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'Wonder Woman' on TV? CW is redeveloping series for 'trickiest' hero
Will a Wonder Woman TV series ever get off the ground? The CW isn't giving up yet.
The network had been developing a pilot called "Amazon" about teenaged Diana (think "Smallville's" pre-Superman Clark Kent), but the series was passed over for the CW's fall lineup.
When asked Thursday if the warrior princess could still come to the CW, network President Mark Pedowitz said, "Oh God, yes!
Wonder Woman is just one leap away.... But will the studio execs get it right? Unbelievable.... in this day and aged Warner Bros. can't get WW right and a 1970's ABC television show is still the only good WW reference we still have. It may be time to retire the old execs and get fresh blood at WB. -Ty-Ron Mayes
BARBIE TAKES A PAGE FROM TYRA BANKS… SHE’S FLAWSOME TOO!
Not only do Supermodels and Uber Moguls have flaws and flaunt them like the beautiful Tyra Banks. Barbie has seemed to join the wave of “FLAWSOME” beauties that are courageous enough to show what lies beneath. Although, the smallest celebrity in the world is made of plastic, she has always worn the latest make-up trends from the 1950′s ‘Doe Eye’; to the 70′s Tanned Barbie look; till today’s full Kardashian beat… Barbie has never been seen without her lashes and a good lip. Barbie even indulge in the biggest no, no’s in skin care. She sleeps in her make-up!
Well today, the pint-sized Supermodel shows what she looks like without concealer, liner, lashes and a good blow-dry.
Tyra Banks at The Clive Davis Pre-Grammy Party wears gown and accessories by Roberto Cavalli. Stylist: Ty-Ron Mayes
Can Barbie ever win? “It’s human nature for people to build up iconic figures and then tear them down,” says Fran Walfish, Psy.D., a child and family therapist based in Beverly Hills, CA. “We idealize public figures because we want something to aspire to but our standards are impossibly high. And when these icons inevitably misstep, we feel disappointed and angry that our hopes have been dashed.” In the case of Barbie, Walfish speculates that the person who posted the image may have been trying to convey that under all the sparkle and glamour, Barbie is just a normal woman with run-of-the-mill flaws. “Barbie with braces and acne looks very much like the type of women and girls who come into my practice,” says Walfish. “Perhaps this new image is a good thing.”
When I interviewed Tyra Banks, a “Life-Size” Barbie look-a-like; she chimed in on the “FLAWSOME” phenomenon that she started which helps women and girls of all ages to accept their bodies and embrace their flaws.
Ty-Ron Mayes: … can you tell us about this new word you created? What exactly is “FLAWSOME”?
Tyra Banks: I didn’t create it, but I have been using it. I saw it once and I said, ‘Oh my God, that’s amazing!’ And to me, I think beauty is so much more interesting when it’s not perfection… when it doesn’t look like a ‘Barbie’… when there are so many different elements that create something that is different, quirky and unique. To me that’s FLAWSOME! Which is YOUR FLAWS + YOU’RE AWESOME = FLAWSOME! So, I saw that and I thought this was so cool and I really wanted to relate this to women’s physicalities and celebrate the fact that none of us look like Barbie dolls. It takes me a long time to look like one. It takes three to four hours of hair and make-up and even then, I am still hiding certain things such as cellulite and many other things that I am hiding to look a certain way. So I wanted to celebrate uniqueness and things that are different as well as imperfect. We are awesome, we have our flaws and we are FLAWSOME!
I hope every little girl gets a chance to see Barbie’s make-under so they know that make-up and hair tricks are an illusion used by the best celebrities… even the ones with removable parts.
Ty-Ron Mayes
THE SKINNY ON DIET POP AND SWEET POISON!
The Shocking Story of How Aspartame Became Legal
Do not drink DIET SODAS OR DRINKS with ASPARTAME as an ingredient… linked to BRAIN CANCER and Short Term Memory loss.
January 19, 2013 by Joe Martino
Did you know that Aspartame was banned by the FDA twice? How is this product legal now?
The bittersweet argument over whether Aspartame is safe or not has been going on for a long time. On one side we have medical evidence that suggests we should avoid using it and on the other side we lean on the FDA’s approval that suggests it is safe. Since generally that seems to be the factor that many continue to hold trust based upon, I thought we could look into the Aspartame story to find out how it came to be accepted as safe by the FDA. You would think that something so widely used and so well accepted would have quite the pristine story leading to its acceptance. I imagine one will discover otherwise after reading this post.
It all starts in the mid 1960′s with a company called G.D. Searle. One of their chemists accidentally creates aspartame while trying to create a cure for stomach ulcers. Searle decides to put aspartame through a testing process which eventually leads to its approval by the FDA. Not long after, serious health effects begin to arise and G.D. Searle comes under fire for their testing practices. It is revealed that the testing process of Aspartame was among the worst the investigators had ever seen and that in fact the product was unsafe for use. Aspartame triggers the first criminal investigation of a manufacturer put into place by the FDA in 1977. By 1980 the FDA bans aspartame from use after having 3 independent scientists study the sweetener. It was determined that one main health effects was that it had a high chance of inducing brain tumors. At this point it was clear that aspartame was not fit to be used in foods and banned is where it stayed, but not for long.
Early in 1981 Searle Chairman Donald Rumsfeld (who is a former Secretary of Defense.. surprise surprise) vowed to “call in his markers,” to get it approved. January 21, 1981, the day after Ronald Reagan’s inauguration, Searle took the steps to re-apply aspartame’s approval for use by the FDA. Ronald Reagans’ new FDA commissioner Arthur Hayes Hull, Jr., appointed a 5-person Scientific Commission to review the board of inquiry’s decision. It did not take long for the panel to decide 3-2 in favor of maintaining the ban of aspartame. Hull then decided to appoint a 6th member to the board, which created a tie in the voting, 3-3. Hull then decided to personally break the tie and approve aspartame for use. Hull later left the FDA under allegations of impropriety, served briefly as Provost at New York Medical College, and then took a position with Burston-Marsteller. Burstone-Marstella is the chief public relations firm for both Monsanto and GD Searle. Since that time he has never spoken publicly about aspartame.
