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Eli Lieb Drops 'Lightning In A Bottle' Video, Starring Shangela

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Singer-songwriter Eli Lieb is back with a celebratory pop-rock anthem with an inspired message about self-empowerment.

The out performer said "Lightning in a Bottle" is a "really special" song about "being 100 percent your true authentic self." The stunning new clip is directed by Geoff Boothby and features appearances by "RuPaul's Drag Race" veteran Shangela as well as dancers Jenna Riegel and Caitlin Scranton.

"I want people to see this music video, hear the song, really listen to the lyrics and live their truth," Lieb wrote of the clip on his YouTube page. "I want this to inspire people to not be afraid to break free and embrace who they are."

Earlier this year, Lieb told The Huffington Post he was at work on a full-length sophomore album with writer-producer John Feldmann (5 Seconds of Summer, Panic! At the Disco).

While his music videos have always embraced lesbian, gay, bisexual and transgender (LGBT) themes, Lieb said his sexuality "doesn't impact his work as an artist at all."

"When I actually write music … the creative process has nothing to do with my sexuality other than the fact that I can get entangled with people in the same way that anybody can get entangled with a person," he said at the time. "When I think of myself, my sexuality isn’t the defining part of who I am as a musician."

How Wu-Tang Clan Influenced 'Mockingjay's' Mahershala Ali

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"The Hunger Games: Mockingjay - Part 1" is the year's most political blockbuster -- the film is literally about the propaganda campaigns waged by two governments during wartime -- so of course it should have a connection to "House of Cards." Mahershala Ali, best known as Remy Danton on the hit Netflix series, plays Commander Boggs in the two-part "Hunger Games" finale, District 13 warrior and de facto bodyguard for Katniss Everdeen (Jennifer Lawrence). HuffPost Entertainment spoke to the 40-year-old Ali about his career thus far, what he learned from the incredible "Mockingjay" cast and the music that inspired Boggs and Remy.

mahershala ali

There's a scene early on in the film where you, Jennifer Lawrence, Julianne Moore, Philip Seymour Hoffman, Elizabeth Banks, Woody Harrelson and Jeffrey Wright just sit around a table and discuss Katniss' performance in a propaganda video. Not the typical sequence you might see in a YA movie.
Usually I want to have a lot to say and be a little more present, but I really enjoyed being able to sit back and watch these wonderful people work in that scene. I think I've been fortunate enough now to be working professionally for 15 years. It has been a good journey. But I know my approach is so different. I approach things from my feeling first. I have to get a feel for the character. I'll do that through music, I'll do it through what is naturally popping up for me when I read the script. My ideas or whatever the occupation of the character might be. Maybe they do all of that too, but it was amazing to see people pick apart all these little details that otherwise I might just brush over. It was just the depth at which they approached the work that was inspiring to me. For me, it was a bit of an education. It's something I feel like I will carry with me moving forward.

What kind of music did you pick for Boggs?
With the time thing being complicated ["Mockingjay" is set in the future], I wanted to find something that captured the feeling of what was going on. There's this Method Man album called "Tical." It's his first album. I would just listen to that every day, because the album feels like if it were a film it would be black and white. It feels like there's a war percolating throughout the album itself. It's dark and it has a nice forward pace to it. There's another, too, by Wu-Tang Clan called "Enter The Wu-Tang (36 Chambers)." I listened to that too. I was thinking about the fact that they exist in the future and what would maybe speak to a character who maybe has an appreciation of something in the past.

What music inspires you for Remy?
So with Remy I listen to a lot of Jay Z. Specifically because I placed Remy being from New York and having come up through a certain trajectory. I always felt that Jay Z, if he had a different upbringing, could be on Wall Street or in politics. If you really listen to Jay Z talk, he's kind of the smartest guy in the room. I saw this documentary he did years ago called "Fade to Black." I was always a Jay Z fan -- I liked Jay Z -- but after I saw that documentary, I loved Jay Z. I realized how intelligent he was. For Remy, I have two different playlists. One has stuff that kind of moves, because he has to be confident but bordered on arrogant. Then I have the ladies' man Remy mix. For the scenes with Jackie Sharp. That puts me in that zone. I have a lot of Jay Z on there. I have a lot of Nas on there. I have a lot of '90s and early '00s hip-hop. Then there's also some very mature stuff sprinkled in there, like D'Angelo.

I like Remy ...
I really like Remy! But often I meet people who are like, "He's a bad guy!" No, they're all crazy! Within that world, he's not a bad guy!

How do you balance being confident with being arrogant?
I have a lot of help from [creator] Beau Willimon. He does such a great job of setting the stage and giving you a framework to work within. I think you just kind of feel what is too much. I work off of feeling. I can't get too heady as an actor. I don't enjoy it. I almost quit grad school: I was going to NYU Tish and I almost dropped out because I tried to work how other people were working. I was like, "That's what you're supposed to do. You're supposed to read every book under the sun about being a cobbler if you're going to be a cobbler." I didn't enjoy it. So going back to feel, we all have our little tuning forks. You have to trust and find that zone where it snaps and it just speaks to you. Sometimes you make mistakes, and sometimes there's stuff I see where I can't watch myself because I don't love the work. But I just try to listen. If I calm down and allow myself to get out of the way of the work, then it tends to tell me what that character needs.

So, what made you stick with acting during grad school?
I was seriously going to go. It was a three-year program. Toward the end of my second year, I thought I would go home and work on these boats as a deck hand in San Francisco. I was going to save up money and go to Italy for a few weeks. I don't know why, I had Italy in mind. I wanted to go on a pilgrimage somewhere and then decide if I was going to come back. This beautiful gentleman, this really wonderful brother named Kenneth Washington who ran a program called A Guthrie Experience in Minneapolis. It was like a super grad program where they plucked students from Yale and Juilliard and other schools. I didn't audition for it because I didn't think I would get in. I was like a little burnt out. He came to me and was like, "Mahershala, why aren't you auditioning for this?" He said he would give me a spot if I came. So I went to the Guthrie that summer, and it made all the difference in the world. I came back for my third year with the confidence that I needed to have a good last year of school. Ever since, I've been working. That was the difference: Ken Washington.

Did you ever make it to Italy?
I haven't made it to Italy. I'm waiting for a job to take me to Italy.

Grotesque Sculptures Combine Girlhood Nostalgia And Sexuality In (Literally) Eye-Popping Forms

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Imagine drifting off to sleep in your childhood bedroom, the walls adorned with soft shapes and pastel hues. Right as you begin to doze off and enter the world of dreams, you hear the strange yet familiar sounds of bodies getting physical in the next room. Suddenly visions of stuffed animals and cartoon wonderlands morph into kaleidoscopic clusters of fleshy parts and body cracks. You're somewhere between a dream and a beautiful nightmare.

