Five Revelations From ‘Octomom’ Nadya Suleman’s New York Times Interview

Almost 10 years after she made headlines for giving birth to octuplets, Nadya Suleman is speaking out about her life today and the mistakes she made in her past.

The woman known as Octomom, 43, spoke to The New York Times on Saturday, December 15, a few weeks before the six boys and two girls, conceived via in vitro fertilization, turn 10 in January. “They’re the only surviving eight octuplets in the history of mankind,” she said proudly.

Suleman, who has six other children, also through IVF, told the newspaper that she is writing a book that she has been working on for 13 years. “That’s why I want to do this interview,” she explained. “I’ve been writing this manuscript since graduate school.”

Read on for five revelations from her interview.

She and her 14 kids live in a three-bedroom townhouse in California.

The Times reports that the octuplets, who are small for their age, are polite, and like their mom are vegan. Like their siblings, they help out with the cooking and because there are so many in the household, they eat in shifts, while some sleep on the couch.

She has been left with painful injuries from the pregnancy.

“I was misled by my doctor,” she told the paper of being implanted with so many embryos by Dr. Kamrava, who has since lost his medical license in the U.S. and left the country. Suleman, who stated that she turned to IVF because she couldn’t conceive naturally, said she didn’t know she was carrying so many babies and had only wanted twins. The pregnancy took a heavy toll on her body, stretching her belly out so much that it broke her ribs. “My back is broken because of the last pregnancy,” she said, admitting that the injury was made worse by years of running half-marathons. “I have irreparable sacral damage. And I have peripheral neuropathy. I haven’t felt my toes on my foot on the right side for many years, and my fingers are numb all the time every day. The pregnancy caused it.”

She is honest with her kids about her past, which includes drug abuse and a sex tape.

Suleman, who battled an addiction to alcohol and Xanax for two years, spent time in rehab in 2012. “When you’re pretending to be something you’re not, at least for me, you end up falling on your face,” she said of her sudden fame, which saw her appear in a 2012 sex tape, Octomom Home Alone. She claimed to The Times that her manager forced her to do the video by threatening to report her to welfare for fraud. “We talk about everything,” she said of discussing her past with her brood. “They know, they went through it with me. It’s a huge weight lifted off of all of them when I went back to who I was. We were struggling financially, but it was such a blessing to be able to be free from that. Those were chains.”

She doesn’t date.

The full-time counselor, who told the newspaper that she relies on government assistance and “international photo shoots,” insisted that she “never wanted the attention” that came with her record-breaking pregnancy. She revealed that she isn’t seeing anyone and doesn’t have contact with the men who fathered her children. One man was the sperm donor for the octuplets and she said that “maybe the kids will meet him at 18.”

She doesn’t often go out with all 14 kids.

The family’s day begins at 6:20 a.m. with her driving the kids to school in a Ford E-350 Super Duty van. After school there’s cleaning and chores, with the kids helping out with cooking, and then the clan is in bed by 8:30 p.m. On Saturdays they have family fun nights with vegan junk food in front of the TV. Her eldest daughter, Amerah, 16, told The Times that the 15 of them seldom step out together. “She’ll get anxiety, everyone staring, so she’ll take whoever’s behaving the best. There’s ups and downs.”

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Jamal Khashoggi, Other Journalists Named Time’s Person of the Year

Time selected Washington Post columnist Jamal Khashoggi, Philippine editor Maria Ressa, jailed Reuters reporters Wa Lone and Kyaw Soe Oo and the Capital Gazette of Annapolis, Md. as the magazine’s Person of the Year, recognizing the journalists as “guardians” at a time of a “war on truth.” “In its highest forms, influence — the measure that has for nine […]

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Google just found malware apps hiding in the Play store that were downloaded over 500,000 times

Google Play Store apps

Google has taken swift action after it was discovered that more than a dozen apps that install malware on user devices were found in the Google Play store.

The company has yanked the 13 Android apps, which included car and truck driving simulations as well as a couple that actually got featured in the store’s trending section. However, that removal came after a researcher claimed that at least 500,000 users had download the apps in total, risking the installation of malware on their devices.

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Google just found malware apps hiding in the Play store that were downloaded over 500,000 times originally appeared on BGR.com on Sun, 25 Nov 2018 at 14:44:35 EDT. Please see our terms for use of feeds.


