King of the Night, James Corden – Eats the Competition
Esquire March 2017
King of the Night, James Corden – Eats the Competition
Esquire March 2017
Sure, the ladies get most of the attention on red carpets, but when a guy shows off a killer hair and beard combo, people take notice. Case in point? Jonah Hill at the SAG Awards. His friend and stylist, Jason Schneidman (@themensgroomer), gave Jonah this high, slicked-back pompadour and beard combo for the big night, and even better? He did it in just 15 minutes!
“Working with Jonah is always fun,” shares Jason. “His playlist is awesome—usually hip-hop. Over the years, we have become pretty close traveling the world together doing grooming for different movies. He’s a great friend!”
The key to achieving this look? “In grooming guys, the slightest thing can make them look so different, so my attention to detail is always really hyperfocused,” says Jason. Here’s his breakdown!
1. Blow-dry the top section and run some paste or stiffening cream through the dried hair using your fingers. “I prefer a finger stroke rather than a comb, especially when applying it to dry hair since it’s already been directed back by a blow-dryer and a round brush,” shares Jason.
Pro-Tip: When applying the paste or the cream to the top, try not to flatten it too much. The key is just a little bit of volume so you can lock it down with a little spray.
2. Fade up the sides with a #2 guard, then continue to fade out with a #1½ to 1.
3. Scoop out the hair on the neck using the Wahl Professional Senior Clipper with a #1 or #1½ guard, then follow up with the #0 to create a soft neck line. “The key is to make sure that the soft line is super soft so it does not look like a chinstrap,” notes Jason. “The person appears cleaner and the focus of the dark beard is accented at the chin and not under the chin at the neck.”
Full Article: http://www.behindthechair.com/displayarticle.aspx?ID=6255&ITID=1
AND JACKIE FIELDS
If you’ve noticed Rob Lowe‘s lighter, edgier hairstyle lately, we’re here to tell you that your eyes are not playing tricks on you. The 52-year-old actor is sporting a cool new do for his role in Code Black, and we have all of the details straight from his groomer.
“It was Rob’s vision and I took it to the next level,” celebrity groomer Jason Schneidman tells PeopleStyle about his cut, which is longer on the top and buzzed on the sides. “He was reinventing himself for his new character on Code Black and he plays a military medic. He was like, ‘I am jumping out of the helicopters in Malibu.’ So we went for it and it really works.”
It works so well, in fact, that Lowe is considering it one of the most major hair changes to happen lately, even comparing it to Jennifer Aniston’s iconic cut for Friends.
“We call it the new ‘Rachel’,” Schneidman jokes. “It’s like Rachel, it’s sweeping the nation. This haircut has been trending for years, but I think what’s different is I just kept it edgy and traditional at the same time. Rob said it. He’s like, ‘Yeah, I don’t understand [why] this haircut is such a big deal — it’s the new Rachel, you know what I mean?’”
But the cut isn’t all that’s making Lowe’s new look stand out. He’s rocking a bold new hue as well.
“The color change is also to get into the different character and actors like to switch it up,” Schneidman explains. “Hair color is tricky on dudes. But if it’s done right it can work. I didn’t do the hair color, but we’re trying to keep it as natural and as blonde as possible.”
Feeling Lowe’s look for your guy? Schneidman recommends leaving some length on top and cutting the sides “super short,” blending the two lengths. And in order to recreate his color, the key is keeping it natural.
“Add a few really natural guy-lights on top,” he says “What makes ‘em guy-lights is that they don’t look like they’ve been highlighted. That’s the trick. Sun-kissed.”
And to style it, Schneidman says pomade is your best friend. “You put it on wet hair and just slick it back or comb it over and then up in the front a little bit to create a tough Jesse James greaser look. The haircut styles itself and it’s strong enough on its own that you can really understate it and it still looks great.”
Matt Damon is running toward the rooftop railing of an L.A. building, and people are afraid he’s gonna die. James Corden is not one of them. Damon is reprising Jason Bourne, walking fast and looking over the right shoulder of his scuffed brown leather jacket. He then runs into a plump Brit who’s dressed exactly the same. Damon smiles. It’s Corden, the host of CBS’ The Late Late Show, and the proud son of Hazlemere, Buckinghamshire, in England’s unfashionable Home Counties. It’s an hour before the taping of Corden’s show, and he and Damon are filming an action scene of sorts. The premise is that Corden accosts Damon outside a Cinnabon and regales him with tales of how many times he gets mistaken for Damon. (Corden probably has 80 pounds on him.) Damon promises to put him in the next Bourne flick to shut him up. The twist is, Damon casts him as his stunt double.
Damon has only two hours to film the three-scene skit before he has to fly to New York. Unfortunately, some mishigas is slowing things down. There is a last shot to get on the CBS helipad where Damon and then Corden pretend they’re jumping off the roof into a dumpster, with Damon convincing Corden that adding air bags will make the stunt seem fake. (Corden misses the dumpster and dislocates his penis.) A problem arises when the CBS suits want to pause the taping because they think Damon should wear a safety harness as he approaches the roof’s edge. The clock is ticking. Corden loses it for a moment.
“He’s not actually going over the side,” says Corden, his voice rising and his cheeks going red. “Jesus, it’s not in the script. He was never going over. This is fucking mad.”
Sheila Rogers, Corden’s booking director and a longtime Late Show With David Letterman veteran, throws her arm around Corden’s shoulder and walks him a few steps into a tent, where the host regains his equilibrium. Minutes later, he wanders over to me and chuckles in a mordant British way.
“How bad would I feel if Matt actually did go over the wall?” he asks. “How’d I talk my way out of it?” He turns to a crew member who’s cracking up. Corden looks at her with comic seriousness. “I’d blame you — and you know what? People would buy it. Don’t think I wouldn’t.”
Set pieces like this are what keeps food on the table for Corden’s show, which trails Late Night With Seth Meyers and Nightline in real-time viewers. But this is a different epoch. His “Carpool Karaoke” segments, in which Corden and a celebrity drive around in an SUV belting out the star’s hits, has featured everyone from Adele to Michelle Obama to Stevie Wonder. If you add all of them together, it’s nearing a billion views on YouTube.