Got the visual? That's pretty much the vibe we're getting from the deliciously grotesque sculptures of Jaz Harold. Harold's work features fingers, crystals, pom-poms, tongues, busts and cherry blossoms chopped and screwed into glorious, melting hybrids. Each sculpture combines warm gushy aspects of nostalgia with equally warm gushy aspects of sex, yielding sights that are totally bizarre yet feel oddly familiar.

We reached out to the artist to learn more about her work.

consumm
Consummation


Your works address sexuality and yet have a childlike vibe to them. What was your relationship to sexuality growing up? Does your work address this adolescent view of sex?

I combine sexuality with a childlike aesthetic as a way of making the subject feel warm, welcoming, and innocent, in contrast to the cultural stigma surrounding sex, which often inflicts shame or guilt. My work attempts to separate the ego and personality from sex, capturing a personal, genuine, and non self-conscious connection, as opposed to the extroverted, superficial, culturally designated idea of “sexy.”

In America, girls commonly idealize porn stars visually, and are misled to believe that power is acquired via sex. There is the idea that "tough" or "strong" or "aggressive" is sexy. But the core value of being a strong woman (mentally) has been disconnected and what remains pertains only to superficial looks and sexual appeal. With time, I began to feel that the cultural ideals of “sexy” were absurd and cliché, and my focus became works that were intentionally void of personality. The lack of complication inflicted by ego combined with the soft color palette and textures allows viewers to intimately connect with the works.

There is an extremely tactile nature to your sculptures. How do you select your materials?

The materials I use are mainly selected for the way they absorb light. I use silicone that is pigmented but left translucent, generally with a matte exterior, so light bounces into the material then back out again. In addition, I frequently use fabric (often plush), yarn, and thread, which are all selected for their soft and light absorbing qualities. In a few works I have also used quartz crystals, which are chosen in order to emphasize the contrast of hard and shiny against soft and matte, while still conveying a positive energy. Color-wise I focus on a subdued, pastel palette. The combination of gentle colors and soft textures has a calming, welcoming, and playful connection with the viewer, while never demanding their attention.

geode
Geode


How do the Victorian mannequins fit in?

I believe you’re referring to a work of mine called “Geode,” a sculpture of women’s bust, with an open face revealing that the head is filled with crystals. I currently have two works of women’s faces, both with eyes closed, and long, white eyelashes. The bust stands apart because unlike the majority of my works, which convey sexual themes, this piece is meant to show self-reflection and inner dialogue.

Regardless of its place within my generally sexual oeuvre, though, I feel it fits into my overarching theme of desiring something more genuine. The face is one of a person sorting out their own true feelings, without looking at the outside world for its approval or support. The work uses contrasting materials with a hot pink crystal shard interior, and a pale nude exterior, with flowing eyelashes and soft hair piled high. But while one area is hard and one is soft, nothing is meant to be unpleasant. It doesn’t appear to show a mind that is entirely at peace with itself, but nonetheless, it reflects something positive, intelligent, and ever improving.

What do you hope to communicate about the body through your work?

I use different parts of the body to connect with different ideas. I use lips and breasts (and full torsos in a work in progress) for sexuality, hands for relationships, and faces with closed eyes for self-reflection. In all cases I aim for two things: a universal connection through commonalities (meaning both common ideas and common body parts) uninfluenced by the limitations of personality, and a soft, inviting, and playful presentation that both engages and comforts the viewer. Relationships, love, sex, and the self can be quite complicated in reality, deeply intertwined with the stresses and complications of life as a whole. But, when simplified, they are beautiful.

Ballerina Of Our Dreams Misty Copeland Is Getting A Reality Show

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Reality television junkies with a passion for ballet that challenges the status quo, we know you're out there and we bear good news. Misty Copeland, the second black woman to become a soloist with the American Ballet Theatre and an all-around inspirational badass, is getting her own show on Oxygen.

In the show, prospectively titled "The Misty Copeland Project," Copeland serves as a guide to a group of talented and diverse amateur dancers trying to make it in New York. Think "America's Next Top Model" meets "Center Stage."

The description from the Hollywood Reporter reads:

As talented hopefuls from diverse backgrounds descend upon New York to take on the next major step in their ballet careers, who better to train and mentor them than Copeland -- the renowned ballerina who herself has defied all odds and shattered boundaries by overcoming the cultural pressures of professional ballet. Copeland, who began taking ballet lessons on the basketball court of a Boys & Girls Club at age 13 and was considered a prodigy, made history by becoming the second African-American female soloist in the prestigious American Ballet Theatre. With the opportunity of a lifetime and chance to catapult to the top of the ballet world, these aspiring dancers' passion, commitment and hard work will be center stage in Misty’s Master Class.


Consider our DVRs set.

Oxygen's programming aims to appeal to young, multicultural women, using Copeland as a model for the evolving world of classical dance. "As an artist, Misty is changing the paradigm as to what a ballerina should look like," Washington Ballet Artistic Director Septime Webre told The Washington Post. "Her fierce yet delicate physicality, astonishing technique and her natural stage presence make her one of the most important female dancers in the U.S. today."

Oxygen hasn't yet released an air date for the show, but in the meantime, Copeland is slated to star as Odette/Odile in an April production of Swan Lake at the Kennedy Center.

Check out our list of ballet icons changing the face of dance today, here.

Why 'Kidnapped For Christ' Is The Most Faithful Film Of The Year

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Since the release of the award-winning documentary “Kidnapped for Christ,” the filmmakers have received a few hate-filled messages denouncing them as everything from devil worshippers to anti-Christian "illuminati elites.” But as they’ve screened the film to world-wide audiences, they’ve also met a number of Christians who see the film in a different light.

Many Christians have chosen to see "Kidnapped for Christ" as a learning tool rather than an outright attack on their faith. Over the course of making the film, the filmmakers themselves learned a great deal about their own ever-evolving faiths. Below they share their personal journeys with you.


Yada Zamora: Writer/Producer

As a kid, I was raised in a Baptist church. Five days out of the week you could find me in the small, rust-colored building in a gang-ridden neighborhood as my parents slaved tirelessly to provide a better life for our family. I sang in the choir. Acted in church plays. Led bible study. Praised. Worshipped. Pretended.