It is clear to this point that if anything the safety of aspartame is incredibly shaky. It has already been through a process of being banned and without the illegitimate un-banning of the product, it would not be being used today. Makes you wonder how much corruption and money was involved with names like Rumsfeld, Reagan and Hull involved so heavily. In 1985, Monsanto decides to purchase the aspartame patent from G.D. Searle. Remember that Arthur Hull now had the connection to Monsanto. Monsanto did not seem too concerned with the past challenges and ugly image aspartame had based on its past. I personally find this comical as Monsanto’s products are banned in many countries and of all companies to buy the product they seem to fit best as they are champions of producing incredibly unsafe and untested products and making sure they stay in the market place.
Since then, aspartame has been under a lot of attack by scientists, doctors, chemists and consumers about it’s safety and neurotoxic properties. Piles of comprehensive studies have been completed that show aspartame is a cause for over 90 serious health problems such as cancer, leukemia, headaches, seizures, fibromyalgia, and epilepsy just to name a few. We have written several articles discussing various affects of aspartame. Aspartame Leukemia Link. Aspartame and Brain Damage.
For a full timeline on aspartame’s legal and safety battles, expand the box below.
[toggle title="Full Aspartame Timeline"]
Timeline
December 1965– While working on an ulcer drug, James Schlatter, a chemist at G.D. Searle, accidentally discovers aspartame, a substance that is 180 times sweeter than sugar yet has no calories.
Spring 1967– Searle begins the safety tests on aspartame that are necessary for applying for FDA approval of food additives.
Fall 1967– Dr. Harold Waisman, a biochemist at the University of Wisconsin, conducts aspartame safety tests on infant monkeys on behalf of the Searle Company. Of the seven monkeys that were being fed aspartame mixed with milk, one dies and five others have grand mal seizures.
November 1970– Cyclamate, the reigning low-calorie artificial sweetener — is pulled off the market after some scientists associate it with cancer. Questions are also raised about safety of saccharin, the only other artificial sweetener on the market, leaving the field wide open for aspartame.
December 18, 1970– Searle Company executives lay out a “Food and Drug Sweetener Strategy’ that they feel will put the FDA into a positive frame of mind about aspartame. An internal policy memo describes psychological tactics the company should use to bring the FDA into a subconscious spirit of participation” with them on aspartame and get FDA regulators into the “habit of saying, “Yes”.”
Spring 1971– Neuroscientist Dr. John Olney (whose pioneering work with monosodium glutamate was responsible for having it removed from baby foods) informs Searle that his studies show that aspartic acid (one of the ingredients of aspartame) caused holes in the brains of infant mice. One of Searle’s own researchers confirmed Dr. Olney’s findings in a similar study.
February 1973– After spending tens of millions of dollars conducting safety tests, the G.D. Searle Company applies for FDA approval and submits over 100 studies they claim support aspartame’s safety.
March 5, 1973– One of the first FDA scientists to review the aspartame safety data states that “the information provided (by Searle) is inadequate to permit an evaluation of the potential toxicity of aspartame”. She says in her report that in order to be certain that aspartame is safe, further clinical tests are needed.
May 1974– Attorney, Jim Turner (consumer advocate who was instrumental in getting cyclamate taken off the market) meets with Searle representatives to discuss Dr. Olney’s 1971 study which showed that aspartic acid caused holes in the brains of infant mice.
July 26, 1974– The FDA grants aspartame its first approval for restricted use in dry foods.
August 1974– Jim Turner and Dr. John Olney file the first objections against aspartame’s approval.
March 24, 1976– Turner and Olney’s petition triggers an FDA investigation of the laboratory practices of aspartame’s manufacturer, G.D. Searle. The investigation finds Searle’s testing procedures shoddy, full of inaccuracies and “manipulated” test data. The investigators report they “had never seen anything as bad as Searle’s testing.”
January 10, 1977– The FDA formally requests the U.S. Attorney’s office to begin grand jury proceedings to investigate whether indictments should be filed against Searle for knowingly misrepresenting findings and “concealing material facts and making false statements” in aspartame safety tests. This is the first time in the FDA’s history that they request a criminal investigation of a manufacturer.
January 26, 1977– While the grand jury probe is underway, Sidley & Austin, the law firm representing Searle, begins job negotiations with the U.S. Attorney in charge of the investigation, Samuel Skinner.
March 8, 1977– G. D. Searle hires prominent Washington insider Donald Rumsfeld as the new CEO to try to turn the beleaguered company around. A former Member of Congress and Secretary of Defense in the Ford Administration, Rumsfeld brings in several of his Washington cronies as top management.
July 1, 1977– Samuel Skinner leaves the U.S. Attorney’s office and takes a job with Searle’s law firm. (see Jan. 26th)
August 1, 1977– The Bressler Report, compiled by FDA investigators and headed by Jerome Bressler, is released. The report finds that 98 of the 196 animals died during one of Searle’s studies and weren’t autopsied until later dates, in some cases over one year after death. Many other errors and inconsistencies are noted. For example, a rat was reported alive, then dead, then alive, then dead again; a mass, a uterine polyp, and ovarian neoplasms were found in animals but not reported or diagnosed in Searle’s reports.
December 8, 1977– U.S. Attorney Skinner’s withdrawal and resignation stalls the Searle grand jury investigation for so long that the statue of limitations on the aspartame charges runs out. The grand jury investigation is dropped.
June 1, 1979– The FDA established a Public Board of Inquiry (PBOI) to rule on safety issues surrounding NutraSweet.
September 30, 1980– The Public Board of Inquiry concludes NutraSweet should not be approved pending further investigations of brain tumors in animals. The board states it “has not been presented with proof of reasonable certainty that aspartame is safe for use as a food additive.”
January 1981– Donald Rumsfeld, CEO of Searle, states in a sales meeting that he is going to make a big push to get aspartame approved within the year. Rumsfeld says he will use his political pull in Washington, rather than scientific means, to make sure it gets approved.
January 21, 1981– Ronald Reagan is sworn in as President of the United States. Reagan’s transition team, which includes Donald Rumsfeld, CEO of G. D. Searle, hand picks Dr. Arthur Hull Hayes Jr. to be the new FDA Commissioner.
March, 1981– An FDA commissioner’s panel is established to review issues raised by the Public Board of Inquiry.
May 19, 1981– Three of six in-house FDA scientists who were responsible for reviewing the brain tumor issues, Dr. Robert Condon, Dr. Satya Dubey, and Dr. Douglas Park, advise against approval of NutraSweet, stating on the record that the Searle tests are unreliable and not adequate to determine the safety of aspartame.
