Rihanna’s Fenty Beauty comes to the Kingdom

Rihanna's beauty line will be sold at Sephora stores. (AFP)
Updated 19 April 2018
0

Rihanna’s Fenty Beauty comes to the Kingdom

DUBAI: Make-up lovers in the Kingdom have every reason to celebrate as US superstar and entrepreneur Rihanna is dropping her Fenty Beauty line in the country today.

Fenty Beauty, named 2017’s best innovation by Time Magazine, will be available in Sephora stores in the Kingdom on April 19.

Rihanna launched the beauty line in September, with a promise to make all women feel included.

“Fenty Beauty was created for everyone: For women of all shades, personalities, attitudes, cultures, and races. I wanted everyone to feel included, that’s the real reason I made this line,” she said at the time of the launch.

If you’re in the Kingdom and gearing up to make a dash to Sephora, moisturize and prime your face and read on for the five must-haves from Rihanna’s beauty line.

Pro Filt’r Soft Matte Longwear Foundation

A soft matte foundation with buildable, medium to full coverage. This product comes in 40 shades

Stunna Lip Paint

A weightless, long-lasting liquid lipstick with a matte finish. The shade is said to work on a multitude of skin tones.

Match Stix Shimmer Skinstick

You can use this product as a highlighter or blusher and it comes in 10 colorful shades

Mattemoiselle Plush Matte Lipstick

A slim lipstick with a longwearing, soft matte finish, created in 14 color-intense shades.

Gloss Bomb Universal Lip Luminizer

Lip gloss with explosive shine in one universal rose nude shade.

Twitter fans have already shared their excitement on social media.


Miles Davis and all that jazz

Miles Davis teaches actress Jeanne Moreau to play the trumpet. (AFP)
Updated 19 September 2018
0

Miles Davis and all that jazz

  • Thankfully, the tapes were rolling on Dec. 19, 1970 — just one more historic evening when Miles changed music forever, before tearing up the rulebook again in pursuit of that most quixotic muse

ROTTERDAM: Miles Davis once claimed to have “changed music five or six times,” and while a man known for neither understatement nor modesty, some argue that the jazz icon sold himself short — biographer John Szwed once traced at least nine musical subgenres either born or shaped by Davis’ innovations. 

The revolutionary shopping list includes inventing cool-jazz in the 1940s, spawning hard bop, modal jazz and third-stream in the 1950s, and pioneering post-bop in the 1960s. However, the stylistic sea change Davis devoted most blood, sweat and tape toward were the ‘70s adventures in fusion most often epitomized by “B*****s Brew”, the first of ten dense double-LPs (plus two singles) recorded in just five years — which over 44 sides of vinyl explored and/or anticipated jazz-rock, funk, ambient, minimalism, worldbeat, psychedelic, space-jazz and even techno.

Trippy stuff, for sure, but not always easily listenable. Not the case with the misleadingly titled “Live-Evil” (1971) — a part-studio, mostly live set which captures Davis’ increasingly oblique electric permutations at their most fun, and funky. The bulk of the 102-minute runtime documents a one-night encounter with guest guitarist John McLaughlin, whose furious fretwork conceals an unusually ragged looseness and bluesy simplicity.

Such a raw approach suits the thick, squelchy grooves conjured by electric bassist Michael Henderson — recently recruited from Aretha Franklin’s band — grounding the untethered attack of drummer Jack DeJohnette’s crazed rock rhythms.

Recorded at the height of his boxing obsession, there’s a controlled aggression to Davis’ playing — the hurried rhythms of jabs and parries, ducks and dives — his horn harshly amplified through a wah-wah guitar pedal in a wholehearted Hendrix homage.

What little harmony there is comes from Keith Jarrett, whose overdriven organ scurries lend a frazzled energy and cerebral counter-balance. Soon after Jarrett — now the most renowned solo pianist on the planet — would quit and disavow electronic instruments altogether.

Thankfully, the tapes were rolling on Dec. 19, 1970 — just one more historic evening when Miles changed music forever, before tearing up the rulebook again in pursuit of that most quixotic muse.