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Did Kanye West’s ‘Jesus Is King’ rip-off ‘The Legend of Zelda’? – NME Live

Did Kanye West’s ‘Jesus Is King’ rip-off ‘The Legend of Zelda’? – NME Live


Kanye West fans have noticed that one of the stand-out tracks from ‘Jesus Is King‘ bears a remarkable similarity to the soundtrack of acclaimed video game The Legend of Zelda: Ocarina of Time.

The gospel-inspired album finally arrived last Friday (October 25) after a string of delays and postponed release dates.

But as Nintendo Life notes, the track ‘Selah’ shares an extremely similar chord progression with ‘Gerudo Valley’, a notable highlight from the soundtrack to the cult fantasy game.

The similarity becomes even more evident when the two are merged together, as the below clip from Twitter user Louie Zong seemingly proves.

noticed something while listening to the new kanye album…

— Louie Zong (@everydaylouie) October 25, 2019

One Twitter user responded: “My daughter is a walking Legend Of Zelda encyclopedia. I played this clip for her and simply asked for her to tell me what she hears. No other context. She answered excitedly: “That’s the Gerudo Valley theme!” So yeah.

Another commented: “In my humble opinion, gerudo valley should be embedded in the heart of every song in existence.”

Meanwhile, NME described ‘Jesus Is King’ as a “jubilant gospel collection”.

In a four-star review, Jordan Bassett wrote: “Like many great rock stars before him, Kanye West has cranked up God’s jukebox. ‘Jesus Is King’ lacks his trademark goofball sense of humour, but that’s partly compensated for with warmth and hope for the future.”

Kanye has also confirmed he plans to take the record on the road “straight away”.

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Reevaluating the gross misunderstanding of Sofia Coppola’s cinematic oeuvre

Reevaluating the gross misunderstanding of Sofia Coppola’s cinematic oeuvre

Anna Backman Rogers is sipping a cup of tea in bed with her cat on her lap when we speak on the phone. By all accounts, it’s a relatively peaceful place from which to reflect on the origins and central arguments of her critically significant new book, Sofia Coppola: The Politics of Visual Pleasure. But Rogers, recently returned to Sweden, where she’s now based as Senior Lecturer in Feminism and Visual Culture at the University of Gothenburg, is by no means parring back on her fervent defense of Coppola’s fierce intelligence as a storyteller, despite so many claims to the contrary.

The pervasive damage done by decades of male gaze-centric filmmaking and criticism, for Rogers, cannot be understated. It’s one of the driving forces behind her book – she even dedicated it, in part, to a fellow male scholar who wrote her proposal off as half-baked and inconsequential. “Coppola’s films are deconstructing the ways in which women are turned into surface, turned into image,” she says. “Which is precisely why her fascination with surface and superficiality is not superficial, in any sense of the word.”  

Coppola’s attentiveness to the adolescent experience under patriarchy formed the basis of Rogers’ own scholarly interests when she was just a teenager in London herself, processing Coppola’s seminal film The Virgin Suicides. What others have written off as a collage of clichéd images subconsciously resonant of girlhood – an abundance of beauty products, pastel undergarments, glossy fashion magazine adverts – Rogers, instead, recognises it as proof of a subversive visuals master at work.

Here, we speak about what critics got wrong about the ‘pretty surfaces’ of cult classics like Lost in Translation and Marie Antoinette, the double standards of contemporary auteurship, and why it’s high time to take women’s onscreen work seriously.

What did you see in Coppola’s approach to onscreen storytelling that struck you?

Anna Backman Rogers: The thing I came to understand from studying the images very closely is she’s somebody who’s extremely image-literate. The way in which she uses the image is very specific – what she references is always the recuperation of some kind of patriarchal language of the image, and she turns it around.

(Consider) the opening image of Lost in Translation. My first book cover was going to be the that, folded over onto the spine and back cover. And when the marketing department of Berghan saw that, I had this infuriating conversation along the lines of, ‘It’s objectifying, it’s sexist, and fetishistic’. I thought,who are you to tell me, a feminist scholar who’s made a living of looking at these kinds of images and deconstructing them, what is a sexist image?’ Secondly, it might be helpful for you to know that this is a recuperation of a soft porn image by a photographer called John Kacere, so that’s already Coppola’s take on that image. The film’s title, Lost in Translation, appears over that image – you can’t read it in the ordinary context as a normal pejorative or clichéd meaning. It’s ‘lost in translation’. There was a whole host of really silly misunderstandings around the way in which the image is being used.

