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Why One Woman Is Photographing Her Catcallers

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When she moved to Brooklyn in 2011, Caroline Tompkins quickly got tired of being catcalled. It felt as though whenever she left her apartment, she would be harassed by men on the street.

"I eventually realized that simple tasks like going to work or school or just taking the train somewhere became sullied by relentless comments and demands from men on the street," the 22-year-old photographer told The Huffington Post in an email.

So, she started turning her camera onto her street harassers.

hey baby

In her series "Hey Baby," Tompkins captures the men who have harassed her on the street. Her hope is that people who see the photographs will either relate to her experience or begin to understand the insidiousness of the harassment that women face in public places.

“I have been grabbed, I have been surrounded by men at night walking home," she told Al-Jazeera. "In terms of what they are actually saying -- it’s anything from 'hey baby' to where they are going to put their genitals on me, what kind of babies we would have together. There is never a break, it's relentless."

When she decides to photograph a harasser, Tompkins simply takes her camera out of her bag and informs the person that she is going to take their picture.

"It's important for me to exert my own power in the situation," she said. "For me that means taking their picture instead of asking."

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When subjects protest, Tompkins stands up for herself.

"They have the power to walk away or cover their face or to pose even, but it's important that they know there is a consequence for their action. If they ask why I'm doing it, I'll usually tell them something like, 'You said something to me, why can't I take your picture?' or 'Your comment made me feel uncomfortable.' It's important for me to acknowledge that their comments affected me negatively."

Tompkins also hopes that catcallers will think twice about harassing women after she photographs them.

"It's hard to say how the men themselves are affected," she told HuffPost. "I think it's important for them to know there is a consequence for their actions and evidence of the experience."

hey baby

Tompkins also wants to push back against the idea that catcalling is a compliment, or something women secretly enjoy.

"I assumed that there was some solidarity in the general public that catcalling was not a positive experience for most woman," she told HuffPost. "[But] I found that more often than not, I was being considered more than the issue was... People would say, 'Well, you're blonde' or 'You wear a lot of dresses' or whatever it may be, but it never addressed the action itself and that it is unacceptable. This work is my effort to change that."

hey baby

Tompkins believes her work is necessary, given how many women feel while walking in public.

"I'm concerned about my safety most of the time when I am in public," she told HuffPost. "So making this work is not too far of an extension from that."

Check out more images from Tompkins' series below, and see the full series here.

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hey baby


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[h/t Mic]

This Female Bassist Is The Future Face Of Funk Music

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How many female bass players could you name on the spot? There's a pretty good chance your answer would be zero, but there's one name you should be getting to know sooner rather than later.

Alissia Beneviste is a 23-year-old student and bass player at Berklee College of Music in Boston whose attempt to revitalize funk music for the younger generation is starting to get recognized. Her first music video, "Let It Out," has currently racked up over 870,000 views on YouTube, and her band, Alissia and the Funketeers, has big plans in the near future.

Born to an artistic and eclectic family — her brother is in art, sister in fashion and mother in medicine — Alissia was raised in Milan by a Spanish father and German mother who recently moved to London, which she now calls home. After enrolling in a two-week program in Italy at the Umbria Jazz Festival in Perugia, she received a scholarship to go to Berklee in 2010 and is currently in her last semester. Alissia's talents extend beyond the bass -- she's also the songwriter, musical director, arranger and producer for her band.

Their album will debut in 2015 and will feature special guests such as John Blackwell (Prince, Cameo, Justin Timberlake, Patti LaBelle), Louis Cato (Marcus Miller, Stevie Wonder), Jeffrey Lockhart (Brian McKnight, Meshell Ndegeocello), Mike Tucker (George Duke, Christian Scott), Eric Bloom (Diana Ross, Justin Timberlake), and many more.

Alissia has developed a style and tone that is completely her own -- while attracting the attention of her fellow students and making a name for herself in the industry. We sat down with her to discuss her upcoming album, hitting nearly one million YouTube hits and what it's like being a female bassist in the music scene.

It's clear from your videos that you put your heart and soul into all your songs. Where did your passion for music stem from?
AV: I've loved listening to music since I was little. I got more into music when I started going to jazz festivals, like the Umbria Jazz Festival, where I saw Herbie Hancock and all these other masters live. Then I started really listening to more jazz and fusion, but I was always passionate about funk music even before that. I was listening to James Brown, Prince, kind of old school groups. That was always my real passion.

Seeing such a young and modern funk band is so rare nowadays. What drew you to this particular genre of music?
AV: It feels great, first of all. I like that funk always brings a positive message and there's humor behind it. With George Clinton and the P-Funkadelic, there's a whole culture around them and how they dress. I like bringing a positive message and dressing a certain way that establishes that message. I just liked the music, I like how you feel when you put on a James Brown song, the grooving and moving. As a bass player having a groovy bass line is always a good feeling.

Choosing to play funk music is one thing -- but being a female bassist is doubly rare. Why that particular instrument?
AV: That's actually a funny story. I originally played piano and sang a little, but I only started playing bass my second semester at Berklee -- only three years ago. I actually wanted to do the clinics in Italy for piano but since it was all jazz, I thought I would go for classical singing. I got the Berklee scholarship for singing but I never really considered myself a singer. Then when I got to Berklee I decided to switch. I started playing bass my second semester and switched my concentration my third semester, and that's when it became my instrument. I always loved bass lines and whenever I used to hear funk records I was always really listening carefully to bass. I think it was subconsciously the instrument I wanted to play. Being here at Berklee, people always have instruments at their houses. I had a friend with a bass and I picked it up and I borrowed it, then bought my own, and eventually completely went for it. It was a great challenge but definitely not painful -- I just really had a lot of fun. I practiced a lot for a semester and it was truly out of love.

So we could say you're what they mean when they call someone "a natural"?
AV: I think so. When I was younger, I like piano but it was always just a way for me to let everything go when I was in school. It was always a pleasure, but bass was really different. It was like love at first sight. I remember when I first picked up the bass at my friend's house, I could just play. It felt pretty natural.

Your first video, "Let It Out," has close to one million views on YouTube. Whoa. What's the secret to making such a widely-watched video?
AV: To be honest, it was all made very last minute and was unplanned. I was working on some tunes with my producer, Ben Zecker, who's also producing our upcoming album. I had just finished writing that song and someone called me from Berklee to tell me they had a studio spot to do a video the following week -- and asked if I'd be interested in doing it. I told them I'd get back to them because I didn't have a band or a project and I didn't know what I wanted to do as a writer. Ben said I should do it, even though I had all these doubts. We thought it was just a video for Berklee -- I didn't know it was going to be uploaded on YouTube. I called some friends and musicians I knew, and we didn't even rehearse since it all came together in the five days before the shoot. The musicians and I showed up at the set and they said we could only have four takes, we thought it was going to be a mess. But the first time we played it felt amazing. It was the first time I heard a live band play my song. We ended up using the second or third take and stopped there, we didn't even need a fourth take. When they told me it was going on YouTube, I was nervous because I was so in the moment when we played it so I didn't even know how it sounded. When they sent me the MP3 of the mix I got so emotional and happy, it sounded so great. We had 4,000 views the first day and 100,000 the first month. Everyone was sharing it. The only thing on my Facebook wall was the video. Everything happened so fast, I really didn't expect it would be that big of a thing. Now we have 5,000 or 6,000 views a day. I decided to start doing gigs with my band, start a plan and start writing for an album. We did a lot of festivals and we made the band even bigger, now it's a 13-piece band.



