#Curly hair products Sydney

[carmenberzattosgf]

OMGGGG I CAN’T KEEP THINKING ABOUT DOING CARMY CURLY HAIR ROUTINE !

It live free in my head 😵‍💫

No because Carmy definitely agrees to it because he thinks it’s going to lead to shower sex. However when you instruct him to kneel down and lean under the bath tube faucet, it becomes clear that his fantasy was not going to happen.

He stays pretty quiet while you shampoo his hair with a clarifying conditioner. The feeling of your fingertips digging into his scalp releases a bunch of tension he didn’t know he was storing.

Carmy’s relieved when you finish rinsing out the conditioner treatment, though. His knees had started to ache from kneeling beside the tub. He mentally makes note to make sure you have a pillow under your knees the next time you blow him. He’s nothing if not a gentleman at heart.

“Okay, is that it?”

“Carm, that was just the wash! I still need to style your hair. Gotta make sure your curls stay nice and defined.”

“Do they not do that on their own?”

“Baby, you come home from work with such greasy hair that I don’t even think I can answer that for you.”

You bring out a leave in conditioner, a styling cream, a gel, and a mousse, sitting it in front of Carmy. “I need all of this?” Carmy asks.

“Yes. Yes you do. I wanna see how nice I can make your curls look!”

You spend the next 15 minutes applying the products into Carmen’s hair. He jumps a little when you put some mousse in your hand.

“Is that like? Foam? Why is it in a can like that?”

“It’s mousse. It helps with volume and definition. Look, it expands when you get some out. See?” You explain while you put some more in your hand.

Once you’re finished, you’re convinced Carmy’s hair looks the best it ever has. “Okay, Carm. What do you think? This is some of my best work.”

“Oh, shit! You did a good job. It doesn’t look so… puffy.”

The next day at work, Sydney and the rest of the staff definitely notices that Carmy’s hair doesn’t look like a rats nest like it normally does.

[operafantomet]

BLONDE CHRISTINES (2004 EDITION)

Susan Cuthbert, Toronto (1989-1992): She started out with brown wig and it's also what her official photos shows. But soon she was fitted with a blonde wig, and it can be seen in some very few curtain call / backstage photos.

Emmi Christensson, West End (2014-2016): Whereas her 2016-2017 Stockholm wig was exceptionally dark, her West End wig was all blonde. Quite the contrast.

Renata Krassy, Budapest (2003-2023): The Hungarian Christines originally wore their own hair, with the addition of large curly extensions hidden under a braid. This meant that many different haircolours was seen. Renata Krassy was definitely the blondest.

Linda Kiraly, Budapest (2003-2004): Another of the original Hungarian Christines. She also featured her own hair over the forehead/braid, but more highlighted and with darker areas and lighter extensions.

Hanna-Liina Võsa, Tallin and Tartu (2014, 2017-2018). The original Estonian production featured one blonde and one brunette Christine, who alternated equally in the role. Hanna-Liina was the blonde one. For her run in Finland she wore a red wig.

Hanna Ulvan, Kristianstad (2023). Whereas the original Christine in this production wore a red wig, Hanna Ulvan wore a fairly classic curly blonde one. This as a contrast to her Stockholm replica wig, which was fairly dark brown.

Irina Ioana Baiant, Bucharest (2015 / 2022-2023). She is possibly the only Christine to feature two different blonde hairdos in two different non-replica productions, but in the same city. For the original Romanian production she wore her own hair, curled and draped up at one side. It looks like she's still wearing her own hair in the new production, but longer, and with the hair pulled back over the forehead.

Mira Ormala, Oslo (2018): When the Romanian production was revamped for Norway, Christine got a wig. A quite curly one, with hair asymmetrically draped over the temples. She also wore an own bead-decorated updo wig for Masquerade.

Astrid Giske, Oslo (2018-2019): When Astrid Giske took over as principal from Mira Ormala, she wore a similar wig, but a hint darker, and with bigger, thicker locks. She also donned the updo wig for Masquerade. Her understudy Charlotte Brænna was seen with the same look for her one Christine performance.

Amy Manford, Thessaloniki and Athens (2020): Whereas Amy Manford wore a regular curly brown wig in West End and the Restaged Tour, her Greek look was a big blonde wig with styling not too unlike the replica wigs.

Celinde Schoenmaker, Thessaloniki and Athens (2020): She and Amy Manford shared the role, and they also wore fairly similar wigs. Celinde had previously worn an auburn/honey-coloured wig in West End.

Harriet Jones, Athens and Thessaloniki, Middle East and European Tour (2023-2024): She has worn so many different Christine wigs it's not even funny! For this production she first wore a long, sleek blonde wig with more waves than curls, and with a middle-parted hairdo - reminding of her original light auburn West End wig, except of course the colour. After Greece she was fitted with a shorter and much curlier wig with side drape. Her co-Christine (next) as well as u/s Bridget Costello, Jessica Hackett and Grace Chapman also donned this style.

Georgia Wilkinson, Athens and Thessaloniki, Middle East and European Tour (2023-2024). Sharing the role with Harriet Jones, they have worn similar wigs too. Georgia also started out with a long, sleek blonde wig, hers being more platinum blonde. After Greece she donned the same shorter, curlier wig with side drape. This as a contrast to her Sydney look, which was darker brown and styling wise somewhere in between.

Talía del Val, Madrid (2023-2024): So why do I list Talía del Val and not Amelia Milo, who originated this look? Good question. Even if both of them have an undefined brown/blonde honey shade, Talía just appears a nudge blonder to my eyes, while Amelia's wig is more ashy blonde/brown. But only cosmetically so. They could both be listed - but here's Talía.

Judith Torbella, Madrid (2023-2024): Like the wig of Talía, this wig is a borderline case. It can look honey blonde, it can look more brown. But I include this one too as an example. Also interesting to see how much lighter it is than the understudies, for example Laura Enrech's reddish brown wig.

NOTE: This is not a complete list. There is a long row of lovely understudies I could not depict due to photoset limitations. But I hope it shows some of the main styles and productions out there.

[sydneylynncarlson]

Oh my goodness how do you style your hair and what products do you use because it looks divinely sydney!

thank you so much !!!!! i recently faced my longtime fear of getting actual layers and i’m so glad i did lol i do the layers definitely help a more bouncy curly look i’ve been using my dyson to curl and style my hair and love it. been trying different products but still haven’t found ones im obsessed with would love any recommendations

[andrewlloydwebber]

Why did they give Joe a wig though? Is that normal for Phantom?

Most Raouls wear their own hair, unless their hair is not long enough for the standard-ish "swoopy romantic side part" Raoul style. So that means that even though the design and Steve Barton had straight-ish blond hair, there have been ginger/auburn, dark haired, curly-haired, and even touch of grey haired Raouls. Because the majority of the time, they do wear their own hair, but maybe have fake sideburns, although some like Jordan Donica and Tomas Ambt Kofod grow their own. But some Raouls have been bald or balding or had greying hair or I think David Shannon had cornrows at one point 🙄, so the wigs department gave those actors a wig. Joe Griffiths-Brown has a more modern undercut style of hair IRL right now, so that's probably why they gave him a wig.

But for completeness, there have been 6 black Raouls (Liam Tamne, Jordan Donica, Jemal Felix, Callum Francis, Lewis Francis and now Joe Griffiths-Brown) and about half of them have worn wigs.

