A Front of House Manager reveals what working in a hotel for the super-rich is really like. From hiring out the whole hotel for a ‘themed’ orgy to covering the tracks of staff sleeping with customers, the Informer details how the job can be demanding physically and emotionally. Blood and gore are all part of the job.
South Korean pop stars BTS grabbed worldwide attention when they performed their hit single “Butter” at the 64th Grammy Awards ceremony on April 3, 2022, in Las Vegas, especially when band member V whispered something to Grammy winner Olivia Rodrigo as part of the setup for the performance.
While members of the BTS Army (what their rabid, mostly teenage online fans are called) are furious that BTS lost the Grammy for Best Pop Duo or Group Performance to Doja Cat and SZA, the group is likely more focused on a reminder from the Daily Mail that some of its members are staring down a military commitment in their home country.
Back in 2020, the South Korean national assembly passed a law that allowed members of the band to postpone their mandatory military service until age 30. That probably seemed like a sweet reprieve, but time is relentless. Now member Jin is set to turn 30 in December, and Suga will follow next March.
Gunn Kim, South Korea’s ambassador to Britain, tried to prepare the group’s fans for the future when he told The Sunday Times, “It is very much expected that young Korean men serve the country and those BTS members are role models for many young-generation Koreans. Most of our people expect that our members of BTS will fulfill their obligation as citizens of Korea. Eventually I think that will happen.”
Jin and Suga will be required to serve for at least 18 months, followed by J-Hope (now 28), RM (27), Jimin (26), V (26) and Jungkook (24). Once this cycle starts, the entire group may not be able to perform together for nearly a decade. Maybe the group’s representatives will be savvy enough to advise that all seven members do their service together and get the obligation taken care of as soon as possible.
Of course, anyone who’s entering the South Korean military has to accept the very real possibility of combat with North Korea, which claims to have test-fired a new long-range nuclear missile called the Hwasong-17. International observers have claimed that the test was actually the older Hwasong-15 but allow that the new missile could be ready soon.
However this plays out, BTS will be the biggest news in pop star military service since Pvt. Elvis Presley answered the U.S. Army’s call in 1958.
A decade ago, K-pop had already established itself as a force in Asia and found niche audiences around the world. But it was soon turned into a truly global phenomenon after Psy’s YouTube-breaking “Gangnam Style” went viral in the summer of 2012. Powered by a galloping dance and bonkers music video, K-pop became a buzz word that even your American parents suddenly knew about.
Six months earlier in 2012, though, a very different effort at introducing Korean pop to Western audiences had played out in the form of a made-for-TV movie, starring a septet who’d actually marked K-pop’s debut on the Billboard Hot 100 three years earlier.
The Wonder Girls was a 40-minute film starring the Korean group of the same name, co-produced by K-pop company JYP Entertainment and Nick Cannon’s N’Credible company, which premiered on the TeenNick channel in February 2012. The story follows the outfit on their first tour of the United States, with the Wonder Girls — at the time consisting of Kim Yu-bin, Park Ye-eun, Woo Hye-rim, Ahn So-hee and Min Sun-ye, on top of Korean entertainment after a string of hit singles and equally big across Asia — exploring New York city and getting into assorted hijinks. It culminates with them entering a talent competition at the Apollo Theater (where they face off against an American group called School Gyrls, from a different Cannon-produced movie). It’s a fish-out-of-water story geared towards younger audiences.
The TV movie became a K-pop curio, an obscure bit of trivia for fans. Yet a decade later, as K-pop has grown into a major entertainment force in the U.S., The Wonder Girls special seems more like an important moment in the history of Korean entertainment trying to break America, and one hinting at how future groups and companies would vault to the top of music and social media charts.
“The whole point of this was to introduce American audiences to K-pop,” The Wonder Girls writer Krystal M. Harris tells Billboard. “The Wonder Girls were super huge, can’t-walk-down-the-street celebrities at the time in Korea – but over here, not so much…”
K-pop heavyweights had attempted to cross over into the States before Wonder Girls, but with little success. The singer Rain embarked on an ultimately doomed North American tour in 2007, while ‘00s superstar BoA released an English-language album in 2009, complete with hype-generating music videos, but was met with middling sales outside of her home region.
Wonder Girls had debuted in 2006 as the first girl group in Park Jin-young’s eponymous JYP Entertainment stable. They quickly gained popularity, before the 2008 retro-tinged number “Nobody” turned them into a greater regional force. Their ambitions grew.