Give us a little insight -- what can we expect on your upcoming album?
AV: So far we released the live version of "Let It Out," not the studio version. We released "Holdin' On" and I'm about to do a video of a new song called "Get Down" that will probably be out in about two months. The album is going to be about either eight or nine songs and everything will be played with live instruments, a lot of great vocals, funky guitars and a great horn section. We have John Blackwell, who was Prince's drummer for many years, and Mike Tucker as special guests, and we have other artists we're trying to collaborate with. We're finishing all the demos and the writing and we're going to start recording everything by next month. Hopefully we'll have it done and ready by the end of the year.

Have you encountered any discrimination when it comes to being a female in the music scene? And if you have, how do you deal with it?
AV: As a female musician I've never really encountered any difficulties or differences. It's clear that it's harder to find female musicians at Berklee, mainly bass players and drummers. It's rare. I think as a bass player in general, when a lot of people don't know you you have to prove yourself, and maybe more if you're female. I wouldn't say no to that. People definitely don't believe I play bass but I don't take it super seriously. Some people think there's discrimination but I've never encountered that stuff. I always just did my thing and didn't listen to whatever negative things people say. But when I met Marcus Miller and asked him to sign my bass, he said "are you sure you play bass?" He looked at my fingers to make sure. It's just something you have to accept, that's how I deal with it.

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Where do you find the inspiration for your songs and videos?
AV: I listen to a lot of music. I'm listening to funk music all the time, especially older funk stuff. My goal is not to discover new music and new artists but new songs that no one knows about that came out in the '70s. That's really my passion -- to discover old stuff no one knows about and then people who hear it will say "Sick! I've never heard that!" I'm super inspired all the time. It's usually that I start with the bass, I have a bass groove in my head and I just sit down with it and it ends up as a song. It's really about listening. It makes me want to write and bring a modern touch to it. If you saw my voice memos in my phone it's at maximum capacity. I'm always super inspired even when I'm walking down the street, I always have my voice memo up and ready to record. The writing process comes naturally, and then taking the time to really finish the song and arrange it that takes more time. That's where my producer comes in.

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Obviously funk music has had a huge impact on your life. But what role do you see funk playing in the music scene in the next few years?
AV: When I listen to these funk artists it inspires me and it really pushes me to write and it's a goal that I have to bring back that kind of music in the industry. I have really great feedback and everyone seems passionate about it. It really makes me believe in what I wrote and my goal. It empowers me to continue to write and release more music like that.

What are the biggest struggles you've faced with your music? Outside your music?
AV: I definitely had to catch up a lot when I switched to bass, I had to do more than an average bass player. But it wasn't really a struggle it was still such a pleasure. I would say my biggest obstacle was finding my actual self as an artist and what I really wanted to do. Being here at Berklee these three years I realized the music that really spoke to me and that I was good at writing. Some people told me funk is too old and I really shouldn't do it or that it's not famous or a thing nowadays, that it's more about pop. I just really believed in it and ignored that. Yeah, it's super old school and people ask why I write this music, but I realized I was on to something when the video came out.

What are your goals and plans for the next few years?
AV: Hopefully in a few years from now I'll have more albums out. We're doing a tour in Europe next summer and playing some festivals. I've had a lot of messages from people from all over the world, not just the American people, from Brazil, Germany, France, Switzerland, Asia, and so many countries and cities. I hope to be able to continue with my project, and I'd also love to play for an artist. But first I'll continue with my project. It's my number one goal, but as a writer and music director I'd love to play for someone I like. And of course make funk come back in the industry, whether through my music or other people's music.

What do you hope your listeners take away from your music?
AV: To just feel good, and changed. If you feel down I hope it brings a positive message to just be happy, like Pharrell said. That's the goal. It's just so important. At the end of the day, there's so much going on in our lives, but that's the deeper message, that they feel good about whatever they're doing and that it changes their mood.



Do you have any advice for students pursuing a nontraditional passion like yours?
AV: To really believe in whatever your vision is and to just be positive. That's the most important thing, to believe 100 percent in whatever you are and whatever you do and pursue it with passion. Disregard whatever negative vibes come through, walk your way, do your thing and don't try to be someone else. Everyone is trying to imitate some other artists, be you and do it with passion. That's the secret.

Look out for Alissia's album coming out in spring 2015.

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Everything We Know About The Oscar Race Thus Far

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This year's Toronto International Film Festival lineup may have been short a "Gravity" or "12 Years A Slave," but potential awards contenders were littered all over the 2014 schedule. Let's take a look at where things pile up following the prestigious fest, the unofficial kick-off of Oscar season.

BEST PICTURE

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By our count, at least four likely Best Picture nominees screened in Toronto this year: "Wild," "The Imitation Game," "Foxcatcher" and "The Theory of Everything." It would be silly to claim any one is a favorite right now, but if we're being silly then the edge goes to "The Theory of Everything" on account of its story (a biography of Stephen Hawking) and transformative lead performance from Eddie Redmayne. But don't sleep on "The Imitation Game" either. Morten Tyldum's film, about brilliant and tormented mathematician Alan Turing, is comparable to "The Theory of Everything" in surface ways and has the backing of Harvey Weinstein. Put it this way: "The Imitation Game," with its breakneck editing from William Goldenberg, towering lead performance from Benedict Cumberbatch and World War II setting, feels like the spawn of past Best Picture winners "Argo" (which won Goldenberg his Oscar, p.s.) and "The King's Speech."

BEST ACTOR

the imitation game

The list of contenders vying for a Best Actor nomination this year is lengthy and varied. Redmayne was universally praised for his portrayal of Stephen Hawking, so put him as leader in the clubhouse. Cumberbatch has never been better in "The Imitation Game." Steve Carell might only be the lead of "Foxcatcher" in the eyes of an Academy Awards campaign (the movie, which starts and ends on Channing Tatum's character, belongs to the "Magic Mike" star), but that's what matters: Carell is good enough to score a Best Actor nomination for his troubles, but could actually win if he gets bumped down into the supporting actor realm. Other possibilities following TIFF? Miles Teller won't get nominated for "Whiplash," but he should: His performance in the film is every bit as terrifying and mesmerizing as Natalie Portman in "Black Swan." Tatum, too, deserves many accolades for "Foxcatcher." But will there be room for those young stars when the rest of the year's lead actor performances (Bradley Cooper in "American Sniper," David Oyelowo in "Selma") start getting traction? Considering this category will also likely house Michael Keaton's comeback performance in "Birdman," and could include Bill Murray (for "St. Vincent") and Jake Gyllenhaal (for "Nightcrawler"), it might be a tough one for either upstart to crack.

BEST ACTRESS

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At this moment, Best Actress seems to start and stop with Reese Witherspoon in "Wild." The Reesaissance is real and legitimate: Witherspoon is effortless in Jean-Marc Vallée's drama, and it's a pleasure to see the 38-year-old dig into a role this meaty and powerful. But what of Julianne Moore? Buzz in Toronto was humming for the star's turn in "Still Alice," a drama about early onset Alzheimer's disease that does not yet have distribution. Should someone -- maybe The Weinstein Company? -- make a play for "Still Alice" before the year is up, Moore might jump to the top of the Best Actress list. Then there's Felicity Jones in "The Theory of Everything." Like Carell, Jones could be an option for either Best Actress or Best Supporting Actress. If she's in the latter category, it might make her a favorite; in the former, she's still an underdog contender.