“Karaoke” is the sexy one, but everything is monetized at The Late Late Show. There’s a million ways to get a million hits on YouTube, and it seems like the show has tried each one. There’s Corden reading the news written only in emojis. There’s Corden dressed like a schoolgirl for a takeoff on Meghan Trainor’s “All About That Bass.” Some are regular stunts, like the one where Corden takes a random job for a day. A recent bit had him spending a few hours at a local LensCrafters, with somewhat hilarious results. The trick was, Lens-Crafters paid for the spot. (The company’s promoted tweet heralding the piece haunted my dreams and Twitter feed for a week.) “You know it’s fun, it’s funny, but it’s not going to break the Internet,” says Corden about the spot.
But more important, The Late Late Show, once solely the provenance of insomniacs, college students and speed freaks, is now available to normal people. “We make the show at 12:37 at night,” Corden tells me. “We’re only in competition with people choosing to fall asleep or not. But on the Internet, it’s a completely level playing field.”
Corden has taken advantage of the concept more than his late-night rivals, with 165 segments that have earned more than a million YouTube hits. Still, there is a late-night pecking order: The Damon bit wouldn’t air until the following Monday, after Damon had stopped in to see Jimmy Fallon at The Tonight Show.
“I don’t care about that stuff,” says Corden as he sits in an air-conditioned tent. He is being touched up with a black eye after one of his stunt mishaps. Corden pauses to tell the makeup artist to make the bruise more pronounced. “This is a comedy black eye,” he instructs. “Make it big.” He turns back toward me. “It has nothing to do with timing or who’s first. If it’s funny, people will watch it.”
Damon and Corden finally get the rooftop shot without anyone dying. As everyone hustles back to the studio for a quick shower and a change into suits, Damon lets Corden in on a little secret: The last time he cried was when Corden did “Carpool Karaoke” with Stevie Wonder, and the musician called Corden’s wife and sang “I Just Called to Say James Loves You.”
We jump into a golf cart and gun it around the CBS lot, where a long line of people wait to get in.
“Not good,” says Corden. “They’re going to start letting people in and I’m covered in shit.” I suggest that they might be contestants for The Price Is Right, filmed on the same lot. Corden snorts and tells me to look again. He’s right; the crowd is too nubile and fresh-cheeked for Drew Carey.
This being a talk show, Damon repeats the crying anecdote about an hour later with the cameras running. Corden gets teary. “The thing is, I didn’t tell my wife, and she was in the restroom,” he says. She almost didn’t take the call.
The studio audience goes bananas. A few minutes later, Damon shoots off the couch to cheers and makes his way out a backdoor. But Corden still has work to do. There is a skit with bandleader Reggie Watts co-starring an alpaca and a dog dressed like a lion. The sketch soundly proves the show-business adage “Never work with kids or animals.”
Corden then does a few do-overs on his monologue (he kept calling Cory Booker “Cory Brooker”) but is soon running through the crowd high-fiving fans in a far more upbeat mood than at a show I saw a few days earlier. Corden had bemoaned, “That came off as too much of a talk show,” a harsh criticism in the Corden realm. Now he slaps hands until he runs into me with expectant eyes.
The Matt Damon skit is now approaching two million YouTube views.
“[On TV], we’re only in competition with people choosing to fall asleep or not. But on the Internet, it’s a completely level playing field.”
In a sea of high-achievers, James Corden is the most accomplished and versatile man — and they are all still men — in the daily network late-night sweepstakes. He has won a Tony Award. He just hosted the Tonys. He has co-written a beloved British sitcom. He has starred in critically acclaimed indie films. He put Broadway and an HBO pilot on hold to host The Late Late Show, which in its first full year garnered four Emmy nominations, which is four more than The Late Show With Stephen Colbert, Corden’s supposed big brother. Just as crucial to the CBS bean-counters, he’s turned The Late Late Show into a profitable enterprise available to anyone ages eight to 80 who knows how to click on a link.
Not coincidentally, the day I first meet Corden, he can’t stop looking at his phone. It’s the day after his “Carpool Karaoke” segment with Obama aired. Every time he looks at the numbers of views, they have exponentially increased. “Look, two million. It was a million on my drive in this morning,” he says.
We are at a cafe near his CBS office, drinking tea and a deathly-greenish concoction that contains all of the vegetables that the carb-dodging Corden needs for the day. Waiting to pay, we run into a friend of mine who is worried about the wayward habits of a member of One Direction (friends of Corden’s who have collaborated with his executive producer, Ben Winston). “Don’t worry,” says Corden. “They’re good boys. He’ll be fine.”
He looks at the numbers again. Another few hundred thousand views in 45 minutes. It is hard not to contrast the utter joy of Mrs. Obama singing with Corden to the dystopian events happening concurrently at the Republican National Convention. Corden’s show isn’t overtly political, but like the rest of humanity, he’d been sucked in; first his homeland going Brexit (which he saw as a disaster), and now Trump Summer. “The positivity of the Obamas as a family is undeniable,” Corden says. He got a tour of the White House, during which he told one of his staff, “Can you imagine Donald Trump just walking these corridors? When something happens? Just a tornado.”
We walk the few short blocks back to the studio. Corden puts on sunglasses to accompany a short-sleeved Gucci shirt with a snake on the collar and checked sneakers. Across the street is a giant portrait of Corden on the side of a CBS building. He squints at it through the blinding morning sun. “A year ago,” he says, “that was already there and I’d still be stopped at the front gate if I forgot my ID.”
A few days later, we are driving in Corden’s Range Rover through delightful Los Angeles Friday traffic. He’s happy to call L.A. home, where he now lives with his wife and two kids, but there are some things he misses. “It’s the architecture,” Corden says. He points out a series of non-highlights in a strip mall on Beverly Boulevard. “Here they have the Hollywood sign, and they don’t even light it up at night. That’s insane. Is it the neighbors? It’s like not lighting up Big Ben.”
Corden’s show is only 17 months old, but he’s been trying to crack the Hollywood game for years.
“I would have meetings where people would tell me how much they would like to work with me and then nothing happened,” he says. “The first times I came to Los Angeles, I would just drive around dying from encouragement.”
It was a wake-up call for Corden, who won a 2012 Tony for One Man, Two Guvnors and had been one of the top stars in England for a decade.
“The thing is, most people here don’t know I’ve put in my 10,000 hours,” he tells me, citing the Malcolm Gladwell idea that it takes 10,000 hours to become proficient at any task.
The irony is, back in England Corden was battling overexposure with hit shows, constant tabloid coverage and a memoir published when he was 33. He’d grown up an hour outside London, the only son of a Royal Air Force musician father and a social-worker mother, sandwiched between two sisters. A big part of his life was the Salvation Army church that the Cordens belonged to, not always happily.