July 15, 1981– In one of his first official acts, Dr. Arthur Hayes Jr., the new FDA commissioner, overrules the Public Board of Inquiry, ignores the recommendations of his own internal FDA team and approves NutraSweet for dry products. Hayes says that aspartame has been shown to be safe for its’ proposed uses and says few compounds have withstood such detailed testing and repeated close scrutiny.
October 15, 1982– The FDA announces that Searle has filed a petition that aspartame be approved as a sweetener in carbonated beverages and other liquids.
July 1, 1983– The National Soft Drink Association (NSDA) urges the FDA to delay approval of aspartame for carbonated beverages pending further testing because aspartame is very unstable in liquid form. When liquid aspartame is stored in temperatures above 85 degrees Fahrenheit, it breaks down into DKP and formaldehyde, both of which are known toxins.
July 8, 1983– The National Soft Drink Association drafts an objection to the final ruling which permits the use of aspartame in carbonated beverages and syrup bases and requests a hearing on the objections. The association says that Searle has not provided responsible certainty that aspartame and its’ degradation products are safe for use in soft drinks.
August 8, 1983– Consumer Attorney, Jim Turner of the Community Nutrition Institute and Dr. Woodrow Monte, Arizona State University’s Director of Food Science and Nutritional Laboratories, file suit with the FDA objecting to aspartame approval based on unresolved safety issues.
September, 1983– FDA Commissioner Hayes resigns under a cloud of controversy about his taking unauthorized rides aboard a General Foods jet. (General foods is a major customer of NutraSweet) Burson-Marsteller, Searle’s public relation firm (which also represented several of NutraSweet’s major users), immediately hires Hayes as senior scientific consultant.
Fall 1983– The first carbonated beverages containing aspartame are sold for public consumption.
November 1984– Center for Disease Control (CDC) “Evaluation of consumer complaints related to aspartame use.” (summary by B. Mullarkey)
November 3, 1987– U.S. hearing, “NutraSweet: Health and Safety Concerns,” Committee on Labor and Human Resources, Senator Howard Metzenbaum, chairman.
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Sources:
http://www.sweetpoison.com/aspartame-side-effects.html
5 Top Casting Directors Explain Why Runways Are So White
5 Top Casting Directors Explain Why Runways Are So White
“I feel the Dior cast is just so pointedly white that it feels deliberate. I watch that show and it bothers me — I almost can’t even concentrate on the clothes because of the cast.”
The finale at the fall 2013 Saint Laurent show.Image by Pascal Le Segretain / Getty Images
Nearly 90% of the models cast to walk in the fall 2013 runway shows in New York, London, Milan, and Paris were white. While this is not a new problem, it isn’t one that seems to be getting any better. New York’s designers even cast more white models than they did the previous season.
Some labels, like Tom Ford and Givenchy, excel at casting diverse models for runway shows. Yet many of the industry’s most important and celebrated labels, like Christian Dior and Chanel, hardly ever cast models of color. I spoke to several of the industry’s top casting directors about why runway shows are so persistently white.
James Scully
Casting Director for Tom Ford, Jason Wu, Derek Lam, Stella McCartney, Lanvin & Carolina Herrera
I feel like we have every kind of family and many types of ethnicities represented on TV shows and commercials — now more than ever. But not in fashion. I feel we’ve made strides in the past three to four years, thanks to people like [former model] Bethann Hardison, but this season in particular was one of the worst seasons in terms of diversity. Some of the biggest names who move fashion to the forefront, like Dior, get a D- on ethnic diversity. I feel the Dior cast is just so pointedly white that it feels deliberate. I watch that show and it bothers me — I almost can’t even concentrate on the clothes because of the cast. And recently they’re changing from a very diverse, worldwide, multicultural cast to just a very Germanic-looking white girl. Natalie Portman could complain that John Galliano was a racist, but I feel [Dior designer] Raf Simons sends the same message. I don’t know what the difference is. If I were at Dior tomorrow, there would be black girls in that show.
I was also disappointed that Saint Laurent, Louis Vuitton, Chanel, and kind of every other important fashion house — not one of them were racially diverse at all this season. My own personal stance is that the more diverse, the better. A lot of my casts were indicative of that, especially Jason Wu and Tom Ford. I’d say the cast was almost half and half. And not for any other reason than a beautiful girl is a beautiful girl. One of the most special things this season was walking into the room at Tom Ford and seeing someone like Herieth [Paul], and in a room with so many black models. It was an incredible thing. A mix of diversity makes the show and clothes more interesting.
Calvin Klein’s fall 2013 show.Image by DON EMMERT / Getty Images
Tokenism does exist on the runways, that’s why Calvin Klein will put one black girl in their show every odd season. They do it to not get in trouble, they don’t do it because they believe black women should be on that runway. Versace will use Joan Smalls in their advertising, but why wasn’t she walking their show in February? Back in the day, Veronica Webb was a top model, Naomi Campbell was a household name. It’s odd to me that the same thing shouldn’t happen to Joan Smalls. And what about Jourdan Dunn? She’s one of the most beautiful women in the world. The fact that Liu Wen is not a household name confuses me; she’s the first Asian face to get a Western cosmetics contract!
Other than Fei Fei [Sun], who made a clean sweep [on the runways], and Liu Wen here and there, I don’t even feel it was as diverse for Asian girls as it’s been recently. You can’t just put an Asian girl in your show to appeal to China. That’s equally bad because a Chinese or Korean or Japanese person — they’re not stupid and can tell the difference. I think people do that just because they think, “Oh, China’s the next big market so we have to put one one in.” You should just book them because they’re beautiful. Some [models of color] wouldn’t even get shows if people didn’t have that backwards reasoning in the back of their heads when casting a show.
[The problem comes from] a mixture of things. The stylist has a lot of say, though. Obviously, the blame can’t be put on the stylist alone, but the designer is taking the cue from somebody. I just think it’s weird how people are constantly saying, “But it’s about who the girl is and her character.” A fashion show is not a storybook. A great model is a great model, and no matter who she is, she can take on any role. I don’t understand why only white girls could be that sort of gin-soaked boozy girl in Louis Vuitton this season. A character can be multicultural. We live in a multicultural world. At this point, it’s almost irresponsible not to represent that on the runway. I have millions of friends from all over the world, and if they don’t seen themselves in the product, they don’t buy it.