I’m writing a whole book about the politics of visual pleasure, and there’s this reactionary, conservative way of reading this image on the front of the book when, clearly, there are many ways to read it.

We want to believe we’ve reached a point where marketing teams assume the intelligence of a reader or viewer, but perhaps we’re not quite there.

Anna Backman Rogers: Most of my adult life has been spent studying these images. But maybe it’s not evident that, in the host of images she’s drawing on – soft pornography, Helmut Newton – she recuperates them in a feminist context. Actually, what she’s referencing are the images in which young women are steeped while growing up: fashion, advertising, makeup, beauty products, shampoo. But they’re also the kind of soft pornographic images that boys are always looking at. And you think, well maybe this is how I’m supposed to look. I think her references are so manifold and complex that, actually, the reading of her films as superficial, frilly, and frivolous are so entirely wrong. They’re the kind of films you have to return to, to have quite a deep and profound knowledge of image-making to understand.

Why do you think so many critics over the years have misconstrued Coppola’s interests as a filmmaker as centered purely on shallow, surface beauty?

Anna Backman Rogers: I think there’s a lazy assumption that, in order to be a clever filmmaker, you must have lengthy, witty dialogue. People are constantly meant to be sparring with clever sentences, things that people never come out with in everyday life. Coppola is a filmmaker who’s telling story with images, not with words. Sometimes the most important things that need to be articulated in a film, or what she’s getting at, are the unspoken things: the painful things that can’t be put into words. Loss is one of them, the transitions of adolescence to adulthood, and death.

I think she’s far above and beyond her peers in this way. She’s lumped in with Wes Anderson and Noah Baumbach, but she’s not this quirky, playful person… which isn’t to say her films aren’t darkly funny. I think she does possess a dark sense of humour, and that comes through imagery. What she’s investigating is the politics of the image and of the pretty.

“Her references are so manifold and complex that, actually, the reading of her films as superficial, frilly, and frivolous are entirely wrong”

What film shows this dynamic?

Anna Backman Rogers: The politics of Marie Antoinette have to be read through the costumes, through the fascination with the objects, because it’s about a woman being turned into an object that is traded among this hierarchical, patriarchal society, and this very strange world she’s thrown into. She’s a child, and completely unequipped to deal with these things. I think Coppola’s fascination with adolescence in transition moments obviously drew her to this story. But it was infuriating to see that all people could say about it was it was this frivolous, ridiculous, MTV/New Romantics-style music video that was modeled on Coppola’s own life. It was pathetic! Is that the best you can do as a critical reading? It deserved more.

That reading plays such a significant role in how her work’s been marketed and to whom. You touch on this in your introduction: the way in which the innately gendered packaging of her films has worked against Coppola’s credibility as a ‘feminist auteure’, as an auteur in general. For what feels like forever, that label has been associated with men.

Anna Backman Rogers: There’s this notion of ‘the Great Male Artist’ that’s so ingrained in literary and film authorship, painting, sculpture. These are the important ones. It’s often an aside: ‘Oh you might want to look at the work of Agnès Varda’, who was doing new wave filmmaking before Goddard and the rest of them. But she somehow gets written out, or is the token woman.

What’s even more intriguing to me, as poststructuralism took hold as a theoretical, fashionable way in universities, suddenly we no longer have this notion of the author, of agency. Possibly I’m being paranoid, but this is right around the time women start to have their own money, their own bank accounts, have some sense of agency over their lives, and now they’re not allowed to author their own texts.

Coppola is fully in control of her work as an artist and she’s doing phenomenal things: Let’s examine it in depth. It’s this idea that the woman could be the essential force, be in control, subsume authority over a host of men working for her, that seems to be something that’s suddenly controversial. I wanted to look at the ways women are authoring their own stories. They’re doing important work in terms of taking things that have traditionally been patriarchal and turning them around.

Where do you stand as far as the criticism Coppola’s received, particularly around The Beguiled, that says her storytelling leaves out or is disinterested in more diverse perspectives, specifically women of colour?

Anna Backman Rogers: I think it’s indicative of the fact that we need more female film directors. We also need more women behind the cameras, DPs, screenwriters, film critics, film scholars. The burden placed on women who do make it to the fore, who are suddenly expected to tell stories that speak to all women, all of the time, is an impossible task. I’ve noticed as well that people say, ‘Oh, this is an amazing story about a black woman. Ava DuVernay should make a film out of it’. Ava DuVernay is fantastic. But she can’t be expected to make every film under the sun. We need more black female filmmakers.