BEST SUPPORTING ACTOR

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J.K. Simmons left the Sundance Film Festival in January with a lot of Oscar buzz for his role in "Whiplash," and the film's screenings in Toronto did nothing do disabuse those notions. He's a force in Damien Chazelle's drama, and remains a top bet in the category. Robert Duvall does committed work in "The Judge," but the film might be too slight to get him into the final five. Matthew Goode and Charlie Cox are also possibilities here, too, but their nods will likely depend how Oscar voters react to, respectively, "The Imitation Game" and "The Theory of Everything." The aforementioned Carell could make hay as well, as could Mark Ruffalo, his "Foxcatcher" co-star. (Left over from earlier in the year, meanwhile, is Ethan Hawke, who could also sneak in for "Boyhood.")

BEST SUPPORTING ACTRESS

clouds of sils maria

Even excluding Jones' "Theory of Everything" performance for the moment, the supporting actress contenders are pretty formidable. Rene Russo's role in "Nightcrawler" signals her comeback with the force of a canon blast. She's fierce and determined and gives Faye Dunaway's "Network" character a run for her money in Dan Gilroy's critique of local news media. Laura Dern doesn't have as much to do in "Wild" -- and she might have been better in "The Fault in Our Stars" -- but the beloved actress is so wholly decent in Vallée's film that it wouldn't be a shocker to see her on the short list of nominees as well. Keira Knightley, too, seems like a lock for matching Cumberbatch in "The Imitation Game." As for dark horses: Melissa McCarthy steals "St. Vincent" with relative ease (even though her part might be a tad underwritten), and, if "Clouds of Sils Maria" gets released this year, Kristen Stewart should make a run as well. The erstwhile "Twilight" star gives a career-redefining performance in Olivier Assayas' drama about actresses. Expect some combination of these women to join Patricia Arquette, who is so captivating in "Boyhood," as Oscar nominees next year.

For more on this year's Toronto International Film Festival, watch this HuffPost Live segment featuring Anne Thompson, Jeffrey Wells and Brad Brevet.

This Is The Hardest Part About Having Nieces And Nephews, According To Two Uncles

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Condoms, spermicide, downing supposed virility-killing amounts of Mountain Dew: these spoken word artists went above and beyond to be sure the only baby showers they'd be attending in the future would be someone else's.

No surprises, no grubby little fingers to be cleaned, no gaggles of children to ferry to and from school. It was better that way. Or at least it was until their nieces and nephews were born.

In "Uncle Daycare," embedded above, spoken word artists Jared Singer and Omar Holmon dissect all the craziness that comes with being an uncle. And it sounds like there's a lot. Being an uncle is no easy task.

But then there are the moments that make Singer and Holmon remember just how much they love their siblings' kids. Like when little Harrison asked his down-on-his-luck uncle, "Why are you being so mean to yourself? You'd never let me talk to myself like that."

No, the hardest part of being an uncle isn't the grubby fingers or parking SUVs big enough to house a platoon. It's not the responsibility, it's not the interruptions, it's not the occasional gross clean up job. It's something else entirely.

"I never thought you having a kid would change my life. I always hated kids until I fell in love with yours," the artists say in unison. "Now I want to have my own. To know I could help make something this beautiful."

We're So Excited About The 'Saved By The Bell' Musical Because It's Completely Bonkers

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Jessica Goodman: So, should we talk about "Bayside"?

Stephanie Marcus: Yes, we need to talk about "Bayside."

JG: I have so many feelings, mostly because Bob and Tobly McSmith spent so much time dissecting every episode of "Saved By The Bell" enough to make fun of it so well.

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SM: I have to admit I had my reservations about the show, mostly because Lifetime did such a bad job with that unauthorized movie, but this was fantastic.

JG: Let's be real. It was basically a religious pop culture experience and it actually predated the Lifetime movie. So, SUCK IT, LIFETIME. Let's start at the top.

SM: This is the Holy Grail of '90s Saturday morning TV wonderfulness.

JG: Yup. So, the show was at Theater 80 in the East Village, Off-Broadway on a budget, which was perfect because they kept making fun of how cheap the show was: One classroom, no other actors, etc.

SM: Yes! No frills.

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JG: They nailed the running jokes of the show: Male execs just wanted to see the girls flirt with each other, hardcore gay undertones and Screech was the perviest perv, which may, unfortunately, lead us to Dustin Diamond's presence ...

SM: Dustin Diamond was the worst part of the show, which sounds mean to say, but it's just true.

JG: I felt really sad for him. He was making fun of himself, which is usually a good thing, but it just didn't land at all. Good for you for making fun of your sex tape and the book, but dude ... too real.

SM: I think they kind of just shoved him in there. He clearly wasn't part of the original script, because he's there in a limited run, in that role.

JG: Right. He somehow nuzzled his way into this hilarious show. Can we talk about Tori instead?

SM: YES. Tori is one of the worst characters on "Saved By The Bell," but was one of the best in the musical.

JG: I loved Tori on the show! Maybe because we had similar hair, which the musical put a condom in, by the way. Seth Blum played Tori, Max, Mr. Belding and Chief Henry. He was dead-on hilarious.

SM: I remember hating the Tori episodes as a kid because I was legit confused what happened to Kelly and Jessie.

JG: True. I let it slide. So, the whole plot of the musical is the kids try to save the Max. They need $500 to keep corporate America from buying it to drill oil. Is that right?

SM: Yes, that's pretty much it.

JG: Tori keeps giving them terrible solutions: Screech's semen-infused spaghetti sauce, work at the terrible Malibu Sands resort ...

SM: Screech totally put his dick in the jar.

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JG: Oh yes. The last idea she gives them is a beauty pageant, which is the perfect time to talk about the brilliance of April Kidwell, who played Jessie.

SM: The beauty pageant may have changed my life because of April Kidwell.

JG: She was just ... spectacular. No judging, but I spent a long time Googling her last night and realized a few things: She has short hair IRL, is a burner and also played Nomi in "Showgirls! The Musical," written by the same people.

SM: I did the same thing as soon as I got home last night!

JG: She inspired us. I have in my notes: "I have a pop culture boner." I think I wrote that after her "interpretive dance." I mean, there were references to dirty pillows and Lieutenant Dan!

SM: I wish that Elizabeth Berkley had a longer career so that April could play more of her characters. If she's not famous, like really, really famous, in five years, then something is not right with the world.

JG: I guess we should also talk about the caffeine pills. Jessie just chugs them throughout the night. Such A+ work

SM: The caffeine pills, in a way, were a character themselves if we want to be a-holes about it.

JG: Let's be a-holes. She spit one on me and it fell into my shirt. Into it.

SM: She spit into my hair and I was totally okay with that.

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JG: How about Lisa Turtle, played by Shamira Clark? She didn't know she was black!

SM: Did the TV show ever do anything about race?

JG: Remember the episode where Jessie realizes her family owned slaves?

SM: That was the one nod to race. But "Under the Apartheid" was genius theme for prom. But Shamira's rap in the beauty pageant, with the mic drop ...

JG: Bow the eff down.

SM: She was kind of an auxiliary character until then and then I was like, "YES, YES, YES!"

JG: She could have had more to do (but so could Lisa in the actual "Saved By The Bell," so that works).

SM: Very true. Everyone had their own moment to shine, which was nice, but Jessie stole the show.

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JG: The woman who played "Tori Spelling" and "every other person at Bayside," Amanda Nicholas, was on point.

SM: She was also great, especially when she was Becky the duck.

JG: And as Miss Bliss.

SM: "Take it like a bitch." But can we talk about the all-girls sleepover?

JG: Let's. It was obviously a satire on gross network execs wanting to watch young girls play around, but as soon as Dustin Diamond came into the picture, I was like nope, nope, over the line. It felt real-pervy instead of faux-pervy.

SM: I actually said, "Ew."

JG: Okay how about Zack? The most interesting thing about him was his haircut.