“It was about January 2009 when we were invited to JYP’s U.S. concert as the opening guest, and we heard that people loved our performance,” former Wonder Girls’ member Kim Yu-bin, better known as Yubin, says via email to Billboard. “That’s when we started trying to enter the U.S. market.
The quintet became the first K-pop group to mount a serious push into the U.S. market. They signed with Creative Artists Agency and, in a preview of how Korean artists would come to use U.S. talk shows as a launch pad, appeared on The Wendy Williams Show to perform a song and quickly introduce themselves. Most notably, they served as one of the opening acts for The Jonas Brothers, then at the peak of their Disney-pop superstardom, on their 2009 U.S. tour.
It all would have just been a nice memory if Wonder Girls didn’t make history in the process. Propelled by the Jonas Brothers tour, “Nobody” debuted at number 76 on the Billboard Hot 100. That was the first time a K-pop artist ever appeared on the chart. “Towards the end of the tour, JYP told us we would be starring in a movie,” Yubin says.
The film needed a director, and it found one in music video director Ethan Ladern – who previously worked with artists such as B.o.B, OneRepublic and Bruno Mars. A producer he knew worked closely with Cannon, and he eventually was brought on to direct. “We were doing a grand introduction of the Wonder Girls to the States,” Ladder tells Billboard. It was obviously important that we wanted to show off their singing skills and their talent, and it was about making them really fun.”
Harris, meanwhile, had previously worked with Lader on music videos, and came on board initially as a cast director. First, though, everyone involved needed a first draft of the script to come in. “The script was…a bit offensive,” Harris says. “We were putting Koreans into America, and the script was relying on stereotypical jokes.” She stepped up and volunteered to take a look at it.
She cleaned up the rough bits – which, beyond racist gags, also included the main American character and love interest of member Yenny being named “DJ Nuts, or something relating to a man’s parts.” She changed his name to DJ Skillz, and tightened everything else up, all without losing the TeenNick vibe. “I didn’t have a huge background in anything Korean, but I know when something is a bit insensitive,” she says.
The Wonder Girls earned Harris her first professional writing credit. She still had to cast the film too, which presented further challenges. “It was a non-union film, so that means my talent pool was going to be a lot of green actors,” Harris says. She describes many auditions as “very, very interesting” – but with some diamonds present, such as Wes Aderhold, who was cast as DJ Skillz. “He just knew how to smolder in the right teen way.”
At the time, Aderhold was a fledgling actor based in Los Angeles with only a few credits to his name. “I obviously wanted to portray a DJ authentically, so I watched countless videos of DJs and went to my friends who spin and mix, and watch them,” Aderhold tells Billboard of how he prepared for shooting, alongside working with his acting coach at the time.
The Wonder Girls prepped too, for what would be one of their first forays into acting. “We took acting classes as a group and worked on our English pronunciation and language skills,” Woo Hye-rim, better known as Lim, tells Billboard through email. “Thankfully, our characters were based on our real-life personalities, so it wasn’t that hard to get into the character.”
Language, though, loomed as a challenge. Prior to shooting The Wonder Girls, the group had only needed to use English in a handful of promotional situations, like their aforementioned TV appearances (though Yubin spent part of high school in San Jose). “It was hard enough to act in Korean, but to act in English was even more challenging,” Yubin says. “There was a scene where we had to argue, and that was the most challenging for us. Just imagine having a serious argument with broken English. That was hilarious. It was really hard to keep a straight face.”
Lader, on the other hand, doesn’t remember there being many hurdles for the group – recalling early takes coming off as dry, but with everyone finding their rhythm gradually. “Actually, what I remember was during dress rehearsals, the girls already knowing everything by heart,” he says. “They came prepared and were ready to take the challenge.” Aderhold noticed the same professionalism while acting with them. “I don’t believe any of the girls had acted before. So there was this excitement of doing something for the first time and realizing they were really good at it. That was fun energy to play off of.”
Everyone interviewed about the actual filming of The Wonder Girls recalls it being fun, albeit frantic to finish everything in a short amount of time. Visual gags happened in the moment — including JYP, playing the role of overprotective manager, opting to wear silly pajamas and an eye mask in one scene — while unforeseen challenges like filming above a kickboxing gym added unforeseen stress (“Everytime the ‘ding’ happened between rounds, that’s when we shoot scenes,” Lader says).
