’s just an enthusiasm for sports.”
That adrenaline has led Steele to become one of the network’s most talked about stars and most versatile of broadcasters, transitioning seamlessly from anchoring at a desk to sideline reporting and back again. But recently the business has changed, demonstrated by the challenges the network itself has navigated of late. As the #MeToo reckoning continues to sweep the country, ESPN is facing its own sexual harassment allegations (“All I can say is that personally, my experience has been just fine,” Steele says of her 11 years at the company.) And then just before the holidays, long-time company president John Skipper resigned after announcing he would seek treatment for substance abuse. All this comes at a time when the sports juggernaut is struggling to remain relevant and “sticking to sports” is getting harder to do — especially with network star Jemele Hill emerging as a face of the resistance, football players continuing their anthem protests to keep the conversation going, and the president attacking them at every turn.
Steele isn’t sure she likes those changes, and she’s brought a decidedly different point of view to the table, coming down firmly on the side of keeping politics off-air. She said as much when she told The Washington Post that people don't watch SportsCenter “to hear about Charlottesville." This has made her something of a villain in some circles, but Steele has strong convictions: “If it crosses the line, and Colin Kaepernick is an NFL player, and there are some political or social topics surrounding his name, well then, you do [the story]. Otherwise, why are we doing it?” Steele says. “To me, that’s our focus. And I will never be convinced otherwise. When ESPN hired me ten years ago, they hired me to talk about sports.”
True as that may be, Steele knows it’s getting harder to keep them as separate as she’d like — “these are different times,” she tells me. It’s also true that she has not shied away from expressing sometimes unpopular opinions on social media in the past year, sharing her frustration on Instagram about airport protests following Trump’s travel ban, (though she tells me that people misinterpreted her words) and scolding Tampa Bay Buccaneers player Mike Evans for choosing to kneel during the anthem. As a military brat who grew up on bases all around the world, Steele has strong feelings about the American anthem and flag. This is why she tweeted a photo of Arlington National Cemetery and urged Evans to “look up definition of the word DEMOCRACY & remember this pic while kneeling.” She could not have imagined it would blow up like it did and did not expect the fallout that came with her tweet. “I retweeted something that ESPN had posted, which was a soundbyte from him on why he was kneeling,” she explains. “So I didn’t know about it until ESPN tweeted it. It’s not like I grabbed it from somewhere else.”
The backlash Steele experienced was brutal. It ranged from death threats to racial slurs to people telling her they hoped her daughters got raped. “I had to look up some of the words they called me,” she says. Steele thought she would write something to expound on her thoughts about diversity, explain herself. “For years and years of being biracial and feeling like I’m not Black enough, I’m not white, my husband’s white, I’m a sell out, my mom’s white, my dad’s Black,” she says. “As I was writing it, I realized, ‘gosh this has really taken its toll.’” She posted to Facebook, speaking directly to the Black community, saying, “Instead of praising or uplifting each other, way too many people of color choose to tear down, mock and spew hatred at other blacks who feel differently, think differently, or make decisions that are different from theirs.”
It didn’t go well. Instead of putting out the fire, “it got a thousand times worse,” she says. Steele’s brother, Chad Steele, said it was incredibly painful to see his sister attacked on the level that she was. “For people to go back and personally attack her for her race, her family, what she does, is hurtful. As a brother it hurts me and pisses me off and I want to react but I know I can’t,” he tells me. “A lot of times people think people on TV should be infallible and they’re not, you can’t be. But people also need to understand that there’s a human behind there.”
SportsCenter: AM co-anchor Harris thinks their show is better for having hosts with a variety of opinions and perspectives. “We don’t have to agree on everything. I kind of like that we don’t agree on everything because you broaden your own mind and your own perspectives when you talk to someone who has a different view,” he says. Steele has “taken a lot of hits and we all, at times, bring things on ourselves because... we’re individuals with likes and dislikes, opinions that not everyone is going to agree with. All of us. You have to have a certain strength to stay your course and to do you.”
