TIME Music

Watch Ciara Walk You Through Her Most Memorable Dance Videos

The second part of TIME's interview with the singer focuses on her fancy footwork

Ciara just embarked on her first tour in six years to promote her new album Jackie, but don’t think the “I Bet” singer has gotten rusty with the choreography. Whether it’s the floor hump from “Ride” or her The Matrix-style back bend from “Like a Boy,” she’s still breaking out her best-known routines on the road.

“Sometimes you get bored of the same moves, but you know that there are those moves that those fans love,” she tells TIME. “And you better not change those moves or you might create a little confusion! It’s those key moments that people remember because they mark the special creative moments you shared. It’s only right that you give them that thing they’ve loved from the beginning of the song or era.”

So when TIME sat down with Ciara to talk about how motherhood influenced her new record, it was only right that we asked her to walk fans through some of her most memorable moves and dance videos as well. See her reflect on “Gimmie Dat,” “Promise,” “Work,” “1, 2 Step” and more in the video above.

Read next: Review: Ciara Stays in Her Lane on Jackie—And That’s A Good Thing

Read next: Ciara: Motherhood Inspired Me to Swear a Lot More on My New Album

TIME Music

Ciara: Motherhood Inspired Me to Swear a Lot More on My New Album

Part one of TIME's interview with the Jackie singer

Ciara doesn’t like to curse. The “Body Party” singer won’t use profanity in front of you, and when she started using more colorful language on her 2010 album Basic Instinct after years of resistance, she censored the actual four-letter word to keep it from getting too vulgar. So it’s a surprise, then, to hear the singer call herself a “bad motherf-cker” close to two dozen times on “Jackie (B.M.F.),” the opening track off her new album, Jackie.

“I was really thinking about everything I had been through, so when I went in the studio, I just felt like screaming it out,” she says of recording the song. “There was a whole newfound confidence that came over me after having my son.”

Ciara spoke to TIME about becoming a mom to baby Future, how the music industry has changed since “Goodies” and why she decided to get more personal on her new album.

On what it means to be B.M.F.: “B.M.F. is purely confidence. We all have an inner B.M.F. in us. It’s that moment when you’re embracing who you are. If you feel like you’ve been through things in your life and have been able to push through those things, you are a B.M.F. If you’re a mom who’s been working her butt off and delivered a child and had to raise them, you are a B.M.F. It’s for any person who’s being courageous. If you feel a little insecure and a little doubtful, you need to look in the mirror and tell yourself, ‘I am a B.M.F.’ That’s the attitude you have to have.”

On addressing her breakup on “I Bet”: “Having a child with someone, you’re always going to be respectful of that. But the song ‘I Bet’ was honestly inspired by my life experiences — I can’t just say it’s from one experience. It’s one of those songs that’s very real. I would talk to people in the studio, and we’d talk about real-life things that everyone can relate to, not just the women, but the men too. It was one of those songs that felt necessary for the universe. It’s so good when I see young girls come up to me and say, ‘I love ‘I Bet,’ it’s helping me, that’s my song.’ That’s what you want your music to be: you want it be something that touches someone. It does feel good to know that it speaks to someone’s heart and can inspire them.”

On social media: “You can either allow social media to be helpful for you or it can be harmful. I like to let it be helpful. It allows me to have instantaneous interactions with my fans — you didn’t have that luxury before. It is cool when you put something up on Instagram and get the response right then instead of waiting to see what the world thinks tomorrow. I like how it allows me — a person who used to always be so private — the opportunity to grow and push myself. Sometimes sharing a photo is really O.K. because you never know how it can inspire someone. Or writing a tweet of what your thoughts are — you can show people you feel what they feel.”

On looking back at scrapped singles like “Sweat”: “You just have to keep it moving. There are a few songs where I definitely go, ‘Eh, I knew this one song wasn’t going to work.’ But I had to do it! There are some songs where you’re like, ‘I really like this song,’ and it just didn’t work out how you thought it would. That’s life. You win some, you lose some. You can’t dwell on it. I can’t be worried about the past. I’ve got to keep it moving and stay focused on the future — pun intended.”

Read next: Review: Ciara Stays in Her Lane on Jackie — and That’s a Good Thing

TIME Food & Drink

Inside Cronut Inventor Dominique Ansel’s New ‘Impossible’ Bakery

The cronut inventor's new bakery, Dominique Ansel Kitchen, will offer made-to-order pastries

From the cronut to the chocolate chip cookie milk shot, chef Dominique Ansel has made a name for himself as an inventor of viral baked goods.

This time, his latest creation isn’t just a pastry — it’s a bakery with a unique business model.

Dominique Ansel Kitchen, which opens in New York City on April 29, offers made-to-order items that will be ready within a minute or two after an order is placed.