“I want to say the Wonder Girls got like three hours of sleep, because they were shooting with us for 12, 15 hours, and then they’d rehearse their dance sequences and then they’d have to be back on set early in the morning,” Harris says.
Some of the fond memories stem from The Wonder Girls’ off-set freedom. Harris recalls the crew talking about making plans to go out, “and the girls were so excited about it because nobody was going to know who they were. They weren’t going to be hounded like they usually were when they went out. For this one moment in time, they were able to just be young women, having fun.”
The film premiered in February 2012, at a time when K-pop was taking more serious strides into the U.S. market. At the same time as The Wonder Girls, compatriots Girls’ Generation promoted their English-language release “The Boys” on American TV shows, including a somewhat surreal performance on The David Letterman Show with Bill Murray and Regis Philbin watching on. In July of that year, Wonder Girls shared their big swing at the English-language markets (and a number previewed in their movie), “Like Money,” featuring Akon and a video directed by Lader, featuring the Wonder Girls reimagined as cyborgs. While performing well on Korean charts, the song largely breezed by the intended American audiences.
Five days after that clip debuted, though, “Gangnam Style” appeared on YouTube. Its soon-to-be mega-success underlined something the K-pop industry had actually taken advantage of before and what would become necessary moving forward – easy access online. The Wonder Girls could only be viewed when TeenNick broadcast it (or through illegal streaming sites) in 2012. Currently, the best place to view it is on YouTube via fan uploads.
“I often watch the clips on YouTube — the movie makes me feel refreshed,” Yubin says, while Hyerim also says she revisits it via these unofficial uploads.
The lack of access hurt its overall reach, but The Wonder Girls did foreshadow an approach that would become crucial in K-pop’s future promotion — creating a shared bond between fan and performer. “Just like the message we give in the movie, we wanted to share our journey with our fans; the journey to success in the U.S. as a foreign idol group from South Korea,” Hyerim says.
Despite being scripted, the movie aimed to show new viewers who the members of this group were, while also giving existing fans a different perspective on their favorites. This approach is commonplace today, whether through social media or more slice-of-life offerings like Blackpink’s Netflix documentary or aespa’s New York trip diary (including a chat with Nick Cannon).
“In my experience, they were really the first time time a group came out like, ”I want to go to the States. I want to plant our flag, and have K-pop be recognized for how amazing it is,” Lader says. “Now flash forward to someone like BTS, and if there aren’t those forebearers leading the way, they don’t get the same opportunity.”
Lader is still directing music videos, for artists such as David Guetta and NLE Choppa, while working on other projects. Aderhold recently moved to New York to pursue artistic ambitions, and says that the last time he saw the movie “was two or three years ago…my friends put it on the big screen, while we were having mimosas.” Harris kept in touch with The Wonder Girls via Facebook for a bit after, and focused on her acting and writing career.
The Wonder Girls marked the first serious effort to introduce K-pop into the United States, a process that has paid off in recent years. Yet for Yubin, there’s something more personal to it: “The most fabulous thing is that the movie allowed me to reminisce about our time in the U.S. The people that I met during shooting the film and the experience that I was on the scene are unforgettably precious to me.”
The Wonder Girls never pushed too much into the U.S. market after 2012, and the group disbanded in 2017. While not held up as an important step in K-pop’s push into the United States, The Wonder Girls marked the moment of an industry’s ambitions becoming much more serious.
“It was a brand new market not only for our group, but for a K-pop group to debut in the U.S.,” Hyerim recalls. “Regardless of the result, I enjoyed the challenge as I believe it made our group stronger as a team and also left us with such a special memory. If I could turn back time, I would do the same without a doubt.”
Vanessa Carlton wrote “A Thousand Miles” in her childhood home as a teenager. Little did she know the song would become an international smash hit, a film-soundtrack favorite, and would be repurposed by new artists and the internet for the next 20 years.
VICE meets Vanessa Carlton, “White Chicks” actor Terry Crews, and others responsible for making the song the indelible hit still widely adored today.
Producer, director & personality Eddie Huang sat down with Ebro in the Morning for an honest conversation about racism against the Asian community following the shooting at massage parlors in Atlanta. He also discussed some of the experiences he has had himself, and its effects in the community.