AFAIK Liam Tamne (London 2014-2015) wore his own hair but I would have to go really digging through his Instagram/Twitter to find pictures of him in his "civilian life" besides that tiny blurry one from almost a decade ago.

Jordan Donica didn't wear a wig for either his 2016 run (left) or his 2022 run (center and right). Which led to him becoming the first replica Raoul with a ponytail.

Jemal Felix wore a wig as an understudy from 2021-2022 (first pic was from a dress rehearsal)

And in the non replica Australian Sydney Harbor production, Callum Francis and Lewis Francis both wore wigs with a very dramatic side part. But when Lewis Francis continued as an understudy in the Australian restaged tour, he wore his own hair and not a wig.

and i'm not even covering the old raoul wigs that they all wear. i know jordan donica didn't have an old raoul wig that matched his natural texture in his first run, lewis francis did have in the restaged tour, and i've typed all i can about raoul wigs and all i can hear is this song

[tag-that-oc]

Sydney (my best girl) is super sensitive to smells! She doesn’t like when she can smell perfume or cologne on someone but mild body wash or deodorant doesn’t irritate her as much. She can usually smell it on someone if they’re a smoker and her nephew can NEVER get away with smoking in the apartment, she’ll catch him immediately. She loves when she smells her neighbors cooking something good. She loves the smell of coffee but doesn’t care for the smell of rain. She likes the smell of dog & cat food & she thinks babies smell so cute (when asked to describe how a smell can be cute, she doesn’t have an answer) and she likes the smell of hair products in curly hair. She doesn’t eat meat but can’t deny that cooking pot roast or rotisserie chicken smells DIVINE!!

oh i love that! a very neat trait for an oc to have

[aidansloth]

Firts time making an ask EVER on Tumblr , how about Gareth whit a S/O from either New Zeland or Australia (that has the accent) and if its not a problem a s/o that has long curly hair (PS sorry for my shitty English):P

Can I be ☆ anon???

(I'm the first person you requested to??🥺🥺🥰) (don't apologize for your English, it's fine! especially because English isn't my first language either so I get stuff wrong too!) I apologize in advance if there's anything inaccurate in the headcanons, I tried writing things I was sure of, but if there's any wrong information feel free to tell me!

I'm going to do the two requests in the same post (but separately), I hope that's okay! also, you are now ★ anon (it's the only star I have sorry)

Gareth Emerson X Australian!Reader

he is in fact a little gremlin so sometimes he tries to imitate your accent

affectionately though. he means no harm (you can shout at him it's fine)

he honestly loves it though, he just teases for fun. but cusses at anyone who does the same, only he can (you'll see him shouting at Eddie in the middle of the cafeteria while the rest of Hellfire is dying from laughter)

anyway, this also means you get kangaroo jokes

for your birthday he gets you a kangaroo plushie as prank gift, don't worry though he gives you your actual present after he had his fun

not to mention him being confused with the season and months and school

"So you have Christmas in spring?" "Why would it be spring Gareth, it's obviously summer!" "Shut up Mike, I wasn't talking to you. So, how's Christmas at the beach?"

"Do you go to school during summer then?" "That's a stupid question Grant! Of course they do!"

they'd start shouting over eachother at the Hellfire table, all while you're just there 😐 trying to get a word in

they're trying

he'd totally think Sydney is the capital. he's so misinformed I swear (but once you correct him, he'll actually remember so it's fine)

on that note, he loves hearing you rant about your country (even more if you're indigenous), you look so passionate about it. he thinks you look soooo cute

Gareth Emerson X Reader with Curly Hair

he loves your hair of course

you two share tips, shampoos, conditioners and about any product that helps with your hair

he insists that you two wash your hair on the same day so you can do you hair routine together (he loves pampering you if you hadn't noticed)

if your hair is curlier than his and you have to use different products he'll do his research on how to take better care of your hair to surprise you

cause he wants to be the best possible boyfriend

(sometimes he brushes your hair with a brush just to annoy you this little gremlin)

if your hair is more on the 4C side then you better believe he's going to learn how to braid it! it's his only goal in life now. is his braiding going to be a bit shitty? maybe, but it's the effort that counts

[beauty-provider]

Exploring Premier Hair Services in Balmain: A Guide to Top Stylists and Salons

In the vibrant and diverse Inner West of Sydney, Balmain stands out as a hub for exceptional hair care and styling. The area is home to a range of talented professionals who specialize in various aspects of hairdressing. Among them are Balayage specialists in Inner West, who are renowned for their expertise in this popular coloring technique, and the Balmain curly hair salon, which caters specifically to curly-haired clients. Additionally, the presence of Balmain hair dressers and the well-regarded Balmain hair dress Sydney highlights the area's prominence in the hairdressing industry. Understanding the offerings of these hair professionals can help you make informed decisions for achieving your desired look.

Balayage specialists in Inner West are at the forefront of the balayage trend, a technique that involves hand-painting highlights onto the hair to create a natural, sun-kissed effect. Unlike traditional foil highlights, balayage allows for a more personalized and blended appearance, making it a favored choice for those seeking a subtle and sophisticated look. These specialists are adept at tailoring the balayage technique to suit various hair types and colors, ensuring that each client receives a unique and flattering result. Their skill in blending shades and creating dimension enhances the natural beauty of the hair, offering a modern and low-maintenance option for clients looking to refresh their style.

For those with curly hair, the Balmain curly hair salon provides specialized services designed to cater to the unique needs of curly-haired individuals. This salon focuses on techniques and products that enhance and define curls while minimizing frizz and maintaining hair health. Stylists at the Balmain curly hair salon are trained to understand the intricacies of curly hair, offering customized cutting, styling, and treatment options that celebrate and highlight the natural curl pattern. Their expertise ensures that clients with curly hair leave the salon with vibrant, well-managed curls that look and feel their best.

Balmain hair dress Sydney further underscores the area's reputation as a destination for top-notch hairdressing services. As a prominent name in the local hairdressing scene, Balmain hair dress Sydney is known for its commitment to quality and client satisfaction. Whether you’re seeking a classic cut, a contemporary style, or a complete transformation, this salon offers a range of services tailored to meet diverse hair needs. The stylists at balmain hair dress sydney are skilled in various techniques and trends, ensuring that clients receive expert advice and services that align with their personal style and preferences.

Balmain hair dressers, as a collective, contribute to the area's reputation as a premier location for hair care. These professionals bring a wealth of experience and creativity to their work, offering a broad spectrum of services from routine trims to intricate styling and coloring. Their expertise spans different hair types and styles, allowing them to cater to a wide range of client needs. The collective presence of Balmain hair dressers in the area ensures that clients have access to a wealth of talent and skill, making it a go-to destination for exceptional hairdressing services.

In summary, Balmain's hairdressing scene is distinguished by its array of specialized services and talented professionals. From balayage specialists in Inner West who excel in modern coloring techniques to the Balmain curly hair salon that caters specifically to curly hair, the area offers a comprehensive range of options for clients seeking expert hair care. Additionally, Balmain hair dress Sydney and Balmain hair dressers contribute to the area's reputation as a hub for high-quality hairdressing. By exploring these services, you can find the right professionals to help you achieve your ideal hairstyle and maintain beautiful, healthy hair.

[sloanssalonss]

Balayage for Different Hair Types: Finding Your Perfect Style

In the world of hair colouring, balayage has emerged as a popular and versatile technique that can complement a wide range of hair types. 