Concerning the controversy around The Beguiled, I wasn’t surprised. I think Coppola’s relationship to whiteness is much more nuanced and much more complicated than people have given room for, particularly people with a Twitter account. But the move was, perhaps, clumsy in this particular climate… I think, from her perspective, the voice of Matilda (Hallie in Don Siegel’s 1971 version) in The Beguiled was not a voice in which she was allowed to be an articulate woman. The position Siegel’s film puts her in is fetishitstic. And this was Coppola saying, ‘I don’t want to replicate these things which I see as damaging’. I can see how it was problematic. It was roundly criticised by black, intersectional scholars. That criticism is valid. But it’s indicative of the fact that, continually, women are expected to be able to speak on behalf of everyone, everywhere, all of the time, which is an act of sabotage. You wouldn’t be able to write anything if you thought of all the people you could possibly be offending or leaving out.

What’s the reception been like from your contemporaries in film academia? What sorts of conversations has the book started?

Anna Backman Rogers: I’m the kind of person at conferences where people come up and either go, ‘Oh I hate Sofia Coppola. I don’t care. I’m not interested’. But I’ve also had amazing conversations with other female scholars. With The Virgin Suicides and Lost in Translation, it’s really disconcerting to confront something that you understand so viscerally and you can’t articulate it.

I think I was about 21 when Lost in Translation came out. I knew so many girls at university who said, ‘Charlotte infuriates me but I also completely understand where she is in her life. I am completely lost and drifting. And I seem to have this sense of purpose and ostensibly come from the right background, I’m middle class, and have all these opportunities. But I don’t know where to go. I have a vague but pervasive sense of depression’. I think it’s quite evident in the character of Charlotte that she’s going through a very deep crisis to do with her identity of being a woman in the world. Coppola’s made so many films that resonate with women who are now in their 30s and 40s who, with every single film, deeply connect with something about it.

What does it mean to take a woman’s work seriously? How might critics make this a more intentional part of their own work in the industry?

Anna Backman Rogers: Women are more than half the population on earth, so start attending to women’s stories. Start really paying attention. Start really reading. Stop dismissing. It’s the same thing that’s happened to women’s stories coming out around #MeToo. Stop scrabbling to salvage your own view of yourself within your power and privilege. I think, ultimately, that’s an ethical act of care.

Yes, we need more female film critics, but on the other hand, we also need male film critics being held to account for the ways in which they describe women’s work. I don’t tolerate it with the people I work with, I don’t tolerate it with other scholars, and I certainly won’t tolerate it with critics. There are a lot of women out there working in the field of visual culture and film who will not tolerate it anymore, either. So they really need to pull their socks up.

Anna Backman Rogers is currently preparing a monograph on Lynne Ramsay, Simone de Beauvoir, ethics, ambiguity and cinema (Berghahn 2021), editing (with Laura Nicholson) a special issue on the figure of the female detective in television drama (MAI 2020) and preparing a short monograph on Barbara Loden’s film, WANDA (under review). Later this year, she plans to host a launch for her book on Sofia Coppola at The Second Shelf, Soho, London.

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The power of virtualization is coming to video

The power of virtualization is coming to video

What if you could search a video, just like Google? This would give the marketing world an ability to tailor content like never before. Well, that future could be closer than you think. 

From VCRs and DVDs to live feeds and MP4s, the humble video may have kept its staple name in the years since its inception.

But the way we access, manage and manipulate video has already changed dramatically. And it’s not going to stop evolving any time soon.

When it comes to the future of content in the digital age, there is no question that video is, and will continue to be, king.

Whether it’s advertising, news sites, sportscasting, social media, education and even surveillance, video has immersed itself in our everyday lives.

Cisco forecasts that video will dominate the global online landscape, accounting for 80 percent of all internet traffic by 2021, and increasing its online presence at a rapid 31 percent annually.

First, two definitions:

  • OTT (over the top) media services means video streaming delivered over the internet without the control of a traditional distributor.
  • SVOD (subscription video on demand) is included within OTT. That would be a subscription-based service such as Netflix, for example.

In the US, the OTT sector, including SVOD, is estimated to grow to $30.6 billion by 2022, at an annual growth rate of almost nine percent.

So what will the next video revolution look like? And how will it impact content creation and advertising?