He also spoke about the passing of Pop Smoke, solidarity among different races in Los Angeles, his decision to leave the show ‘Fresh off the Boat,’ and more.
He directs the film, ‘Boogie’ which is in theaters now.
Casey Redd was 14 when she began going to shows put on by popular indie-rock label Burger Records. The concerts, featuring contemporary garage and punk bands, were often all-ages, and a swell of excited teenage girls would be in attendance.
Three years later, when Redd was 17, she says Phil Salina, the then-29-year-old singer of the Portland-based goth-pop duo Love Cop, had sex with her in the back seat of her car. He told her to meet him at the far corner of the parking lot at the Burger Records store in Fullerton, she says, then instructed her to drive a few blocks away to a darkened neighborhood where she alleges the statutory rape took place. (The age of consent in California is 18.)
A few days later, they again had sex outside of a house show in Pomona, she says.
“I felt confused and violated,” she says, adding that it took time, reflection and therapy to come to terms with what happened to her in 2013. “For years, many years, I didn’t really talk to anyone about it — I felt really ashamed — I felt like it was my fault for engaging with him in the first place.”
She did tell one of her close friends about her sexual encounters with Salina. That friend, who regularly attended Burger Records shows with Redd, corroborated Redd’s story to The Times in a phone interview.
The Times, however, reviewed texts that Salina sent to Redd after she went public with her accusations. In them, Salina apologizes and expresses remorse, writing, “I won’t ever be allowed to play music again and that is fair.” He also wrote that he didn’t think of their relationship as abusive at the time but that he now understands that it was wrong.
Redd went public with her experience last summer, sharing her story on her personal Instagram page and soon after on a page she created called Lured_By_Burger Records, which posted accusations about men in the Burger scene from other female fans and artists. The page quickly accumulated thousands of followers, spurring online outrage, national media coverage and public apologies from many of the accused musicians.
Within a week, the label ceased operations completely, prompting a long-overdue reckoning about the prevalence of sexual abuse in Southern California’s underground/DIY music scene.
One of Burger’s owners, Sean Bohrman, declined to be interviewed for this story. The other, Lee Rickard, did not respond to a request for comment. But Bohrman acknowledged in an interview with Seattle radio station KEXP after Burger’s collapse that the label — which published recordings by nearly 1,200 bands during its 13 years in existence, in addition to hosting concerts and festivals and running a record shop in Fullerton — did not scrutinize the personal behavior of the musicians with whom it worked. And it’s not clear that management was paying attention to the exploitative sexual dynamics of the scene Burger fostered.
As the allegations emerged, the label issued a statement that read in part: “We extend our deepest apologies to anyone who has suffered irreparable harm from any experience that occurred in the Burger and indie/DIY music scene.”
But the problems did not involve Burger musicians alone. The Times interviewed nearly two dozen women who detailed varying degrees of sexual abuse and harassment by musicians in Southern California’s indie rock scene during the past 15 years.
A number of women spoke on the record; others chose to remain anonymous, either because they feared reprisal or had already experienced it after posting their experiences online.
Burger Records was founded in 2007 by Bohrman and Rickard, in part to release music from their own band at the time, Thee Makeout Party. Burger championed catchy, homemade power-pop, surf-rock and bubblegum punk. It opened a record shop in Fullerton in 2009 and Bohrman and Rickard lived there, washing their hair under a spigot in the alley and running the label out of the back. The shop soon became a popular gathering spot for music fans.
As Burger grew, the label hosted a slew of popular shows and festivals around Southern California including Burger-a-Go Go, which paid tribute to all-female-fronted bands, and the two-day Burgerama, which annually drew thousands of fans and featured eclectic lineups of dozens of underground garage bands and indie rock giants including Weezer, Ariel Pink, Fidlar, the Spits, Ty Segall, Roky Erickson and Gang of Four.
Burger’s reputation was burnished internationally in 2014 when fashion design house Yves Saint Laurent featured the label’s music in Paris runway shows.
An all-ages ethos was key to Burger’s identity. Young fans, including those in high school, often mingled with older fans and musicians. Many women interviewed by The Times described rampant drug and alcohol use, even at shows where alcohol was not for sale.
The label did not follow a traditional business model. It didn’t sign bands or negotiate contracts. It just reached out to bands it loved and released mostly limited-edition runs of cassette tapes, leaving it to other labels to court the musicians it championed. It also made money from the concerts and festivals that it convened.