I was a fraud. Simply going through the motions because I was told to. Yet to the outside world, I was a model Christian child. Despite my enthusiasm, I had zero understanding of what being a "good Christian" really meant. Was it as simple as regurgitating what I was reading and hearing? Or did it involve action? One night I looked up the definition of "faith" online -- it was a noun. This blew my young mind.

“Kidnapped for Christ” displays two polar opposite portrayals of Christianity. There's the staff at Escuela Caribe who spew hate, judgment and use questionable, often violent measures in the name of God. Then there's the small community in Greeley, Colorado who came together when one of their own was taken brutally in the middle of the night simply because he was gay.

The people of Greeley put faith into action. Suddenly "faith" became a verb as they worked against all odds in an attempt to rescue a good, Christian kid from the hands of his also-Christian abusers. The community in Greeley knew David was gay and they loved him, dearly. They believed God loved him too. A war of ideologies played out over two countries and many months. Who's side was God on? You'll have to watch the film to find out.

But one thing is clear: It took an entire team to make "Kidnapped for Christ" -- Many of them faithful Christians who understood that a bad apple doesn't have to spoil the whole barrel. Not if we take an honest inventory, recognize it's stench and remove it before it rots the entire bunch.

And for the record, “Kidnapped for Christ” is not "anti-Christian" -- it's anti-hate.

Kate S. Logan: Director/Producer

For me, the most disturbing part about filming at Escuela Caribe was how normal the staff seemed. Most of these people weren’t psychopathic sadists, they weren’t charismatic cult leaders, they weren’t even religious fanatics. In fact, many of the staff members didn’t appear to be all that different from myself at the time -- save for a few genuine sociopaths, most were young, well-meaning Christians who were largely unaware of the damage they were causing to the adolescents in their care. That was terrifying.

I realized that I could have been one of them. At the time I was a devout evangelical and I realized that it was only happenstance that had led me believe that God had called me to make a film on Escuela Caribe instead of believing that God called me to work there. This epiphany led me to question many of my long-held beliefs. I saw how groupthink and manipulation by authority figures could be much more powerful than faith and good intentions. Until then I thought that true Christianity would somehow vaccinate me from doing terrible things in the name of God -– but I was wrong. It doesn’t take a psychopath to harm others in the name of God, it just takes someone who never questions what they are doing.

In the years following my time at Escuela Caribe, while we were editing, the team and I always wondered what the Christian reaction would be to the film. It certainly doesn’t make Christians look particularly good, but we were also careful not to make the film an indictment against Christianity either; because that’s never what I took from my experience. It was clear to me that what happened at Escuela Caribe wasn’t about religion or the Christian faith. Instead, it was about the susceptibility of all humans to do evil in the right (or more aptly, wrong) circumstances.

“Kidnapped for Christ” is available now on iTunes and video-on demand through Gravitas Ventures.

All Hail Georgia O'Keeffe, The Highest-Selling Woman In Art Auction History

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Georgia O'Keeffe, one of the godmothers of modernist painting, has just made history at Sotheby's auction. A work by the late American artist smashed records Thursday morning when it sold for $44.4 million -- a price three times larger than the previous auction record for a female artist.

Congratulations Georgia, you are now (posthumously) the highest-selling woman in art.




The 1932 offering shown above, "Jimson Weed, White Flower No. 1," depicts one of O'Keeffe's favorite subjects: a magnified flower. To her, the delicate blooms stood as some of the most overlooked pieces of naturally occurring beauty, objects that the bustling contemporary world ignored. So she made it her mission to highlight their complex structures, explaining: “When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not."

Robert Kret, director of the Georgia O’Keeffe Museum in Santa Fe, NM, announced the institution's decision to sell the work earlier this year. In an attempt to "refine its holdings," Kret and a team of curators opted to put "Jimson Weed," “On the Old Santa Fe Road,” and “Untitled (Skunk Cabbage)" on the auction block. They were expected to fetch, respectively, $10 million to $15 million, $2 million to $3 million and $500,000 to $750,000. "Jimson Weed" alone managed to quadruple the low end estimate.

The buyer wishes to remain anonymous, according to The New York Times.

Artist Joan Mitchell previously held the title for priciest female artist, setting a record with the $11.9 million sale of an untitled 1960 painting. The late Louise Bourgeois and Berthe Morisot have managed to make waves in recent years too. Among the top living female artists today are Cady Noland, Marlene Dumas, Bridgette Riley and Yayoi Kusama.

The priciest piece of art ever sold at auction -- Francis Bacon's 1969 triptych -- was bought last year for a whopping $142.4 million. Of course, Bacon is a male artist, and whether we like it or not, male artists have tended to dominate the art market for as long as Sotheby's has been wielding a gavel. "Something is stopping women matching the sales results of male artists at auction," Forbes' Kathryn Tully wrote. "Should museums, galleries, and yes, auction houses be doing more to promote the work of female artists?"

The Guardian's Kira Cochrane stated it simply: "An audit of the art world shows that every artist in the top 100 auction sales last year was a man." But things are changing, she added.

With O'Keeffe's auction record, headlines (like ours) will once again celebrate women's potential at auction. So while the folks at the Georgia O’Keeffe Museum chalk the sale up as a win for acquisition funds, they can also celebrate their instrumental role in emphasizing women's rising power in a male-dominated market.

Learn more about "Jimson Weed, White Flower No. 1" below, in a video provided by Sotheby's:

'Mummenschanz,' The Swiss 'Musicians Of Silence,' Celebrates 40 Years Of Global Success With New Tour

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Mummenschanz,” the masked Swiss theatrical troupe that has dazzled audiences on Broadway and worldwide with its whimsical moves, returns to New York this week with a show that looks back on four decades of surreal success.

Floriana Frassetto, the troupe’s Italian-born creator who founded the troupe with Bernie Schürch and Andres Bossard in 1972, calls the show, which hits the Skirball Center for the Performing Arts at New York University on Nov. 20, a “visual, ironic, interactive and playful” piece which “seduces and charms” with its diverse sketches.

In honor of their new tour’s New York stop, Frassetto spoke wih The Huffington Post, looking back on “Mummenschanz,” also known as "the musicians of silence," and its global achievements.

The Huffington Post: How has the show evolved since its inception in 1972?
Frasetto: We started out in the 1970s with the expectation that we’d be around for a couple of months. We performed in warehouses, in front of stores and every so often, we’d get a small engagement in a theater. We started out because we loved our work, and we just wanted to share it with an audience.

We never expected that we would have the success that we’ve had. Our first major success was in North America. And then we were on Broadway for three years, also not expecting to stick around that long.