The answer: Virtualization.

Stay tuned: Video virtualization unpacked

In a nutshell, video virtualization exposes the data within traditional digital video.

It enables video content to be searched, spliced, and manipulated at an iframe-level, for the first time.

A recent Orbis Research report highlighted that opportunities in virtualization software had been tested by market leaders including Microsoft, VMware and Red Hat Software.

They noted that Linius Technologies, Ericsson and Cisco (which has since sold its virtualization to Synamedia) were among the few companies globally that were considering the potential of virtualization for video.

Video virtualization turns static video files into a malleable form. Digital video files are singular, static blocks of data. They can be thought of as being sealed in a ‘container’ — an MPEG of AVI format.

So that static video file can be turned into an interactive format through video virtualization.

Virtualization allows videos to be indexed, parsed, and spliced with other videos. Ultimately, it makes them searchable.

And if we have searchable video, we can bring the user-friendly, information-ready, personalized functions of, say, Google to video.

video virtualization: implications of a future where video is searchable

Searchability: Revolutionizing bespoke programming

Linius Technologies has developed a patented Video Virtualization Engine (VVE). This piece of technology lets users instantly search for — and assemble — data across an infinite number of video sources.

Users can take that data and compile it into a single video stream that’s ready for immediate playback.

In early 2018, Linius integrated its patented VVE with US-based higher education services provider MediaAMP’s video-first digital media asset management platform. They wanted to facilitate faster learning for university students.

The combined technologies could enable a nursing student, for example, to search for instances using the phrase ‘required dosage.’

The tech would output to them years of recorded lectures, stitched together without the need to edit any video footage.

Now let’s look at another application

Say you’re a die-hard Los Angeles Lakers basketball fan.

With video virtualization, you could pull together all the slam dunks, alley-oops and 3-pointers in your own bespoke NBA 2019 highlights reel.

“There is all this data around what is happening in the video. We can extract the pieces and parts of the video that are relevant to the user,” said Linius CEO Chris Richardson.

“So instead of watching that whole video, the user can search for certain parts of it and create their own video.”

Video virtualization can also unlock commercial opportunities for organizations — enabling content providers to deliver personalized content experiences to subscribers.

This also means that, for the very first time, broadcasters and streaming companies can track and analyze hyper-granular content consumption habits.

They can look down to the frame-level for individual consumers, delivering personalized content experiences to subscribers, for which they can charge a premium.

Advertisers: Cut through the noise to reach customers

The benefits of video virtualization also extend to advertisers.

Advertisers can use it to push hyper-targeted promotions to individuals by matching subscriber demographic data with frame-level consumption data.

Video virtualization takes dynamic ad insertion to the next level. It can provide advertisers with a tool that targets ads according to the viewer profile, determined by specific viewing habits.

For example, a makeup company may want to push out advertising for its new lipstick range.

Through video virtualization, advertisers can insert personalized ads into video files before they are received by the end user.

Ericsson has kept revenue generating opportunities like this top of mind, with the launch of its fully virtualized video processing platform in 2017.

“We are making it easier to monetize services and drive down processing delivery costs throughout the entire content lifecycle,” said (the now former) Ericsson vice president and head of media solutions, Elisabetta Romano.

“Ericsson simplifies operations for content owners, broadcasters and service providers by enabling the move to complete virtualization across the media processing delivery chain.”

Synamedia is another company hoping to boost support for multiple video sources, such as live and on-demand services.

But they also bolster better targeted advertising.

The company has developed a virtualization infrastructure known as Synamedia Video Processing (VP).

VP has been designed to reduce the complexity of video workflow operations. Users can execute encoding, ad splicing and encrypting (among other functions) on a single production line.

The future: Coming to a screen near you

Video virtualization has the potential to completely transform how video content is produced, delivered, and consumed.

And big companies seem to be taking notice.

In early January 2019 one of Europe’s largest media and entertainment companies, Sky, took a stake in Synamedia, to optimize its different video formats and channels.

But it’s not just broadcasters eyeing this new technology.

In 2017 Australia’s largest telecommunications organization, Telstra, integrated Ericsson’s virtualized MediaFirst Video Processing solution suite. They used it to power their video processing data center. In particular, they wanted to support the delivery of Telstra’s cloud platform for broadcast media workloads.

Telstra said the use of Ericsson’s MediaFirst suite aligned with its priority to optimize high bandwidth video processing and distribution. It also let them centralize media operation flow through cloud infrastructure.