For Steele that strength comes from family. Steele is one of three kids and her parents’ only daughter; she grew up watching football with her dad, who played in college. By the time she was 12, Steele announced to her family that she was going to talk about sports on TV. “I knew I’d never be a good enough athlete to do anything past high school, sadly,” she says. When she got to Indiana University Bloomington, Robin Roberts was working at ESPN and she got a first glimpse at a possible future. “I worshipped her,” Steele says.
Her aunt recently sent her a letter Steele had written after she graduated, while she working at a TV station and waiting tables on the side. “I said, ‘I’m producing, haven’t gotten on air yet but I’m gonna force my way on. I know that my dream of working at ESPN is out there somewhere,’” Steele says, tearing up as she tells the story. “I wrote, ‘It’s gonna take me a long time, but I’m determined to get there and this is the first step.’”
Prior to arriving at ESPN, Steele honed her broadcasting chops. Her first job was for the CBS affiliate in South Bend, Indiana and then in Indianapolis, where she believes she was the first woman sports broadcaster. She covered the Indianapolis Colts and Pacers and events such as the NCAA Men’s Final Four and the Indianapolis 500. In 1998, she went to Tampa, Florida to work for the ABC affiliate covering local and college sports in Tampa, before moving on to Fox Sports Florida, which involved covering Central Florida’s professional sports teams — the Tampa Bay Buccaneers, Orlando Magic, Tampa Bay Devil Rays, and Tampa Bay Lightning.
“She has busted her butt to get where she is,” says her brother, Chad, who is the Vice President of Public Relations for the Baltimore Ravens. The two have a unique sibling relationship because they work in a similar industry and, for four years, Steele worked as the beat reporter for the Ravens at Comcast SportsNet — where she went after leaving Florida in 2001 — while Chad was the head of PR. In her role at Comcast SportsNet in Baltimore/Washington, D.C., she also served as the co-host of the regional network’s nightly news show.
In 2007, Steele finally landed at ESPN with a role on SportsCenter. In the beginning it was hard: When she got to ESPN, women in sports media were still few and far between.“I wish I had more role models, like direct role models, female role models, but there weren’t many,” Steele says. She didn’t find many of the other women to be supportive, because competition for the jobs was cutthroat, though that has eased up over the years as more and more women have been welcomed into the fold.
Steele anchored SportsCenter from 2007-2013, then spent the last four years hosting NBA Countdown and SportsCenter On The Road. She says that returning to the SportsCenter desk is somewhat of a homecoming for her, albeit one that is bittersweet: It was the newly departed Skipper who played a major part in Steele’s new role on SportsCenter: AM, flying to Arizona last spring to offer her the job in person and his departure stings. “Over the past year or so, our relationship had grown into one that I really cherished. It’s rare to be able to be fully candid with your biggest boss but I was fortunate that John welcomed me, welcomed my thoughts and opinions, and was so genuinely helpful to me both professionally and personally,” she says.
A self-described “night owl,” Steele is still adjusting to her new schedule. “I literally cry when the alarm goes off,” she says. Prepping for the show is a “cram session,” one she squeezes in while parenting her three kids. In addition to catching up on game and news highlights while she gets ready — her secret weapon, she tells me, is a TV in the bathroom — Steele Googles information on her phone during commercial breaks while filming. (She also dons a leopard print Snuggie to stay warm while doing this last-minute research.)
Even after spending only a few hours together, the fact that Steele is a strong personality on and off camera is clear. But the significance of who she is and what she’s doing cannot be ignored; being a visible woman of color in news media is a big deal. In sports media, even more so. And now with the weight of a successful career behind her, Steele wants to lift other women up, and she says it’s something she’s strived to do since arriving on the scene.
“She’s called me on everything from ‘let’s talk about your contract’ to ‘here is my agent’s number,’ and from the business side of things — salaries and what she makes,” says Jessica Mendoza, ESPN’s Sunday Night Baseball broadcasters and one of Steele’s good friends. “It’s helpful to have an ally in this business and to have an understanding of what the market is and why you get paid different amounts for different roles.”