SM: I wanted him to be more sociopathic, like a blond Patrick Bateman, really, because Zack was a sociopath on the show.

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JG: But I was into the whole Slater loves Zack thing. I would like to purchase Slater's rainbow unitard.

SM: I wavered on the whole Slater being gay thing, tbh.

JG: How come?

SM: I liked it when he finally came out at the end, but a lot of his jokes specifically just fell kind of flat for me.

JG: It teetered on *over the top*, but for me, it worked. Okay, last thoughts! I want everyone I know who watched "Saved By The Bell" to go see this immediately.

SM: Agreed. If you loved "Saved By The Bell," you need to see this to make your life complete.

bayside the musical

Catch National Lampoon Presents: "Bayside! The Musical!" at New York City's Theater 80. Purchase tickets at BaysideTheMusical.com.

Bride's Heartbreaking Photos Show What Love Looks Like After Loss

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Earlier this year, Janine was like any other bride-to-be -- planning a wedding, looking for the perfect dress and eager to walk down the aisle. Unfortunately, she never got that chance.

Fifty-two days before her nuptials, Janine's fiancé Johnny died unexpectedly. Her custom wedding dress, once a symbol of happiness, became a reminder of what she had lost. But she couldn't bring herself to part with it.

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Credit: Matt Adcock / Del Sol Photography
Janine in her dress, holding a picture of her fiancé Johnny.



"I finally decided that I wanted to keep my wedding dress and not sell it because of what it means to me," she told Del Sol Photography, who featured her story on their site. "I wanted to be free and I wanted to do something different."

Janine teamed up with Del Sol photographer Matt Adcock to do an underwater "trash the dress" shoot.

"I did something never thought I would do in my whole life. I took my wedding dress that was built from scratch and I jumped into the river," Janine said. "I did it because I wanted to free myself from losing my fiancé ... this dress was for him. I did this because John would want me to something like this. He was so outgoing and he wanted me to have the best life."

Check out photos from Janine's powerful shoot below:





To hear Janine's story in her own words, watch the video below.





Keep in touch! Check out HuffPost Weddings on Facebook, Twitter and Pinterest. Sign up for our newsletter here.

14 Amazing Stars Who Never Won An Acting Oscar, Even If You Think They Did

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With autumn on the horizon, the season's first Oscar contenders are here: There is buzz around "Wild," "The Judge," "Gone Girl" and a number of other films to be released in the coming months. Already, The Hollywood Reporter has speculated that the often-snubbed Julianne Moore could win for "Still Alice." Although before we get swept up in predictions, it's nice to remember that little gold men are not the reason we love the movies. They shouldn't be the primary reason for acting in them either.

Bill Murray knows this first hand. Murray was positioned to win his first-ever Academy Award for 2004's "Lost in Translation," but he lost the trophy to Sean Penn. Years later, Murray explained how he took the defeat in stride, and his words should act as a blueprint for anyone who has failed to curry favor with Oscar voters:

I went through it once before and it's nice to get nominated and win some prizes. You get to go to dinners and tell little stories and so forth. Then you get to get dressed up in a tux a couple of times. And then you get to be on TV, [which is] sweet. And you can either win or lose. Well you're not supposed to say lose when you talk about the Oscar. You are supposed to say 'not chosen' or something.

But I later realized, even though I didn't know it at the time, that I had gotten a little caught up in the possibility of winning. So, shame on myself for getting caught in it. But I won a lot of the prizes [for Lost in Translation]. So I thought it didn't seem unnatural to expect that I would be rewarded just one more time. So when it didn't happen, I thought, ‘Well that's kind of funny.’ But it's a funny thing and people get prizes. People don't get prizes. That's not why you work. It's nice when you do.


Murray isn't alone in those feelings. No mention of actors without Oscars would be complete without recognition of Leonardo DiCaprio, who said, "I don't think I ever expected anything like an Oscar ever, to tell you the truth. That is not my motivation when I do these roles. I really am motivated by being able to work with great people and create a body of work that I can look back and be proud of."

Perhaps neither Murray nor DiCaprio will ever be introduced as an Academy Award-winning actor, but winning an Oscar for acting shouldn't be the point. Here are 14 other amazing actors who have proved that countless times before.

Julianne Moore
Nominated for: Best Supporting Actress, 1997, "Boogie Nights" (winner: Kim Basinger, "L.A. Confidential"); Best Actress, 1999, "The End of the Affair" (winner: Hilary Swank, "Boys Don't Cry"); Best Supporting Actress, 2002, "The Hours (winner: Catherine Zeta-Jones, "Chicago"); Best Actress, 2002, "Far From Heaven" (winner: Nicole Kidman, "The Hours").

julianne moore

Brad Pitt
Nominated for: Best Actor, 2011, "Moneyball" (winner: Jean Dujardin, "The Artist"); Best Actor, 2008, "The Curious Case of Benajmin Button" (winner: Sean Penn, "Milk"); Best Supporting Actor, 1996, "Twelve Monkeys" (winner: Kevin Spacey, "The Usual Suspects"). (Pitt did win an Oscar as a producer of "12 Years A Slave.")

brad pitt

Johnny Depp
Nominated for: Best Actor, 2003, "Pirates of the Caribbean: The Curse of the Black Pearl" (winner: Sean Penn for "Mystic River"), Best Actor, 2004, "Finding Neverland" (winner: Jamie Foxx, "Ray"); Best Actor, 2007, "Sweeney Todd: The Demon Barber of Fleet Street" (winner: Daniel Day-Lewis, "There Will Be Blood").

johnny depp

Sigourney Weaver
Nominated for: Best Actress, 1986, "Aliens" (winner: Marlee Matlin, "Children of a Lesser God"); Best Supporting Actress, 1988, "Working Girl" (winner: Geena Davis, "The Accidental Tourist"); Best Actress, 1988, "Gorillas in the Mist" (winner: Jodie Foster, "The Accused").

sigourney weaver

Samuel L. Jackson
Nominated for: Best Supporting Actor, 1994, "Pulp Fiction" (winner: Ed Landau, "Ed Wood").

samuel jackson

Michelle Pfeiffer
Nominated for: Best Supporting Actress, 1988, "Dangerous Liasons (winner: Geena Davis, "The Accidental Tourist"); Best Actress, 1989, "The Fabulous Baker Boys" (winner: Jessica Tandy, "Driving Miss Daisy"); Best Actress, 1992, "Love Field" (winner: Emma Thompson, "Howards End").

michelle pfeiffer

Tom Cruise
Nominated for: Best Actor, 1989, "Born on the Fourth of July" (winner: Daniel Day-Lewis, "My Left Foot"); Best Actor, 1996, "Jerry Maguire" (winner: Geoffrey Rush, "Shine"); Best Supporting Actor, 1999, "Magnolia" (winner: Michael Caine, "The Cider House Rules").

tom cruise

Glenn Close
Nominated for: Best Supporting Actress, 1982, "The World According to Garp (winner: Jessica Lange, "Tootsie"); Best Supporting Actress, 1983, "The Big Chill" (winner: Linda Hunt, "The Year of Living Dangerously"); Best Supporting Actress, 1984, "The Natural" (winner: Peggy Ashcroft, "A Passage to India"); Best Actress, 1987, "Fatal Attraction" (winner: Cher, "Moonstruck"); Best Actress, 1988, "Dangerous Liasons" (winner: Jodie Foster, "The Accused"); Best Actress, 2011, "Albert Nobbs" (winner: Meryl Streep, "The Iron Lady").

glenn close

Harrison Ford
Nominated for: Best Actor, 1984, "Witness" (winner: William Hurt, "Kiss of the Spider Woman").