“A lot of people told me it was impossible or too hard to do,” says Ansel. “It will require us to change the entire organization of the business, but I believe it’s possible.”

Ansel has a flair for pulling off the unexpected. When he first opened Dominique Ansel Bakery (now known as the home of the cronut) in 2011, he was advised to sell cupcakes rather than French pastries, to cater to the tastes of the public. Instead, he built a launching pad for a series of edible inventions that quickly caught the nation’s attention.

“When you think of pastries, it’s still a world that hasn’t been explored as much. [In New York City] there are bakeries from different countries, but there’s nothing as exciting,” Ansel says. “There are no experimental bakeries, there are no bakeries that really push themselves to do something unique and different.”

Ansel believes Dominique Ansel Kitchen will be the first bakery of its kind, with 70% of the menu assembled to order. To him, time is an ingredient, meaning that the time elapsed between the moment the pastry is completed and when a customer takes his first bite is crucial. Over the past few months, Ansel has kept timing a priority when planning his menu, which includes made-to-order chocolate mousse, a 1:1 lemon yuzu butter tart, mini matcha beignets and more.

“To me, having a dessert assembled when you order it, there’s nothing better than that.”

TIME

Nick Kroll Says All Movie Characters Shouldn’t Sound Like 30-Year-Old White Guys

The "Adult Beginners" star on sibling dynamics, the importance of strong female voices and his dream to be on "The Real Housewives of Atlanta"

Nick Kroll has played a radio host called The Douche (Parks and Recreation), a spin instructor named Tristafé (Unbreakable Kimmy Schmidt) and a German foosball enthusiast named Juergen (Community). But in the new movie Adult Beginners, which hits theaters (and iTunes and video on demand) Friday, Kroll plays a character that’s a little less hyperbolic and a little more relatable.

In the film, viewers meet Jake, a failed entrepreneur who moves in with his pregnant sister (Rose Byrne) and her husband (Bobby Cannavale, Byrne’s real-life boyfriend), and becomes a nanny to their young child. The story was inspired by Kroll’s own experience as the youngest of four siblings and uncle to a dozen nieces and nephews. After developing the idea with Mark Duplass, his co-star from The League, he enlisted husband-and-wife team Liz Flahive and Jeff Cox to write the screenplay.

“I wanted to have a female voice in helping to put the script together, because it’s really as much about me as it is about my sister in the movie,” he says. “A lot of movies are written by 30-year-old white guys, and you don’t want your characters all to sound like 30-year-old white guys.”

Fans who know Kroll from his recently retired Comedy Central sketch show Kroll Show, on which he played characters like the tuna-loving Gil Faizon and craft services extraordinaire Fabrice Fabrice, may be surprised by how normal a character Jake is. But Kroll insists that the gulf between Faizon and Jake is not so gaping, after all.

“The goal is to create something that just feels really believable, whether it’s a grounded character in a dramedy or a toilet baby who has been forced into becoming a father himself. How does that guy talk, how does he walk, how does he feel about his mom, how does he feel about his sister,” Kroll explains. “I’m trying to do the same homework regardless.”

TIME Rwanda

Scars and the Smell of Grass: One Survivor’s Lasting Reminders of Genocide

Survivors of the Rwanda genocide in 1994, which left hundreds of thousands of people dead, still grapple with its brutal legacy

More than two decades after the Rwandan genocide, the smell of grass in the summer still gives Consolee Nishimwe nightmares.

Between 250,000 and 500,000 women were raped during the 1994 genocide in Rwanda, according to the United Nations. At 14, Nishimwe survived a brutal attack that left her emotionally and physically scarred for years. As a result of the assault, she is now HIV positive. Her father and brothers—aged 18 months, 7 and 9—were all killed.

“I will never forget what happened to me,” Nishimwe, who has vivid memories of hiding in the bushes from Hutu militias, told TIME in a recent interview. “Physical violence happened to me, and also living with HIV as a result of that, it’s something I will never forget—that will never go anywhere, that I have to live with.”

This week, as Rwanda’s government commemorates the 21st anniversary of the genocide, many survivors like Nishimwe are faced with unavoidable reminders of the physical and emotional toll of the conflict.

When asked about forgiveness, Nishimwe, who now lives in New York City, spoke of a work in progress. “That’s a really difficult word,” she said. “I think I did… I think 20 years is still early to me.”

Nishimwe’s book, Tested to the Limit: A Genocide Survivor’s Story of Pain, Resilience, and Hope, is an account of her experience as a survivor.

TIME relationships

Here’s What One Woman Learned From Taking a Year Off From Her Marriage

Lessons from a year spent sowing wild oats

Robin Rinaldi did what many women dream of but few actually do: she took a year off from her marriage and made an agreement with her husband that they could both sleep with other people for a set period.