Steele expressed that same support for her colleague Sam Ponder, ESPN’s Sunday NFL Countdown host. When Ponder tweeted screenshots of sexist and misogynist comments about her from the website Barstool Sports, Steele tweeted at her to “stay strong.”
“When I was going through my social media attacks, I felt really, really, really alone in every single way. It’s hard when you’re being attacked and no one publicly will support you,” she explains. “I now know, having experienced it, how important it is to have that. The second I saw what was going on with Sam, like, ‘I got your back.”
And what about her colleague, Jemele Hill, who will soon be transitioning into a new role at ESPN after co-anchoring the 6 p.m. SportsCenter for the past year? “I think Jemele is a completely different story in that she put that onto herself of her own volition. Sam had been attacked,” says Steele. “I think that’s an important distinction.”
In truth, she acknowledges that it’s not that simple. While social media can be a powerful tool, Steele says, “We’re all afraid to comment on things in general these days because you don’t want anyone to take it the wrong way… I just think we’re in very tough times. And I will say this, it’s not a lack of supporting Jemele, it’s simply, I just try to abide by the rules.” She says she now tries to follow Chad the PR professional’s advice to “‘just don’t push send.’ And it has proven to be a pretty wise decision in most cases recently.”
Speaking for what she’s learned from her own time in the hot seat, Steele says, “When you’re a public figure and you choose to make a choice to express yourself, things come with that. People are gonna take what they wanna take from what you say and what you do and at some point, you’ve got to let go of that. Or just don’t talk.”
What this past year has taught Steele is that she doesn’t care what anyone thinks about her anymore. She quit beating herself up about trying to be a certain way or trying to please people on social media. “It is so cool and such a relief to finally be able to say, ‘I don’t care.’ It’s just taken a long time. Say what you want about me. Bring it, I’m good now.” Plus, she adds with a laugh, “I know I’m right.”
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Last summer, when it was first announced that Amazon had acquired Whole Foods in a $13.7 billion deal, it became quite clear to consumers that the routine task of grocery shopping was about to change forever. In the aftermath of the deal, several industry giants began expanding delivery options. Now, one of those changes is officially happening for select Target shoppers. In December, the store first announced that it had acquired a same-day shipping platform called Shipt. Target explained that this acquisition means customers can place orders for variety of items, including groceries and home goods, and have them delivered to their doors the same day. Target recently revealed new details about the service, including where it will be rolled out first and when.
Starting February 1, if you live in Birmingham, AL or South Florida, you will no longer have to be tempted by rows and rows of products every time you need to pick up a few essentials from Target. In these areas, sticking to your list won't be as much of an issue because shopping at Target will no longer require stepping foot inside a store.
Consumers in Birmingham and South Florida can sign up for a Shipt membership now, and on Thursday, members can begin virtually browsing over 50,000 products, including fresh food. Customers can add items to their list, check out, then employees called "Shipt shoppers" will visit the stores IRL to to make the actual purchases. The items will be delivered within a few hours. After the initial launch of Target's same-day delivery in these two markets, the chain plans to offer Shipt’s services at around half of its stores by the end of its first quarter. The majority of stores are expected to have the service by 2018's holiday season.
Since the Amazon's big announcement that it would begin providing same-day delivery of Whole Foods products, other grocery chains have started testing similar services. In October, Costco rolled out it's new service known simply as CostcoGrocery. With it, customers can now order non-perishable items for delivery. The retailer also expanded its Instacart delivery to more cities. Through Instacart, same-day delivery and delivery of fresh food is available from 376 Costco locations. With all these changes coming to popular supermarket chains, we may soon never have to cross the threshold of a grocery store again.
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You always want what you can’t have — especially when it comes to beauty products. That’s why we’re getting the inside scoop from your favorite retailers on what’s selling out right now, how to sign up for waitlists, and where to go to find the next best thing. Because if everyone’s buying it, you know it’s got to be good.
A key component of any successful no-makeup makeup look is a lip stain that delivers just a hint of color. The only problem? Until recently, most formulations were a gamble — and anyone who's had to sacrifice hydrated lips for sheer pigment knows the struggle.