harrison ford

Annette Bening
Nominated for: Best Supporting Actress, 1990, "The Grifters" (winner: Whoopi Goldberg, "Ghost"); Best Actress, 1999, "American Beauty" (winner: Hilary Swank, "Boys Don't Cry"); Best Actress, 2000, "The Kids Are All Right" (winner: Natalie Portman, "Black Swan"); Best Actress, 2004, "Being Julia" (winner: Hilary Swank, "Million Dollar Baby").

annette bening

Will Smith
Nominated for: Best Actor, 2000, "Ali" (winner: Denzel Washington, "Training Day"), Best Actor, 2005, "Pursuit of Happyness" (winner: Forest Whitaker, "The Last King of Scotland").

will smith oscars

Laura Linney
Nominated for: Best Actress, 2000, "You Can Count on Me" (winner: Julia Roberts, "Erin Brokovich); Best Supporting Actress, 2004, "Kinsey" (winner: Cate Blanchett, "The Aviator"); Best Actress, 2007, "The Savages" (winner: Marion Cotillard, "La Vie en Rose").

laura linney

Edward Norton
Nominated for: Best Supporting Actor, 1996, "Primal Fear" (winner: Cuba Gooding Jr., "Jerry Maguire"); Best Actor, 1998, "American History X" (winner: Roberto Benigni, "Life is Beautiful").

edward norton

Robert Downey Jr.
Nominated for: Best Actor, 1992, "Chaplin" (winner: Al Pacino, "Scent of a Woman"); Best Supporting Actor, 2008, "Tropic Thunder" (winner: Heath Ledger, "The Dark Knight").

robert downey jr

In This Awesome Version Of 'La Bamba,' One Kid Is The Lead Singer AND The Band

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This boy is all about that bass -- and guitar, piano, drums and vocals.

Six-year-old Jordan Bijan, of Brampton, Ontario, can do a fabulous rendition of the song "La Bamba" all by himself. Looking like an adorable deer in the headlights, Bijan plays every instrument on the track and sings with a kind of deadpan charisma.

We can't wait to see where he'll be in a couple years.

Check out this mini-maestro's chops, above.

h/t Right This Minute

CORRECTION: An earlier version of this story misspelled Jordan Bijan's last name.

Mindy Kaling Remembers Joan Rivers: 'She Was Fearless'

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Mindy Kaling stopped by AOL's Build series on Friday, Sept. 12 to answer a wide range of questions about "The Mindy Project," late night television and Joan Rivers. The iconic comedian died on Sept. 4, and Kaling reflected on Rivers' signature style.

"Joan was so incredible for so many reasons," Kaling said. "She was completely fearless... and totally fine with taking an insult." Kaling noted that she didn't know Rivers personally, but had been the subject of fashion bashing on "Fashion Police."

"We can't be offended if people call our clothes ugly," Kaling said. "We can't be offended if people say that we're fat and ugly because those are things that should not be important to us. She was both someone who dished a lot, but also taught, 'Hey, don’t take it personally.' So that was very useful."

Kaling also remembered "Joan Rivers: A Piece of Work," the beloved documentary about a year in Rivers' life.

"She died working, and that's what I want to do," Kaling said. "If I could choose the way I'd go, yeah, one week off of her TV show. I don’t know, I don't know if I'd like to retire and not do what I'm doing. I thought that was pretty baller."

Watch the whole clip below:

Here's Why You'll Never, Ever Live In The 'Full House' Home (Or Even 'The Brady Bunch' Home)

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Today in "things that won't surprise anyone," comes a video breaking the news that houses seen in your favorite TV shows and movies sell for really expensive prices. Recent sales of the homes featured in "Full House," "The Brady Bunch," and "Nightmare on Elm Street" easily topped the $1 million mark -- even if the condition was less-than-perfect. Take a look to see the properties in question, plus a few others from the pop culture graveyard.

If anything, watch the video for the suspiciously high-energy host, who says the following nonsense without displaying even the smallest twinge of shame: "Who didn't dream of noming on some crumpets made by good old Alice?"

Chris Pratt's Headshot Photo Is The Throwback To End All Throwbacks

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Chris Pratt changed the game this week when he threw down a photo so impressive that Throwback Thursday may never be the same again.

On Thursday, Sept. 11, Pratt took part in #throwbackthursday by posting a headshot from 2000. A shaggy-haired, sideburns-sporting Pratt rocks an open button-up shirt and serves his best Blue Steel impression in the black-and-white photo.




Mr. Pratt, you're like an angel with no wings.

Rarely-Seen Photos Spotlight The 1970s Social Scene Of South Side Chicago

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To say it was a different time is putting it lightly.

In the 1970s on Chicago's South Side, revelers in their finest packed into nightclubs, dancing the night away to the soulful music of the era while knocking back a drink or three at now-extinct blues clubs like Perv's House, Pepper's Hideout and the High Chaparral.

No one captured the scene better than Chicago photographer Michael L. Abramson. What started as a simple student project during his time at the Illinois Institute of Technology ultimately earned him a grant from the National Endowment of the Arts and catapulted him into a career as a prolific freelance photographer.

south side

While several of the Brassai-esque shots below might look familiar -- some were included in the Grammy-nominated LP set "Light on the South Side," which featured Abramson's photography alongside music from the era -- many are being shown to the public for the very first time thanks to a new exhibition co-presented by the Museum of Contemporary Photography and the Columbia College Chicago Library.

The exhibition, titled "Pulse of the Night," comes three years after the photographer's death at the age of 62 but marks the first large-scale public show of his work since 1977.

Below, a preview of some of the work featured in "Pulse of the Night."



"Michael L. Abramson: Pulse of the Night" continues through Dec. 19 on the second floor of the Columbia College Chicago Library, 624 S. Michigan Ave.

93 Nuns From 24 Different Countries Join Forces For One Amazing Virtual Choir

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This article first appeared on the Global Sisters Report, a project of National Catholic Reporter.

Ninety-three Discalced Carmelite nuns in 24 countries have reached out of their cloistered monasteries to sing together in a virtual choir honoring St. Teresa of Avila on the 500th anniversary of her birth. This union of voices came together through the musical vision of a Carmelite Sister in Reno, Nev., and the creative imagination of a technical wizard in the Midwest.

The result is two 6-minute videos of the sisters singing on a virtual stage, created by Kansas native Scott Haines. In one video they sing Teresa’s famous words “Nada Te Turbe” (“Let Nothing Disturb You”) in an original composition by Sr. Claire Sokol of the Carmelites of Reno. In the other, some of their Carmelite friars and Secular Carmelites join them in the 11th century “Salve Regina” chant with an added descant written by Sokol.

The music is hauntingly beautiful, but it is the moving collage of the Carmelites’ faces as they sing that lifts the sound to greater heights. “It took me to places within myself I didn’t know existed,” said one Carmelite after viewing “Nada Te Turbe” during its premiere in San Jose, Calif. on Aug. 22 as part of the 500th anniversary celebration by Carmelites of the western U.S. “There are no words to describe how I feel,” said another.

Virtual choirs are a relatively new phenomenon. At age 22, Haines produced composer Eric Whitacre’s first virtual choir, “Sleep,” in 2009, followed in 2010 by Whitacre’s “Lux Aurumque,” which features 185 singers from 12 countries. That piece has had nearly 4.5 million views on YouTube. Haines has formed the Virtual Musicians Group to continue assembling singers from diverse locations into virtual choirs through technology.

The Carmelite choir began with an email invitation from Sokol to all Carmel monasteries. By logging on to Haines’ website, any Carmelite with computer and Internet access could listen to the music, download her voice part, hear the directions of the conductor, sing and submit the audio/ video recording to Haines at his studio in Kansas City.