Whether you have straight, curly, fine, or thick hair, balayage can be customised to suit your specific texture and style preferences. Let's delve into how balayage Sydney can enhance different hair types and help you discover your perfect look.

1. Understanding Balayage

Before we explore how balayage works with different hair types, let's understand what balayage actually is. Balayage is a French hair colouring technique where colour is hand-painted onto sections of the hair to create natural, graduated highlights. 

Unlike traditional foil highlighting, balayage creates soft, seamless transitions between shades, resulting in a sun-kissed and dimensional effect.

2. Balayage for Straight Hair

Straight hair can beautifully showcase the subtleties of balayage. The key is to create a blend that looks effortless and natural. Balayage can add depth and dimension to straight hair, making it appear fuller. Opt for softer, slightly curved highlights that frame the face and enhance your natural hair colour. 

This technique works well with darker roots transitioning into lighter ends, creating a low-maintenance yet striking look.

3. Balayage for Curly Hair

Balayage can be a game-changer for curly hair, as it accentuates the texture and movement of the curls. When applying balayage Sydney to curly hair, focus on painting the colour onto the surface of the curls to highlight their natural shape. 

This technique adds depth and definition to your curls, enhancing their bounce and volume. Choose warm tones like caramel or honey for a sunlit effect that complements your curls beautifully.

4. Balayage for Fine Hair

Fine hair can benefit greatly from balayage, as it can create the illusion of thicker, fuller hair. The strategic placement of lighter tones can give fine hair a much-needed boost of volume and dimension. Opt for delicate, finely painted highlights that blend seamlessly with your base colour. 

Balayage can also add movement and texture to fine hair, making it look healthier and more vibrant without overwhelming its delicate nature.

5. Balayage for Thick Hair

Balayage is an excellent choice for thick hair, allowing you to showcase its natural density while adding depth and richness. 

For thick hair, consider incorporating a mix of lighter tones to break up the density and prevent the colour from looking too heavy. A combination of soft highlights and strategically placed lowlights can create a stunning contrast that highlights the beauty of your thick locks.

Choosing the Right Balayage

When deciding on the perfect balayage for your hair type, it's essential to consider factors such as your natural hair colour, skin tone, and maintenance preferences. Consult with a professional colourist who can assess your hair type and recommend the most flattering balayage technique for you.

For a low-maintenance option, opt for a lived-in balayage look that grows out beautifully without harsh lines or roots. Alternatively, if you prefer a more defined style, discuss incorporating stronger contrasts or specific colour placements that suit your individual style.

Maintenance and Aftercare

Balayage is known for its low-maintenance upkeep, making it ideal for those who want a beautiful colour without frequent salon visits. 

To maintain your balayage, use colour-safe and sulphate-free hair care products to preserve the vibrancy of your highlights. Regular trims can also help keep your balayage looking fresh by removing any split ends or damaged hair.

Conclusion

Balayage is a versatile hair colouring technique that can be customised to enhance and complement various hair types. Whether you have straight, curly, fine, or thick hair, balayage Sydney offers a personalised approach to colour that celebrates the natural beauty of your hair. 

Consult with a skilled colourist to discover the perfect balayage style that reflects your unique personality and enhances your overall look.

Source by - https://shorturl.at/efkOR 

[3sixtyhair]

Embrace Your Curls at Balmain's Premier Curly Hair Salon

Introduction:

Nestled in the heart of Balmain, where style meets sophistication, lies a haven for those with curly locks seeking expert care and a touch of glamour – Balmain Curly Hair Salon. Renowned for its dedicated team of skilled professionals, this salon caters exclusively to the unique needs of curly hair, offering top-notch services ranging from specialized haircuts to professional treatments. Let's take a closer look at what makes Balmain Curly Hair Salon the go-to destination for those looking to embrace and enhance their natural curls.

Expert Curly Haircuts:

Balmain Curly Hair Salon takes pride in its team of expert hairdressers who specialize in curly haircuts. Curly hair requires a different approach compared to straight hair, and the stylists at this salon understand the importance of precision and technique. Whether you're looking for a trim, a bold new style, or even a curly fringe, the professionals at Balmain Curly Hair Salon have the skills and expertise to create a look that complements your unique curls.

Personalized Consultations:

Understanding that each individual's hair is unique, Balmain Curly Hair Salon offers personalized consultations to determine the best haircut and styling techniques for your specific curl pattern. The experienced stylists take the time to assess your hair's texture, density, and overall health, ensuring that the recommended haircut not only enhances your curls but also suits your lifestyle and preferences.

Professional Hair Treatments:

Beyond exceptional haircuts, Balmain Curly Hair Salon provides a range of professional hair treatments designed to nourish and revitalize your curls. From moisturizing treatments to enhance hydration and shine to specialized treatments for curly hair, the salon uses high-quality products tailored to the needs of textured hair. These treatments not only address common concerns like frizz and dryness but also promote the overall health of your curls.

Dedicated to Curly Hair Care:

Unlike traditional salons that may not fully understand the unique needs of curly hair, Balmain Curly Hair Salon is dedicated exclusively to serving clients with textured locks. This specialization ensures that the salon stays at the forefront of curly hair trends, techniques, and products, providing clients with the latest and most effective solutions for their curls.

Exceptional Customer Service:

Balmain Curly Hair Salon prides itself on offering exceptional customer service. The friendly and knowledgeable staff go the extra mile to create a welcoming and comfortable environment for clients. From the moment you step through the door to the final styling touch, the team at Balmain Curly Hair Salon is committed to making your experience enjoyable and satisfying.

Conclusion:

For those in Balmain seeking a salon that understands and celebrates the beauty of curly hair, Balmain Curly Hair Salon stands out as the premier destination. With a team of skilled professionals, personalized consultations, and a range of top-notch services, this salon is dedicated to helping you embrace and enhance your natural curls. Say goodbye to hair woes and hello to a new era of confidence and style with the expertise of Balmain Curly Hair Salon.

For more info:-

Keratin bond extensions Sydney

hair salon in Balmain

[haylohairbeauty]

Unlocking the Secrets to Luscious Curls: Curly Hair Products in Sydney

Discover a range of premium curly hair products in Sydney, tailored to enhance your natural curls. From nourishing shampoos to defining styling products, achieve stunning, frizz-free curls with our curated selection.

[operafantomet]

I’m curious, what is the reason a production will give a Christine actress a blonde/different colored wig? I know smaller productions often have a blonde Christine (I think at least) but like- London for example, I thought they had a few Christine’s with a blonde wig, I assumed because the actress was a blonde but I swear there were some blonde Christine’s that also had a dark wig as well. Is there any reason for this? Or is it just random?

I the earliest days of POTO there was a will to adapt the 'Degas' wig to whoever played Christine and Meg. Whereas all three original Christines in West End followed the Sarah Brightmanesque look with big brown curls, they did feature Patti Cohenour on Broadway with a much lighter brown wig, to adapt to her colouring. It wasn't blonde, but it was a light auburn / reddish brown:

For the original Toronto production they also changed Susan Cuthberg's wig from brown to blonde during her run, making her the first blonde ALW Christine out there. This too was due to it being closer to her own colouring:

Equally, Janet Devenish started out with a very red Meg wig in West End. Later in her run it was changed to a blonder one. It's the blonde look that's stuck on Meg, but interestingly she was a redhead first!