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5 Times You Need a Financial Adviser — and When the DIY Approach Is Fine

When I decided to start investing for retirement, I had no clue where to start.

I had no 401(k), individual retirement account (IRA) or health savings account (HSA). I didn’t even have one of those apps that invest your spare change. I was starting from zero.

I assumed that to start investing you had to have a financial adviser.

So I made an appointment with one who would see my husband and me for free — how sweet of him! — and we sat for hours as he went over four investment options.

I left more confused than I came in. I just wanted to give him my money. But it had to pass through so many hands before it could enter the market, and for some reason, we needed another meeting.

At that second meeting, I found out how he got paid: a 5% commission on all of my contributions. I realized that if I did this on my own, even if my returns were worse, I might come out on top with all the money I’d save without his commission.

That was the first time I realized that I didn’t need to use a professional to start investing.

When Can I Do It Without a Financial Adviser?

If you’re just starting out and you don’t have any complex situations like a large inheritance or six-figure income, you can succeed for a while on your own.

But if you’re going to DIY your investments, you’ll need to commit to learning about investing. Luckily, there’s a wealth of information on the internet.

The Penny Hoarder has a lot of articles to help you get started saving for retirement that explain things like:

If you prefer a book to a computer screen, I recommend “The Simple Path to Wealth” by JL Collins. It explains everything you need to know to get a grasp on basic investing concepts while not putting you to sleep.

As long as you continue accumulating cash in your accounts and everything is smooth sailing, that’s the time when, if you feel confident, you can go it alone.

But what are the signs it’s time to pony up for a professional?

When Do I Need a Financial Adviser?

Financial advisor Paul Ruedi poses outside in front of greenery.

I talked with three professionals in the planning industry who have fiduciary obligations — meaning they’re legally obligated to work in the best interest of clients. (I know: Why isn’t that universal yet?) They filled me in on when you really need to get professional help.

Paul Ruedi of Ruedi Wealth Management specializes in retirement planning. He thinks one of the best times to consult an adviser is before or during the transition to retirement.

Transitioning into life without a paycheck requires making a lot of complicated decisions,” Ruedi said. “On top of that, people’s investment account balances are likely the highest they have been in their lifetime, which amplifies every little movement in the stock market and can turn investing into an emotional rollercoaster.

When you’re making decisions like how to make your investments last for multiple decades, when to claim Social Security and how to best withdraw from those accounts, it’s time to get someone on board to guide you.

In some instances, you might need someone in your corner well before retirement.

Kayse Kress, a certified financial planner at Physician Wealth Services, poses outside.

Kayse Kress, a certified financial planner at Physician Wealth Services, said people often benefit from objective advice.

Even if you are a really smart person, it can be hard to keep your emotions out of your financial decisions,” Kress said. “You could benefit from working with an adviser that will provide you with objective advice and help you make more sound financial decisions.

The people who benefit most in Kress’ practice are those who are just too busy to find time to focus on creating a plan for their finances.

But a big reason people don’t find the help they need is that traditionally, it’s been difficult and expensive to work with someone.

It wasn’t too long ago that if you weren’t sitting on a pile of cash to invest, then it could be difficult to get anyone in the financial services industry to work with you,” Kress told me.

But with the rising popularity of fee-only financial planners, people can now seek out the help they need at any point in their financial journeys.

Chris Hutchins, co-founder and CEO of online financial planning service Grove poses in his office.

Chris Hutchins, co-founder and CEO of online financial planning service Grove, has seen many circumstances when having a financial planner before retirement was necessary. Some examples include:

  1. You’re not sure how to figure out if you’re saving enough or whether you’re on track for your retirement goals.
  2. You don’t know what your goals are or how much you need to be saving for them.
  3. You’ve intended to do something about your finances for a long time, and yet they’re still in the same spot.
  4. You’ve had a sudden financial windfall (inheritance, your company was acquired, etc.).
  5. The stress of trying to figure out whether you’re on track or doing the right thing with your money is too much.

No matter how young or old, or investment savvy or not you are, there’s no excuse to not plan for retirement. For some, that might mean a DIY approach. But for others, it means seeking professional help.

Thankfully, there’s a place for everyone to get what they need.