“When I sang in front of the computer, I didn’t feel alone in the room,” wrote Soeur Agnes, a member of Le Havre Carmel in the northwest of France, when she sent in her video. “I was connected with all the members who participated in this adventure. I didn’t see them, but I was sure we were building bonds upon frontiers oriented towards the same marvelous plan.”

“I think St. Teresa herself would be very enthusiastic about this,” wrote another choir member, Sister Lucia of the Risen Christ from Arnhem, the Netherlands. The choir also includes sisters from Australia, Brazil, China, Colombia, Croatia, Indonesia, Mexico, the Philippines, Singapore as well as Canada, Europe, and the United States.

A few Carmelite friars joined in the “Salve Regina” choir as did some Secular Carmelites who submitted recordings made in their homes. James Savage, music director of St. James Cathedral in Seattle, is the choir’s conductor. The cathedral’s 18-member Teresian Orchestra accompanied “Nade Te Turbe.” “Salve Regina” is sung a cappella.

carmelite nuns virtual choir

This virtual choir project is the latest in a long musical journey for Sokol, who was born into a musical family, the seventh of 10 children. Her father was the conductor of the Seattle Youth Symphony, and her mother sang with the Roger Wagner Chorale. Classical music filled their home. Seven of her siblings became professional musicians.

By age 10, Sokol was playing cello in an orchestra, having studied both cello and piano with the Holy Names Sisters in Seattle. Her professional career began while she was still in high school and continued after she earned a Bachelor of Music degree in cello performance from Indiana University. While a member of the Vancouver Symphony Orchestra, she heard about the Carmelite monastery in Seattle. “I walked in the door and knew I was home.” A year later, in 1982, she entered the community. She was 28.

“As a nun, my music and spirituality began to come together,” she said. In 1996 she composed “Therese’s Canticle of Love” in honor of St. Therese of Lisieux, the young Carmelite who died in 1897 and was later named a Doctor of the Church. The piece was recorded in Seattle’s St. James Cathedral and published by GIA Publications.

While Sokol was working on that piece, Leonardo Defilippis asked her to compose the musical score for his film, “Therese: The Story of A Soul.” This meant she needed to quickly learn the Finale music notation software program. With her community’s support, she stepped out of the cloister for the first time in 15 years for a one-month summer course in composition.

“This was a huge stretch beyond my comfort zone,” she said. But “I took a deep breath and jumped.” Her score can be heard on the film’s soundtrack from Luke Films. Inc., and excerpts are included in her 2008 CD “Therese’s Canticle of Love, A Musical Mosaic.”

Reflecting on her musical pioneering, Sokol remarked, “In Carmel you are asked to do what you’ve never done before. You see a need, respond and so develop other talents and gifts.”

Since transferring to the Carmel of Reno in 2001, Sokol has continued to write music. “It takes me deep within” she said. “I have no sense of where it’s going when I begin. I have a text in front of me and something starts to come forth.”

For “Nada Te Turbe” which she wrote last fall, the two main themes came to her within 20 minutes. Then she went to her computer to complete the music.

But the virtual choir project was another creative stretch because of its complex logistics. It was Haines who masterfully combined more than 200 video/sound tracks with images of Carmelite saints and the sisters at prayer. The final product is an exquisite gift to St. Teresa and all of us.

Both videos, Nada Te Turbe and Salve Regina, can be viewed on YouTube. The choral music is available from Oregon Catholic Press. CD’s can be purchased from Carmel of Reno’s website.

For more stories from the Global Sisters Report, visit the National Catholic Reporter's site.

Hilarious Comic Has The Perfect Response To People Who Try To Shame Breastfeeding Moms

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Despite the fact that it is legal to breastfeed in public, moms are habitually shamed for nursing their babies outside the home. This comic depicts some hilariously brilliant ways that breastfeeding women can respond to all of the grumbles and complaints.

comic

Mom of four Heather Cushman-Dowdee is the creator of The Cowgoddess and Mama is... Comics -- a series of hilarious comics about topics like attachment parenting, home birthing and breastfeeding. This particular comic, titled "Very Crafty," is one of her biggest hits, she told The Huffington Post in an email, adding, "but there are a few more that are sure to titillate the readers. Pardon the pun ;o)"

You can view the rest of this funny mama's work on her website. We have to admit, they are quite titillating ...

(hat tip: Upworthy)



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How One Woman Is Turning Her Online Harassment Into Art

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This post originally appeared on Slate.


By Phil Plait

surly amy

My good friend, Amy Davis Roth, is awesome.

Or, more properly, awe-inspiring. On her own she is quite a person: A dedicated artist who produces cool jewelry, who creates wonderful paintings, who is an outspoken supporter of critical thinking and science, and who is also an intelligent, thoughtful, and vocal feminist.

She does all this—and much more—every single day while slogging through an unbelievable miasma of misogyny.

And I do mean unbelievable. For having the temerity to say that women should have equal rights, opportunities, and treatment as men, she gets a tsunami of hatred, venom, death threats, rape threats, and more. It would be enough to break down hardened people, and it has. But not Amy. She manages to not only deal with this horrifying onslaught but also turn it into art.

I mean that literally. With the help of several other atheist and skeptical women, Amy has created an exhibit called A Woman’s Room Online: a free-standing 8x10 foot room that is being installed in the L.A. Center for Inquiry office. It will look superficially much like any office in which a woman might work, with the usual accoutrements.

But each object will be covered with messages these women have received on Twitter, Facebook, and email. Real messages, actual things sent to them that are the vilest, most hateful examples of the worst humanity has to offer.

Amy Roth and Phil Plait
What happens when you treat people with respect: They like you.
Photo by Amy Davis Roth

I recently visited Amy and stayed with her for a few days. She showed some of the individual pieces to my wife and me, and they are as powerful as the words plastered on them are repellent.

The words are hard to read, so difficult to imagine an actual human sending them to another human. They run the range from self-satisfied and arrogant to graphic and explicit threats against body and life. Sexism and misogyny had been brewing in the atheist and skeptical movements for some time but exploded when Rebecca Watson brought attention to them, and people were further polarized after Richard Dawkins made his “Muslima” comments in response. That was years ago, and things are no better ... as we've also seen in so many other online communities as well.

Perhaps sunlight is the best disinfectant, and art has a way of focusing that light. Over at Skepchick, Amy herself wrote a description of her installation, and I strongly encourage you to read it.

I think this is an important piece of art. I suspect a lot of people really don’t have any idea just how much filth women (not only feminists, but just women on the Internet guilty of Posting While Female) have to slog through every day just to exist online. It’s horrifying—and sadly, used as a way to shut women up; read Amanda Marcotte's recent post about this.

A Woman’s Room Online will hopefully open a lot of eyes. And minds. And, hopefully, hearts.

The exhibit opens this weekend, running from Sept. 13–Oct. 13 daily. For more information, contact the L.A. Women’s Atheist and Agnostic Group (a group Amy founded, and they're accepting donations through there as well).

You can follow Amy on Twitter, and you should.

10 Quotes On What Inspires Creativity, And What Most Definitely Does Not

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Creativity is phenomenon that occurs when something new, be it an image, an idea, an invention, or some combination thereof, comes into being. Whether in the field of art, science, philosophy, writing, mathematics, physics, or whatever your discipline of choice may be, the stroke of creativity bears a similar sensation. Somewhere inside, doors open, lights turn on, distractions fade into oblivion. Yes, it is intense.