What’s the most exciting thing about performing in New York City?
New York is very special because it’s a melting pot of cultures. You have all of these people who maybe don’t agree politically or with each other outside of the theater, but when they’re sitting in our show, they bring out their inner child. That’s so extraordinary at every performance. It’s fantastic.

The show is really determined by its audience…
We’re totally for the audience! We have no music, so you are our conductors. We have to tune into your rhythms, to your responses, and that’s why our show is always different. That’s very essential for our work.

How would you describe the ultimate message or vision of a “Mummenschanz” performance?
We don’t change anyone’s life, but we help you to let go for a couple of hours, with a lot of love and a lot of passion. Each one of you has to put in their personalized vision and emotion for the story to work. We [really believe] that less is more. We aim for the essence of communication, so that everyone can identify with our work very freely. That’s very important.

What’s your hope for “Mummenschanz,” looking forward?
I don’t think we’ll ever become a big show; I don’t think we’d ever do a musical. We’ll never be like Cirque du Soleil, but we want to have an intimacy with our audience. That was our choice in the beginning and I believe that’s how we’ll continue [but] we’re open to new experiences.

"Mummenschanz" performs at the Skirball Center for the Performing Arts at New York University from Nov. 20 through 30. Head here for more information.

Podcasts Are Basically The New TV, So Get Ready To Binge Listen

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Remember podcasts? Made popular with a lot of help from the first iPod, they allowed us all the novelty of listening to a radio show without fear of going under a bridge and losing our signal. And while they've outlived their namesake "pod" -- the iPod Classic was discontinued earlier this year -- the medium seems to be enjoying a nice little renaissance.

The number of high-quality shows has increased and their audiences have grown so much that it's got some people wondering whether podcasts are capable of giving television a run for its money. And indeed, the perks of listening instead of watching are many. You can listen while you're driving, making dinner, staring aimlessly off into the middle distance, etc.

So how do you listen in? Many podcasts are available over the Internet, through the show's website or iTunes. But a number of apps are available for those who want to listen from their phones -- Stitcher, Pocket Casts, TuneIn and, for Apple users, Podcasts, for example. Here are just a few recommendations of some podcasts you should be listening to.



Serial



What it is: "True Detective" for the NPR crowd. Reported and hosted by "This American Life" producer Sarah Koenig, each installment tells the story of Koenig's months-long investigation into the 1999 Baltimore murder of a young woman named Hae Min Lee.
Bonus: Reddit has a lot of theories and a helpful list of characters. There are even podcasts about the podcast.



RadioLab



What it is: "A show about curiosity" that's often compared to "This American Life." Each episode investigates the science behind a particular theme, kind of like a TED talk without the video buffering.



This American Life

this american life

What it is: The mother of all public radio shows that explores weekly themes with interviews punctuated by music your elementary art teacher might like. Also, Ira Glass.



The Sporkful



What it is: Not for foodies but for eaters. Each episode obsesses over a single gastronomic issue, such as the architectural strength of a sandwich.



The Moth



What it is: The digital, anytime, anywhere version of the "storyslam" events that The Moth, a nonprofit organization, has been hosting since 1997.
Where to listen: The Moth app. Full archives aren't available on iTunes, but those who subscribe get access to one story per week, along with several full-length shows per year.



Love + Radio



What it is: Some of "the most emotionally complicated stories and portraits of people that anyone is doing anywhere," according to radio god Ira Glass, on a variety of subjects from "seedy" to "sublime."



Freakonomics



What it is: Data sets, microeconomists, "stomach real estate," macroeconomists, confidence intervals and a surprisingly accessible discussion of social issues in the U.S. and around the world.



HuffPost Podcasts



What it is: HuffPost editors talk politics, entertainment, religion, comedy, weird news and more, with original interviews and answers to questions you didn't know you had.



The Read



What it is: A culture blog from the minds and mouths of two Beyonce-loving hip-hop mavens and recent New York transplants.



The Heart



What it is: "Broad City" for public radio. Founded by a group of Montreal sex workers in 2006 and formerly known as Audio Smut, it covers topics often ignored by often prudish public radio programs, including how to smuggle pot onto an airplane using one's vagina.



Here Be Monsters



What it is: Interviews on subjects strange, unfamiliar and freakish that answers all your questions about placentography and juggalos.



WTF with Marc Maron

marc maron

What it is: Stand-up comedian Marc Maron's brusque interviews with fellow comedians and funny people. (Most episodes will cost you.)



Stuff You Should Know

176410815

What it is: Every HowStuffWorks page you scrolled through in the Web 1.0 era, now in audio form.



99% Invisible



What it is: An appreciation of everything around us -- like revolving doors and Looney Toons -- that was designed by human hands.



Wait Wait Don't Tell Me

carl kassel

What it is: A gameshow with celebrity guests and contestants from all over the U.S. who share a mysterious affinity for voicemail greetings by Carl Kassel.



Welcome to Night Vale



What it is: A mystery podcast from the fictional desert town of Night Vale as weird as if Tumblr took over Twin Peaks' local newsletter.

Disturbing Footage From Lost Lana Del Rey Project Leaks Online [UPDATE]

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Last year, director Eli Roth ("Hostel") told Larry King that he had worked together with Lana Del Rey and Marilyn Manson for a video that was "so sick it has been locked in a vault for over a year." On Thursday, a clip purportedly matching that session briefly surfaced online before being pulled off YouTube.

In one 27-second scene, Del Rey is violently sexually assaulted. Balloons emblazoned with the word "RAPE" decorate a horrific birthday party.

The footage was shot last year, but Manson's reps told Pitchfork that it was not part of a music video or a specific Manson-related project. "Manson did not direct this, shoot it, nor was it for a Marilyn Manson video or outtake footage made by him or to be used by him with his music," Manson's rep said to Pitchfork. Del Rey, Manson and Roth's reps did not respond to immediate request for comment when contacted by HuffPost Entertainment.

Back in 2012, Del Rey and Manson were spotted together at restaurants and awards shows. Manson has also cultivated a friendship with Roth over the years, and even attended Roth's Passover seder. Watch Roth's interview with Larry King below:



This post has been updated to include comment from Manson's rep.

Search for Stikman: An Interview With the Elusive Street Artist

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Steve Harrington and Jaime Rojo are the brains behind popular art blog Brooklyn Street Art. They have been tracking the constantly evolving movements of street art, urban art, and art in the streets of NYC and around the world, examining its impact on culture for over a decade. The Bluegrass Situation recently partnered with BSA to develop a new series examining the intersection of street art and folk art in America. This month, Jaime Rojo traveled to an undisclosed location to interview the elusive Stikman. 