A final example from early POTO days is that original Australian Meg, Sharon Millerchip, started out as a blonde, but it was decided that a brunette wig looked better on her. Once again to adapt to the actress' natural colourings.

But later in the 1990s the general formula stuck. Christine as a brunette, Meg as a blonde. A handful of Christines in West End was featured with auburn wig to match their own colouring, and one or two Megs got a brown wig, but they were definitely the exception rather than the rule. Especially in the US and the World Tour the Christines has worn a general dark brown wig completely unrelated to what hair colour they have in real life. This is what is generally done for the replica production, as the design indicates brown curls, but with some exceptions here and there.

With the first ever non-replica production, in Hungary 2003, their Christines partly wore their own hair, braided, with extensions in the back. This meant that a variety of colours has been seen there: Vanilla blonde, darker blonde, auburn, brunette. Here's barbara Fonyo (auburn), Renata Krassy (blonde) and Andrea Maho (brunette):

The non-replica productions that followed chose different strategies:

The 2008 Polish production emulated the 2004 movie, with curly brown wigs

The 2013 Restaged Tour did a less curly, general brown wig

The 2014 Estonian production featured their Christines with their actual hair colour (one brunette, one blonde)

The 2014 Czech production stuck fairly close to the original design, with long brown curly wigs,

The 2015 Finnish/Swedish production tried out different shades of red; first strawberry blonde, then flaming red.

The 2015 Romanian production and later Norwegian/Greek/Tour version went blonde. The Romanian production featured the actress' own hair, while the others has done wigs. But there's been different shades of blonde, different lengths and different curls. Gaston Leroux has been mentioned as inspiration.

The 2017 Serbian production also featured their Christine with their respective hair, which gave one blonde and one brunette.

Ditto for the 2019 Bulgarian production, ranging from light brown to black hair.

The 2020 Swedish production first went red for Christine. I have read they thought it was never done before and that's why they wanted to try it out (but as seen above, the Finnish/Swedish production beat them to it). When a new principal Christine was cast they gave her a blonde wig, to better match her colouring.

The 2022 Sydney Harbour production did fairly classic brown curly wigs.

The 2023 new Romanian production also feature Christine with her own hair - like the original Romanian production, and incidentally the same actress. But it looks like there's a bit of extensions going on as well.

Last, but not least, the 2023 Mediterranean production premiering in Italy did somewhere between honey blonde and auburn.

So in large, a non-brown Christine wig seems to be a way of adapting the hair to the actress - whether a wig is in use or not. In some cases it's also a way of actively differentiate the look from Maria Bjørnson's original design (as well as the iconic Mary Philbin look).

In replica production the 'wildest' things they did in the 1990s and early 2000s was auburn Christine wigs, and primarily in West End. But in the later 2000s more variations started to appear. The very light brown wigs of Janine Kitzen in Stuttgart and Robyn North in West End comes to mind, and Anne Görner's fairly redhead wig. Then Harriet Jones' first auburn red wig in West End, and them going all blonde on Emmi Christensson. Again the overall strategy seems to be to match the actress' own colours and the wig. Left: Anne Görner in Essen, and right: Emmi Christensson in West End.

In recent years there's also been a will to adapt the texture of the curls. From recent West End examples there is Lucy St Louis, Beatrice Penny-Touré, Paige Blankson and Chumisa Dornford-May with afro-textured hair. Ditto for Emilie Kouatchou on Broadway. Here's Lucy St Louis with Killian Donnelly:

And then the recent wig change for Eve Shanu-Wilson in West End, which is meant to closer reflect on her heritage. Though the Phantom historian in me also thinks it brilliantly reflects on the 1990s West End wigs, so I'm doubly happy...

So yeah. Usually the variations in wig colour and curls is due to a will to reflect on who the actress is and how she looks in real life. But the wig is of course also a tool to create a certain look for a certain role. Which means that every wig is an interpretation, and a negotiation between wanted look and the many possibilities for adaption.

[sweetie-bri]

Jone's the brains I'm just his test subject. He's truly ahead of his time making feminine beauty products. I'm always happy to see my childhood friend succeed so I act as his little training dummy. Secretly though. I... wanted him to myself.

I'm a HUGE sapiosexual. Nothing does it for me more than a smart, confident man. I wished more than anything that Jone felt the same. If he saw how smart I was and fell instantly in love..♡ Jone however... He liked. Foxy ladies like Sydney.

Perky breasts, smooth curves, fair skin, and her eyes, lips and nose. There was nothing wrong with her. It made me physically ill watching him oggle her while she played him like an instrument. I could only watch from the sidelines as this dumb slut took MY Jone hostage with her strapless dresses & miniskirts.

Hi, h-hey Jone. J-." I shut my mouth. The more I talked the more I froze up. I was so tense when I saw his curly hair & golden smile. "Hey Noe-y!" Noe-y??? Oh my God he had a nickname for me!? He thought about me?? "I've got something BIG I NEED to try and you're just the girl I needed." He needed me??? He REALLY just said he needed me???

"I'd be happy to." I choked out, relieved I didn't stutter. After a small pause he looked at me, genuinely and... "Thank you for this, Noel... and. Everything. I can't thank you enough." My heart pumped 4x as fast! The experiment we were testing today needed me to be in 'loose clothes' and with 'no-makeup.' I slid on all-black cause I wanted to match the cute suit Jone walked in with.

"Are you ready?" Jone asked. Pointing something he called a beautifier at me. I couldn't stop thinking about how he talked to me yesterday. I... If only I could tell him how I feel. My thoughts fried up as I was beamed with a flash of bright light. I felt myself slowly fill my dress in. "Just a half-second with the beautifier and...

Joan looked like he was hiding a smile with his open mouth. I looked down at myself and nearly made the exact same face. I looked, fuller, curvier, and most of all taller. I was as tall as the lamp post by Jone's house and... maybe strangest of all... I felt... confident!

"You're sooo smart~ Does Sydney ever tell you that?" I felt drunk. I wasn't sure if it was Jone's radioactive laser making me 14 feet tall or if I was love-drunk from being around my childhood crush for so long. "Noel you're-" I interrupted him. Feeling emboldened and losing my filter. Was he blushing, did he... Like me bigger?"

"I mean... that- fuck... flat, blonde bitch doesn't know you like me. You deserve better~" I bent fully over, in slurry speech I said: "20 feet better~ you're- you... you're sexy, Jone." At this point I'd lost my mind and just relished in Jone's company. "Noel, I didn't know you felt like that about me." He said, accepting my advances.

"Oohoho~ You dirtyy- dirtyyyy boy. I kissed his cheek. It's cause I'm big, and curvy now, right~♡?" "No! Noel I've always thought you were too good-" "Abababa-" I covered his mouth with my dinner plate sized hands! "I know, but it- you still like me MORE now, hwehe heh~♡ I'd like me more. I'm fuckin' sexy."

I couldn't help but grip my breasts, they were twice my original size and... so sensitive..? "... Okay, I admit: Noel, you're cuter now." He bashfully turned his head. "I knewww it. You like my big, soft boobies? Dirty boy~" I was high on the fumes of Jone liking me back. So elated, lightheaded and horny my long arms wrapped around him.

I snuck another kiss 'It's okay, Jone I'm a naughty girl-y~" I grappled the gun that made Jone love me from him. He used to be stronger than me, I took it with ease; I felt unstoppable. "Jone~♡ Watch me, daddy~♡!!" I don't why I said that, but I loved it. I shot the same bright light into my stomach.