Over the years, many a brilliant mind has tried to pin down, in greater detail, what exactly creativity is and how best to go about finding it. Like the most nebulous and precious of concepts, it is often easiest described by what it is not. We've gathered a selection of our favorite tips from great minds throughout a variety of fields, all helping point us in the direction of finding that creative spark.

Some offer warnings, others advice; some in jest, and others very, very seriously. We hope some of the wise words will strike a chord within you, and serve you well in your quest to become the next Picasso or Plath.

1. "The chief enemy of creativity is good sense." -Pablo Picasso, artist

pablo picasso

2. "The worst enemy to creativity is self-doubt." -Sylvia Plath, writer, "The Journals of Sylvia Plath"

sylvia plath

3. "Creativity is discontent translated into arts."-Eric Hoffer, philosopher

eric hoffer

4. "Don't think. Thinking is the enemy of creativity. It's self-conscious, and anything self-conscious is lousy. You can't try to do things. You simply must do things." -Ray Bradbury, writer

ray bradbury

5. "Creativity is the sudden cessation of stupidity." -Edwin Land, scientist and inventor

edwin land

6. "The enemy of art is the absence of limitations.” -Orson Welles, filmmaker

orson welles

7. "Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep." -Scott Adams, comic and author

dilbert comic

8. "Creativity is piercing the mundane to find the marvelous." -Bill Moyers, journalist

journalist

9. "Ah, good taste! What a dreadful thing! Taste is the enemy of creativeness." -Pablo Picasso, artist

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10. "Creativity takes courage." -Henri Matisse, artist
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These Portraits Of Moroccan Hipsters Are More Nuanced Than They Look

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The New York Times sees shades of Matisse and Koons. ArtNet is convinced he's the next David LaChapelle. But Hassan Hajjaj, the Moroccan stylist and photographer, started out simply wanting to capture the essence of his home country in ways his buddies back in London would appreciate.

hassan hajjaj


The 53-year-old multidisciplinary artist was born in Morocco and moved to London in his teens, at the height of the punk craze. For the last 15 years, he's joined the two cultures, splitting his time between Marrakech and London as he turns out densely textured portrait photography that plays well in the West but requires North African artistry to even exist at all.

His subjects are his current friends, who pose and dress in ways that translate into arresting hybrid art. A recent series, Kesh Angels, depicts a cross-section of this crowd -- mostly women -- in traditional clothes printed in global symbols of capitalism. Here a Louis Vuitton print, there a Nike swoosh. Many are henna tattoo artists who embody nuance in their daily life, zipping to jobs on a scooter, head scarves in place. Likewise, Hajjaj's first solo show in America -- My Rock Stars: Volume 2 -- presented his male friends in the overblown poses of a Western icon, the rock star.

hassan hajjaj


Hajjaj designs the entirety of his shows, down to the clothes for the shoot and gallery seating. He hires local tailors and artisans to manufacture the work, which is often a neat fusion of two ideas, such as a Western suit pieced out of regional textiles. Hajjaj may be the name in the gallery notes, but these men and women are collaborators, switching from what Hajjaj once called an "automatic," "factory" process -- a souk tailor might typically produce nothing but pinstriped suits for businessmen throughout his career -- to atelier-esque customization.

Frames are another chance to cross breed. The repetitive quality of Moroccan mosaic is echoed in inset rows of products printed with Arabic script. The tactile patterns, sometimes made of Coke or Fanta cans, are easy to overlook at first glance, but their purpose is multidimensional. They reinforce not only the theme of global commerce, but a thoroughly Moroccan habit: to recycle items out of necessity.

Scroll down for more from Hajjaj's Rock Star series, and let us know your thoughts.

Paulo Coelho On The 'Real Alchemy' We All Possess

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Before penning his first novel, Paulo Coelho was a young man with a dream to become a famous and respected author. Today, he is just that, with 31 books under his belt. His seminal work, The Alchemist, is celebrating its 25th anniversary and has sold more than 65 million copies worldwide.

Coelho says he got to where he is today by thinking big. In the above video, he sits down with Oprah at his home in Switzerland for the second part of his upcoming "Super Soul Sunday" interview, where they discuss the importance of believing in possibility.

"If you really think small, your world will be small," Coelho says. "If you really think big, your world will be big."

Looking back, Coelho can see how writing The Alchemist was a self-fulfilling prophecy. "I went through all these ordeals in my life," he says. "Then, one day, I write this book that is, let's be honest, much better than I am. So one day, you manifest something. This is the real alchemy. And everybody has this possibility."

Part 2 of Oprah's "Super Soul Sunday" interview with Paulo Coelho airs Sunday, September 14, at 11 a.m. ET on OWN.



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How To Hang Anything (And Banish Those Blank Walls Forever)

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Half the battle of banishing all that blank wall space in a new home is figuring out just what to put up. The other half -- if you opt for something beyond a can of paint -- is how to hang what you've decided to put on display.

There are countless ways you can configure, say, a gallery wall, but the challenge we're talking about is how to get those nails through brick or how to keep a heavier piece secure on plaster.

Behold, everything you need to know about hanging any thing on any surface, in one, genius, graphic.

How to Hang Anything
How to Hang Anything

This infographic is provided to you by Shutterfly, the leading online provider of photo books, cards and Wall Art.

After Dark: Meet James. St. James, Original Club Kid And Nightlife Icon

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This is the eighteenth installment in HuffPost Gay Voices Associate Editor James Nichols' ongoing series "After Dark: NYC Nightlife Today And Days Past" that examines the state of New York nightlife in the modern day, as well as the development and production of nightlife over the past several decades. Each featured individual in this series currently serves as a prominent person in the New York nightlife community or has made important contributions in the past that have sustained long-lasting impacts.

HuffPost Gay Voices believes that it is important and valuable to elevate the work, both today and in the past, of those engaged in the New York nightlife community, especially in an age where queer history seems to be increasingly forgotten. Nightlife not only creates spaces for queers and other marginalized groups to be artistically and authentically celebrated, but the work of those involved in nightlife creates and shapes the future of our culture as a whole. Visit Gay Voices regularly to learn not only about individuals currently making an impact in nightlife, but those whose legacy has previously contributed to the ways we understand queerness, art, identity and human experience today.


The Huffington Post: What did you journey to becoming an icon and original Club Kid within NYC nightlife entail?
James St. James: It was 30 years ago this month that I moved to New York. Thirty year ago. Dear God, I’m OLD. I remember it all like it was yesterday, though. The excess of the ‘80s. The debauchery of the ‘90s. The rise (and fall) of the Club Kid scene. The wigs, the platforms, the outrageous outfits. The good times -- and the bad.

I came to NYU to study experimental theater. Shortly thereafter I was featured in a Newsweek article about the emerging downtown club scene and, well, that was it for NYU. I was off and running. You have to remember that New York in the mid-'80s was ground zero for the AIDS epidemic. Fear and hysteria were what drove us. There was a prevailing sense that you and your friends might not be around this time next week -– so enjoy the now! Don’t think about tomorrow.

So we partied too hard, drank too much, laughed too loud. We danced on the lip of the volcano, so to speak. We were young, too. And New York was still a big, open city where anything could happen and anyone could be star. Rents were cheap, creativity was encouraged and bottle service was still 20 years away.

That was the era the Club Kids came into.

The Club Kids were about fun. Wild, messy fun -- the more debauched, the better. Michael Alig operated on the chaos principal: he thrived on confusion and mayhem. Looking back now, the first generation of Club Kids was a little rough -- mostly just kids in Halloween costumes. Sometimes the outfits were great, but the makeup was wrong. Or the hair and makeup were on point, but the outfit was a groaner.