Jen Smith is a staff writer at The Penny Hoarder. She writes a lot about retirement and gives money-saving and debt-payoff tips on Instagram at @savingwithspunk.

This was originally published on The Penny Hoarder, which helps millions of readers worldwide earn and save money by sharing unique job opportunities, personal stories, freebies and more. The Inc. 5000 ranked The Penny Hoarder as the fastest-growing private media company in the U.S. in 2017.

The Penny Hoarder Promise: We provide accurate, reliable information. Here’s why you can trust us and how we make money.

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‘Ocarina of Time’s Inescapable Influence on Modern Gaming



The greatest game ever made. In such a subjective medium, it seems impossible this title could be so resoundingly awarded to one game. But when players, designers, and critics herald The Legend of Zelda: Ocarina of Time as the best ever, it’s not just about the artistic achievement, but its impact on games to come.

As we ride our horses through the day/night cycle of Red Dead Redemption 2, or rely on one button to navigate us through parkour in Assassin’s Creed Odyssey, or lock and strafe around hollows in Dark Souls 3, we can draw a straight line to Ocarina of Time as a pioneer.

In the same way that many fantasy elements can be traced back to the genre-defining works of Tolkien, many modern mechanics and puzzle tropes can be traced back to this seminal work, which somehow simultaneously filled the role of “experiment” and “fully realised idea.”

Imagine a world in which game developers fumbled their way through the move from 2D to 3D with as many missteps as innovations. Such a progression would be normal. Expected. Instead, we had a plumber and an elf that got almost everything right on the first try.

And it really was the first try. According to Eiji Aonuma, a producer designing the dungeons in Ocarina of Time, it was one of Nintendo’s “first 3D tryouts.” “Every single aspect of the game was a new experiment to us,” Aonuma-san once told the Telegraph. “Each and every day we focused on creating something new.”

There was no manual, no accepted wisdom, no other works to provide inspiration. Where other games stand on the shoulders of giants, Ocarina of Time became the giant.

Target and Strafe



One of the most universally recognised gifts from Ocarina of Time to the world of gaming was its Z-Targetting innovation. Pressing the Z trigger would lock onto an enemy or NPC. Side movement transformed into strafing around the focus point, and jumps became evasive sidesteps and backflips.

Pressing Z with no target would anchor the camera behind Link and lock him into facing in that direction. This went a long way towards providing reliable control over the camera in 3D space, solving the foibles experienced by Super Mario 64 players. A nice, theme-appropriate touch for Ocarina was making Navi fly to the object you’re targetting.

It’s been used in just about every 3D combat game since, and we could spend pages listing the games like For Honor, Dark Souls, or The Witcher 3 that are wholly dependent on it.

But the genius behind Z-targetting goes beyond just the mechanic — it informs the game design around it. Ocarina will use your combat focus to script the fight, like a kung fu movie where enemies jump in at just the right times.

Designer Yoshiaki Koizumi has often told the story of being inspired watching a theatrical swordfight at Toei Kyoto Studio Park.

“I thought there must be some kind of trick, so I watched very closely, and it was simple,” he said. “It’s a sword battle, so there’s a script and a certain setup. The enemies don’t all attack at once. First, one attacks while the others wait. When the first guy goes down, the next one steps in, and so on.”

Enemies to the sides won’t completely disappear in Ocarina, but they’re told to act passively. Ideally, they’d be just present enough for the player to feel the tension of being flanked without the unfairness of repeatedly getting hit in the back.

Z-targetting has become a staple of modern 3D combat movement, an invention so ubiquitous it’s hard to imagine a world without lock & strafe. But the connected AI has also carried over into every modern game in which scores of thugs surround the hero.

These days, clever interface upgrades have allowed us to react to off-screen threats. This is relied on heavily by the recent God of War, with its permanent Kratos close-up. But Ocarina’s unfair fight philosophy was the foundation of the school of “choreography combat,” expertly employed by franchises such as Assassin’s Creed, Arkham, and Middle Earth.

These examples would further innovate by locking the player and opponent into a synchronised attack/defend animation. But the fundamental idea is the same: a style of combat in which the enemy’s decisions and movements are influenced by player intent.

Context-Sensitive Inputs



When you need more buttons than you currently have, the typical solution is to have a “function” key. While that’s been done in games, Ocarina had a more elegant solution — a button that changed its function according to your surroundings.