Michael Kors, fall 2013.Image by Frazer Harrison / Getty Images
Jennifer Starr
Casting Director for Ralph Lauren, Ohne Titel, Gap, David Bowie & the Pirelli Calendar
I think diversity on the runway has gotten better in the past few years, thanks to Bethann Hardison, the CFDA, and perhaps most importantly, trends. But trends come and go, and the conversation must continue, and awareness must always be elevated. Things seemed to have changed after the Italian Vogue all-black issue and the season right after Obama got elected, but then I feel the next season things kind of went back to the way it was. We have a black president. The richest woman in entertainment is black. The entertainment industry is largely black. It just doesn’t make sense that runways don’t follow.
I have to say that I am always aware of [diversity], as I feel it’s part of my job to try and make the runways a bit more representative of our societal makeup. Some designers are not paying attention to being inclusive and just cast woman they love, which they really cannot be criticized for. I do think casting directors have a responsibility to have the conversation, elevate awareness, and find their clients the best models out there for them, regardless of ethnicity.
I remember this conversation a decade ago when I was called by Time magazine. Inevitably, there is always a blame game and quite often the agencies take the fall. Rationally, you would think that if there is a demand, agencies would have to increase the supply. Logically, I would deduce that there is not a big enough demand for black women on the runway. This season I saw maybe 200 new girls. The percentage of new black girls was really small, so do the numbers! If there are 200 new white girls, and five break out as stars, then if there are six or ten new black girls, the statistics are not in their favor. It’s a loaded conversation, but can anyone be faulted for not casting someone they don’t absolutely love?
I think we need to stop blaming and start trying to figure out how to change things. I would like to say that if agencies took on many more really great black runway girls, then designers would have more [to choose from], but I think that might be naive. I am really excited that there are more Asian women than ever on the runway. I would venture to say that has something to do with Asia’s economy now being second largest in the world. With every new show season, there seems to be a lot of amazing new Asian women.
Tom Ford, fall 2013.Image by Eamonn McCormack / Getty Images
John Pfeiffer
Casting Director for Michael Kors, Bottega Veneta, Donna Karan, Diane von Furstenberg & The Victoria’s Secret Fashion Show
When you see one black girl and one Asian girl in a show casting, obviously there’s tokenism. But right now, Asian models are very trendy. Maybe that’s all attributed to the amount of money being spent in Asia. This past season alone, there were so many great Asian models out there, and they weren’t competing for those one or two slots. My own clients, like Michael Kors — we had six Asian girls. There were so many to choose from. Aside from the classics like Ming [Xi] and Xiao Wen [Ju], there were now Soo Joo, Sung Hee, and Ji Hye. They’re not just Chinese either. It’s great that designers are making those distinctions now — it’s not just an “Asian model,” she’s a Korean model, she’s a Japanese model. Myself, I am Filipino, and there are a few Filipino models out there. People want to identify with their own people.
Diversity is extremely important. You have to make an effort to have diversity in your casting. You really have to work at it; push yourself and push the designers to be diverse and more inclusive. When casting for the runway, you want the models selected to be cohesive as a group both in mood and spirit. That being said, I’m not the kind of casting director that goes for a homogeneous aesthetic. Maybe that look works for certain shows, but I generally find it to be bland and boring. Also, I want to see my own race represented on the runway and in images.
I do think [diversity] has improved in the sense that people are more conscious about it — thanks to a lot of people like Bethann Hardison. But I think we are far from representation from what life is out there. We need to continue to make an effort. Not just be conscious of it, but talk about it, but then, you also have to take action. Turning a blind eye to this issue is unproductive and dangerous. We need to take action. Fashion exists in a space that is about what’s next and what’s new. Certainly designers such as Yves Saint Laurent can be credited with making major strides in diversity — but I’m more interested in how that carries over into today. How can we as a community create a bold, empowering, and inclusive aesthetic? It’s something that is always on my mind.
Gucci, fall 2013.Image by Vittorio Zunino Celotto / Getty Images
Barbara Nicoli & Leila Ananna
Casting Directors for Burberry, Marchesa, Gucci, Emilio Pucci, Armani Privé & Saint Laurent
Nicoli: I think, personally, I like a model if she’s a beauty. Sometimes what I disagree with is putting a black girl [in a show] just because you need diversity.
I love black girls. I’m a big fan of Joan Smalls. I would really like to put her in every casting, but sometimes she’s not right for some castings and she’s much better in others. This kind of diversity is fair and good, but it’s also true that sometimes I notice with other casts, it’s like they were forced to put someone in because they have to. For example, I love Asian girls, but there was a moment when designers decided to put a lot of Asian girls in just because the Asian market was strong and they gave a lot of money to designers.
I don’t like to talk in terms of white, Asian, black, etc., because a model is a model and that’s it. To me, if we want to talk about diversity, it’s about the model and not the color of their skin. It’s more about the body, the face, and the attitude. I think the designer has to decide who is good for their collection, and the role of the casting director is to suggest appropriate models. We have to make a proper selection for our clients. You don’t want to waste the designer’s time with millions of models in town for fashion week. We had some seasons with beautiful, amazing Asian girls, and we would like to use all of them — and some seasons there are less. Same goes with black girls. I don’t think it can be more or less politically correct to put a certain percentage of black girls just because they are black and [not to think about] their body, shape, or beauty.
I’ll tell you something. In Gucci, one season, we used Joan for the show, so she was the muse of the season. But, for example, Gucci never has a huge number of black girls in the show because in the mind of Frida [Giannini, Gucci's creative director], she wants this [specific] type of girl — no matter the color of the skin. She wants this girl, then if the model she likes is black or Asian, it’s fine. But when you do a casting, [you see a lot fewer black and Asian models than white models]. I think if you’re very strict on your collection and have a vision, it’s pretty difficult to accept someone who is far from your idea of the woman wearing your clothes. It’s all about your beauty ideal, not the color of your skin or race.
It’s also true that, for example, Caucasians have a specific body type, black girls have a specific body shape, and Asian girls have a specific body shape. So I guess there are some collections where it’s more perfect for an Asian body shape because they are more flat and less sexy, in a way. Asians, they are not curvy, so to put an Asian [who's] very flat [with a] baby body shape in a show where normally the designer knows they love sexy, beautiful, curvy girls, it’s a bit of nonsense. If you do it, it’s just because you have to or you want to please your customer coming from Asia. But it’s not certainly because you have, in your mind, the idea that that kind of girl, she’s wearing your clothes properly if you think your girl is sexy.