After Tackling 107 Insanely Hard Recipes, This Home Cook Learned You Can Cultivate Creativity

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When most people crack open a cookbook, the most they end up with is a tasty meal.

But when digital animator Allen Hemberger decided to cook his way through the iconic Alinea restaurant's cookbook, he ended up falling in love, meeting one of the world's top chefs and changing his outlook on his long-held belief that creativity is something you’re either born with or you’re not.

"I assumed that creativity meant that amazing ideas occur to someone while they're sleeping or in a flash of inspiration, and then they bang out something amazing and it's great,” Hemberger told The Huffington Post via email. "But as I went on, I started wondering if creativity is just another word for tenacity -- the willingness to keep working on something until it works or until it’s good."

Chicago-based Alinea regularly ranks among the top restaurants in the U.S., if not the world, and the chef, Grant Achatz, has been hailed as a "genius of molecular cuisine." Known for its elaborate, hours-long tasting menus, Alinea is about experience and emotion (and yes, amazing food), but the meals are about as far away from home cooking as you can get.

It was partly for this reason that Hemberger’s quest to complete every recipe caught the eye of LA-based, Chicagoland-born filmmaker Daniel Addelson, who last week released "Allen & Alinea: One Man’s Odyssey Through an Iconic Cookbook” via the Foodie Network, an online TV network.

“I'm always trying to find interesting stories,” Addelson told HuffPost. “Perseverance and character are really interesting focuses for me.”

Addelson admitted when he stumbled upon Hemberger’s website and Kickstarter page to fund The Alinea Project -- a volume about his experience of cooking all 107 dishes in the Alinea cookbook -- earlier this year, he thought, “This guy is crazy.”

"But also, [I thought he was] completely fascinating,” Addelson said. "He was really honest and emotional and a great storyteller.”

In June, Addelson went out to San Francisco where Hemberger and his then-fiancée, Sarah, lived. He shot the film over a weekend. Addelson said he relied on much of Sarah’s “amazing” archival photography and video to help give a sense of the passage of time in the film.

"The actual cooking part of it was not the most interesting thing to me,” Addelson said. “It was [Hemberger’s] obsession. The first time we spoke, he said something to me about how he didn’t think he was creative at the beginning of this. He had a lot of self-doubt about being a good chef."

"It was this story that I wanted to share," he added.

alinea avocado
Hemberger's reconstructed chocolate avocado from the Alinea cookbook.


Hemberger's road to short-film stardom, a book and a meeting with one of the top chefs in the world began about five years ago.

He was living in New Zealand and met Sarah, who was living in the States. In 2008, a year into their long-distance romance, they went to Alinea on a date while visiting Chicago. The two were both blown away by the experience. Hemberger’s interest in molecular gastronomy took root, and Sarah gave Allen the newly released Alinea cookbook for Christmas.

It wasn't long before Hemberger decided to tackle the recipes.

"I saw something I was really inspired by, and wanted to see if, with enough work and patience, I could train myself to be good at it, too,” Hemberger said. "Is it possible to learn to be creative, to be excellent? What does it take? What does 'doing a good job' at this mean?”

Chef Achatz, who inarguably falls into the camp of creatives who are born with the spark, agrees with Hemberger’s conclusion that creativity can be achieved by anyone willing to work at it.

“Creativity may be a bit of wiring, it may acclimate you a little differently to one thing or another,” he said. “But the thing I hand’t noticed until I watched the film was that ‘twinkle’ [that Hemberger had]. It’s not that lightbulb moment where I bolt out of bed at 4 a.m. and say 'I have this idea' -- it’s hard work.”

Alinea co-owner Nick Kokonas couldn't agree more.

“Of course it’s creative -- that's the part he learned,” he told HuffPost. “[Hemberger] tried to reproduce things faithfully, but learned that in the end being creative is about grinding it out, finding new ways of doing things, and listening to your own voice."

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The gel roll --the dish that gave Hemberger so much grief during the project.


Achatz, who ultimately invited Hemberger to Alinea to workshop a failed recipe, said he didn’t expect anyone to cook entirely through the book as Hemberger did.

“[The Alinea cookbook] is probably going to be on your coffee table and library shelf, not in your kitchen,” Achatz said. “But if you do cook from it should inspire you to cook however you want, because that’s how we cook.”

Hemberger is done with the project, but is still applying the lessons he learned from the process.

When he wrote to HuffPost from New Zealand, where he and Sarah are currently on their honeymoon, he mentioned trying to cook chicken and dumplings for a sick friend the couple is visiting.

"I have no recipe; I'm just gonna try to make it taste good. I can't help but use a lot of stuff I’ve learned from this project to do this,” Hemberger wrote.

"I do the same at home every night,” he added. "Sarah has a long commute, so I do most of the cooking, and I love finding ways to delight her or surprise her with dinner. Sometimes I wreck it, sometimes I make something really good. I'm constantly learning and trying to get better at it, mostly because I find it a useful tool to make my friends and family happy and show them I care about them."

The Alinea Project was successfully funded in the spring and is currently shipping to backers.

The One Part Of 'Wild' That Still Makes Cheryl Strayed Wince

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“You can really kill a horse in literature,” author Cheryl Strayed said when asked about the differences between her best-selling book, “Wild,” and the highly-anticipated (and Oscar-buzzed-about) film, starring Reese Witherspoon.

At the moment of the interview, Strayed, 46, had just received her copy of Vanity Fair's December issue, where she is featured in a full-page spotlight. As she found the page in the magazine, the grin on her face was practically electric.

But she's not just an author who wrote a best-selling book. It's a memoir, her real life story -- the heroin, the sex, the hiking of the Pacific Crest Trail. What we talk about first, however, is how to kill a horse. Then, having sex with two men in an alley. One of those things happened; one did not.

cheryl strayed
Author Cheryl Strayed

After her mother died suddenly from lung cancer when Strayed was 22, she and her brother were forced to shoot their mother’s horse when the animal became too sick to live. It is one of the most haunting and memorable moments in Strayed's memoir. “In the book, I could give you everything,” Strayed said. “You felt what it felt like inside my body while this was happening -- on that freezing cold day in this pasture in Northern Minnesota, the day after Christmas with my brother, and this horse that we had loved all of our lives.”

The cumbersome killing of that horse represents an unsolved trauma in her life. It is something that haunts her through much of the book “Wild." Yet in the film version, it’s a brief encounter. When asked if this bothers her, Strayed thoughtfully discussed the different capacities and limitations that film and literature present.