The A button, or “action” button, was a one-stop shop for in-game commands. It was an “everything” button. It would climb Epona if she were near, it would throw a bomb if you carried one, and it would rip up grass to find the rupees inside (because that’s how grass works). The context-sensitive commands even extended to actions that required no buttons at all.

Whereas most games without a jump button are ridiculed for the hero not being able to vault a knee-high fence, Ocarina made it work by understanding player intent. In fact, the game originally had a jump button — legendary designer Shigeru Miyamoto removed it to make Ocarina less of an “action” game and keep the focus on puzzles.

It was a simple solution — running off a ledge would automatically jump. But it also solved the age-old problem of players mistiming jumps. Whether 2D or 3D, most platform games offer a handful of “grace” pixels for players who jump off a platform just a few frames too late. Falling off a platform the very pixel you walk off seems unforgiving and unfair, especially if the running animation makes it seem like you had one more step — but in Ocarina, that ledge run would always be interpreted as a pixel-perfect leap.

The ways in which context-sensitive controls have reverberated throughout modern gaming are, as with Z-Targetting, too numerous to count. The entire parkour system of Assassin’s Creed for example – a major pillar of the franchise – depends on interpreting player intent as you approach an obstacle. Scampering though sections of cover in Gears of War, flipping a switch in Dark Souls, or using the jump button twice to vault over that ledge in Battlefield V… Heck, it’s a full half of the controls in Divekick.

It’s there while finding a slope to initiate your slide attack in Monster Hunter World. It’s in the combat systems of God of War and Marvel’s Spider-Man, found in their stances, distance management, precise timings, and variable enemy states. And it’s omnipresent the interactions of Red Dead Redemption 2. For those keeping score, those are all the major Game of the Year contenders for 2018. A little bit here, a little bit there, it’s easy to see how modern game design borrows little pieces of Ocarina magic.

Opening Up Our Game Worlds



From the early game, you can see the peak of Death Mountain in the distance. After leaving Kokiri Forest, it’s possible to run across Hyrule Field, into the realm of the Gorons, all the way to that very volcanic peak.

Such a feat wasn’t possible before Ocarina of Time, but it’s become a staple of open world games since. While Death Mountain wasn’t your final objective, the “tower in the distance” is a now-conventional way to convey a player’s goal used in everything from Journey (the shining mountain peak), to Half-Life (City 17’s Citadel), and many more. An otherwise empty horizon with a tall point of interest lets the player know where to go, and Death Mountain was the next stop for Link.

In this new world of 3D gaming, players weren’t used to horizons. It would have been “good enough” to simply fill the horizon with visual fluff. But never one to be satisfied with incremental improvements, Ocarina of Time went a step further and filled it with possibilities. More than a skybox, more than window dressing, it was a mountain you could actually climb. A castle you could actually conquer. It was as if Ocarina of Time had made two innovative leaps at once.

The feeling of emerging into Hyrule Field for the first time was something gamers hadn’t experienced before. It was technically a hub, but felt like what we’d come to call an open world. With a five-minute run across Hyrule Field, it was small by today’s standards, but shockingly spacious for someone stepping out of the tall trees of Kokiri Forest and into a new era of gaming.

It also had a day/night cycle that affected world events, as well as the ability to control the sun and weather through song. Friends and enemies would move, sleep, or even perish according to the time of day. Riding across this space on horseback and engaging in mounted battles was another novelty. The “carrot” system of accelerating your horse is still used in the recent cavalry combat games such as Breath of the Wild and Red Dead Redemption 2.

Seven Years Without a Hero



The idea of two parallel worlds wasn’t entirely new — A Link to the Past had its Dark World, and made clever use of shifting between the two to find otherwise blocked off temple entrances. Historical manipulation existed too, as seen in the story-focused time travel of Chrono Trigger.

Ocarina, once again, took everything one quantum leap further.

Not only was this a more fleshed out version of the idea, with every NPC and location having gone through seven years of trauma under Ganondorf’s rule, but your actions as Child Link would reverberate into the world of Adult Link. Time travel wasn’t just a story tool anymore. It was gameplay.