Annana [via email]: We don’t think [diversity improved this past season]. Diversity for a show is important as it is for life. All models have a different personality, attitude, background that makes them all different from each other.
For sure, [we think about diversity in our shows]. Sometimes more for some designers/brands and sometimes less. That really depends [on] each brand and the show concept.
Regarding the representation of various faces [on runways], we think fashion shows have already shown it. Don’t you? There are plenty of different faces in a show.
Sometimes we work with more curvy girls, and others with a very androgynous type. We worked on casting with a strong direction, like all blonde girls or all brunette, for example. Or other girls who are very similar, if that helps to make the collection concept stronger.
We think we need to keep in mind that these are shows. A show needs to make you dream, and it doesn’t necessarily need to represent reality.
Tom Ford, fall 2013.Image by AFP / Getty Images
What is a Celebrity Fashion Stylist?
What is a celebrity stylist?
A celebrity stylist is a fashion stylist who works in the fashion and entertainment industries to create looks for celebrities. Celebrity Stylists work with movie stars, television personalities, athletes, singers and other high profile people in the entertainment industry.
What does a celebrity stylist do?
As a Celebrity Stylist, I often coordinate clothing, shoes and accessories for for my clients. I may create an edgy look for a celebrity or a red carpet look for an actor or actress.
As a celebrity stylist, I research fashion trends, pull clothing from showrooms, network with people in need of my services, create looks for clients, acquire and return clothing, accessories and shoes, dress clients for public appearances and photo shoots, have my assistants steam and press garments create and monitor and manage all effectively. Stylist also consult with hair stylists and makeup artists to complete the clients look. Celebrity Stylists must also be creative, confident, attentive to details, follow directions well and be a good leader. In order to work you have to be comfortable with going out speaking to people about your business and promoting yourself.
Where do celebrity stylists work?
As a Celebrity Stylist, I am self-employed but, I do have management. Often I work from home and travel the world working on fashion layouts in photo studios and outdoors on location., fashion shows, catalogs and campaigns. As a celebrity stylist I spend much of my time in the field viewing collections, shopping and attending fashion shows. Celebrity Stylists spend time pulling and returning clothing to designer showrooms, department, specialty stores and public relations companies.
When I attend Fashion Week, I am often conducting trends research and writing articles for magazines. I also have several administrative tasks such as accounting and billing, and corresponding via email or phone with vendors, associates and clients.
Ty-Ron Mayes dresses actress Regina Hall.
How much do celebrity stylists make?
As a Celebrity Stylists you can make anywhere from 20,000 to 150,000+ depending on who your clients are, what your rates are, the market you work in and the number of bookings you have.
Celebrity Stylist Ty-Ron Mayes Front Row at Timo Weiland SS2013 with Zombie Boy.
Who makes a good celebrity stylist?
As a Celebrity Stylist you must love fashion and understand your role as a trendsetter. With that, clients will hire you for your fashion expertise. Part of that expertise, you must have excellent communication skills, as well as, interpersonal and organizational skills. Once you have mastered your people skills, you will find that you will be able to handle working with different people and their personalities. In dealing with so many personalities, as well as, going after many jobs, a Stylist must have tough skin. You will need to know how to handle rejection and criticism. You will also have to be fearless.
How can I become a celebrity stylist?
Before one delves into the world of Celebrity Stylist, one should learn how to be a good Stylist. I think you should have a good grasp of fashion, trends and have amassed great connections with fashion houses so that you can provide a service. There is no formal education required to become a fashion stylist but, you should study fashion. This can be done in a fashion school as well as self training. It is important to have an excellent grasp of fashion history, fashion design and merchandising in order to be an influential Stylist. Also, a good Celebrity Stylist should have hi/ her finger on the pulse of pop culture.
There are many platforms for training to become a celebrity stylist. The best way is to intern or apprentice with a celebrity stylist or fashion stylist in your local area and get hands on experience. But be aware, it will be grunt work. Try to seek correspondence courses, seminars and books that provide information and training on becoming a good Stylist.
Celebrity Stylist Ty-Ron Mayes’ Covers
Tips and Considerations
Study. Keep abreast of the latest trends in fashion, hair and makeup.
Research training programs thoroughly. Ask for referrals and speak with other students regarding the value and delivery of the information they were provided.
Network. Attend local industry and networking events to get to know other people in the industry. You never know where your next job lead may come from.
Last, it is really important that as a Celebrity Stylist, you should strive to create a wardrobe in which you look fashionable every day. Being a Celebrity Stylist is image driven business and you should be a walking advertisement.
Rico The Zombie / Zombie Boy Bares Soul to Celeb Stylist Ty-Ron Mayes
Zombie Boy wears jacket and pants, The Blonds. Boots, Gasoline Glamour.
People may wonder what the Quebec born lad was thinking when Rick Genest transformed himself from an unassuming teenage into The Zombie Boy; a living piece of artwork emblazed with tattoos and disturbing morbid imagery. But, if you ask Rico The Zombie Boy, a body inked with deadly symbols, rotting flesh and exposed body parts, it all makes sense.
Born Rick Genest of La Salle, Quebec and growing up in Chateauguay, “Rico” first appeared on the world platform in the Lady Gaga’s video, Born This Way. No, that was not make-up in the video… at least not on Rico. Over 80 percent of his body is covered in tattoos, including his face. Rick’s tattoos are what he calls, his “project”. Rico was not supposed to be amongst the living. In fact, as a teenager, Rick Genest was diagnosed with a life-threatening benign brain tumor. At the age of 15, Rick underwent a surgery that many had not survived in the past. Because of the tumor’s position, his options were death or if lucky, blindness and/or to live as a vegetable. When he emerged from the surgery, he was none of the above. Rick was indeed alive and well. Defying the odds, he literally jumped off of the Grim Reapers deck of cards and began a new life. The runaway embraced the underground Punk scene and became obsessed with body modification as he began to amass more tattoos. By age 21, the newly named Rico The Zombie Boy… a name his friends call him; enlisted the help of now retired tattoo artist, Frank Lewis. Together, Lewis and Zombie created a Frankenstein-like, skull-faced character, with Rick Genest’s body as the canvas. For over 6 painful years, they augmented the appearance of normal, healthy, human flesh into a frightening homage to horror films. Slowly and methodically, Genest’s body was transformed from an average 5’9” man, into a decomposing, Zombie-like corpses, with exposed cadaver parts revealing the skeletal, muscular and circulatory system along with crawling insects that devour the dead. Genest spent thousands of Canadian dollars on tattooing and he is not done. Although it is incomplete, Genest’s obsession led him to two admissions into the Guinness Book of World Records: one for the most bones tattooed on the body (134) and one for the most insects tattooed on the body (176). “My tattoos symbolize life through death, or death throughlife.” It wasn’t long before Hollywood took notice of the walking freak show he calls The Zombie Boy and he was casted to play one of the freaks in 2009’s Cirque du Freak: The Vampire’s Assistant.