Rinaldi’s book, The Wild Oats Project, is a summary of what she learned during the year she spent in an open marriage. The idea came to her when her husband got a vasectomy after a long battle over whether they would have children — she wanted them, he didn’t. Faced with a future without a family, Rinaldi made a decision: “I refuse to go to my grave with no children and only four lovers,” she wrote, “If I can’t have one, I must have the other.”

That’s when she embarked on the Wild Oats Project. Rinaldi and her husband had three rules: no serious relationships, no sex with mutual friends and no sex without condoms. Both broke multiple rules over the course of the year, and it eventually took a toll on their relationship, but Rinaldi says the project wasn’t as much a choice as “a calling.”

“It was unlike me to act that way,” she says. “I had always been a very cautious and somewhat anxious person, I had always played by the rules. It was something instinctual, and something very female driving me to do this. It wasn’t really planned and strategized as much as felt.”

Still, Rinaldi found that, while many of her friends were supportive, some people thought her project was threatening, even terrifying: “The tale of a woman giving up security, even in an above-board way and allowing her husband to do the same thing, giving up all that security in pursuit of passion and adventure, is a scary idea for a lot of people,” she says. “I certainly didn’t write it to intentionally push anyone’s buttons.”

And ultimately, for Rinaldi and her husband, this was their last chance at saving their marriage. “We knew how risky it was, and we might not make it through, but it was really the only choice we had,” she says. “So we both agreed, two consenting adults, to try this first.” Ultimately, she and her husband went their separate ways, but Rinaldi says the project taught her much more than a simple divorce would have.

The biggest thing Rinaldi says she learned from the Wild Oats Project is that she was putting too much pressure on her husband. “Expecting your spouse to provide passion and security and purpose, it’s a lot,” she says. “I was asking too much of that one person… So now, as a result, I don’t look to someone else to kind of unfairly provide all of those things. That’s the biggest thing I learned from it, and I couldn’t have learned it unless I actually went through it.”

She also learned a lot about sex, and about her own body. Rinaldi spent much of the project in new-age sexual workshops and orgasmic meditation classes, so she came away a greater awareness of her sexuality. “The sex was the classroom, but the sex was not the lesson,” she says. “Your body has wisdom, that is very powerful and can kind of show you your path, and you don’t always have to think it through or necessarily act based on other people’s rules.”

Still, Rinaldi wouldn’t necessarily recommend that other women take exactly the same path she did. Instead, she’d advise younger women to “sow your wild oats before you settle down — that’s a no-brainer.”

Read next: Who Needs Marriage? A Changing Institution

TIME Music

How Death Cab for Cutie Did Things Differently for Their New Album Kintsugi

The band tells TIME about the inspirations for their new album

Rarely does word of a band’s new album inspire such conflicted feelings among loyal listeners. Last summer, Death Cab for Cutie die-hards were thrilled to find out the band was putting the finishes on their eighth studio album—but they were heartbroken to learn the album would also be the last with founding member Chris Walla, who was leaving the band after 17 years.

Instead of distancing themselves from his departure, however, the remaining members—frontman Ben Gibbard, bassist Nick Harmer and drummer Jason McGuerr—made it part of the album’s story. The band named the album Kintsugi, a Japanese ceramic repair technique that finds beauty in the object’s cracks and flaws by filling them with gold and silver. “When Chris left the band we saw it more as an opportunity than as a breakage,” frontman Ben Gibbard tells TIME about Kintsugi, out March 31. “Right now we all see this as a really exciting time for us: we have a new record we’ll be proud of, we get to go out in the world and play these songs we’re really proud of, and we’ll figure out what the next step is when we come to it.”

On bringing in an outside producer for the first time: “It was something that we were all really excited about doing,” Gibbard says. “All of us have certain tropes that we tend to remain comfortable in, things that we gravitate towards. Bringing in [Rich Costey] to cut through what we were comfortable with—like, ‘No, you guys always do it like this, but we need to try something new here’—was really inspiring. This record would absolutely not be the record it is if we had done things the way we’d historically done them.”

On loving music the way you did in high school: “I think it’s absolutely possible to continue to have, as you get older, those really intense relationships with records—it just happens less frequently,” he says. “When I was 16 years old, music was everything in my life, and everything I heard was brand new. Now I’m 38. I’ve heard a lot of music. But there are still these moments where these records come along that just come out of nowhere and blow my mind. It doesn’t happen as often as it once did, but it still happens. You can’t have your mind blown every time you put a record on.”

On drawing lyrical inspiration from Los Angeles: “Los Angeles obviously is a hotbed of character study,” Gibbard says of the new songs, many of which appear to address his divorce from actress Zooey Deschanel. “The swath of people that you run into is fairly wide and interesting. A lot of these songs on the record were inspired by people that I came across in my time living there. It’s a really interesting place. There are some things I love about it, but I don’t think I would ever go back—no, I would never move back.”