“It was a fucking disgrace,” he says. “What is a Christian? There were a lot of people walking through the door of that church and preaching something that in no way was how they were living their lives, or behaving, or acting.”
Corden remembers his first desire to perform came at age four, when he attended his sister Ruth’s christening and was placed on a chair so he could see and began mugging for the parishioners. He bathed in the laughter. A few years later, he ditched school and called in to a television program about bullying and made up a cock-and-bull story about how he was so fearful of being picked on that he stayed home from school. It fooled everyone — except an aunt who was listening and narc’ed on him to his parents. He was crap at school, specializing in drama and home economics. “It was just fucking pointless to me — I don’t need to know how glaciers separate,” Corden says.
He ignored his studies and instead filled the time trying to get a boy band off the ground — it didn’t happen — and temporarily losing his first driver’s license because he drove his scooter too fast. His more productive days were spent with his dad driving him to auditions around London, though none of them panned out. Finally, after years of rejections, he started scoring some parts based on the two factions of his heavyset body type.
“If you’re [fat] at school, you’re going to be a target. If you’re me, you go, ‘Right, I’m just going to make myself a bigger target.’ If you’re a bit funny, if you’re quicker than them, they won’t circle back on you again.”
One of his early breaks was playing a violent, depressed, overweight bully in beloved British director Mike Leigh’s bleak All or Nothing in 2002. He then played the opposing side in the BBC drama Fat Friends, as a teen mercilessly ridiculed and beaten up for being obese.
Throughout his career, Corden has made fun of his weight, whether having his then-comedy-partner Mathew Horne run his hands up and down his jiggling body in a skit for a BBC comedy or, more recently, in a Late Late Show bit where as a realtor for a day he unabashedly showers in a multimillion-dollar Hollywood mansion. His Broadway breakthrough was playing Timms in The History Boys, whose clownish character is partially motivated by being overweight.
At first, understandably, Corden spoke in clichés about the challenges of being a large man in the entertainment world, saying his parents loved him and he never felt uneasy with himself. But on our second day, he goes into more detail. We had bonded after admitting we’d both been guilty of snatching food off abandoned room-service trays following drunken forays. “Half a burger,” Corden admits with a big laugh. “That’s the first time in my life I realized people order food and don’t eat every bite.”
Some of the moments when Corden seems most unguarded revolve around diet and food. He insists I guzzle my vegetable juice at our coffee-shop meeting the way a frat brother might implore you to down some Jäger. When I say that I love fruit over vegetables, he laughs: “Of course you do, because fruit has all the sugar, mate.” At lunch, he mockingly shakes his head at me for getting rice with my sushi, whispering that sushi rice, alas, is also full of sugar.
We stop at a lunch spot for a chat and then he waves it off like the plague. “Shit, hang on. Is this us? I think it’s not, do you? There, I feel we’ll have to eat pizza.”
Later, he turns a little more introspective about being the jolly fat boy in the cruel teen years. “If you’re big at school, you’ve really got two choices,” he tells me, his voice dropping almost to a whisper. “You’re going to be a target. If you go to school and you’re me, you go, Right, I’m just going to make myself a bigger target. My confidence, it will terrify them.’ That’s how I felt in school. Inside, you’re terrified. But if you’re a bit funny, if you’re quicker than them, they won’t circle back on you again.”
Still, Corden rolls his blue eyes when discussing the way Hollywood sees larger people.
“I could never understand when I watch romantic comedies,” he says, “the notion that for some reason unattractive or heavy people don’t fall in love. If they do, it’s in some odd, kooky, roundabout way — and it’s not. It’s exactly the same. I met my wife; she barely owned a television and worked for Save the Children. We sat down one night and we fell in love and that was it.”
But his dimensions accelerated his rocket to British fame. While appearing in The History Boys, Corden would tell stories backstage, and Alan Bennett, the play’s author and one of Britain’s most respected playwrights, told him he should write them down. “When Alan Bennett tells you to start writing, you listen,” says Corden. So Corden and Ruth Jones, another actor from Fat Friends, began writing the BBC comedy Gavin and Stacey, with Corden and Jones playing supporting roles as heavyset best mates. It was a comedy that celebrated the everyday pleasures of British life — hanging drunk with your mates at the chip shop, a wedding remarkable for its ordinariness, Corden’s character singing along to “Do They Know It’s Christmas?” on the car radio. The show started on the little-watched BBC 3 and concluded three years later with 10 million viewers — the equivalent of 50 million here — for its finale, on New Year’s Day 2010.
Corden was hailed as the next great British comedian, but England’s penchant for cutting down the tall poppies caught up with him. For every success — a comedy sketch of Corden critiquing members of the English national soccer team while hilariously fawning over David Beckham — there was a crashing failure: One critic described the colorfully titled Lesbian Vampire Killers as “profoundly awful.”
Corden’s initial image as a nontraditional fresh face in the U.K. turned to criticisms that he was too “laddish,” a Brit term roughly analogous to becoming too much of a dude. He was photographed around London having the time of his life, which, in fairness, only seems like a crime to the British press. Corden was painted as ungrateful when Gavin and Stacey won two BAFTAs (British Emmys), and he mentioned in his speech the fairly logical point that the sitcom won for best show while not even being nominated for best comedy. While hosting an awards show, he was called out by Sir Patrick Stewart for “looking around as though you wish you were anywhere but here.”
Winston, one of The Late Late Show‘s executive producers, has been Corden’s best friend for nearly two decades, since they met on a television show where Winston was working as a gofer. He insists that Corden wasn’t on a path to ruin; it was just an easy arc for the British press. “I didn’t think James was heading for a breakdown, or I’d step in like I’ve done with other people,” Winston tells me. “I think that just became a convenient shorthand for the media to talk about James.”
I ask Corden about the controversies. He’s blunt: He says some of the projects were simply not good enough, and he had some growing pains with fame. “I think I’ve very much had times where I haven’t been the best version of myself. You have to put the time in,” implying he didn’t always put the time in.
Despite his Tony and the talk show, Corden still seems a little insecure about his talents. When I mention I’m a big fan of British director Michael Winterbottom, who has employed Corden’s comic heroes Steve Coogan and Rob Brydon to great effect, he begins by profusely praising their work. Then he adds, “I don’t think I’m cool enough for a Michael Winterbottom film.”