“If you were to ask [director] Jean-Marc Vallée, he would tell you that scene was the hardest part of the movie to shoot,” she said. “It’s not a documentary. You have to pretend to kill a horse -- instead of kill a horse -- which is incredibly challenging.”

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It’s this exact relationship between the screen and the page that is the most fascinating aspect of “Wild,” a book that millions have read thanks in large part to Oprah crowning it the first selection for her new book club just months after it was published in 2012. Powerful passages, like the killing of the horse, take on a smaller life on screen, while others, like the ending, are adjusted slightly.

When Strayed sat down to write about her life unraveling at age 26 in response to her mother’s early death, her divorce, her fling with heroin and her daring decision to hike the Pacific Crest Trail alone -- the 2,650-mile wilderness path that runs through California, Oregon, and Washington -- she never imagined that her book would become the international sensation that it did. (It has since been translated into 30 languages.) But producers Reese Witherspoon and Bruna Papandrea knew better. They optioned the rights to “Wild” before the book was even released, and Witherspoon signed on to produce and star as Strayed.

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And one would think that the natural choice, the smoothest transition from page to screen, would be for Strayed to adapt her book into the screenplay. Instead, writer Nick Hornby (“High Fidelity,” “About A Boy,” “An Education”) was brought on by Papandrea to do the honors. It’s a decision that came up often enough in interviews that Strayed, over drinks at the London Film Festival, asked the team why they never talked to her about writing the screenplay herself. “Ah, darling, I don’t believe in that,” Papandrea replied. “I think authors are terrible adaptors of their books.”

But Strayed, who was already a fan of Hornby’s work, holds no grudge. He was enamored with the book and had sent Strayed an email after he read it. “I had not met Nick at that point, but I knew who he was and loved his work. He wrote, ‘I absolutely loved your book. I think you’re brilliant.’”

The collaboration did not stop there. Strayed, Hornby and Vallée (“Dallas Buyers Club”) worked closely together throughout the entire process. "I gave real notes. Not only was this my book -- it was my life. And I have to live with this,” Strayed said.

But she also realized right away that changes would have to be made on the road from page to screen and she wanted Vallée to make this his own movie. (Strayed told the story of recently having been with her daughter and Vallée. Her daughter introduced him to a friend, saying, “This is Jean-Marc. He directed my mom’s film.” Strayed said she laughed and quickly corrected her: “No … it’s Jean-Marc’s film!”)

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Director Jean-Marc Vallée during the filming of "Wild."

Some of the changes in the film rely on cinematic shorthand that had to be employed in order to get the main parts of Strayed’s story onto the screen. For starters, her family was restructured for the film. In life, Strayed grew up with a single mother and two siblings before her mother eventually remarried her stepdad -- who had a prominent role in her life and in the book. In the movie, however, the family unit is simplified to a single mother and two children -- just Strayed and her brother.

In the film, the family grows up in a meager setting. But in the book, Strayed spent a good portion of her childhood in the North Woods of Minnesota on a 40-acre farm.

This cinematic shorthand also extends to some of the darker moments in her life. “I never did have sex with two guys in an alley,” Strayed said, laughing. Alluding to the film’s need to get a point across quickly, she continued, “They had to be like ‘Okay, she’s a slut!’”

It’s the only moment in the movie that pushes her comfort zone, she said. The drug use is pretty accurate. When asked if Hornby added the graphic alley scene himself, Strayed admitted she doesn’t know. “I don’t remember how that scene got there. It’s the only part of the movie that makes me wince, just a little,” she said.

But these types of changes are par for the course when it comes to condensing a 336-page book into a 119-minute film -- and Strayed knows that. “We both hoped that when you experience one you will be driven to the other,” Strayed said of her collective goal with Vallée.

Overall, she feels most intensely how true the film is to her book and her life. “More often, while I’m watching the movie I want to stand up and go, ‘This is exactly how it happened!’”

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The scene in the film where Witherspoon takes her first steps on the Pacific Crest Trail was shot in the exact spot in California where Strayed started her journey.

There are other moments that take up little space in her book that Strayed feels truly glow on screen -- like her losing one of her hiking boots over the edge of a cliff, and then out of anger and despair, chucking the other one over the edge along with it. This is the scene that opens both the book and the film.

“When I was writing about that, I was telling a literal story of what happened, but I was also mindful of the metaphor,” Strayed said. “But seeing it as an image on screen is powerful. And I think maybe more powerful in the film than it is in the book. Every time I see it, I get chills.”

“Wild” opens on Dec. 5.

Daniel Handler's Offensive National Book Award Jokes Prove Industry Has A Long Way To Go

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Daniel Handler, a popular children's book author and the host of the 2014 National Book Awards ceremony, has come in for sharp criticism after making several racially charged jokes during the presentation of the honors on Wednesday night.

His comments marred the presentation of the Young People's Literature Award to a celebrated black author, Jacqueline Woodson, for her book Brown Girl Dreaming. The book explores, through evocative free verse, Woodson's childhood in South Carolina and New York in the '60s and '70s. She grapples with Jim Crow, the effects of the Civil Rights movement and how each marked her youth, all in a series of gorgeous poems. After the presentation of the award, and Woodson's heartfelt speech, Handler informed the audience that he'd found out that Woodson was allergic to watermelon.

"Just let that sink in," Handler went on.

Doubling down on the racially charged bit, he noted that he'd told Woodson she should put that fact in a book, but she'd replied that he should do so himself. He joked, "I am only writing a book about a black girl who is allergic to watermelon if I get a blurb from you, Cornell West, Toni Morrison and Barack Obama, saying, 'This guy's okay! This guy's fine!'"

Handler also remarked that he hoped to someday win a Coretta Scott King award -- a prize given to African-American authors of young people's literature.

Observers such as author Roxane Gay and writer Mikki Kendall reacted on Twitter, pointing out that these supposed jokes introduced racial objectification into a celebratory moment in these authors' lives -- particularly Woodson -- and that his choice to make such quips at the National Book Awards points to a larger cultural problem within the literary industry.










Woodson declined to comment through her publicist. As of press time, Handler had not responded to a request for comment. In response to the backlash, however, Handler tweeted a brief apology:







Handler's tweets only highlight a single facet of the offense: By making jokes that played off of racial stereotypes during the ceremony, he did overshadow the accomplishments of the honorees. Woodson unquestionably deserved to have this moment in her career be untainted by controversy or offensive jokes that did nothing but make a point of her race.