On aging as a band: “We all feel very fortunate that these records that we made now some 10-15 years ago, people still care about them,” he says. “That is one thing that is fairly rare these days. There’s so much music coming at you all the time. You have access on streaming services to every record almost ever made. Every day there are websites that are updating with 10 new exciting bands that you should check out. The fact that we have made some albums that now at this point people are still asking us to play feels really good.”

TIME Music

Why Marina and the Diamonds Wrote a Song About Rape Culture on Her New Album

The singer talks to TIME about her song "Savages," her new album Froot and the state of pop music

Marina and the Diamonds once critiqued the dangers of fame and celebrity by pretending to have succumbed to them. On her 2012 album, Electra Heart, the Welsh singer-songwriter born Marina Diamandis worked with some of pop’s biggest hitmakers and wrote from the perspective of Electra Heart, a fictional, vapid diva who embodied the worst parts of pop culture. “I suppose it was an effort to make a commercial pop record in a subversive way,” she tells TIME.

But for her third album Froot, out now, she shed the wigs and persona, scaled down her collaborators — she wrote all the songs herself and had just one co-producer, David Kosten — and looked inward instead of out. “It’s more reflecting on what’s happened in my life and what’s kind of brought me to this point,” Diamandis says. “[The title] felt symbolic of how I feel now: ripe and ready as an artist and as a person, like I’m ready to really enjoy things. I feel very confident.”

On the song “Savages”: “I’m not a political person at all, but I am interested in society. And seeing rape culture explode over the past few years and be pretty much in the news every single day is sickening. It’s more about trying to start a conversation on why these things are in our human traits. Because they are natural to us even though it’s really hard to hear. No one wants to say that rape is natural, but it’s something that’s been embedded in us, and it’s horrendous. So that inspired that song.”

On how she gets inspired: “My relationship with songwriting is purely based on having something to say. If I don’t, then I just don’t write. It’s definitely not a songwriting camp: [write] 50 songs and then pick the 12 good ones. If I get off tour, usually it’s just getting my sh-t together, relaxing, seeing my friends. And then whatever’s happening in your life feeds into your thoughts and into what inspires you in the end. It’s a very relaxed, normal process.”

On her relationship with her fans: “It’s distinctive, and it feels real and special. They’re very intense, but maybe that’s because I am as well! They’re incredibly supportive and quite protective. ‘Primadonna’ garnered a lot of fans for me, but even though I’m going off into a more left-field, alternative direction, they are with me. Growing up with your fans is really amazing.”

On how the media treats female pop stars: “If I got into an artist who was playing a character and then realized that they have another body of work, you’re like, ‘So who is it, then?’ [That happens] particularly with female artists, maybe because identity is such a shaky thing — it feels like you’re constantly trying to be defined. A song on the album, “Can’t Pin Me Down,” is about that. Maybe it’s because we can change the way we look so easily compared to male artists. I always get the impression that media are like, ‘She’s not really the artist, someone else is creating that.’ With this album I want to make a point about writing the whole thing because [then] you can’t say anything — you know I’m the sole creator. There aren’t many of those artists anymore.”

TIME psychology

This Is Why You Overshop in Ikea

We take you through the popular furniture and home goods store to show you how the layout affects your buying habits

It’s easy to overshop. But at Ikea, it’s almost impossible not to spend more than you originally budgeted.

That’s because the Swedish furniture retailer designs its stores to trigger impulse purchases while making it difficult for shoppers to make a mad dash for the exits. It’s a way to take advantage of Americans’ changing shopping habits, which TIME’s Josh Sanburn detailed in this week’s magazine.

Our current phase of overconsumption began about 30 years ago, when Americans began committing close to half of their annual expenditures to nonnecessities. It was the beginning of a gradual decline in the cost of consumer goods, the growth of everyday credit-card use and the rise of big-box stores and discount retailers that pushed their way into communities nationwide, forcing down prices and profits for those competing around them.

In the past decade, the cost of cell phones, toys, computers and televisions has plunged, thanks in part to overseas manufacturing. The rise of “fast fashion”–popularized by the growth of clothing outlets like Gap, Forever 21 and American Eagle selling $10 T-shirts and $30 jeans–is now driven by low-cost imports H&M and Uniqlo. Today the average U.S. household has about 248 garments and 29 pairs of shoes. It purchases, on average, 64 pieces of clothing and seven pairs of shoes annually, at a total cost of $1,141 a year, or $16 per item.

“When the question is why do we have so much stuff, one reason is because we can,” says Annie Leonard, executive director of the environmental group Greenpeace USA and the creator of The Story of Stuff, an animated video about excessive consumerism. “For a huge percentage of this country, there is no longer an economic obstacle to having the illusion of luxury. It’s just that this stuff is so cheap.”

Watch the video above to go inside one Ikea store in Brooklyn and see how its strategy works, and read more here.

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