Perhaps being pigeonholed as a British bro in his native land is what made the itch to succeed in America so strong, even if it seemed like a tantalizing bauble just out of reach. While doing a Broadway show, he was invited to a taping of Saturday Night Live and sat in show maestro Lorne Michaels’ office for 20 minutes chatting about comedy. Michaels then invited him to the show’s afterparty, where they talked some more.
“I left that night and thought, ‘I think he’s going to ask me to audition for Saturday Night Live,‘ ” Corden says. “But I never heard from him again.”
Despite the setbacks, Corden had a good creative life going in 2014 when CBS first beckoned. He was in talks to do another Broadway show and was hard at work on an HBO pilot. (It might resurface, so he won’t mention what it was about.) He’d had critical success with another BBC sitcom, The Wrong Mans, and scored a major role in the film version of the Stephen Sondheim musical Into the Woods. Always close to his family, he was married with a kid and another one on the way.
The first time the CEO of CBS, Les Moonves, contacted Corden, the actor was uncertain he wanted to be a late-night gabfest host. “The fact that the first offer was really low helped,” says Corden. But a few months later, he was filming The Wrong Mans in South Africa while his family was thousands of miles away in England. “I just thought, ‘This is going to get harder and harder,’ ” says Corden. “I thought if I could do something creative and interesting on the show, it was an opportunity that wouldn’t come my way again.”
When Moonves came in with a better offer, Corden took it. “Outside of my being white and male, choosing me was a bold choice,” he says with a wry smile.
Corden and Winston knew from Day One the show had to be appreciably different from other late-night options to make up for Corden’s semianonymity. On the show’s first night, they debuted with Corden and Tom Hanks doing a seven-minute re-enactment of all the best lines from Hanks’ movies. It was a hit, but Corden knew they needed a signature recurring piece like Letterman’s Top Ten lists, Jimmy Kimmel’s celeb readings of angry tweets and Fallon’s slow-jamming the news.
Corden had the idea for “Carpool Karaoke” for years, since he did a charity fundraising bit where he cheered up a grumpy George Michael by singing “I’m Your Man,” with Michael smiling and then joining in. Early in the show’s run, Mariah Carey’s rep was at the Late Late Show office with another client, and Corden convinced her that Carey should do the first karaoke bit. It was an instant hit, with more than 26 million views. Everyone from Wonder to Justin Bieber followed, including Elton John, who appeared on the show immediately after the Super Bowl broadcast. All of the segments are marked by Corden’s enthusiastic hamminess. In the segment with Adele, Corden hit a high note on “Hello.” Adele’s eyebrows arched, then she brought it. The segments are simple productions — a camera is posted on the dash; there’s a tucked-away microphone and a single trail car. It’s up to Corden to put everyone at ease.
Watch James Corden join Coldplay in covering Prince’s ‘Nothing Compares 2 U.’
“You’re getting in a car,” says Corden, talking about how it goes. “The doors close. It’s the two of you. You’re going to put the music on. We’re going to sing our hearts out. What I say to everybody is, this is a safe place. The more you go for it in the songs, like you’re playing Madison Square Garden, the better it is. I have to meet them halfway with that. If I am at all timid in those moments, then they’re going to be like, ‘Wait. Hang on. What am I doing?’ ”
The reason it all works so well is that there’s a natural huggability to Corden. Unlike the Lettermans and Conans of yore, Corden isn’t some kind of dark lunatic. He’s just a chunky guy on your television asking you to love him. “Carpool Karaoke” is a major plank in Corden and Winston’s commitment to a different kind of talk show, one that relieves the audience from the 24/7 news cycle of terror and mayhem rather than playing off its idiocies. “When Letterman was on, when Leno was on, you were watching very, very different news to the news you’re watching today,” Corden says. “I feel like what you might want and require now is a bit of light at the end of your day.”
Lightness has proved a good business move as well. “Carpool Karaoke” has led to a prime-time special, and Apple Music recently bought a version of the franchise. It’s what Corden is known for, which is great, to a certain point. One time, while we walk back to his car after talking, he jokes, “Thank you for asking questions about other things besides karaoke.”
But that’s the rub. Despite colossal fame in England and his talent as a writer, James Corden is best known as the guy singing along with celebrities in an SUV. But he knows it’s all a series of trade-offs; hang around him and you get the sense he misses acting. He admits to not being sure how long he’ll do The Late Late Show. One afternoon on set, I overhear him talking with guest Keegan-Michael Key about Key’s independent film Don’t Think Twice. “I have people on who do sitcoms and I’m, ‘OK, I’ve done that,'” Corden tells Key of his time as a character actor. “But I see a movie like yours, and I miss it.”
It does have its commercial benefits. On a scorching July night in L.A., Grammy winner Meghan Trainor is onstage at the Greek Theatre playing before a typical crowd of screaming tweens and their mums. Glow sticks are being banged and Instagram accounts are being updated. About halfway through the show, the opening chords of Trainor’s recent hit “Like I’m Gonna Lose You” ring out, and a pudgy man in a black shirt appears from the shadows to sing the part originally sung by John Legend.
And here’s the thing: The 13-year-olds go nuts. They recognize Corden en masse and stand on their seats and screech for the onetime target of bullies. It’s hard to imagine a 38-year-old Conan O’Brien or Letterman having that kind of popularity among adolescent girls. Corden belts out the bubblegum words: “So I’m gonna love you/Like I’m gonna lose you/I’m gonna hold you/Like I’m saying goodbye.”
Corden sells it unapologetically. He’s an ardent supporter of pop culture and will defend the likes of Coldplay until his final breath. “There’s two kinds of performers,” he says right after the soundcheck for the Trainor appearance. “Aliens like Daniel Day-Lewis, and humans. Somehow, we think the aliens are better because they’re more mysterious. Neither is better. I’m definitely in the human camp.”
Jason Schneidman works with celebs like Rob Lowe, Hugh Jackman and James Corden.
Success stories happen a million ways. In Jason Schneidman’s case, it was a chance meeting with super-stylist Chris McMillan that paved the road to his becoming one of the top men’s hairstylists in Hollywood, coiffing Rob Lowe, Hugh Jackman, and Bruno Mars, and also grooming James Corden nightly for The Late Late Show With James Corden. But the Dove Men+Care expert’s career started as a hobby: He’d give his buddies trendy cuts after skipping school to surf. We chatted with Schneidman — whose wife frequently styles Jennifer Aniston’s famous locks — about how he got here and his top tips.
So how did you begin cutting hair in the first place?