The orgasmic feeling hit me everywhere as I felt the already tight clothes constricting me slowly rip apart. 5 whole seconds of pure beautifier. My panties rode up my pussy, then snapped at the waistband. Dropping to the rapidly-departing ground. My cute little dress wasn't big enough to hide my nude womanhood anymore, then burst at the torso along with my bra.

My breasts ballooned to yoga balls but on me they looked just like DDs. As the ray stopped working its magic I lowered my palm Jone stepped on. He looked like an action figure. My drunk-like brain thought about putting him into my pussy but I just wanted to see his little face. "I'm yours~♡" I swooned, my 2 story body almost flattening his house.

"Noel, I c-can turn you... back to, to n-normal. If you want!" He stuttered. Even my dumb, drunk brain could tell he loved this. "No, I want to be with you, your giant loving girlfriend... Do you want this big *aaAh!!♡* sensitive body or that slut, Sydney.

"Hah, that's a no-brainer." Jone replied as began to strip with me.

[navalcriminalimagines]

“Hi ma’am. Uh—I’m looking for Jethro Gibbs?” The 15 years old boy asked to Ellie Bishop. Who’s that kid? She’s never seen him before, or heard her boss talked about a teenager. And she doesn’t recall how it could be link to any case.

“You are?” She asked, intrigued.

“It’s—personal,” the teenager said. Now, she’s even more intrigued. If he had blue eyes, she’d have asked herself if he shared DNA with her boss.

“I’m gonna call him but I just need your name,” she said, grabbing her phone.

“Harry! What are you doing here, bud?” Gibbs approached the teenager and Harry immediately ran into his arms. Gibbs hugged him tight.

“Can I stay with you today?”

“I—“ Gibbs wanted to tell him that he was working. But he was the sad eyes on Harry’s face. The kid has been though a lot lately, he can’t tell him no. “Let him call your mum, okay?”

Gibbs stood aside the bullpen while he called you, Harry was right next to him and the rest of the team came back. Tony and McGee stood next to Ellie, following where her eyes were watching. “Who’s that kid?” Tony asked first.

“I was hoping you could tell me,” Bishop answered.

While on the phone, they saw their boss smiling. A real smile. And then he put his hands in Harry’s curly hair.

“Does Gibbs has a kid we don’t know about?” Tim asked.

“He has green eyes,” Bishop stated.

“So? Do I look like my father?” Tony said, without thinking. Tim and Ellie turned their heads to look at their coworker. “Yeah, bad example, but you get the point.”

Right after Tony’s sentence, Gibbs hang up. The three agents pretended to be occupied at their own desk. Their boss had his arm around Harry’s shoulders as they came back to the bullpen. “Harry is going to be our honorary agent for the day. This is Tim, Tony and Ellie,”

“Hi,” Harry shyly waved at them.

“Hello Honorary agent Harry,” Tony stood up to check the teenager’s hand. “And he is?” Tony asked his boss.

“None of your business,” Gibbs simply answered. Tony growled, unhappy about not having an answer. “Update,”

While the team updated Gibbs on the case and what they found, Harry stayed really close to the boss. Gibbs always had a protective and special warmth towards kids and teenagers, but there was something special there. Tony promised himself to find what was the relationship there, by the end of the day.

Abby knew Gibbs would entered her lab any minute, but he never expected him to come in with a very young special agent. “Abby, Harry. Harry, Abby. Lab tech,” Gibbs said, and both Harry and Abby waved at each other. “What you got, Abs?”

“Many questions,” she said, looking at the teenager’s green eyes.

“Unhappy look,” Harry whispered to her, looking at Gibbs that was standing right behind her, waiting for her report.

“We call it the Gibbs stare, here,” she quickly said, before telling her boss what we wanted to know.

Harry was impressed. We knew things about Gibbs’ job, just like he knows what yours, since you’re a cop too. But what Abby is doing is very impressive to him, he would love to her multiple questions. “Can I stay with her?” Harry asked Gibbs, as they were about to leave the lab.

Jethro definitely hates how weak he can be with Harry. “Okay but a few rules,” Abby and Harry listened carefully, “First, Abby, do not interrogate him. And do not show him weird things his mother can be mad about. And you, bud,” Gibbs took a few steps closer to Harry, “enjoy your day, okay? I’ll come get you for lunch,” Gibbs kissed Harry’s forehead and left.

Abby didn’t waste any time, “Okay, bud,”

“Nope. Only Jethro calls me that. I hate it, but it’s an habit now,”

“Fine. Who are you to my boss?”

“Stepson, I guess. I think?—I’m not sure. Jethro and mum has—“ Harry stopped in the middle on the sentence and turned around. “God, I thought he was standing behind,” he said.

“Does he do that outside of work, too?” Abby asked, super exciting about knowing personal things.

“Yeah, it’s like he has a detector every time we say his name,”

“Today’s going to be so fun!”

Harry has never been into sciences at school, he’s more into languages and literature, just like his father. But Abby Sciuto made it so fun that his curiosity was exploding. Pretty much like the experience he was doing. “What did I do wrong?” Harry said, frustrated about failing.

“You took this,” Abby said, showing a product, “instead of that,” she showed another product.

“Damn!” Harry said. And of course, Gibbs has entered the lab at the very same moment. He extended his hand to his stepson, “do we have to do it even when Joe’s not around?” Harry complained. “I’m not a kid anymore,”

“Fine, but don’t tell your mother. And—what happened here? A tornado?” Gibbs asked, looking at the mess.

“I’m definitely not good at sciences,”

“You just need a good teacher, sweetie,” Abby said. “You can come around when you need help, if your—stepdad is okay,” Abby grinned at Gibbs, happy to know that info.

“What happened in that lab—better stay in that lab,” Gibbs said, “Hungry, bud?”

Gibbs and Harry went to the diner for lunch. “Text your mum, Harry. She’s worried,”

“Dad broke up with Lindsay. He wants me to come back and live with him again,”

“Is that what you want?”

“No—yes—maybe. I don’t know,”

“Hey, whatever you want to do, your parents will agree to it. All they want is for you to be happy, wherever you are,”

“Even if it’s in Australia?” Gibbs looked at Harry, confused. Last he knew, your ex husband is living in California. “Dad had a job offer in Sydney, he said yes. And he’s leaving next month,”

“If you want to go with him, do it,”

“How would you feel about it, J?”

“It doesn’t mat—“

“It matters to me. You’ve been in my life for almost ten years now. At some points, you were more a dad to me than Dad was. And you’re my baby brother’s father. I care about you, and I care about what you think,”

This is typically what Gibbs doesn’t like. He hates that kind of conversation, he hates to let people know how he feels and what he thinks. But if someone deserves to know a little about it, it’s definitely Harry.

“For me, there’s no difference between you and your brother— Family’s more than DNA. It’s about people who care and take care of each other.”

“Stop with those sentences all made up! Tell me how you’d feel if I move to Australia,”

Gibbs chuckled. The shy little boy he met 8 years ago was now becoming a confident young man. “I’ll miss you, okay? Just like I missed when you left for California! Are you happy now?”

“No! I’ll be happy when you and mum stop acting like children, and finally give Joe a stable family,”

“Your mum and I are dysfunctional, but we work that way. Did Joe tell you something?”

“He’s 5 and he wants what any other 5 years old want; he wants to live with his mother and his father, 24/7. In the same household,”

“With his big brother too, right?”