The beauty community flocked to stores when lip oils first hit the scene. Finally, a tinted product that moisturizes like a balm, but gives lips the glamorous finish of a gloss. Now, years later, beauty lovers everywhere are still digging lip oils. Case in point: Milk Makeup's Oil Lip Stain, which has sold out in two shades at Sephora.
One layer of Milk's lip oil gives a sheer layer of color, but the product can be layered for more opacity, too. It's loaded with vitamin E, rosemary, and olive oil to hydrate dry lips and a roller-ball applicator that makes sweeping the tint on easy.
Thankfully, Milk's oil is still available on the brand's website, but if you can't get your hands on a shade — or want to give another oil a try — check out our favorites in the slides ahead.
Wear this lightweight tint on your lips solo or tap onto cheeks for a monochromatic flush.
Our senior beauty editor, Alix Tunell, hasn't been able to put these lip oils down since she discovered them earlier this month. "They're so softening," she says. "They're dressier than a balm, but not sticky like a gloss. Plus, they give off a sheer hint of color that's impossible to overdo."
If you're on the hunt for a lip oil with a little more color, try these from Burt's Bees. The hydrating formula (thanks to coconut and meadowfoam seed oils) is infused with a hit of pigment that can be layered for more intensity, while still appearing natural on our lips.
These non-sticky lip oils are infused with a mixture of apricot kernel, jojoba seed, and coriander fruit oil to make lips feel incredibly smooth. Our favorite? Red My lips — the prettiest pink-meets-red hue.
Lancôme's Juicy Shakers are unique thanks to the bi-phase formulation, which comes in 17 different shades. That means they must be shaken — just like a cocktail shaker — to blend the pigments before dabbing the color onto your lips.
Don't be intimidated by the vibrant hue of this Clarin's Lip Oil. The hydrating oil transforms into a sheer, barely-there, glossy tint when smoothed onto lips.
appearance by Hannah Salberg; appearance by Lucie Fink.
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January's second full moon is nearly upon us, and it isn't just a full moon by any stretch. It's also a supermoon. And there's going to be a lunar eclipse the same night, which makes it a blood moon. And, since it's the second full moon of the month, some consider this Wednesday's full moon to be a blue moon to boot.
For the record, not everyone recognizes this week's full moon as a blue moon. As Dorothy Morrison notes in Everyday Moon Magic, calling the second full moon in a calendar month a "blue moon" is a relatively new development. If you asked anyone in the 19th century, a blue moon was the third full moon in a season in which there were four full moons in total (normally, there are only three full moons in a season).
Whether you've accepted the updated definition or you're a blue moon purist, you could stand to benefit from celebrating Wednesday night's moon anyway. It is, after all, still an additional full moon — to borrow Pagan writer Patti Wigington 's term, this is basically a "lunar bonus round." If you missed the full moon at the start of the month, now's your chance to observe a January full moon and set any intentions you had when the month kicked off.
Plus, the fact that it falls on the last day of the month shouldn't be overlooked. The full moon is like a spiritual microphone — it'll amplify any efforts you're already making. If you take advantage of the full moon's energy this week, there's a chance you'll still be seeing its effects well into February and beyond.
Read on for four tips on how to make this moon truly memorable.
Work twice as hard.
Morrison notes that the full moon's energy can be a booster shot for any sort of ritual, whether you're charging your crystals or summoning divine power. Luckily, if you aren't the magic-working type, you can simply apply that same belief to your regular old to-do list. Last week's insurmountable challenges may now seem totally doable, or a burst of creativity may offer you a work-around. You could even go for extra credit and get a head-start on next month's assignments. This full moon's end-of-month timing should serve as a reminder that you don't have to creep across the finish line — you can zoom through it at top speed.
Take another stab at your resolutions.