Take the Spirit Temple, which required you to come back as Child Link to trigger events and gain the equipment to enter the temple as Adult Link. It was a temple in two halves, with seven years between them. Other examples in the wider world incorporated time travel directly in individual puzzles. Don’t you just love it when you pop a puzzle item into place, and it hasn’t moved seven years later? Some Hyrulians need a maid.

From a technical standpoint, combining the day/night cycle with time travel meant this was not just one open world, but many. Whether outside or inside, each area has four different versions to accommodate both Child and Adult Link, at either day or night. But from the player’s perspective, this made genius use of a single playspace in which puzzle solutions stretched across the chasm between spacetimes.

While it’s less common to see this copied in the triple-A space, many games have explored multiple worlds that affect each other, usually with their own unique take. From The Nether‘s effect on movement in Minecraft, to the dimension-defying brain ticklers like Fez, Crush, or Super Paper Mario, to bridging the virtual and physical worlds with games like Dystopia, and countless other indie games.

A New Dimension for Puzzle Design



While Ocarina was a pioneer in the fourth dimension, it was even moreso in the third — and the benefit of being first and being right in 3D puzzle creation is that so many afterwards will be seen to be copying you.

The classic reflection puzzles of the Spirit Temple saw you using the Mirror Shield to grace sun symbols with light, as well as pushing statues around to reflect beams onto the right surface. Every time we reflect light or push statues around for a similar puzzle – from the simplistic statue puzzles of God of War to the reflecting laser mazes of Portal 2 and The Talos Principle – we borrow from Ocarina.

Countless games since have copied the idea of the Lens of Truth, which reveals hidden objects and illusions when the player remembers to activate it in the right areas. Though before the 3D era, the idea of such an item or spell extends back before pen & paper RPGs and into mythological storytelling. Often used in a puzzle or looting capacity these days – such as God of War 3‘s Head of Helios – this idea also sees lots of use in horror games — usually in items with finite power that reveal the supernatural or cast light on the shadows.

The move to 3D brought verticality, Ocarina understood the gravity of it. Smashing through the Deku Tree‘s cobwebs with nothing but your downward momentum (and later fire) was one of many moments in which we all had to rewire our brains for this new age of puzzles. Later on, players would learn the reverse of this — the old Ocarina adage, “when you’re stuck, look up.”

Looking “up” took on an entirely new meaning in the Forest Temple though, as twisted corridors could be manipulated to turn the temple on its side — a level-bending idea copied by puzzle games as well as action games like Nioh. But Nintendo itself is the biggest copycat of this idea, with Captain Toad: Treasure Tracker and various Mario games incorporating world-flipping in their puzzles.

Symbology and Song



Although Shigeru Miyamoto wasn’t invested in the storytelling aspect of the game, those under him believed The Legend of Zelda should have more of a legend.

The creation story featuring three goddesses was conceived, races were fleshed out, and characters were given backstories and motivations. Setting out, we were told more than just how dangerous it is to go alone.

Ocarina also advanced the series’ love affair with symbology, which in turn has furthered an industry-wide “language of gaming.”

The Zelda franchise is far from the sole innovator here — we’ve been building a colour-coded, symbol-based language of gaming since the earliest days of ASCII dungeons and red keys required for red doors. But Zelda games have contributed much here, and Ocarina was the biggest leap forward in the franchise.

It doesn’t matter what language you speak, you can still understand that the red fire arrow will melt the blue ice, the pieces of heart will build your health, and items with the Triforce symbol are likely connected to the royal family. You know that gossip stones and the Lens of Truth are somehow connected via the symbol of the Sheikah. You know the colour green corresponds with Courage, the Kokiri, the forest, and your earliest friend Saria. All of this informs your exploration of the world, your understanding of the lore, and how you solve puzzles.

The lesson was well learned by other companies. Blizzard’s Jeff Kaplan, gearing up to release Overwatch, once told us “A little bit of lore goes a long way.” It offers superfans an avenue to become even more invested in a franchise, even it it’s an action or PvP game that might seem unrelated to story. For League of Legends, this low-effort, high-reward philosophy perfectly complimented its massive roster of PvP champions.

This “little bit of lore” went a long way towards representation in games, too. While Princess Peach was still very much in distress, Ocarina was one of the first games to flip the damsel trope by transforming Zelda into the ultra-capable Sheik. It can even be competently argued that Sheik was the real catalyst of change in Ocarina of Time.