It evolved quickly, though. With each progressive wave of kids, it became more streamlined. As the ‘80s segued into the ‘90s and we migrated from the Tunnel to Red Zone to Mars, everything got sleeker, harder and shinier. The innovations were self-referencing, and the looks built on themselves rather than culling from past scenes. That’s what I see now: the realization of what we were trying to do. When I look at kids like Ryan Burke or MILK or Kayvon Zand, I see the apex of Club Kid evolution.

james st james

In Michael Alig's feature he talked a lot about "subverting the establishment" and nightlife in political terms. Was nightlife and the Club Kids ever politically-charged for you?
I think we definitely broke barriers and subverted gender stereotypes. We created our own trends, tackled taboos and lampooned social protocol. Ultimately –- and I say this with a straight face -– I believe we had a destabilizing effect on pop culture as a whole. We influenced a whole generation of kids on shows like Geraldo, Phil Donahue and Ricki Lake, and set the stage for the decadent ‘90s (and beyond). Gaga, anyone?

What did the Club Kids as an institution mean to you? What did you see for this scene as a movement?
Institution? We were trying to tear down institutions, not become one. But I suppose it’s a bit like the adage: “Politicians, ugly buildings and prostitutes all become respectable with age.” You can throw "Club Kids" on that list now, too [laughs].

As for what it meant to us at the time: I think we really thought that we found a way to create our own utopia outside of society. We felt like we were living in a bubble where the rules of normal people didn’t apply to us. And it was fabulous... for awhile. Really, really fabulous. But as everyone from George Orwell to Joseph Conrad to William Golding will tell you, it’s ultimately a recipe for disaster (see: "Party Monster").



How would you describe yourself as artist and your identity within the context of New York nightlife?
What a question. That presumes I think of myself as an artist. I think too often, in your 20s, you run around screaming “I’m an AHHHRTIST! Look at my AHHHHHRT!” And you hold up a Playdoh diorama of monkeys hanging laundry and everybody claps and calls it “post-post-modern.” I think it’s up to posterity to decide if what you create is art, and if what you do has any lasting merit.

I think you just have to do what you do, do it the best you can and work your ass off doing it. If you do it long enough and live long enough, you’ll be labeled a legend or an institution then maaaaaaybe you can call yourself an artist with a straight face.

As for my identity within the context of New York nightlife? I left in the ‘90s, so I’m not part of the scene anymore. I’ll always be interested in what’s happening downtown, and I try and keep up with the changing faces on social media. But do I exist within its context? No.

What were the most formative experiences to you as an artist and nightlife personality during the Club Kids era?
Just being around vibrant, creative, intelligent people is the best formative experience you can have when you are young.

I’ve been lucky to have had some amazing mentors over the years who helped guide me and shape me: Michael Musto, Stephen Saban, Michelangelo Signorile, Gabriel Rotello, Randy Barbato and Fenton Bailey, to start with. And I’ve been inspired by so many club personalities I couldn’t BEGIN to list them all, but certainly Kabuki, Mathu Anderson, Zaldy, Amanda Lepore, Sister Dimension, Kenny Kenny, Susanne Bartsch, Leigh Bowery, Billy Beyond, Dianne Brill, John Sex, Larry Tee, Lahoma, Waltpaper, Cody Ravioli, and Richie Rich are at the top of the list.



I want to read you a quote from Walt Cassidy’s "After Dark" feature: “The nightlife experience today is no longer linear. It is broken up into two parts. The participation, which largely consists of documenting the experience, followed by the process of offloading it into cyber space and having a secondary experience online.” Do you agree with this? How do you feel like technology and the Internet have augmented nightlife in the modern day?
On the one hand yes, nightlife has changed and everybody is so concerned with documenting their experiences that they aren’t actually enjoying their experiences and everybody needs to put down the phones and just live... blah blah blah.

On the other hand, what an amazing time to be alive. And how interesting is this 21st century? The world has made a radical shift, and suddenly there are so many new possibilities. By all means, document every second of it. You won’t regret having those pics in 20 years.

I speak from experience. There aren’t a lot of pictures of me in the ‘90s. I had, um, a bit of a drug problem and tended to run away from the camera. It’s sad now when I see old pics of Club Kids, and I’m not there because I was just out of frame, lying in a puddle of vomit or shivering in a bathroom stall. So go ahead and take those pictures at the club. Post them on Instagram. Text your friends while standing on the dancefloor. Check your Facebook and Grindr every three minutes. That is how we experience life today -- so be a part of it.

How do you see what happened during your time in NYC nightlife influencing nightlife today? How has nightlife changed?
I think the Club Kids were precursors to today’s reality stars. By being “famous for nothing” we became famous for something, and that’s certainly a very modern concept.

I think we had a part in helping Warhol’s famous dictum “In the future everyone will be famous for 15 minutes” come to pass. I think we laid the groundwork, and then with the limitless self-promotional possibilities of today’s technology, it absolutely is a thing now. Vine stars, Instagram stars -– they all owe us royalties [laughs]. And nightlife has changed enormously, of course. But then, so have I. I’ve grown (I hope), and what I want out of my nightlife experience has changed. I’m a casual visitor now, so it’s always fun and it’s always surprising.

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In reference to the queer community, Kenny Kenny said in this feature: "We are the shamans of society. We’re here to show them you don’t have to go by the conditioned way of living. We’re here to show them you can live your life in a very authentic way. That’s what I think gay people are here for. And of course, to enjoy sex as well. Why not?" -- In this age of gay marriage, do you see the role of queer people as being "shamans" in society in this same way? How can those involved in nightlife act as a preservation of the more radical, creative and transgressive components of the queer community?
Well, there will always be radical, creative and trangressive kids who want to shake up the establishment. And young people will always buck against the generation that came before them. So I don’t think we have to worry TOO much. I’m a bit of an optimist in that respect.

Yes, we homos seem to be normalizing a bit, and folding into polite society, and it’s all a bit of a bore. But mostly that’s the old folks who have fought long and hard their whole lives to be accepted and just want to enjoy the fruits of their labor now. But you can’t tell me that teenagers are really buying into the whole bourgeois fantasy that "Modern Family" is selling. And trust me, no 17-year-old is excited about “normcore” fashion. I refuse to believe it.

I think part of being gay is having that "spidey sense" for what’s new and what’s different. I think we will always push boundaries -- maybe now it’s just from within the establishment. And that’s a good thing.

What projects are you currently working on?
Well, I blog for the WOW Report, so you can always find me there. And I have my YouTube series “Transformations” on WOWpresents. Every week I have a different drag queen, makeup artist, performance artist, or club freak give me an extreme makeover. It’s my way of playing dress-up with my club friends without really having to go out. Because I’M OLD [laughs].

I’m also currently working on a book about my Transformation experiences called “Welcome to My Face” –- sort of a guide to life, illustrated with the images from the show.

If there was something you wished to communicate about the evolution of queer history through nightlife in New York to the new generation, what do you think is the most important thing to ensure is not forgotten?
Know your history. Know your icons. Yes, the "Drag Race" girls are all majorly important, but learn about the trailblazers who paved the way for them (and you). The Holly Woodlawns, the Jayne Countys, the Teri Toyes. Give them the homage they deserve. And know that no matter how creative you think you’re being, somebody else usually did it first. And that somebody was usually Leigh Bowery or Rudi Gernreich [laughs].

But whether it was the Club Kids, the New Romantics, the Mudd Club kids, the punks, the Factory crowd, the Dadaists, the Surrealists, the Bright Young Things, or the Macaronis, know that you are standing on the shoulders of giants.

And once you know your history, you can go out and create your own.

Missed the previous installments in this series? Check out the slideshow below.
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