I wasn’t the best student in high school, and a lot of times I ditched school to go surf with my friends. After surfing I would just start cutting all their hair as the styles were changing. Once I graduated, my parents told me to pick a trade, and suggested cutting hair since I was already doing it for my friends. I was super skeptical, but once I showed up to school and saw it was me and all girls, I was pretty happy.
I bet! Beyond that you must have enjoyed the process as well.
I think it was just a passion that was instilled in me. I had a burning desire to be creative early on, and I had an ability to see shapes and rearrange people’s hair and make them feel good.
You really don’t cut women’s hair at all. Why specialize in guys’ hair?
I really developed my greatest skills with men. Men like consistency with our hair and we like it to be quick — in and out of the salon fast. They are also just less drama and pretty good tippers.
How did you end up with a chair at Chris McMillan Salon?
I was partying and surfing a lot, but when I turned 30 I realized it was time to get serious and I moved back to LA. I coincidentally met Chris McMillan at a meeting and knew he did Jen Aniston’s hair, so I approached him. He let me come watch and learn from him in the salon, but I didn’t pick up any scissors for a year. I just watched him. Eventually he started seeing my cuts around town on guys and when a space opened up in the salon, I happened to be in the right place at the right time.
Is that where you picked up your famous clientele?
I specialized in men’s cuts, and a lot of celebrities and publicists would call the salon asking who did a good men’s cut, so a lot were directed to me. After that, a few asked if I would be their personal on set for camera and editorial work. That’s when I started to learn the grooming and makeup side of things and from there it all just snowballed.
You also met your wife at the salon — you owe Chris big time!
I decided to walk up to her and tell her she was cute. She said the same thing back to me and the rest is history.
Have you had any crazy experiences working in this industry?
I’ve had to do haircuts and style guys in some situations that have been pretty interesting and challenging at the last minute — think airport hangars, the back of limos, stuff like that.
How is it working with Rob Lowe?
He’s a perfect person because the guy doesn’t age. He’s fun. For Grinder he’s styled really fast and edgy; I set all the looks for that show. One of my favorite shoots was with him for Chrome Hearts. He looked like Johnny Knoxville with facial hair — it was amazing.
Your go-to tool is your small round Men’s Groomer brush, which you use to style the front of guys’ hair. How did it come about?
My close friend I grew up surfing with originally made the brushes, but he had to stop a few years ago and I was honestly lost without them. It was the perfect tool for men and I asked if I could take over producing it! People love it.
Do you have an eye on expanding that?
My ultimate goal would be to have my own line of Men’s Groomer tools sold in salons across the country — that and my own Men’s Groomer salon.
What is the cut of the moment for dudes?
I like to call it the ‘movie star cut.’ It’s the perfect length for guys: long on the top and a bit shorter on the sides, but not buzzed. I like to style the top with Dove Men+Care Fortifying Styling Paste ($6), and push the sides down a bit. It’s classic meets modern. Right now I think the ‘90s are coming back. We’re seeing guys with longer hair and less short cuts.
What’s your best men’s styling tip?
I always suggest guys don’t wash their hair — it’s kind of the secret to styling hair. I actually use Dove women’s dry shampoo on guys. It’s only a matter of time before they make it for men. It gives you a few days and holds your hair up, adds volume. I suggest going at least two days, but guys with curly or wavy hair can go four. You can rinse it with hot water in between shampooing, and run your cologne through it. It’s really unhealthy to be stripping out all the natural oils god gave you.
What’s something you’ve learned over 30 years of cutting hair?
You gotta fake it ’til you make it. Probably 80 percent of hairstylists are faking knowing what they’re doing. But me, now, when it comes to men’s hair, I f—ing got this.
Eternally youthful actor Rob Lowe spills about skincare, Madonna and The Brat Pack.
JAMES CORDEN IS NAKED AND HAPPY
It’s late afternoon in the Hollywood Hills, and Corden, the 37-year-old host of The Late Late Show on CBS, is basking behind clear glass in a luxurious shower inside a lavish $20 million home. Here’s the thing: This is not Corden’s house. And he is not alone. Not far away from the shower is an audience of writers, assistants and camera operators, none of whom can quite believe that Corden has actually stripped bare for a comedy bit in which he’s playing a bumbling luxe real estate agent who’s trying to sell the house to potential buyers including the L.A. Clippers basketball player J.J. Redick.
This is what Corden does: surprise people. A British entertainer barely known in the United States, Corden hadn’t even appeared as a guest on a U.S. talk show when he was awarded a chair behind a late-night desk for an American broadcast network. His selection was a stunner.
But over the past year, Corden has become one of the merriest revelations on American TV, defying early skepticism and finding a loyal audience in the cluttered late-night landscape. He also launched a cultural phenomenon: “Carpool Karaoke,” a repeating segment in which Corden drives around musical superstars like Adele,Justin Bieber, Elton John and Stevie Wonder, singing duets of their biggest hits and revealing hidden sides of their talents (Adele, it turns out, can rap).
“We’re talking about, genuinely, the biggest stars on the planet, who—not always by choice—are surrounded by people all of the time,” Corden says. “Security, makeup, assistant, manager, publicist. Then suddenly they get in a car and are on their own—with me.”
Corden smiles. We are sitting in his narrow office at the Late Late Show studio in CBS’s Television City, where a replica of the metal world map that used to dangle behind Walter Cronkite hangs in the spartan lobby. Corden, a bit of a clotheshorse, is dressed head to toe in casual wear from Lanvin, a fashion label he adores (“I was devastated when [designer] Alber [Elbaz] left…. I’m worried they’re going to stop making clothes that fit me”) and for which he admits a mild addiction. (“If my financial adviser were to read this, he’d lose his s—.”)
Don’t let the fancy leisure wear fool you. Since he moved to Los Angeles in early 2015 with his wife, Julia, and their two children, Corden’s been working nonstop, engaging in every aspect of The Late Late Show’s production, filming segments, schmoozing agents and executives, navigating the ever-volatile digital era of television. (Not every task is so high-minded: Later on, Corden will spend time racing a porcelain bathtub down an office ramp for a possible show segment.)
By now, Corden has surprised himself. He too had his doubts about whether he was ready to host a late-night talk show. Now he does not.
“In many respects, it’s the dream job for me,” he says.
Because late-night TV plays to your strengths?
“I don’t know if it’s playing to my strengths,” Corden says drily. “It’s more like ignoring my weaknesses.”
WHO THE &%!#@ is James Corden?