“Yes, but that’s not the point,”

After a blank during which Gibbs intensely stared at Harry, “I didn’t see you grow up. I’m proud of the young man you’re becoming,”

Harry smiled, “Say it,”

“What?” Gibbs asked, his mouth full of his burger.

“You know it! Say it,”

“Nope,”

“Why? Why is it so hard?” Harry paused. “Look— it can be easy when it’s true. I love you, dad.”

Harry called Gibbs “dad” occasionally. Sometimes on purpose, sometimes not. Jethro remembered the first time he heard it from him and the first Joe said it. He felt the same for both. That’s how he knew there was so difference between his real son and his stepson. They are both his sons.

“I love you,” Gibbs mumbled, with French fries in his mouth.

“Didn’t understand. What did you say?”

Gibbs swallowed. “I love you, son! Okay? You happy? Can I eat in silence now?”

“Yes, you can,” Harry proudly smiled.

In the afternoon, Harry stayed with Gibbs until the agent had no choice but to go on a run for the case. Gibbs let his stepson with Ducky. The doc showed Harry around, avoiding the autopsy and corpses obviously. By the end of the day, Ducky and Harry were playing chess at Gibbs’ desk, waiting for everyone to come back. But when they heard the elevator opening, here you were, with Joe in your arms. The little boy got down and ran to his brother as soon as he saw him. You hugged your son tight. “How are you, baby?” You asked.

“I’m good mum,” he smiled and kissed you on the cheek. “I’m beating Ducky,”

“Not yet, young man,” Ducky stood and hugged you. “How’s my favorite Gibbs?” He asked to Joe, who was holding onto his brother like a koala bear.

“Say hi to Ducky, sweetheart,” you told your youngest son and the little boy waved at the doc. Ducky and Harry sat back in their chairs, Joe was still holding Harry and you sat on Jethro’s desk.

“Where’s J?” You asked.

“Followed a lead, he should be back soon,”

The four of you stayed together, talking about everything and nothing until the elevator opened again. This time, it was Gibbs with his team. As soon as Joe saw his dad, he jumped from his brother’s lap and ran into Gibbs’ arm. “Hey baby,”

Tony, Tim and Ellie were more confused than they were hours ago when they met Harry. Ducky couldn’t help but smiling big. Before anyone could say anything, Abby appeared with Jimmy in the bullpen. The entire team was there. “How’d it go?” She asked.

The team explained that it led to nowhere, and they had to go back to the beginning on that case. While they did that, Jethro stole you a quick kiss, and he whispered something in Harry’s ears. “Checkmate!” Your son told Ducky as he made his final move.

“That’s cheating,” Ducky said.

“Nope. Dad and I share one brain,”

When the word “dad” was heard in the bullpen, everyone stopped talking and turned like one man towards Gibbs and you. Your boyfriend laughed, and moved Joe on his back, “Hang on Monkey!” He said.

“Can we go to McDonald’s?” The little boy asked.

“Nope,” “yes!” Gibbs and you answered at the same time. Jethro looked at you, but you were looking at Harry with a smile. “Boys!” You said.

In a second, Joe was tickling his father in the neck, and Harry was searching for his car keys while you were holding his arms. When your oldest found the keys, he handed them to you and the three of you ran to the elevator. “Team work!” You high five the boys.

Gibbs’ team was looking at him, more confused than they have never been in their life. Their boss laughed and walked towards the elevator and his family, “Good night everyone!”

[mira-nicodiangelo-grey]

Natalie’s Salon

Just watched back to back episodes of Natalie’s Salon instead of sleeping. Let’s just round up the characters.

Aimie Atkinson: professional K. Howard. Frequent customer at Natalie Paris Salon. Also Free Real Estate Agent. She’s Australian, not English, guys.

Natalie Paris: owner of Natalie Paris Salon. Also Aussie. Specialty is in the K. Howard look. Studied a year and “a hauf” at Sydney Hair Academy, Major in K. Howard. Legend has it that if you throw an orange at her when she’s stressed, she flips out. The orange throwing is meant to be medicinal according to Grace, but if she takes it wrong, there are serious consequences. Natalie has a dark side she tries to hide.

Maiya from Catering: Caters the food at the salon. Sometimes she burps. Famous quote: Never be a Side Salad. “Don’t trust her catering business,” says Natalie. She was once spotted wearing the look called Curly Locks (with a touch of crayon) by Natalie Paris.

J’Jaye Supplies: aka Sheila, J’Jaye works in the supplies department with the Salon and supplies whatever people need; lights, hairbands, etc... She supplied the hairbands for the K. Howard look. Is Australian but she lived in London for so long that her accents have started to blend.

Millie from Marketing: elderly Scottish lass. Marketing Manager who contacted Natalie via a pigeon named Stan in the 90s to work on the K. Howard look (or 60s, I’m not sure, Millie was iffy on this information). Very popular character.

Wolfie P. A. Best in the business. Hardworking. Went through a long screening process by Natalie Paris but she got the job.

Alexia McIntosh: Van driver. Minor character. Not seen onscreen.

Grace Mouat: Chef at Natalie Paris Salon. Sometimes pronounced Grosse Mouette. Only works with organic products. She believes throwing oranges at Natalie’s hair is meant to be therapeutic.

Sally the Devil: minor character. Slapped Grace’s ass. Nicknamed the Devil ever since.

Genesis Lynea: minor character seen at a hair convention with Aimie.

[thefakejeffreyazoff]

‘He’s our Satan’: Mega music manager Irving Azoff, still feared, still fighting

(x)PEBBLE BEACH, Calif. —  

This is not Irving Azoff’s house. Irving and his wife Shelli own houses all over, from Beverly Hills to Cabo San Lucas, but right now in the last week of October it’s too cold at the ranch in Idaho and too hot at the spread in La Quinta, so he’s renting this place — a modest midcentury six-bedroom that sold for $5 million back in 2016.

From the front door you can see all the way out, to where Arrowhead Point juts like the tail of a comma into the calm afternoon waters of Carmel Bay. More importantly, the house is literally across the street from the Pebble Beach Golf Links, where Azoff likes to play with his college buddy John Baruck, who started out in the music business around the same time Azoff did, in the late ’60s, and just retired after managing Journey through 20 years and two or three lead singers, depending how you count.

(Via LA Times) 

Azoff is 72, and this weekend he’ll be inducted into the Rock and Roll Hall of Fame alongside Bruce Springsteen’s longtime manager Jon Landau. Beatles manager Brian Epstein and Rolling Stones manager Andrew Loog Oldham are already in, but Azoff and Landau are the first living managers thus honored. Azoff is not only alive — he’s still managing. As a partner in Full Stop Management — alongside Jeffrey Azoff, his oldest son and the third of his four children — he steers the careers of clients like the Eagles, Steely Dan, Bon Jovi and comedian Chelsea Handler, and consults when needed on the business of Harry Styles, Lizzo, John Mayer, Roddy Ricch, Anderson .Paak and Maroon 5. Azoff has Zoom calls at 7, 8 and 9 tomorrow morning, and only after that will he squeeze in a round.

The work never stops when you view the job the way Azoff does, as falling somewhere between consigliere and concierge. “My calls can be everything from ‘My knee buckled, I need a doctor’ to ‘My kid’s in jail,’” Azoff says. “I mean, you have no idea. The ‘My kid’s in jail’ one was a funny one, because the artist then said to me, ‘Y’know, I’ve thought about this. Maybe we should leave him there for a while.’”