Ocarina‘s themes were as much about the sounds as the sights. It was already common for movies and games to assign a musical theme to a character or area. But none committed to using music to connect world elements like Ocarina, or made the player an active participant in these memorable identifiers. It may seem kafkaesque to glorify Ocarina for using musical themes, but its execution was original. In a way, we all remember Zelda’s Lullaby because we had to. It was part of the game.

Perhaps the most iconic and memorable tune, Saria’s Song, instantly brings back misty-eyed memories for any Zelda fan. It conjures thoughts of Saria and the forest, but it also had a purpose — playing the song on your fully functional ocarina opened a channel to your childhood friend for advice.

The music was technically innovative as well. With the bleeps and bloops of 8bit consoles now a distant memory, composer Koji Kondo pushed the new hardware to its limits. He gave each area its own sonic identity, from the Gregorian chants of the Temple of Time to the delicately plucked harp strings of the Great Fairy Fountains.

Whether warping to temples, changing the weather, or unlocking the royal family’s secrets, players quickly realised this so-called “background music” wasn’t limited to the background at all. It was an active part of the gameplay, and became highly memorable and nostalgic as a result.

Using background music in this way can be wonderfully subtle, fostering the “Aha!” moments that puzzle games seek to create. If you’re looking for a modern fix in the same vein, most recently The Witness played with these aural ideas as one of its many sub-themes in its puzzle design.

Remember Where it Came From



In the great foundation that makes up modern game design, a striking number of bricks wear the symbol of the Triforce. Much is made of its untouchable 99 rating on Metacritic, but more than its quality, it’s Ocarina‘s influence on so many subsequent games and designers that makes it the greatest game ever made.

As we celebrate the release of Red Dead Redemption 2, as phenomenal as it is, you can draw a straight line from so many of its achievements to Ocarina. Take the word of Dan Houser, founder of Rockstar, who said “Anyone who makes 3D games who says they’ve not borrowed something from Mario or Zelda is lying — from the games on Nintendo 64, not necessarily the ones from today.”

It’ll be hard for any game to have the same kind of impact without being paired with a massive technological breakthrough. Even then, it usually takes years for games to figure out how to best take advantage of a platform. Such a challenger would have to get just about everything right on the first attempt. It’s hard to see a serious contender on the horizon when Ocarina gave us that horizon.

Perhaps the first killer app for VR/AR has the potential. But until someone combines an achievement of engineering and design, adding a new dimension to play, Ocarina – fittingly – splits our timeline into two sections. Everything before it seems like antiquity, and everything after it is indebted.



The post ‘Ocarina of Time’s Inescapable Influence on Modern Gaming appeared first on FANDOM.

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Pint-size football fans in the know are getting their fill of their favorite pastime — for free. The word hasn’t spread widely about this surprising holiday fantasy at the NFL Experience, an interactive museum spread over 40,000 square feet in Times Square. The museum — which boasts a simulated game in a 4-D movie theater…
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Black Woman’s Beauty Product Lands On TIME’s ’50 Best Inventions’ List

As an international corporate lawyer and mother of two, Adiya Dixon-Wiggins understood the value of beauty-on-the-go, but she couldn’t buy a product that would allow her to apply makeup on the fly. Traditional makeup brushes, which are shaped like paint brushes, became a pain for her to travel with or use when applying makeup in the car. Meanwhile, she found that using her fingertips was messy and unsanitary. To solve this issue, she created Yubi Beauty, a cosmetic tool brand that allows women to quickly and effectively apply makeup. The brand was featured on TIME’s “50 Best Inventions of 2018” list.

“I’m humbled by this tremendous honor and I hope my example will encourage more women of color to pursue their passions in technology, beauty, and entrepreneurship,” Dixon-Wiggins told BLACK ENTERPRISE about receiving the prestigious recognition.

 

Adiya Dixon-Wiggins

The Yubi Buff and Blend set (Photo courtesy of Yubi Beauty, LLC)

 

Dixon-Wiggins says she invented the brushes out of the necessity to make beauty less of a burden for busy women. The patent-pending cosmetic brushes have a unique design and compact size that makes it easy to apply multiple products, from sunscreen to foundation, blush to highlight, and everything in between. The multipurpose applicator heads are also easy to clean and promises to provide maximum control, ease, and comfort. Plus, all of Yubi’s products are vegan and cruelty-free. “What you put on your face is as important as how you put it on,” Dixon-Wiggins said

The Yubi Buff and Blend set, which currently retails for $ 39, is set to debut on the Home Shopping Network in January 2019.