At first, Redd felt at home among Burger fans and bands, and in the spaces they occupied. All-ages shows were held in warehouses, the record shop and a large venue called the Observatory in Santa Ana. The Fullerton store was painted a bright key-lime green and featured a highly cultivated sense of graphic design characterized by a zany, cut ‘n’ paste punk aesthetic in bold primary colors (Bohrman minored in graphic design and cranked out the labels’ merch). The store was filled with buttons (“I’m a Burger Girl,” was one), stickers and posters, many featuring vintage-inspired, punk-themed cartoons. There was a back room where musicians, staff and customers sometimes gathered. It felt, say many of the women who hung out there, like a high-school clubhouse.
“In their marketing, they described themselves as perma-teens,” recalls Redd of Burger Records.
Redd says she began to regularly receive messages from some of the men in bands whose accounts she had followed on social media.
When Love Cop’s Salina first reached out to Redd, she was 17. Salina was working as a mental-health counselor in Portland specializing in addiction. Redd’s family had a troubled history with drugs and addiction, and she came to trust Salina. She says they talked nearly every day.
“He knew the trauma that I carried and … my age and vulnerability. It was definitely a grooming relationship,” Redd says, recalling how lonely, depressed and anxious she was at that time. “We would talk about cats and music. He was one of the very few adults I felt seen by.”
Months later, Salina came to Orange County to play a Burger show and invited Redd. It was her first time driving on the freeway when she crossed county lines from her hometown of Corona to Fullerton where she says their first sexual encounter took place.
Afterward, Redd alleges, Salina messaged her often, asking for nudes and sexual photos. For the most part, she ignored him but sometimes she engaged with him, not fully understanding how inappropriate the situation was.
Redd stopped going to Burger shows when she was 18, but at that point she says she already knew several other underage teenage girls who had been abused by adult men in the scene.
Redd is now 24 years old. She is a longtime vegan and animal rights activist with a soft but firm voice and a thoughtful, straightforward way of speaking. She says that over the years, not a day went by that she didn’t think about the fact that she was not alone in her experience.
That fact became painfully clear during the summer on July 15 when Clementine Creevy, the frontwoman of Cherry Glazerr, which released its debut album through Burger, posted a statement on Instagram accusing Sean Redman, the bass player of another Burger-affiliated band called the Buttertones, of starting a sexual relationship with her when she was 14 and he was 20. That relationship, she wrote, was also emotionally abusive.
Similar stories from dozens of women soon began pouring into Redd’s direct message box, she says. Many of the accusations of rape, sexual assault, abuse, harassment and grooming were about Burger bands, and many were about the local underground music scene in general. Redd found herself spending up to 18 hours a day on the site, fielding comments, posts and allegations. She says the experience was emotionally and physically overwhelming.
As scrutiny of Burger intensified, other women spoke out and bands began to fall. Lydia Night, the singer of The Regrettes, accused SWMRS drummer Joey Armstrong (son of Green Day’s Billie Joe Armstrong) of sexual misconduct and coercion, beginning when she was 16 and Armstrong was 22. SWMRS released music through a variety of labels, including Burger. Armstrong posted an apology on Instagram, adding that he didn’t agree with some of the things Night said about him, but that, “it’s important that she be allowed to say them and that she be supported for speaking out.”
On July 21, Burger co-founder Lee Rickard stepped down from his role as label president and divested all interest in the label.
The label issued a statement that read in part that it was “deeply sorry for the role Burger has played in perpetuating a culture of toxic masculinity.”
Five days after Redd’s first Lured_By_Burger_Records post, Burger folded completely, taking with it the operation’s entire digital footprint. Bohrman capped his announcement of the company’s dissolution to a Pitchfork reporter with a Porky Pig GIF: “That’s all folks.”
Source: LA Times
“Settle” for low-paying jobs?
You can’t be serious, Dude.
There was a time in the US when you could get a great job if you earned a bachelor’s degree in “anything.”
The catch is that JFK was president at the time.
Most parents (and their students) are oblivious to how college really works today.
In some ways it is hard to blame them. Colleges and universities have a powerful public relations team, pushing the message 24/7 that “college is for all.”
The team is made up of educators, guidance counselors, financial aid officers, politicians, pop culture, special interest groups–like the College Board, and college administrators—who are the biggest beneficiaries. Their influence is everywhere.