Technology giants Microsoft, Amazon and IBM have all integrated Linius’ VVE into their video cloud services, via Microsoft Azure, Amazon Web Services and IBM Cloud. Each of these aims to make video as flexible as all other forms of content and data.

Last year, the Australian chapter of Warner Bros signed a collaboration agreement with Linius for a technical pilot test of an on demand video streaming platform. With that, they aim to provide content protection through distribution to end user.

Stockholm-based video news service provider Newstag has also signed a commercial deal with Linius. They want to roll out its VVE technology across its platforms that provide customized newsfeeds to broadcasters.

Appetite for video virtualization

Linius CEO Chris Richardson said these deals had not only commercially validated the company’s VVE technology, but also the appetite for video virtualization.

“By matching frame-level consumption data with artificial intelligence and existing behavioral data, broadcasters can deliver personalized news experiences that drive subscription revenue, achieve one-to-one audience segmentation for unparalleled consumer engagement, and slash newsroom production costs,” said Linius CEO Chris Richardson.

Video virtualization opens up a whole new world of video use cases for everyone. And the market seems to be moving in that direction. What will the future bring for video virtualization?

Heidi Cuthbert is Executive Producer at Coincast TV.

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With a winter storm freezing the Midwest, a look at the five coldest games in MLB history

With a winter storm freezing the Midwest, a look at the five coldest games in MLB history

Thanks to something called the polar vortex, the Midwest is about to get annihilated by brutally cold weather, and much of the rest of the country will soon follow. It’s enough to make you pine for a baseball game on a sunny day.

Thing is, MLB has seen its share of deep-freeze games in its own right. In honor of the kind of weather that can cause frostbite in about 12 seconds, here are the five coldest MLB games ever recorded (the league started keeping meticulous weather records as of 1991).

5. Marlins at Cubs, April 8, 1997 – 29 degrees (Fahrenheit)

Playing baseball in 29-degree weather is rough enough. But Wrigley Field brought one of its trademark set of gusty winds too, with a 22-mph cross-breeze further chilling the 35,393 fans who showed up for the home opener.

As if that weren’t enough, Steve Trachsel, lovingly known as “The Human Rain Delay” for his deliberate delivery, was the starting pitcher that day for the Cubs, furthering that day’s freeze. On the plus side, the Cubs were kind enough to speed up the game by erasing three of their own baserunners, two caught trying to steal, and one picked off first.

But wait, there was more. The Cubs went on to lose the game 5-3, dropping their seventh straight game to start the season. They’d then go on to lose seven more in a row, their 0-14 start becoming the second-worst in MLB history.

4. Expos at Rockies, April 12, 1997 – 28 degrees

Seeking to make Montreal’s team feel at home, the Rockies first snowed out the game scheduled for the night before. The next day the two teams successfully took the (wet) field, but did so in 28-degree misery.

The hospitality ended there. Colorado’s Blake Street Bombers squad banged out 12 runs on 13 hits, including a home run, three runs scored, and four times on base for former Expo (and eventual 1997 National League Most Valuable Player) Larry Walker. Meanwhile, Expos starter Jim Bullinger served up eight runs on six hits and four walks, though by knocking himself out after 1 2/3 innings, he at least got a hot shower in a hurry.

Perennially one of the top attendance teams in the league, the Rockies didn’t disappoint on this frigid Saturday either, packing 50,010 fans into Coors Field.

3. Mets at Rockies, April 18, 2013 – 28 degrees

To be clear, Denver isn’t actually that cold a city; it’s not uncommon for temperature to hit the 50s and even 60s in January. It’s just that the mountain climate produces highly erratic weather patterns, which can include arctic chills in April, and occasional snowstorms in early May.

In another week that included a snowed-out game, the Rockies and Mets managed to take the field for a teeth-chatteringly good time in Colorado’s 15th game of the season. They again looked like the more comfortable of the two teams, with every starter (including pitcher Jon Garland) banging out at least one hit, en route to an 11-3 blowout win.

2. Mariners at Twins, April 7, 2018 – 27 degrees

Minnesota’s second home game of the 2018 season was, in a word, horrible. The visiting Mariners hung an 11-spot on the Twins that day, victimizing Jose Berrios, the team’s hoped-for future ace, to boot.

You know what shivering fans love most? Pitching changes. There were 10 of them in this game, fueling a three-hour, 36-minute run time — neither of those numbers being all that big in today’s game, when four-hour, nine-inning games are far less uncommon than they should be, and slow walks to the mound are de rigueur.