Watch Adiya Dixon-Wiggins’ interview and tutorial about the Yubi brushes at the Black Enterprise headquarters below.

For a longer demo of the Yubi, check out the video on YouTube. 

 

 

The post Black Woman’s Beauty Product Lands On TIME’s ’50 Best Inventions’ List appeared first on Black Enterprise.

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New York Times cancels luxury tours of Iran

The New York Times said Friday it is ending a series of journalist-guided luxury trips to Iran for its readers as global political tensions continue to escalate. “We’re suspending the Iran tours because of difficulties related to the issuance of visas for our experts,” said a NYT spokeswoman. She declined to comment on whether it…
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Deadline nears for public to buy stock in High Times

The deadline for the public to buy stock in Hightimes Holding under the crowd-sourced IPO is Oct. 31. The company, which owns magazines and Web sites and runs concerts and exhibitions, is hoping that the movement to legalize marijuana will enable the 44-year-old enterprise to catch fire. But it’s been a mixed bag so far….
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A Closer Look at the ‘New York Times’ x Études FW18 Capsule

Études kicked off 2018 with a killer new range at Paris Fashion Week. The French label’s Fall/Winter 2018 selection of styles featured adidas collaborative items alongside pieces with the renowned publication, New York Times. The Times’ logo appears on jackets, shirts, caps, and scarves. Collectively, the capsule touches on the theme of history versus daily information.

Get a closer look at the capsule above and let us know if you’re willing to cop. Release details have yet to be announced. Elsewhere in fashion, Hiroshi Fujiwara joined forces with Burton AK457 on new technical gear.

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New York Times scrambles to defuse a full-blown staff rebellion

The New York Times is scrambling to quell a staff rebellion at its metro desk after the section’s editor, Cliff Levy, unleashed a blistering email to staffers last week, saying the section had “lost its footing” and was in need of “urgent” change. The News Guild of New York, which represents the 40-plus journalists in…
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New York Times: Kushner likely paid almost no federal income taxes for years

Jared Kushner, whose net worth is nearly $ 324 million, appears to have paid almost no income taxes from 2009 to 2016, The New York Times reported Saturday.


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Interview: ‘Bad Times at the El Royale’ Writer-Director Drew Goddard on Soul Music and Shirtless Chris Hemsworth

Interview: 'Bad Times at the El Royale' Writer-Director Drew Goddard on Soul Music and Shirtless Chris Hemsworth

Bad Times at the El Royale is perhaps one of the most soulful movies of the fall season — a super stylistic crime drama fueled by soul music about strangers who show up at a rundown motel all searching for something or someone. As their paths begin to cross and their stories intertwine, we're left with a refreshingly unique film that produces shades of Quentin Tarantino, the Coen brothers and even classic noirs like 1974's Chinatown. 

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Watch Exclusive ‘Bad Times at the El Royale’ TV Spot

Watch Exclusive 'Bad Times at the El Royale' TV Spot

On first glance, the El Royale looks like a perfectly peaceful and quiet establishment to spend a night or two. Located on the border of California and Nevada, it offers all the modest amenities one might expect.

Looks can be deceiving, however, as our exclusive TV spot from Bad Times at the El Royale makes abundantly clear. The hotel quickly becomes overrun with surprisingly dangerous guests, including Jon Hamm, Cynthia Erivo, Jeff Bridges and Dakota Johnson, not to forget Chris Hemsworth,…

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http://www.acrx.org -As millions of Americans strive to deal with the economic downturn,loss of jobs,foreclosures,high cost of gas,and the rising cost of prescription drug cost. Charles Myrick ,the President of American Consultants Rx, announced the re-release of the American Consultants Rx community service project which consist of millions of free discount prescription cards being donated to thousands of not for profits,hospitals,schools,churches,etc. in an effort to assist the uninsured,under insured,and seniors deal with the high cost of prescription drugs.-American Consultants Rx -Pharmacy Discount Network News

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‘Bad Times at the El Royale’ Review: Good Time at the Movies

What is Bad Times at the El Royale?