Les Moonves must have heard it. Of course he did. The president and CEO of CBS (who this year also assumed the title chairman of the board) had selected Corden to fill a desirable slot behind David Letterman and his soon-to-be-successor, Stephen Colbert. In fairness, Moonves had handed this job to an outsider before—Craig Ferguson, a Scot who enjoyed a cultishly beloved run from 2005 until 2014. But Ferguson had previously spent eight seasons on a hit U.S. sitcom, The Drew Carey Show.
Seriously: James who?
“Ninety-five percent of people didn’t know who I was talking about,” Moonves confesses. “The only people who did were either Brits or people who knew the Broadway theater scene. When I mentioned it to [British-born Vogue editor] Anna Wintour, she was over the moon—she thought I’d gotten Johnny Carson back.”
Indeed, Corden was like one of those U.K. bands the cool kids in high school told you to listen to. Most people over here had no idea who he was. But those who did bordered on the obsessed. In his 20s and early 30s, Corden, the son of a social worker and a Bible salesman, had become a sensation as a stage actor (The History Boys and One Man, Two Guvnors, which both played on Broadway) and a TV phenom (he co-created and starred in the popular BBC sitcom Gavin & Stacey). His talents made him something of a vaudevillian throwback: a deft comic actor who could sing, dance, ad-lib and generally steal anything he was in.
Moonves and then–CBS head of entertainment Nina Tassler had been dazzled by Corden in One Man, Two Guvnors, an improvisation-rich comedy of misdirection in which Corden played a servant to two criminals (and for which Corden wound up winning a Tony in 2012). “I just walked out of there saying, ‘This guy’s extraordinary,’ ” says Moonves. CBS was eager to get into business. Meetings were arranged. Sitcoms were discussed. Corden, who had just starred with Meryl Streep and Johnny Depp in a big-budget movie of the Sondheim musical Into the Woods,was edging toward doing a show with HBO when another subject came up: CBS’s vacancy at 12:30 a.m.
Late-night talk show jobs seldom open and are typically the domain of seasoned comedians: Jack Paar and Carson, Letterman and Jay Leno. Corden had shined as an occasional host in the U.K., but a full-time talk show is a grind, with four new shows a week and little room for anything else. For many, such a job is viewed as a career summit, coveted and clung to like a Supreme Court appointment. As Lorne Michaelshas famously said of The Tonight Show: “There is no job after this.”
Corden was thrilled at the idea but unsure he could commit. After CBS made an offer—“in retrospect, a lowball offer,” Moonves concedes—Corden’s side went quiet. Corden admits he was hesitant. “I thought, I love the variety of my career,” he says. “I went back and forth on it. I just wasn’t quite sure what was the right thing to do.”
CBS kept pushing and upped its offer. Corden, meanwhile, was making a BBC movie in South Africa. “I was Skyping my son on his birthday, and my wife was pregnant at the time,” he says. “And I was like, This is only going to get harder. Here’s someone offering me a job—[and] all I really want is to feel creative every day. And I realized it doesn’t come around again. CBS doesn’t go, ‘Let’s go back to that guy who passed.’ ”
In the end, Corden concluded that such an opportunity was too good. “I just thought, There’s no way one day in the future I won’t regret saying no.”
Corden scrambled to get his Late Late Show on the air by spring 2015, as Letterman was winding down his three-decade-plus run in late night. Comedian-musician Reggie Watts signed on as bandleader. Corden’s friend and producing partner from the U.K., Ben Winston, was hired as executive producer, as was Rob Crabbe, a late-night veteran fresh from The Tonight Show Starring Jimmy Fallon. Fallon had entered late night as a Saturday Night Live star, but Crabbe thought Corden’s anonymity in the U.S. could be an advantage. “You’re not carrying around any baggage when you’re an absolute unknown,” Crabbe says. “You get a pure introduction.”
Winston points out that Corden was hardly raw, having spent years in the pressure cooker of British TV, not to mention live stage. When The Late Late Show debuted March 23, 2015, with Corden and Tom Hanks doing a skit compressing Hanks’s lengthy movie career into a hilarious six-minute romp, it was as if Corden had been doing this for years—because, in a way, he had. “People went, ‘I don’t know this guy, but he’s acting with Tom Hanks, he’s telling jokes, he’s getting a good interview, he’s doing a song,’ ” Winston says. “ ‘Where did he come from? How did I not know him?’ ” (Letterman, who initially razzed Corden as “the tubby kid,” later told colleagues he was impressed by the new host.)
Corden’s Late Late Show stood out from its start. One early episode was filmed inside the home of a stranger named Tommy, after Corden and a camera crew knocked on Tommy’s door and asked for permission. (Tommy wound up playing hide-and-seek with Corden, Reggie Watts, Jeff Goldblum and Beck.) But the seismic breakthrough was “Carpool Karaoke.” The concept is so simple: Corden and a musical guest ride around in a Range Rover outfitted with cameras and sing a handful of the artist’s biggest hits. Usually, Corden simply drives the SUV off the CBS lot with a small convoy of vehicles, and they spin a few laps around the neighborhood. The whole thing can get knocked off in roughly an hour (Adele, who did hers in London over Corden’s holiday break, wound up enjoying it so much the pair drove around for two hours).
Corden had done a version of “Carpool” in the U.K. with George Michael, singing old Wham! songs in a car in a skit for a charity show. Corden and Winston were eager to try out a version for The Late Late Show, but booking a first act proved difficult. “We knew we had to start it with a huge star,” Corden recalls. “I would be on the phone and we would pitch and pitch. No one would do it.” Shortly before the premiere, an associate of Mariah Carey ’s agreed to take the idea to Carey, who was a huge fan of George Michael. Carey was in. “Carpool” had its debut act.
The brilliant twofer of the segment is how it’s a showcase for the artist as well as a stealth platform for the host. Corden sings with unbridled joy—you can see Adele’s eyes practically pop out of her head when Corden, sitting driver’s side, perfectly harmonizes on her monster hit “Hello.” One Direction, frequent Late Late Showguests, looked ready to offer Corden a slot in their boy band.
“Carpool” has become one of the most successful YouTube franchises of all time. By late January, Bieber’s had 57 million hits. Adele’s was at 62 million, still ascending like a rocket. Those are approaching Super Bowl numbers. One of Stevie Wonder’s greatest-hits albums surged to the top of the U.K. iTunes chart after his “Carpool” came out. For Moonves and CBS, the segment has exceeded all expectations. It’s as if Corden were a rookie point guard and scored 60 points in his third game in the league.