It's impossible to ignore, however, what Handler avoided mentioning in his apology: race. His comments didn't just fail to shine a light on tremendous writers, they trafficked in outdated and offensive racial stereotypes and played them for laughs. It's clear that Handler was aware of the dangerous ground he was treading; by joking that he'd need blurbs from prominent black figures to get away with publishing a book about a "black girl who is allergic to watermelon," he was invoking a variation on the "some of my best friends are black" defense. The bit suggested that he was so in tune with racism, that it was okay to make jokes about it. But self-aware, ironic racist jokes don't get a free pass. "Hipster racism," as it's been called, only keeps these othering tropes part of the conversation while using a wink and a nod as an excuse to voicing unacceptable opinions.

Why, after all, did Handler feel it was funny or noteworthy that Woodson was allergic to watermelon? Why did he feel the need to, reportedly, make a jab that the two black nominees in the poetry category constituted "probable cause" (which would ensure a racially charged remark was made about all of the black nominees)? And why did he think, as Kendall asks, such comments would get a positive reception from the still predominantly white National Book Awards crowd?

These issues deserve attention his brief apology fails to deliver. His comments, though intended as jokes, speak to deeper issues in the literary industry. As Jia Tolentino noted on Jezebel, only 3 percent of children's books were written by black authors or feature black characters, a damningly small chunk. In 2013, just 93 of 3,200 children's books were about black characters; only 68 were by black authors.

Just this spring, Book Expo America was rocked by outrage when the prominent children's literature panel lineup was announced -- and initially contained only white writers. Awards galas, like the National Book Awards, have also historically been and too often remain largely white; though several writers of color were nominated this year, Handler's comments reintroduced this sense that they were out of place in the literary award circuit. These controversies and outrages will continue to occur, frequently, so long as writers of color are marginalized by the literary industry that has the power to make their voices heard.

'Portlandia' Season 5 Trailer Is Hilariously Epic And Intense

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"Interstellar Part 2" or "Portlandia"? The new trailer for Season 5 of Fred Armisen and Carrie Brownstein's comedy show is of seriously epic proportions. Set to some intense Hans Zimmer-esque music, the trailer shows the chaos that is slowly unravelling in the quaint city of Portland. There's a taxidermy shop that gets vandalized, Olivia Wilde returns to help free the whales at Sea World and Paul Reubens acts like a "weirdo." There's also raw milk advocates, a scared Vanessa Bayer, machine guns and Brownstein dangling from a building.

Season 5 of "Portlandia" will also feature a handful of celebrity cameos, including Natasha Lyonne, Anna Gunn, Greta Gerwig, Seth Meyers, Parker Posey, Justin Long, Shepard Fairey and more. When the series returns on Jan. 8, we'll also get a flashback to the beginnings of the Feminist Bookstore and how Toni and Candace became friends. The only bad news? Having to wait for Season 5 makes us feel like Brownstein's Claire at the end of "Battlestar Galactica."

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Image via Tumblr

"Portlandia" Season 5 premieres on Jan. 8 at 10:00 p.m. ET on IFC.

These Celebrity Drawings Are So Realistic, You'll Think They're Photos

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At first glance, Jack Ede's Instagram feed simply looks like a stream of celebrity photos. But when you look closely enough, you'll be blown away by the incredibly realistic portraits drawn by the 18-year-old artist.

According to his Instagram blog, Ede started using celebrities as his muse for a very simple reason:

"I found a picture of Morgan Freeman that was incredibly detailed and the resolution was so high that I could zoom into the photo and see every little freckle and pore on his skin. It makes me so excited to draw something when I find a good photograph."

Now, the UK-based teen has over 85,000 followers on the social media site under his Instagram handle, @Jack_Ede. Check out some of the uncanny sketches below:

Morgan Freeman

A photo posted by Jack Ede (@jack_ede) on





Robin Williams

A photo posted by Jack Ede (@jack_ede) on






Harry Styles

A photo posted by Jack Ede (@jack_ede) on






Earl Sweatshirt

A photo posted by Jack Ede (@jack_ede) on





Cara Delevingne

A photo posted by Jack Ede (@jack_ede) on






Bryan Cranston as Walter White in "Breaking Bad"

A photo posted by Jack Ede (@jack_ede) on






Check out Ede's Instagram account for more vivid celebrity portraits.

Yoko Ono and The Flaming Lips Cover John Lennon's 'Happy Xmas (War Is Over)'

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Yoko Ono and The Flaming Lips have collaborated numerous times in the past, including a "Late Show with David Letterman" performance and a four-track joint EP that contained the holiday tune "Atlas Eets Christmas." Now, they're back with another Christmas song, this time opting to cover John Lennon's "Happy Xmas (War Is Over)." Ono and the Lips pepper Lennon's classic with a little psychedelic energy, giving it enough oomph to distinguish it from the original without straying too far from its peace-willing charm. The cover is part of Amazon Prime's 43-track holiday compilation, "All Is Bright."

Listen to the cover above.

Activist Nun Corita Kent Is Today's Google Doodle

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Today’s Google Doodle honors Sister Corita Kent (1918 - 1986), an activist nun whose artwork spread her message of peace.

Kent joined the Order of the Immaculate Heart of Mary in 1936, according to VernissageTV. She started taking art classes, eventually earning a masters in art history from the University of Southern California.

She left her order in 1968 to pursue art full-time. However, her work was still very much infused with her unique spirituality. She would often place spiritual writing next to symbols of consumerism, Time reports.

While living in Los Angeles and Boston during 1960s and 1970s, Kent used text and colors to create vibrant silkscreen pop art. Kent was a strong advocate for peace during the Vietnam War. She also used her talents to create posters and billboards for the International Walk for Hunger, Physicians for Social Responsibility, and Amnesty International.

Her work can now be found in the world’s top museums, including The Whitney, Museum of Fine Arts, Boston, and The Metropolitan Museum of Art in New York.

November 20, 2014 would have been her 96th birthday.

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As painters cover 150-foot high Gas Co. tank with rainbow stripes, artist Corita Kent and Karl Kunberger, manager of gas supply and construction, looks at a finished model, in Boston, USA, on Oct. 19, 1971.

When Photographers Refuse To Capture Same-Sex Weddings, They Miss Out On Love Stories Like These

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Earlier this week, San Rafael, California, photography team urloved made headlines after declining to photograph a same-sex couple's wedding. The would-be clients posted their experience on the company’s Facebook page, massive backlash from the community followed, and urloved decided to go out of business altogether.