Many, many years ago, my “anything” degree, Philosophy, was from a state university in fly-over country, better known for its football team than scholarship. (As I vaguely remember, my GPA wasn’t that robust either.)
However, I had a successful career in IT, and retired as an executive from a Fortune 100 company.
The bad news is that college doesn’t work that way anymore.
Years ago very few high school grads (7%) went on to college. (They tended to be the “smart kids.”) If you graduated with a degree in anything, i.e. English, Gender Studies, Comp-lit, Philosophy, etc., you could get a good job.
Over the years a greater and greater portion of high school grads answered the call,
“You have to go to college!”
We are now at 45%. Probably half these teenagers don’t have the “academic firepower” to handle a serious, marketable major.
Back in the day having a college degree was a big deal. By the year 2000, the quality of a college education had deteriorated significantly, and college grads were a-dime-a-dozen. There were too many graduates, but not enough suitable jobs.
Then we got hit with the Great Recession of 2008.
In the US almost anyone can find a college or university that will accept them and their parent’s money.
You might even manage to graduate with some degree or another.
The problem comes when you try to find a real job. Employers aren’t stupid. They are going to sort through that gigantic stack of resumes and find the smart kids.
Today college is a competition for a relatively few (1,100,000) well-paying, professional jobs. Every year colleges and universities churn out 1,900,000 graduates with shiny new bachelor’s degrees. We don’t know the exact number, but a heck of a lot of minimum wage jobs are held by young people with college degrees in stuff like English, Gender Studies, Comp-lit, Philosophy, etc.
Given the high cost of college, that just doesn’t make any economic sense.
The “Anything” Degree
Two decades ago in his book, Another Way To Win, Dr. Kenneth Gray coined the term “one way to win.” He described the OWTW strategy widely followed in the US as:
- “Graduate from high school.
- Matriculate at a four-year college.
- Graduate with a degree in anything.
- Become employed in a professional job.”
Dr. Gray’s message to the then “academic middle” was that this was unlikely to be a successful strategy in the future. The succeeding twenty years have proven him inordinately prescient and not just for the “academic middle.”
The simple explanation is that it comes down to “supply” (graduates) and “demand” (suitable jobs).
Fifty years ago only seven percent of high school graduates went on to college. In post-WW II America our economy was booming while the economies of many European and Asian countries were–only slowly–being rebuilt. The “Law of Supply and Demand” strongly favored the freshly minted college graduate.
Parents and students noticed how college really paid off, and the “great gold rush” to the halls of higher learning began.
Today my local, Midwest run-of-the-mill high school sends eighty percent of their graduates on to college.
Most of them are going to be very disappointed.
Eddie Guerrero vs Rey Mysterio Jr. at WCW Halloween Havoc 1997 is considered one of the best matches that ever happened in a World Championship Wrestling ring. Contested as a “Title vs Mask” match, Guerrero and Mysterio put on a bar-setting performance that is still as good to watch today as it was over 2 decades ago.
After losing the United States championship, Eddie Guerrero had turned heel and his next goal was the Cruiserweight title, held by Chris Jericho. While Guerrero was able to defeat Jericho to win the title, Rey Mysterio was on a winning streak of his own. Mysterio had defeated Eddie on Nitro before Guerrero won the Cruiserweight belt, and when Eddie tried to trick Rey by competing under a mask as El Caliente, Mysterio was once again able to beat Guerrero. A match was set up for WCW Halloween Havoc 97, Mysterio vs Guerrero… but a lot was at stake. If Eddie lost the match, he would lose his title. If Rey lost, then Rey Mysterio would have to unmask on Pay Per View.
The match Rey and Eddie had at Halloween Havoc was simply phenomenal. This video covers the build up and the match itself.
Playboy’s pissed at Fashion Nova for rolling out new bunny costumes, just in time for Halloween, which it claims are plainly “an attempt to piggyback off the popularity and renown of Playboy’s iconic bunny costume.”
Translation: Quit bitin’ our bunny!
In docs, obtained by TMZ, Playboy says Fashion Nova completely ripped off its iconic costume — which includes cuffs, collar, bowtie, corset, ribbon name tag, bunny ears and tail — and is selling them as Halloween costumes on its website. According to the suit, Fashion Nova’s even using the description “Bunny of the Month,” which Playboy says is a clear reference to its Playmate of the Month trademark.