Paula Patton : Our Girl of the Month

Her career’s on fire. Her husband’s everywhere. Actress Paula Patton, it’s clear, has arrived. It started with her turn in the fourth Mission: Impossible as an agent who can kick ass and rock a ball gown. Then her husband, Robin Thicke—get this, they were high school sweethearts—crafted a song we’re still humming, “Blurred Lines.” (The video is stocked with nearly naked models, but in real life all that Thicke wants to talk about is how hot he is for his gorgeous wife.) Now Patton has a new movie, the romantic comedy Baggage Claim, in which the 37-year-old plays a flight attendant still looking for love. (Don’t feel too bad for her, though, because her search involves Taye Diggs and Djimon Hounsou.) We grabbed some time with Patton to discuss Hollywood style, first-kiss magic—and how many of her guy’s sexy lyrics are really true.

GLAMOUR: You’ve been getting so much red-carpet attention. What’s your style philosophy?

PAULA PATTON: I would really love to be a sixties movie star like Sophia Loren or Brigitte Bardot but with a bohemian twist—I have a little bit of hippie in me. I was the kid who would go climb trees in a dress.

GLAMOUR: How do you deal with the pressure to look a certain way?

PAULA PATTON: I’m an extremist. Either I’m being healthy and organic, or I want a big, juicy In-N-Out burger, you know? And I want it now! It’s certainly not gonna make me a runway model, but it sure makes me happy.

GLAMOUR: You met Robin as a teenager. Do you remember your first kiss?

PAULA PATTON: He sang Jodeci’s “Forever My Lady” to me. He did a full-out R&B onstage performance in his dad’s living room. Then he kissed me. It worked!

GLAMOUR: You guys still seem very passionate. He did say in an interview that he turned you into a bad girl.

PAULA PATTON: He ruined me! Gosh, I hope I’m still a good girl and a bad girl at the same time. And I think that every girl should know the bad girl inside her—and that doesn’t make her bad, you know?

GLAMOUR: So in the “Blurred Lines” video, there’s that balloon message—“Robin Thicke has a big d-ck”…

PAULA PATTON: It’s cool, it’s funny, it’s awesome!

GLAMOUR: Yes, it’s definitely all of those things. But we have to ask: Is it accurate?

PAULA PATTON: Robin’s like, “Listen, if I’m, you know, in the Miami Heat’s locker room, I don’t know where I stand, but.…” But I think that the statement is fairly accurate!

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Ridiculousness in a new Outfit

Ridiculousness - Full Episodes

About Ridiculousness

Rob Dyrdek hosts an internet video clip show with celebrity guests and co-hosts Sterling “Steelo” Brim and Chanel West Coast (Fantasy Factory's rapping receptionist).

Ridiculousness is back with an all new third season, and Rob Dyrdek returns with his hilarious take on the greatest viral videos on the Internet. Along for the ride once again are co-hosts Sterling "Steelo-O" Brim and Chanel West Coast, breaking down all new video categories like "Nut Snipers", "Russian Good Times", and "Probably Florida". With guests like Jersey Shore's Pauly D, Jackass's Steve-O and Bam Margera, and Hip Hop phenom Mac Miller, the third season of Ridiculousness may just be the funniest one yet.

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The Avett Brothers Give Brooklyn A Southern Makeover At NYC Show

"Brooklyn, Brooklyn, take me in. Are you aware the shape I'm in? My hands they shake, my head it spins. Oh Brooklyn, Brooklyn, take me in."
If any lyrics were appropriate for the Avett Brothers' night in Brooklyn's Barclays Center, those would be it. Though, throughout the show, all shaky hands were steadied and Brooklyn seemed to fully embrace the four-piece band from North Carolina.
Scott and Seth, along with bandmates Bob Crawford and Joe Kwon, transformed Jay Z's home base into a full-fledged Southern party, with openers Old Crow Medicine Show kickstarting the raucous bar vibe with their cover of Tom Petty's "American Girl." There were drunk girls in plaid, ridiculously long lines to the ladies' room, beer sloshing and hair flipping (most of it coming from cellist Kwon). Fans set their beers on the stage, as if they forgot all about the arena-sized concert they were at and imagined themselves at a more intimate tavern.

That intimate feel started early, as Scott began the show solo, strumming his banjo at the end of the catwalk, fans reaching to his feet. A fiddle soon joined him, and then bass, drums, more guitar and cello, building up into 2006's "Colorshow."

The signature Avett build-up is what powers their live show, with anticipation adding with every instrument played and verse sung. "Laundry Room," played in the middle of the set, is another example of this. It begins with piano and flows slowly with organ and guitar weaving in and out of the lyrics. The brothers harmonize and start echoing each other, adding up energy. The back-and-forth feeds into a swift banjo solo, which then breaks into an all-out hoedown, fiddle taking the spotlight.

Played live, the song has a hypnotic effect, captivating the audience at first and slowly carrying them through until, at last, they can bounce up and down, link arms and stomp their boots with fervor.
But despite any rowdiness, fans were attracted to the heart within the songs — the same heart that has the brothers shouting their meaningful lyrics into the mic, and then repeating them again as ad-libs into the air. Fans emphasize the lyrics, singing the words carefully and passionately. Humble lyrics like "I wanna fit in to the perfect space/ feel natural and safe in a volatile place./ And I wanna grow old without the pain/ give my body back to the earth and not complain" on "The Perfect Space" make you understand why.
The guys played show staples like "Murder in the City" and "The Ballad of Love and Hate," but also dished out new songs from their latest abum, Magpie and the Dandelion — "Morning Song," "Skin and Bones" and "Vanity." In smaller theaters, "Love/Hate" would've absolutely silenced a crowd, but with thousands of people feeling the camaraderie, the sensitive song turned into a sing-along.

The band, who is playing Hangout Fest in May, pulled out the Old Crow Medicine Show fiddler for a cover of "Thank God I'm A Country Boy," made famous by John Denver. During the Avetts' encore, Old Crow joined in again, this time for "Will the Circle Be Unbroken?" and the Spaniels' "Goodnight, Sweetheart, Goodnight," with Seth handling the low notes.

In the end, the Avett Brothers never had to beg "Brooklyn, take me in." They made the night at Barclays their own, as if they belonged there all along.

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