Golf entered Azoff’s life the way a lot of things have — via the Eagles, whom Azoff has managed since the early ’70s. Specifically, Azoff took up golf in the company of the late Glenn Frey, the jockiest Eagle, the one the other Eagles used to call “Sportacus.” By the time the Eagles returned to the road in the ’90s they’d left their debauched ’70s lifestyles largely behind, but Azoff and Frey got hooked on the little white ball.

“Frey would insist on booking the tour around where he wanted to play golf,” Azoff says. “We made Henley crazy. Henley would call me in my room and he’d go, ‘Why the f— are we in a hotel in Hilton Head North Carolina and starting a tour in Charlotte? Is this a f— golf tour?’”

Trailed by Larry Solters, the Eagles’ preternaturally dour minister of information, Azoff makes his way down the hill from the house for dinner at the golf club’s restaurant. He’s only 5 feet, 3 inches, a diminutive Sydney Pollack in jeans and a zip-up sweater. In photos from the ’70s — when he was considerably less professorial in comportment, a hipster exec with a spring-loaded middle finger — he sports a beard and a helmet of curly hair and mischievous eyes behind his shades, and looks a little like a Muppet who might scream at Kermit over Dr. Teeth’s appearance fee.

His father was a pharmacist and his mother was a bookkeeper. He grew up in Danville, Ill., booked his first shows in high school to pay for college, dropped out of college to run a small Midwestern concert-booking empire and manage local acts such as folk singer Dan Fogelberg and heartland rock band REO Speedwagon. Los Angeles soon beckoned. He met the Eagles while working for David Geffen and Elliot Roberts’ management company and followed the band out the door when they left the Geffen fold; they became the cornerstone of his empire. “I got my swagger from Glenn Frey and Don Henley,” he says. “No doubt about it.”

Azoff never took to pot or coke. The Eagles lived life in the fast lane; he was the designated driver. “Artists,” he once observed, “like knowing the guy flying the plane is sober.” This didn’t stop him from trashing his share of hotel rooms, frequently with guitarist Joe Walsh — whose solo career Azoff shepherded before Walsh joined the Eagles, and who was very much not sober at this time — as an accomplice.

“This was a different age,” Walsh says of his time as the band’s premier lodging-deconstructionist. “We could do anything we wanted, so we did. And Irving’s role was to keep us out of prison, basically.” He recalls a pleasant evening in Chicago in the company of John Belushi and Dan Aykroyd, which culminated in Walsh laying waste to a suite at the Astor Towers hotel that turned out to be the owner’s private apartment. “We had to check out with a lawyer and a construction foreman,” Walsh remembers. “But Irving took care of it. Without Irving, I’d still be in Chicago.”

Azoff became even more infamous for the pit bull brio he brought to business negotiations on behalf of the Eagles and others, including Stevie Nicks and Boz Scaggs. He didn’t seem to care if people liked him, and his artists loved him for that. Steely Dan co-founder Walter Becker said they’d hired Azoff because he “impressed us with his taste for the jugular … and his bizarre spirit.” Jimmy Buffett’s wife grabbed him outside a show at Madison Square Garden, pushed him into the back of a limo and said, You have to manage Jimmy, although Buffett already had a manager at the time.

His outsized reputation as an advocate not just willing but eager to scorch earth on behalf of his clients became an advertisement for his services, a phenomenon that continues to this day. In August 2018, Azoff’s then-client Travis Scott released “Astroworld,” which debuted at No. 1 on the Billboard 200 chart, and occupied that slot again the following week, causing Nicki Minaj’s album “Queen” to debut at No. 2. On her Beats One show “Queen Radio,” Minaj accused Scott of gaming Billboard’s chart methodology to keep her out of the top slot and singled his manager out by name: “C—sucker of the Day award,” she said, “goes to Irving Azoff.” Azoff says he reacted as only Azoff would: “I said, ‘I’m really unhappy about that. I want to be c—sucker of the year.’” In 2019, Minaj hired Azoff as her new manager.

Most of the best things anyone’s ever said about Azoff are statements a man of less-bizarre spirit would take as an insult. When the Rock and Roll Hall of Fame inducted the Eagles in 1998, Don Henley stood onstage and said of Azoff, “He may be Satan, but he’s our Satan.”

An N95-masked Azoff takes a seat on a patio with a view of hallowed ground — the first hole of the Pebble Beach course, a dogleg-right par 4 with a priceless view of the bay. He cheerfully admits that he and his partners at Full Stop are “obviously, as a management business, kind of losing our ass” this year due to COVID-19. In another reality, the Eagles would have played Wembley Stadium in August before heading off to Australia or the Far East. Styles would have just finished 34 dates in the U.S., Canada and Mexico. As it stands Azoff is hearing encouraging things about treatments and vaccines and new testing machines, and is reasonably confident that technology will soon make it possible for certified-COVID-free fans to again enjoy carefree evenings of live music together; he doesn’t expect much to happen in the meantime.

“What are you gonna do,” Azoff says, “take an act that used to sell 15,000 seats and tell them to play to 4,000 in the [same] arena? The vibe would be horrible, and production costs will stay the same.”

He knows of at least six companies trying to monetize new concert-esque experiences — pay-per-view shows from houses and soundstages, drive-in events and so on. But he’s not convinced anybody wants to sit in their parked car to watch a band play. More to the point, he’s not convinced it’s rock ’n’ roll.

“Fallon and Kimmel, all these virtual performances — people are sick of that,” he says. “Your production values from home aren’t that good. And they’re destroying the mystique. I mean, Justin Bieber jumping around on ‘Saturday Night Live’ the other night without a band, and then he had Chance the Rapper come out? It made him look to me, mortal. I didn’t feel any magic. So we’ve kinda been turning that stuff down to just wait it out.”

In the meantime, he says, Full Stop is picking up new clients during the pandemic. Artists with time on their hands, he believes, “have taken a hard look at their careers— so we’ve grown. No revenues,” he adds with a chuckle, “but people are saying, ‘We need you, we need to plan our lives.’”

“IN HIGH SCHOOL,” Jeffrey Azoff says, “I wanted to be a professional golfer, which has obviously eluded me.” He never expected to take up his father’s profession. “But my dad has always loved his job so much. There’s no way that doesn’t rub off on you.”

The younger Azoff got his first industry job at 21, as a “glorified intern” working for Maroon 5’s then-manager Jordan Feldstein. After a week of filing and fetching coffee, he called his father and complained that he was bored. According to Jeffrey, Irving responded, “Listen carefully, because I’m going to say this one time. You have a phone and you have my last name. If you can’t figure it out, you’re not my son.”

“Direct quote,” Jeffrey says. “It’s one of my favorite things he’s ever said to me. And it’s the spirit of the music business, by the way. There are no rules to this. Just figure it out.”

Over dinner I keep asking Irving how he got the temerity, as a kid barely out of college, to plunge into the shark-infested waters of the ‘70s record industry in Los Angeles. He just shrugs.

“I never felt the music business was that competitive,” he says. “It’s just not that f—ing hard. I don’t think there’s that many smart people in our business.”