In this star-studded thriller, seven strangers — each with a secret to hide — check into the titular Lake Tahoe hotel, which sits on the California-Nevada border. Over the course of a stormy night, their paths cross, their pasts are revealed, and the characters find themselves on a collision course that will either lead to redemption, or an early grave.

Tarantino-Esque

Drew Goddard — whose last film was meta horror gem The Cabin in the Woods some six years ago — is clearly a fan of the master of meta crime movies, Quentin Tarantino. Not only does Goddard’s new movie ape QT’s tone and style and approach to character, it also has much in common with his last release, The Hateful Eight.

Both films feature a bunch of disparate souls holing up in a single location overnight. Thanks to Biblical storms raging outside. In both stories nothing and no one is what they seem. In both movies, dialogue-heavy interactions reveal that some characters are there by coincidence, while others have more in common than it first appears. And in both instances, those conversations trigger intense bursts of violence that result in far fewer walking out than walked in.

Tahoe’s Best Kept Secret

And what a strange, mysterious space the El Royale is. A red line running down the middle of the lobby, it’s a “bi-state establishment” that divides the warmth and sunshine of California from the hope and opportunity of Nevada. With the beds in the ‘Golden State’ a buck more.

The El Royale is decked out like a 1960s Vegas lounge, though one that’s a few years past its heyday. The film takes place at the start of the ’70s, long after the hotel’s gambling license has been lost, and a time when the ‘Summer of Love’ has transformed into something more sinister, with Nixon in the White House, and murder on the news.

Following a brief prologue in which a murder occurs in one of the rooms some 10 years previous, we’re introduced to this den of iniquity’s newest clients.


Jon Hamm, Jeff Bridges, and Cynthia Erivo in Bad Times at the El Royale.

The Likeable Seven

Laramie Seymour Sullivan (Jon Hamm) is a southern, silver-tongued salesman obsessed with his “accoutrements,” and determined to lavish himself in the honeymoon suite. Darlene Sweet (Cynthia Erivo) is a soul singer clearly struggling to make ends meet. Emily Summerspring (Dakota Johnson) looks like a hippie, but her attitude is anything but. And Father Daniel Flynn (Jeff Bridges) is a charming priest with a serious sob story who seems out of place in such an establishment.

These first arrivals introduce themselves while waiting for the hotel’s staff, their interactions sparking tensions, setting the characters at odds with each other, and creating audience expectations that are cleverly defied as proceedings progress.

And progress they do, via a series of chapters that revolve around characters or events, some in the past to lend much needed context and stakes, and others in the present, as new guests are added to the mix (turning the four into seven), and the various storylines start to coalesce.

Excessive Run-Time

Trouble is — much like Hateful Eight — it takes an absolute age to get to the film’s finale, which itself is dragged out for longer than’s necessary. And while some of the tales that play out along the way are thrilling — most notably Father Flynn’s — others are less engaging, with one particular back-story dishwater dull. Meanwhile Chris Hemsworth’s role — which we won’t spoil here — is a little too on the nose, an issue that isn’t helped by his mugging for the camera.

But the dialogue is as sharp as it is smart. The film’s soundtrack is an all-timer that’s filled with pop, rock and soul from music’s greatest era. The politics that sneaks into the film is effective, making clever comment on the cult of celebrity and the behaviour of those in power. And there are some terrific performances, not only from Bridges and Hamm, but also via less familiar faces like Erivo — who sings like an angel — and Lewis Pullman, who might just steal the film as the El Royale’s mysterious desk clerk Miles.

Is Bad Times at the El Royale Good?

You could call Bad Times at the El Royale a Hateful Eight imitator (with a little Identity thrown in for good measure), but if you are going to crib, crib from the best. And to be fair to writer-director Drew Goddard, he’s pulled off a pretty impressive feat in his own right, effortlessly cross-cutting between multiple timelines and stories to craft a cohesive thriller that constantly pulls the rug out from under the audience.

So while it ultimately outstays its welcome, Bad Times is anything but for much of that run-time, making it both the best crime thriller that Quentin Tarantino never made, and a joint that’s well worth paying a visit.

Bad Times at the El Royale was reviewed at Fantastic Fest and hits Australian screens on October 11 and releases in UK/US cinemas on October 12.

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