After 1.5 million fans joined his social media fan pages and a fate changing photoshoot, Nicola Formichetti, Lady Gaga’s Fashion Director and Creative Director for Thierry Mugler noticed the soft spoken, horror film aficionado and wanted to use the tattooed god in the Mugler ad, as well as, model for the prestigious fashion house in Paris. He found Zombie Boy on Facebook. Unfortunately, there were a few youthful infractions on his record and Genest was unable to leave the country. Nicola flew to Canada, hired Immigration Lawyer, Colin Singer and paid his bills. Free to roam the world, Rico The Zombie partnered with Singer (now his personal photographer and business manager) and was able to get the living Zombie out of Quebec and into Paris and The United States. Rico was able to make his official debut in the 2011 Mugler campaign. Formichetti shocked the world with Zombie’s provocative imagery and re-invigorated the stagnant clothing line. Nicola fast-tracked Rico The Zombie Boy into the world of fashion and sent the living artwork down the runway for the Mugler Men’s fashion show and then paired him with his client, Lady Gaga for the women’s Mugler fashion show for Fall 2011. One month later, the Queen of the Little Monsters and Rico The Zombie Boy were dancing in the Gaga video with Gaga in full ‘Zombie’ make-up inspired by Zombie Boy. Since then, he has stalked the runways from New York to Paris, graced the pages of GQ magazine, been photographed by Steven Klein for Arena Homme Plus, popped up on a Vogue cover and is the brand ambassador for Dermablend Cosmetics. Zombie’s fame continues to grow exponentially. Think not? Then ask his mini-me. Zombie has a newly released, limited edition collectible doll and several movie roles opposite Hollywood giants like Lou Diamond Phillips in Carny and the soon to be released $320 million dollar epic, 47 Ronin opposite Keanu Reeves.
It may seem as though Rico The Zombie Boy has Hollywood wrapped around his skeletal inked fingers. But ,at what price? There is clearly more behind the man with the hollowed eyes. This Masochistic Prince who tortures himself with painful tattoos and obsesses over death is in a constant battle with his inner demons. It is quite possible that his shocking exterior is an expression of his inner struggle between good versus evil, life and death, anarchy against authority as he fights against the pressures of organized religion. It would not be a stretch to assume The Zombie Boy is a rags to riches story. But, is he just an exaggerated reflection of the youth culture that are rejecting today’s system, living off the grid and gambling with their lives. Did cheating death and escaping from an ultra strict religious background lead to Zombie embracing this ‘Dead Man Walking’ persona? Is there a price to pay for a second chance and did God answer his prayers or did Zombie make a deal with the Devil? Are these Earthly riches and fan adoration gifts from the dark side? Obsessed with the capitalization of blasphemy products he calls Blasphemous Gear, a t-shirt with the command “KILL ME” and a female pet snake named Luci Fer’ leaves one to question his faith and intentions. And we should all make the sign of the cross.
The mysterious misfit Supermodel’s longevity has been questioned. Whether or not he lasts, only time will tell. But Rico has several plans in the future if the fickle world of glitz and glamour exorcizes him from the fashion pages and movie screens. He has two more years of ink work before his body is complete. And if work ever slows down, he plans to pick up his pet albino boa constrictor from her handler and hit the Carnival circuit again. With Carny-friends like The Executioner and Dr. Cuts, Zombie Boy is set to show the world that the inevitable is near. But, until that day comes, he will embrace his death defying acts, wear the finest clothes of the season and reign supreme over his own self-made…
ZOMBIELAND
Written and Interviewed by Ty-Ron Mayes
Photography: Colin Singer
Styling and Make-up: Ty-Ron Mayes
Rico The Zombie wears leather vest and pants, Rochambeau. Spiked neck brace and gloves, Gasoline Glamour.
Ty-Ron Mayes: You recently were the focus of a body modification documentary. Can you share with us your role in this film and what does body modification mean to you?
Zombie Boy: Body modification means freedom to me… controlling your image. You have many people in your life that try to push you in a certain direction. It may be teachers, parents or authority figures that push you in places that may not work for you and you have to be able to break away from that and be yourself. Body mod is a great way to control your image and express yourself freely.
Ty-Ron Mayes: On the world platform, we became aware of you in the Lady Gaga video, Born This Way. How was it working with the most influential pop artist of our time?
Zombie Boy: It was great… she’s rock and roll man. Really, really fun. I had the opportunity to work wither on two different sets. She’s just a blast, full of energy, very open arms to everyone on the set.
Ty-Ron Mayes: We noticed in this video, Lady Gaga tapped into your essence by emulating your look with creating a make-up look on herself, in which she became a ‘Zombie’ as well. How did you feel about Gaga pulling parts of your essence into her ‘Little Monster World’?
Zombie Boy: When we got there, it was a big surprise at first. We had a memo and originally the draft we had at first was supposed to be a Unicorn character in the clip and I was supposed to be a Punk Rock Unicorn hybrid. They had a horse and they were going to blend my upper body into the horse and have it tattooed. But, on set, everything was completely different and changing at every moment. But, I thought the final result was great and I was extremely flattered to see her pull me into her whole ‘Monster Project’.
Ty-Ron Mayes: Well it was definitely exciting for us, in the fashion world, to see someone so inspiring. So much so that it would create a moment in time where a lot of artists and models would actually emulate that make-up as well. All of this attention led to you being catapulted onto the runways. How did you feel coming from the performance artist world and now becoming a fashion icon?
Zombie Boy: I love show business. I started getting into it when I was younger. Acting on stage in front of a camera has been a big part of my life and always something I wanted to pursue. And in the last 2 years it has hit a broader scale. It feels like a little bite of success.
Ty-Ron Mayes: It seems in some interesting way you were able to push destiny and go into this new direction in you life. You have been able to spin this ‘Zombie’ and ‘Little Monster’ moment into by merchandising and branding your likeness. Can you tell us about this incredible doll that everybody wants to get their hands on?