It’s been written, I say, that once you landed in California and sized up the competition, you called John Baruck back in Illinois and said —

“We can take this town,” Azoff says, finishing the sentence. “Where’d you get that? John told that story to [Apple senior vice president] Eddy Cue on the golf course three days ago. It’s true. I called John up and said, ‘OK, get your ass out here. We can take this town.’”

In the ensuing years, Azoff has occupied nearly every high-level position the music industry has to offer, surfing waves of industry consolidation. He’s been the president of a major label, MCA; the CEO of Ticketmaster; and executive chairman of Live Nation Entertainment, the behemoth formed from Ticketmaster’s merger with Live Nation. In 2013 he and Cablevision Systems Corp. CEO and New York Knicks owner James Dolan formed a partnership, Azoff MSG Entertainment; Azoff ran the Forum in Inglewood for Dolan after MSG purchased it in 2012.

Earlier this year Dolan sold the Forum for $400 million to former Microsoft CEO and Clippers owner Steve Ballmer, who’s since announced plans to build a new stadium on a site just one mile away. Despite the apocalyptic parking scenario that looms for the area — two stadiums and a concert arena on a one-mile stretch of South Prairie Boulevard — Azoff is confident that the Forum will live on as a live-music venue. “People are going, ‘They’re going to tear it down’ — they’re not going to tear it down,” Azoff says. “It’s going to be in great hands. I have many of the artists we represent booked in the Forum, waiting for the restart based on COVID.”

The holdings of the Azoff Co. — formed when Dolan sold his interest in Azoff MSG back to Azoff two years ago — include Full Stop, the performance-rights organization Global Music Rights and the Oak View Group, which is developing arenas in Seattle and Belmont, N.Y., and a 15,000-seat venue on the University of Texas campus in Austin. Azoff describes himself as increasingly focused on “diversification, and building assets for the family that aren’t just dependent on commissions, shall we say.”

But as both a manager and a co-founder of a lobbying group, the Music Artists Coalition, he’s also devoting more time and energy to a broad range of artists’-rights issues, from health insurance to royalty rates to copyright reversion to this year’s Assembly Bill 5, which threatened musicians’ independent-contractor status until it was amended in September. (“That was us,” Azoff says, somewhat grandly. “I got to the governor, the governor signed it — Newsom was great on it.”) He describes his advocacy for artists — even those he doesn’t manage — as a “war on all fronts,” and estimates there are 21 major issues on which “we’ve sort of appointed ourselves as guardians.”

He does not continue to manage artists because he needs the money, he says. (As the singer-songwriter and Azoff client J.D. Souther famously put it, “Irving’s 15% of everybody turned out to be more than everyone’s 85% of themselves.”) Everything he’s doing now — building clout through the Azoff Co., even accepting the Hall of Fame honor — is ultimately about positioning himself to better fight these fights. “I’d rather work on [these things] than anything else,” he says. “But if I didn’t have the power base in the management business, I couldn’t be effective.”

The recorded music industry, having fully transitioned to a digital-first business, is once again making money hand over fist, he points out, but even less of that money is trickling down to artists. That imbalance long predates Big Tech’s involvement in the field, but the failure of music-driven tech companies to properly compensate musicians is clearly the largest burr under Azoff’s saddle.

“These people, when they start out — whether it’s Facebook, Snapchat, TikTok, whatever — they resist paying for music until you go beat the f— out of them. And then of course, none of them pay fair market value and they get away with it. Your company’s worth $30 billion and you can’t spend 20 grand for a song that becomes a phenomenon on your channel? Even when they pay, artists don’t get enough. Writers don’t get enough. Music, as a commodity, is more important than it’s ever been, and more unfairly monetized for the creators. And that’s what creates an opportunity for people like me.”

AZOFF’S FIRM NO longer handles Travis Scott, by the way. “Travis is unmanageable,” Azoff says, nonchalantly and without rancor. “We’re involved in his touring as an advisor to Live Nation, but he’s calling his own shots these days.”

I ask if, in the age of the viral hit and the bedroom producer, he finds himself running into more artists who assume they don’t need a manager. Ehh, Azoff says, like it’s always been that way. “There’s a lot of headstrong artists,” he says. “I haven’t seen one that’s better off without a manager than with,” he says, and laughs a little Dennis the Menace laugh.

We’re back at the house. Azoff takes a seat on the living-room couch; Larry Solters sits across from him, his back to the sea. Azoff recalls another big client. Declines to name him. Says he was never happy, even after Azoff and his people got him everything on his wish list. “He hit me with a couple bad emails. Just really disrespectful s—. I sent him an email back that said, ‘Lucky for me, you need me more than I need you. Goodbye.’”

He will confirm having resigned the accounts of noted divas Mariah Carey and Axl Rose. Reports that he once attempted to manage Kanye West have been greatly exaggerated, he says, although they’ve spoken about business. “Robert [Kardashian] was a good friend of mine. The kids all went to school together,” Azoff says. “What I always said to Kanye was, you’re unmanageable, but we can give you advice.

“A lot of people could have made a dynasty on the people we used to manage,” Azoff says, “let alone the ones we kept.”

But he still works with many artists who joined him in the ’70s — with Henley, with Steely Dan’s Donald Fagen and with Joe Walsh. Walsh has been sober for more than 25 years; it was Azoff, along with Henley and Frey, who talked him into rehab before the Eagles’ 1994 reunion tour. “Irving never passed judgment on me,” Walsh says. “And from that meeting on, he made sure I had what I needed to stay sober.” If he hadn’t, Walsh says, there’s no chance we’d be having this conversation. “All the guys I ran with are dead. Keith Moon’s dead. John Entwistle’s dead. Everybody’s dead, and I’m here. That’s profound to me.”

The first client Azoff lost was Minnie Riperton — in 1979, to breast cancer when she was only 31. Then Warren Zevon, to cancer, in 2003. Fogelberg, to cancer, four years later.

“And then Glenn,” says Azoff, referring to the Eagles co-founder who died in 2016. “I miss Glenn a lot. And now Eddie.”

Van Halen, that is. I ask Azoff if he can tell me a story that sums up what kind of guy Eddie Van Halen was; he tells me a beautiful one, then says he’d prefer not to see it in print. It makes perfect Azoffian sense — profane trash talk on the record, tenderness on background.

I ask if he’s been moved to contemplate his own mortality, as his boomer-aged clients approach an actuarial event horizon. Of course the answer turns out to involve keeping pace with an Eagle.

“Henley and I are having a race,” he says. “Neither one of us has given in. Neither one of us is going to retire.”

Henley was born in July 1947; Azoff came along that December. Does Don plan to keep going, I ask, until the wheels fall off?

“I don’t know,” Azoff says.

Do you ever talk about it?

“Yeah! He’ll call me up and he’ll go, ‘I really feel s— today.’ And I say, ‘Well, you should, Grandpa. You’re an old man. You ready to throw in the towel? Nope? OK.’”

Azoff says, “I contend that what keeps us all young is staying in the business. I’ve had more people tell me, ‘My father, he quit working, and then his health started failing,’ and all that. Every single — I mean, every single rock star I know is basically doing it to try and stay young. And I think it works. I really think it works.

“I have this friend,” Azoff says. “Calls me once a week, he’s sending me tapes, it’s his next big record. Paul Anka! He’s 80 years old. OK? And my other friend, Frankie Valli …”

“Do you know how old Frankie Valli is?” Solters says. “Eighty-six. And he still performs.”

“Not during COVID,” Azoff says. “I told the motherf—, ‘You’re not going out.’”