In theory, New Year's resolutions are supposed to start right after New Year's, but life often gets in the way (and it's possible that you aspired to tackle something that, in the end, didn't end up being a good fit for you). If you still wish to make a personal or lifestyle change in 2018, consider Wednesday your opportunity for a resolution do-over — only this time, the lunar phase will encourage you to be more realistic about what you can achieve. It's not exactly thrilling to come up with small, actionable steps (instead of a grand, pie-in-the-sky goal), but you'll be happy you took this down-to-earth route in a few months when you're making real progress toward your end result.
Finally crack open that tarot deck.
It's said that the full moon can ignite your psychic intuition. While you can definitely spend Wednesday night experimenting with a set of crystals or a pendulum, there are smaller ways you can tap into that side of yourself. As far as divination tools go, we'd recommend starting with a deck of tarot cards, since you can do as little as draw a single card and still find meaning in its symbol.
Ask for more.
Since this full moon will be in Leo, you might be feeling a little aggressive. Harness that predator instinct by taking charge in an area of your life where lately you've been acting more like a lapdog than a lion. This Wednesday, you should feel empowered to ask tough questions and lead with bold (if not totally blunt) honesty. In the same way that this illuminating lunar phase can help you face hard truths within yourself, so, too, can it push you to accept the facts elsewhere in your life.
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Haley's beef was specific: she didn't like the segment where artists (and Hillary Clinton) read excerpts from The Fire and the Fury, the anti-Trump book whose author speculates in it that Trump is having an affair with Haley. She had to deny the rumor in a press conference, so, if I were in her place and just minding my business with a glass of pinot noir while watching the Grammys, my nose might go out of joint at its inclusion as well.
I disagree. That part ruined the Grammys. Such a shame.
I have always loved the Grammys but to have artists read the Fire and Fury book killed it. Don’t ruin great music with trash. Some of us love music without the politics thrown in it.
Where Haley and I part ways is in her last sentence: "Some of us love music without the politics thrown in it." I wonder if she felt that Kendrick Lamar's opening performance with U2 of "XXX." was great music because it was also a highly political statement in favor of Black Lives Matter and as a warning about the dangers of military industrial complex.
Was Kesha's emotional performance of "Praying," accompanied by Cyndi Lauper, Camila Cabello, Julia Michaels, Andra Day, Bebe Rexha, and the Resistance Revival Choir (a group who formed at the first Women's March), great music? It was certainly a moment of bravery and an intensely political statement condemning the abuse and systematic oppression of women. Lady Gaga used her performance to show her support for the Time's Up movement, by mentioning it as she transitioned between songs.
Perhaps Haley is more traditional. If she enjoyed Sting performing "Englishman in New York," his 31-year-old hit single, she was enjoying a song about Quentin Crisp, a gay icon who wanted to get his American citizenship so he wouldn't be deported for committing crimes, including the then-crime of being flamboyantly gay.
Chris Stapleton and Emmy Lou Harris's tribute to Tom Petty, in which they played his song "Wildflowers," was both poignant and a reminder that we are in the midst of an opioid crisis in America, something her boss has declared a national health emergency.
It could be argued that DJ Khalid, Rihanna, and Bryson Tiller made a statement with their Surrealist set design, given that Surrealism's roots were in Communism. While I doubt any of the performers are Communists, I don't doubt for a moment that they sympathize with 1920s and '30s Communistic desire to liberate the proletariat; it is loosely the political philosophy that Khaled's "they don't want you..." catchphrase is rooted in.
I'll assume Haley did not appreciate Logic shouting out Trump's reference to shithole countries during his performance of the anthem, "1-800-273-8255," though she is surely in favor of suicide prevention. And it seems safe to assume she's not a fan of U2's...erm, entire career.
And those are just the performances; I could go on and on listing out the presenters who got political. What Haley doesn't want to hear is criticism of the administration for which she works.
Since the Bush administration invaded Iraq, I've heard people ask when music was going to get political again. But I know people have been asking that question since the '60s ended. It was just a matter of what it would really take to push the world of musical arts back into the political realm. Last night at the Grammys, we got a definitive answer: It took the policies of the Trump administration and the deplorable words and actions of President Trump. If Haley doesn't want to hear about politics at the Grammys, she might as well turn her television off for the next four years.