Zombie Boy Doll designed by Tonner.
Zombie Boy: I like it personally… when I first saw it made me laugh. It touched my heart for sure.
Ty-Ron Mayes: It’s damn cute and I know a lot of people would like to have one. I understand it is a limited edition. Are you planning on doing a mass production on the doll that is moderately priced in which more people can own a mini-me of yourself?
Zombie Boy: Oh, absolutely! The 17” doll boasts hand painted details of my tattoos and it has my facial piercing too. Robert Tonner did such a beautiful job on the doll. I was so excited for the final results. I mean… man it has all of these joints and articulations. It was a hit at the Comic Con in San Diego. It totally sold out. It would be great if Tonner can make more with accessories. Like put in a coffin, a guillotine or motorcycle in there. Something like that would be fun.
Ty-Ron Mayes: I understand you also have interesting friends. Is there any chance that you will pull them into this Zombie Boy collectible doll world. What is the possible future for the doll?
Zombie Boy: I would absolutely love for my team to be a part of this and that we can produce a little Executioner and a little Mad Scientist Dr. Cuts and get everyone involved would be a dream come true… for sure. Before all of this big hype, we have been work as underground performers. We plan to push our show upwards.
Ty-Ron Mayes: Tell us a little bit about this underground performing world. It brings a smile to your face. It seem that when you are thinking about your friends and this underground world you have embraced, you have a big smile behind the bones. This world is not exposed to the mainstream and you are the conduit that can bring this world to us.
Suit and shirt, Dolce & Gabbana. “Kill Me” t-shirt, Zombie Boy.
Zombie Boy: Well, as Lucifer’s Blasphemous we started as an idea and we did a couple of shows. But since I have been catapulted into the mainstream, I am really traveling and our projects have gotten put on the sideline. But, we are still working on it. We are putting the finishing touches to a new electric chair. My friends are working on it and keeping busy while I am away. Down the line we are planning a bigger show. We are still working on it… we are not in performing mode right now but, we are perfecting everything and the time will come for it.
Ty-Ron Mayes: These shows, I assume are local. But, will they possible be available on DVD or live stream and get the experience as well? West East is an international magazine that will reach a lot of people. Will your show be available beyond your Montreal?
Zombie Boy: The last year and a half I have been busy flying around the world doing fashion and my side project has been pushed far off to the side. But, if my personal projects are more embraced, they will be released in time to come. It would be the plan for the near future to have the show be a video experience as well.
Steven Klein, Zombie Boy and Nicola Formechetti
Ty-Ron Mayes: Let’s back it up a little bit and discuss your history. Who discovered you on the fashion scene and how did you get introduced into doing such iconic fashion moments such as the Thierry Mugler campaign, which led to the Lady Gaga video? Who was your mentor and made this all happen for you?
Zombie Boy: After many years of working on my tattoo, it started to take more shape. It wasn’t uncommon for people to take pictures of me. I was doing side gigs, doing some modeling in pictures… for photographers I was someone who would standout in shoots. I was doing shoots here and there. A lot of it was to do with the Carnival, side show industry and tattoo magazines. My first fashion mag was through a guy I met in the street; a man named Ludo with Tuxedo Agency. He had me come into his studio, put on some designer gear, take some flicks and published it in a magazine called Dressed To Kill. It ended up being a big enough magazine in which it got the attention of Nicola Formichetti and his people. They hunted me down through social media and was interested in me modeling for Mugler. And with that I did a project with Nicola and Mariano (Vivanco) and they liked it and they got positive feedback and for there on he kept inviting me to work along with him and his projects which ultimately got me to the Lady Gaga video.
Ty-Ron Mayes: You story continues to grow. How has this attention parlayed into an acting career? You just completed a movie with Keanu Reeves?
Zombie Boy: Yes, we were on film location in Budapest. It was my first role with a line. I have done movies with what is called figuration before. But this was my first big production with a speaking role and it is scheduled to come out in November.
Ty-Ron Mayes: What was your role in the movie? I understand there is an action scene? Give us a teaser.
Zombie Boy: Well, I haven’t seen the final cut, so let’s hope it makes it. It’s a really large budget film by Universal Studios. It’s going to be a 3D movie. The set was huge. I was really excited because I love Pirates. It’s a Pirate and Samurai movie, which is something I was very happy to be part of.
Ty-Ron Mayes: I understand you have some other hidden talents, such as writing. And you are working on conceptualizing a possible comic book series?
Zombie Boy: I have always been kind of and astronaut with my ideas. I have always been a creative person. As far as the comic book goes, I am still playing with the whole Lucifer’s Blasphemous concept with The Executioner and The Zombie with the eternal battle of between the two. It’s like a Roadrunner and Coyote kind of series where one is always trying to kill the other except for he never dies. Just with this idea, we have done several photo series that I’d like to publish eventually. Also, turn it into a comic book. Telling stories through photos is something I’ve worked on for a long time. Also, we want to do on-stage concepts with taking chapters onto the stage one chapter at a time. I’ve been working on this whole Zombie Project for a while. It’s all just bits and pieces but we are going to try to put the puzzle together.
Ty-Ron Mayes: Let’s move back a little further into your past. I understand you had a brush with death. What happen when you were 15 years old?
Zombie Boy: That is very vague… can you break it down?
Ty-Ron Mayes: This living artwork can from various directions… Can we discuss your tumor and eventual tattoos?
Zombie: Whoa… let me fast forward. If we are talking about my artwork, I didn’t realize this until after it already started… I’ll say, living life everyday for it’s fullest… when you got nothing to lose… this is after you realize how fragile life is… you start grasping reality every day. Being surrounded by every day is living on the edge; no pun intended. I was living on rooftops and under bridges and every day was one day at a time. That’s when I started my project.
Ty-Ron Mayes: This project obviously changed your life. It bought you into a complete different direction. How did it connect with your moment in which you faced with going through a very serious surgery? How did your brush with death affect your life? Tell us what you want to tell us.
Zombie Boy: In the face of death… I had a pretty hard life before the surgery as well. When it was going down like that… I couldn’t deal with it. I was saying, “No way!” I was being born in this world just to be put back down. That was hard to deal with, so I fought it. I said no way. Don’t believe in any religious propaganda or anything. But when I was under the knife, I prayed to God. I am not a politician, but when you are faced with possible death, going blind, retarded… all of the possibilities when your brain is being cut. I told God that if I get a chance in my life to come through this I would do my best to change the world. I can’t take credit for anything… I just fought, I fought, I fought my whole life! And I have a lot to pay back. And if granted a chance, there’s a lot I want to give back to my people close to me and my loved ones and I do that everyday and the fights not over yet. I am still working on it. I take this job seriously.