Mercifully, the next day’s game got snowed out.

1. Braves at Rockies, April 23, 2013 – 23 degrees

The quotes and color from this game were off the charts. From USA Today:

Braves center fielder B.J. Upton, who can’t remember the last time he even saw snow, scurried around in the Braves’ clubhouse looking for a ski cap and looking at Braves starter Mike Minor like he was crazy going out in short sleeves.

Rockies shortstop Troy Tulowitzki, wearing head-to-toe thermal gear, was jumping up and down and screaming in the clubhouse. Finally, an hour before game time, he pronounced himself warm.

“It’s miserable to be honest with you,” Rockies manager Walt Weiss says. “It’s not easy. The conditions aren’t ideal. You have to control your mind.” …

“The best job today,” Braves first base coach Terry Pendleton said, “is to be the assistant hitting coach. That way you can stay inside and just watch the video.”

As Bob Nightengale recounted in his game story, the Rockies had already postponed three games that April, and didn’t want to do it again. So a phalanx of volunteers shoveled snow to end the pre-game delay get the field sort of ready, with Rockies general manager Dan O’Dowd among those on scoop patrol. By the time the game started, there were about 300 people left in the stands. The Rockies went on to lose a 4-3 nail-biter, though the 2:37 run time was about as fast a game as you’ll ever see at Coors.

The best part of that day’s deep freeze? It dragged on into the night, as the two teams played a makeup game after dark to complete a wintry day-night doubleheader. The Rockies lost that too, getting blown out 10-2. But hey, game-time temperature for the nightcap was positively tropical — a balmy 30 degrees.

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Giggle Fest! Khloé Kardashian Posts Adorable Video of Daughter True Crawling and Laughing

Giggle Fest! Khloé Kardashian Posts Adorable Video of Daughter True Crawling and Laughing

From tummy time to belly laughs!

Khloé Kardashian relished in a sweet bonding session with her 9-month-old daughter True recently, when the tiny tot had one goal in mind: to seize her mom’s phone.

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The black-and-white footage, captioned “The ultimate sound” in reference to True’s adorable giggles, showed the reality star’s baby girl continually laughing while crawling forward in attempt to take hold of Kardashian’s phone, which was recording the cute exchange.

“No, that’s my phone! No, that’s my phone!” says Kardashian, 34, pulling her daughter gently backward in the video posted Sunday.

After True attempts her pint-sized pilferage for a few more seconds — giggling the entire time — the Good American designer gives in and lets her grab the phone, saying, “Oh, you got it! Oh my goodness!”

The clip ends with Kardashian covering a laughing baby True with kisses.

Want all the latest pregnancy and birth announcements, plus celebrity mom blogs? Click here to get those and more in the PEOPLE Parents newsletter.

Khloé Kardashian and daughter True

Khloe Kardashian/Instagram

RELATED: Khloé Kardashian “Would Love Another Baby”: “It Helped Her and Tristan Stay Bonded,” Says Source

The heartwarming video came a day after Kardashian and her baby girl attended the Alice in Wonderland-themed first birthday bash of Kim Kardashian West‘s daughter Chicago.

“We’re the first ones here on purpose,” Kardashian told her followers on Snapchat, explaining that she couldn’t wait to see how the KKW Beauty mastermind and her husband Kanye West decorated for the bash.

Kardashian West, 38, gave her fans a brief glimpse at some of the decorations — which included a topiary maze in the hallway, an elaborate cake with a giant grinning Cheshire cat and a bouncy house in the backyard.

RELATED VIDEO: Khloé Kardashian Claps Back After She’s Accused of “Embedding Materialism” into True with Gifted Car

While it’s unclear how True will spend her own first birthday when it arrives this April, she has had plenty of recent moments to keep her mom’s social-media feed at the top of the cuteness chain.

On Thursday, Kardashian shared a series of adorable images showcasing her daughter playing with products from the Keeping Up with the Kardashians star’s new makeup collaboration with her BFF Malika Haqq and Becca Cosmetics.

In the sweet shots — taken while baby True sat in the bathroom sink! — she wore a delicate pink sleep mask around her head while a wrapped towel covered the rest of her body.

“True’s Makeup tutorial will be uploaded shortly,” the mother of one joked, before adding an addendum to the caption with, “Ok calm down, I’m just kidding about the tutorial guys.”

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