That type of impact is what late-night television is increasingly about—building what Corden calls “relevance.” This means obsessing less over Nielsen ratings (which, in an era of social media and streaming TV, mean less and less) and more about making a cultural footprint. Fallon has been a savant about this, creating a show of clever bits (lip-sync battles, a cappella routines) that glide effortlessly from TV to YouTube and Facebook. It has redefined the audience, too. Gone are the days when the makers of late-night shows could imagine their viewers as puttering insomniacs or stoned college kids. (Corden knows there are probably many fans of his Late Late Show who have never, in fact, stayed up late.)
The energy is different now. Letterman once built a reputation by coolly deconstructing the talk-show format and reveling in the chilly awkwardness of celebrity interviews. The newer generation of hosts tends to offer celebrities a smoother landing strip, often soliciting their help in an effort to create content that will go viral. Corden says he’s spent time assuring publicists that The Late Late Showwould be “a safe place, a fun place…. They don’t want their client going, ‘What the f— did you book me on that show for? I looked like an idiot,’ ” he says.
On The Late Late Show, Corden brings out all the guests at once instead of one at a time—a maneuver that might be strange to U.S. audiences but has long been practiced in the U.K. on popular programs like The Graham Norton Show. Corden serves as both host and mixer—Billy Bob, meet Brie Larson ; Brie Larson, meet Billy Bob—and there’s a bit of plate spinning to keep the conversation natural while allowing guests to get in their plugs for movies and TV shows. Not every grouping turns into the Algonquin Round Table, but the idea is to get away from the usual celebrity interview routine (here’s my funny story, now here’s my clip), or find the magic in charming opposites ( Betty White, meet Amar’e Stoudemire!).
Corden mentions a show in which guests included Sir Ben Kingsley, heartthrob Zac Efron and comedian Bill Hader. When Efron mentioned he was going to star in a Baywatch movie, Kingsley volunteered to play a drowning man, and Corden asked what such a scene would look like. “Zac Efron’s got his arm around Ben Kingsley’s chest, and Bill Hader gets on his knees and starts pretending to be a shark,” Corden says, laughing. “Pretty much all of our guests leave going, ‘Oh, that was great fun.’ ”
Off camera, Corden is still adjusting to Los Angeles. He and his family live near the beach—“It feels like a brilliant place to have a family”—though he worries about his kids growing up in an L.A. bubble and wants his son, Max, 4, and daughter, Carey, 1, to understand that not everyone has a pool in their backyard. He and his family do return to London (Corden spent New Year’s Eve there celebrating with Adele and others), and in Los Angeles, he has slipped easily into the community of showbiz Brits in town. Winston shows me a recent clip on his phone of Corden singing with Coldplay’s Chris Martin at the West Hollywood chapter of Soho House, a club that started in London. (Soon after, Martin appeared on “Carpool Karaoke.”)
Not long ago, Burberry’s Christopher Bailey tapped Corden for a campaign and to close out his “London in Los Angeles” runway show at Griffith Observatory. “James is a true gentleman and a wonderfully talented chap,” says Bailey. Fashion and Corden are definitely a thing; he was tapped last June to host the Council of Fashion Designers Awards in New York. Corden talks with affection of the first pair of fine clothing he bought with showbiz money—a Paul Smith bomber-style jacket. “I just didn’t take it off for about 18 months,” he says. “Mostly I loved it because it made me a bit slimmer.”
Is there a job and life after this? Corden, who will host the Tony Awards in June and in his rare free time is writing a screenplay for Disney, is familiar with Lorne Michaels’s famous comment about the permanence of late night. “He might be right,” Corden says. “I’m going to give it a good crack and try to prove that wrong. I don’t know. I can’t even tell you what television will look like in 10 years’ time.” He knows this: He isn’t in a hurry to find out. James Corden has found himself an unlikely dream job in America—late nights, singalongs with Stevie Wonder and the right to take a good hot shower on TV.
When it comes to general men’s hair grooming, no one is more honest—and surprising—than Jason Schneidman, a.k.a. “The Men’s Groomer.”
This guy is legit. Why else would Rob Lowe, Bruno Mars, Hugh Jackman, Ron Pearlman, Owen Wilson, Jonah Hill, James Corden and other hugely different but sharp-looking dudes submit their locks to his steady, scissors-wielding hand?
We could have asked Schneidman what guys should do when it comes to looking good, but we’ve witnessed so many follicle follies that we decided to ask the opposite. So sit tight, read on, and drop the following bad habits like some jerk trying to sell you a Suck Kut.
Use a hair dryer to make your hair as crazy as possible—go for the Einstein look. Then, when it’s all dry, use a pomade to control it, pat it down and style it just how you want.
1. Fearing hair gel.
After decades of abuse, hair gel has become a symbol of bad New Jersey spike cuts and cheesy ’80s slick-backs. But Schneidman implores men to give it another try—in a way you never considered. When your hair is still wet after a shower, before you towel dry, give yourself a little dollop of hair gel (Jason hooked us up with some Dove Men+ Care Fortifying Gel, which plays well with a hair dryer). Let it sit as you dry off, and then towel dry from there. When you go to blow dry and style your hair, it’ll be much more compliant, full of body and ready to take on whatever look you’re pursuing. Think of it as primer.
2. Rocking the chinstrap.
It’s true—beards are nature’s plastic surgery for men. We love beards here at Made Man. A lot. But some guys are getting too cute with their beard trimming, and Jason suggests they stop. “Go for a more natural look on the neck,” he suggests. When we asked him about the dreaded neckbeard, he suggested occasionally using a trimmer to bring things down a bit, but never go for that hard neck-to-beard transition. He argues that it looks fake, looks bad and isn’t fooling anyone.
3 Applying paste to wet hair.
When your apply paste to wet hair, you’re completely undermining the point of the product. Pastes are designed to control and work with dry hair, and applying it to wet hair renders it into, essentially, a gel. If you’re going for that wet look, don’t bother with paste. You’re wasting your time.
4. Mushing your hair down in the morning.
A lot of guys think the way to control your hair in the morning is to apply product and mash it down to your skull, then try to make it stand up. Flip that script. Going back to the gel point above, use a hair dryer to make your hair as crazy as possible—go for the Einstein look. Then, when it’s all dry, use a pomade to control it, pat it down and style it just how you want.
5. Washing your hair every day.
Women have known this for years, but men are way behind. If you’re washing your hair every day, you’re doing it too much. You’ll end up with a dry scalp, hair that’s hard to control and hair that just looks abused. The natural oils in your hair are good. If you find your hair gets too oily, you can use a dry shampoo, which is basically baby powder. Either way, Jason warns, stop washing your damn hair so much!