Ty-Ron Mayes: We do feel that you take this seriously and that’s why this was not an easy question to ask nor answer and I thank you for sharing that with us because this is a point of curiosity, in which we know that it made a major impact in your life. And sometimes speaking about this can help somebody else that is going through the same process. Let’s go back to more highlights in your career and things that are coming up. Tell me about your Carnival act and the bed of nails?
Zombie Boy: I am going to bring you back to when I was about 22. By then I had me sleeves done, my chest piece, I had the outline of my ribs. I had some bugs going up my neck and my face just started looking like a skull. I started to look more like a Zombie. The work started to show. I was approached by some different cats to do some shows. I did a couple of side-show gigs. I was in this movie called Carny starring Lou Diamond Phillips. We had a couple of headshots together. On this set I met Kayla Pin Lynn, Canada’s Pin Cushion Queen. She invited me to Toronto to meet The Great Mysterion who is a mentalist. I did some shows with his crew. I was one of his side-show acts. He bought me on MTV Canada in less than 2 years. I performed with his troop. Prior to his act, I was featured in Bazaar Magazine looking like a Zombie. I started to bill myself back then. After working with Mysterion, I started to work with Cirque du Monde which is a company that train street kids how to perform, how to make money in the streets showing them how to juggle and things. I worked with them a couple of times. The summer before last, I was invited by Wayne de Graff, who has one of the two major traveling Carnivals in Canada, to live under a tent with other freaks. The show was based on the Seven Deadly Sins with seven freaks with seven different attributes. I was Sloth because I’m the dead guy. And that was one of the best times of my life. It was the real Carny deal, not just playing it in a movie. So, I got to do that fro two and a half months before that ended. Working with friends in Montreal, people were taking pictures, one thing led to another and it worked up to fashion.
Ty-Ron Mayes: Speaking of puzzle, it seems that your puzzle was hidden under a lot of make-up recently and that you have this interesting contract with Dermablend. There is an interesting video on their website with you removing their make-up which looked like your original face. How long did it take to put it on?
Zombie Boy: It took a good three hours to apply and to completely cover me up. And we only had one shot to take it off. For those who had not seen it before, you didn’t know what to expect for the first time viewing it. It made an impact. You should all go and see it at gobeyondthecover.com.
Ty-Ron Mayes: Speaking of contracts, you have a recording contract as well?
Zombie Boy: I have always been very passionate about music. I’ve always been close to music. Growing up it was held in my heart. It had a lot to do with my lifestyle and the scene. You know music… you feed off of it. Everywhere I go I wear my headphones and listen to music. I look up to many of my idols or inspirations are through music. As a kid in high school, I was playing guitar and I always wanted to be in a band and all of that kind of stuff. I am looking forward to possibly this year… breaking into music with a recorded album.
Ty-Ron Mayes: Speaking of role models, who are some of your idols? Who do you listen to? Who’s in your iPod right now?
Zombie Boy: Some of my favorite artist would be. Immortal Technique, Jedi Mind Tricks, Keny Arkana and Las El Dianos… revolution music… power to the people.
Ty-Ron Mayes: It looks like you are becoming a Master of Multi-Media as you go further into film, recordings and music videos. It seems like you are capping things off with a fashion line of your own. Can you tell me about your clothing?
Zombie Boy: So when I first started working in fashion; what really grabbed me was working alongside of Nicola Formichetti, who brought me into the upper scale of the world. He invited me to a couple of events that really touched me. There are real artist that create whether it’s couture, or the clothing itself or make-up artist, video artist and all of these different talents brought me into their world and included me in charity events that collected money for good causes. I was invited to a model photoshoot against using nuclear power that correlated with the power plant meltdown in Japan. These things really grabbed my attention. Maybe being a model, it can hold a greater power. Being in my position, I can bring greater attention and awareness to causes. And this attention can bring funds, as well as, an awareness.
Ty-Ron Mayes: So do you feel you have a voice and a platform now?
Zombie Boy: That made me feel like I did.
Ty-Ron Mayes: So, now that you have a voice and a platform, can you tell me about your upcoming fashion line named Zombie Boy Gear?
Zombie Boy: I have always been a DIY (Do It Yourself) kind of guy. I have sewed my own leather… patched pants, studded things, studded gloves, hats, jackets. Studding leather and sewing. It’s just what Punk Rock kids do. When you don’t have much, make your own. You need an imagination. Same with music or graffiti… you got to make your own to get by.
Ty-Ron Mayes: So you feel like you have not lost that imagination and you can channel this into a lucrative fashion line?
Zombie Boy: Yes. It’s the same with tattoos… you got to build from the bottom up, stay strong in what you believe in.
Ty-Ron Mayes; There definitely a niche market that has not been filled as of yet. There are a lot of skull and skeleton t-shirts and things that people wear. Are you planning on becoming the Ed Hardy of skull apparel and things that are frightening?
Zombie Boy: Until a couple of months ago, I didn’t know who Ed Hardy was. I am just going to be myself and do what I do.
Ty-Ron Mayes: What is your driving force? What is your mantra?
Zombie Boy: I always had a hard head and I am very persistent. For better or worse you reap what you sow. The fearless generation… I’m saying… we gotta stick up to our bullies. Especially, in the age of my youth, everyone says with all the protests going on… what has the industrial revolution left for our generation? I’m saying that to not fall for that not having anything to gain. We can take the world back. Being independent is power and we got to find the power in ourselves.
Ty-Ron Mayes: You have a Zombie App called Zombie Hits?
Zombie Boy: I first saw it at the Comic Con convention. I love arcade games. I’ve always been a huge Nintendo, Super Nintendo fan. I know all of these games by heart. I beat several games. You stick one in front of me and I will most likely defeat the game. I am really big on games and as little participation that I had in the App, I’m really ecstatic that I got my own App and I want to work hard on developing it.
Ty-Ron Mayes: Do you want to eventually develop a Rico The Zombie Boy video game in the future?
Zombie Boy: Absolutely! I want to take this project by its horns and I want to contribute to the Zombie App. So, I hope your readers stay tuned.
End