Full Article: http://www.mademan.com/5-hair-grooming-things-youre-probably-doing-wrong/
Jason Schneidman, celebrity hair stylist and Dove Men+Care Hair Expert, is what you might call a hair legend in Hollywood. As someone who’s been working in the industry for 20 plus years (and now at one of LA’s most prestigious salons), it’s not surprising that the laid-back surfer found his way to clients like Hugh Jackman and Rob Lowe. Here’s what he has to say about his favorite products, new trends and how he goofs around with his clientele.
Ever since I was a kid really. I always did haircuts for my friends when we were surfing and hanging out and it was fun. After high school I tried a bunch of different professions and my parents encouraged me to go to hair trade school. After that I worked a little, but when I turned 30 I realized it was time to get serious and I moved back to L.A. I coincidentally met Chris McMillan, who was well known at the time for doing Jennifer Aniston’s hair, so I approached him…the rest is history. I’ve had a passion and desire to be creative my whole life and hair was my outlet.
First, I’d say the men’s groomer brush, which is great for creating all different types of styles on men. I use it to create the pompadour, which is a favorite of Bruno Mars. I also really like the Dove Men+Care Styling Paste, it’s a great mold-able paste that can easily transform looks for guys and leaves a matte finish, which I think is great for shorter hair. The last one I’d have to say is dry shampoo, I don’t think anyone should wash their hair every day because it just leaves it flat and lifeless, but then guys can use dry shampoo and it will give guys a clean look and add volume, which is great for styling later.
I honestly love everyone I work with, from Rob Lowe to James Corden, they are all really great guys and we just like to have fun on set. James makes me laugh all day. I’d say working on photo shoots has put me in some pretty interesting situations where I have to work fast to make sure we get the look.
I love Steve McQueen’s look. I think he is classic Hollywood, and that’s timeless – his look is still fashionable today.
I think just rolling with it; I’m pretty easy-going and over the years I’ve learnt how to do haircuts pretty quickly, and the guys are always so easy to work with. I really developed my greatest skills with men. Men like consistency and I can give that.
I think the 90s are coming back – slick hair with a little bit more length. Fashion builds itself so it will be longer hair with a modern twist.
For the full article: http://www.craveonline.com/style/940613-shorn-identity-jason-schneidman#YEC5kD7dFCil7DV2.99
The beauty industry has a huge crush on guys right now. For a while it was all about the ladies, but with the popularity of beards and high-maintenance haircuts at an all time high, and new startups creating new demand for products, men are getting all of the attention right now.
As a consumer, it helps to know what’s going to make you look better and what’s just going to clutter up your shower. Conditioner, for example, is one of those take-or-leave products that really depends on your hair type and length. To give some clarity around who needs it and who doesn’t, we asked Dove Men+Care Expert Jason Schneidman—a long-haired dude in charge of Mark Ronson and Bruno Mars’ famous coifs—to lay down some ground rules. (For more on what’s worth your time and money, check out our 2015 Grooming Award winners.
“If you have short hair and you’re getting it cut every 3 or 4 weeks, it’s not as important that you condition your hair. Guys with longer hair need to condition because because as the hair gets longer, it gets easier for the ends to become damaged. My hair gets super tangled when I don’t condition it and gets fried at the ends.”
“Conditioning does sometimes leave hair flat and lifeless, but there are so many products like dry shampoo, thickening sprays, pomades, gels, waxes and pastes that can build the hair back up and give it life. Don’t skip it because of that.”
“Just like you moisturize your face; you need to moisturize your scalp too. Conditioning your hair also makes it smell good, which people will appreciate. If you have short hair and you want to condition your hair for those reasons, just make sure you wash it all out so your scalp doesn’t get greasy.”
“Do not wash your hair every day and use a 2-in-1 shampoo if you’re worried about saving time in the shower. The 2-in-1 is great because it has just enough cleaning power and just enough moisture to keep the hair full of life. Unless you have long or coarse hair, you don’t need much more than that.”
Read the full article: http://www.gq.com/story/should-men-use-conditioner
If there’s a men’s cutting machine in Los Angeles, Jason Schneidman is the closest thing. Self described as Themensgroomer, his website is filled with inspiration, products, and tools curated to meet men’s hair care needs. After he was taken under the wing of Los Angeles hair icon, Chris McMillan, Jason’s unique knack for perfecting men’s hair quickly shone through. Though he still works at Chris McMillan Salon, he is also regularly on set and on tour with celebrities such as Bruno Mars, Jonah Hill, Andrew Garfield, Owen Wilson, Justin Theroux, and more. We had a chance to chat with him about his career and making it in the industry. To see what he had to say just keep reading…
What was the big break in your career?
My break was when I met Chris Mcmillan at a meeting of recovery. I went up to him and said, “Hey, I heard you’re the man” and he said “You’re kinda cute,” and I got the job! I rode his coat tails and ever since, I have been catching all of his dude celebrity run-off.
What was your biggest career challenge and how did you overcome it?
My biggest career challenge was making the decision to focus on men’s hair solely. I used to style both men and women, and I realized that I was just better with dudes! Way less drama.
Do you have any role models who inspire you?
John Sahag was a huge role model for me in my career. His care free, fast moving, free styling way of cutting – it was pure energy, insanity and perfection every time…the outcome was always incredible! A true hair legend!
What is the signature look that you’re known for?
My signature look is effortless cool which I call the “movie star” haircut. It’s lots of texture, not too short, not too long…the perfect amount of fucked up-ness! It’s camera ready, but doesn’t look like you just had a haircut!!
What was the last big hair makeover that you did?
I’m so grateful that I was asked by Bruno Mars to take him out of his pompadour into a natural great shaped Afro.
Do you have any products or tools that you swear by?
What are you favorite Instagram accounts to follow?
What advice would you give yourself 10 years ago?
The advice I’d give myself is the exact advice that I gave myself ten years ago. To get sober, to love myself, being grateful, creative enjoy every moment and to help others.
What advice would you give to newer stylists?
Good is the enemy of great.
Suit up, show up and be yourself – do great hair, people will come to you for your talent and for just being you.
What is the next chapter for you?
Themensgroomer salons, products, and education are the next chapter for me!
For more #manespiration follow @themensgroomer.
For the full article go to: http://maneaddicts.com/2015/09/29/mane-master-jason-schneidman/