In a statement on its website, the husband-and-wife team wrote, in part: “It is not photographing a couple who have different personal beliefs that we have difficulty with. We genuinely felt referring this couple to a photographer who does share their personal beliefs would provide them with the best service for their special day. We wanted to connect them with someone who did share their personal beliefs so that they could give them the service quality they deserve.”

The couple did not return requests for comment from The Huffington Post.

Sounds to us like they’re missing out. So many same-sex couples, after all, have relationships that have weathered the roughest of storms, and their weddings often follow years-long fights for the government to recognize their relationships.

We asked other wedding photographers to share their favorite memories of shooting same-sex marriages. Check out the happy couples and stories, below.

Mary and Diana
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“These are my dear friends Mary and Diana at City Hall," photographer Anna Kuperberg told HuffPost. "They got married on June 28th 2013, the first day it was legal in SF after the Supreme Court decision. They had set the date months before not knowing how the Supreme Court would decide. They simply picked June 28th because it was the six year anniversary of them being together, and they didn't want to have to remember one more anniversary date. They had a fabulous ceremony and party at a restaurant across the street from my house, and then in the middle of the party it was announced that same-sex weddings opened up at San Francisco City Hall. So we all jumped in cars and rushed down there for their second ceremony. My wife Carla officiated, since she works for the city and had already been ordained to perform ceremonies. The best part was when Carla said, 'By the power vested in me by the State of California...' and everyone went crazy cheering and crying. It's great to be in love and to make history."





Erik and Dom
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"When I started photographing same-sex weddings, I wasn't sure what to do with two tuxedos," photographer Tara Arrowood said. "It wasn't about photographing two men, it was about the two black tuxes together in one photo, how to make that look intimate and not staged ... but in the end, I found it much easier than I thought and very endearing. My first couple, Erik & Dom ... were so sweet, they invited my assistant and I to sit with them at the head table for dinner."





Alissa and Jenny
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“Love is love is love, and love finds a way," photographer Suzy Clement said of brides Alissa and Jenny. "This wedding was magical, and it doesn't stand out in my mind because it was a same-sex wedding. Rather, it stands out because Alissa and Jenny are two very, very strong and uniquely inspirational women. I was privy to their love story and knew that they both came through some very challenging times on the way to finding one another, as so many of us do. To witness them embracing their love, joining together to dive right into life in all of its joy, delight, messiness and imperfection was an incredibly moving experience. This is what is most important about weddings, and what makes them truly beautiful. The question of man-woman vs. same-sex simply doesn't matter.”





Lisa and Michelle
lisamichelle


“Lisa and Michelle met through their sons: Fox, Will and Lucas, who were friends in school," Kuperberg said. "Their sons are their biggest priority, and there were 27 children in attendance at their wedding. It's all about love and family.”





Jack and Ryan


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"[They were] are so supportive of each other's dreams and passions and just super fun and awesome to be around," photographer Dana Hargitay said of grooms Jack and Ryan.





Sarah and Jackie
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"When I look at two happy people to me there is absolutely no difference if I see two guys, two girls or a man and a woman," photographer Joseph Kohn said. "All I see is love and emotions. I see the story. And that’s what I’ve been hired to capture. Sarah and Jackie are one of the most energetic, spontaneous and fun couples I ever worked with. They were surrounded by so much love and admiration, I was afraid it was too much for me to capture. Everywhere I looked I saw smiles, hugs and kisses. It was a true celebration of very close group of friends and family."





Stacey and Laura
staceylaura


"By far the most emotional ceremony I have ever witnessed," Hargitay said of shooting brides Stacey and Laura. "So much love in this family and the girls couldn't have been happier for their moms!"





Ryan and Darren
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“This shoot only reaffirmed for me what I already knew to be true, that love is love, and should be celebrated, regardless of sexual orientation," photographer Larissa Cleveland said of shooting grooms Ryan and Darren. "Photographing them was no different than any other excited and in-love couple I'd worked with in the past. Their obvious chemistry made it easy for me to see their love and capture the spirit of their relationship in a beautiful way."





Kevin and Tony
kevintony


"Kevin and Tony's wedding was our first gay wedding. When we met with them for consultation, we simply viewed them as all of our other clients before them -- two people that fell in love and decided to get married," photographers Tammy and Mark Toung said. "Throughout the wedding day, we witnessed their devotion and love for each other, their families, and their friends, and we were reminded that love sees no boundaries."





Robert and Alvin
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"Alvin Baum, age 83, is a long-time activist and philanthropist in San Francisco. On May 17, 2014 he married his partner, Robert Holgate," Kuperberg said.





Eva and Lara
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“I had been wanting to photograph same-sex weddings for years and was so thrilled when Prop 8 was struck down," photographer Mary McHenry said of her experience before shooting brides Eva and Lara. "Two people who love each other and want to make a life together should only be celebrated and supported. It's as simple as that. One moment from the wedding that stood out was when one Lara's father raised his glass and said how happy he is that we live in a time when his daughter can marry the person who she loves.”

Bill Cosby Stand-Up Shows Canceled Amid Assault Allegations

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Bill Cosby's scheduled stand-up show at Treasure Island in Las Vegas on Nov. 28 has been canceled "by mutual agreement," this according to a spokesperson for the casino. All tickets will be refunded. A representative for Cosby was not immediately available for comment.

Another show, set for April in Illinois, was also canceled.

Earlier on Friday, The Associated Press reported that an appearance Cosby was set to make in Tucson, Arizona at the Diamond Desert Casino on Feb. 15 had also been scrapped. Cosby still has more than 30 stand-up dates set for between now and May of 2015, including a performance in Melbourne, Florida scheduled for Friday night.

On Thursday night, Cosby performed at The Atlantis Bahamas. It was his first public appearance since facing renewed sexual assault allegations from various women, including model Janice Dickinson and Carla Ferrigno, wife of Lou Ferrigno.

From the AP's coverage of the evening:

Cosby stuck to his familiar routine of anecdotes about his life, including stories about his childhood growing up in the projects of Philadelphia and some observations about life in the Bahamas drawn from previous visits to the island chain.


An unnamed attendee told Us Weekly that Cosby was "very theatrical on stage." According to the source, Cosby dedicated the last sequence of his act to Camille, his wife.

The canceled shows cap a week that saw NBC stop development on a potential sitcom with Cosby, Netflix postpone plans to debut a new stand-up special with the comedian ("Bill Cosby 77") and TV Land pull reruns of "The Cosby Show" from its schedule.

Correction: An earlier version of this post misstated the state where Cosby's third show was canceled as Virginia.

El Anatsui, King Of Trash Art, Explores His Minimalist Side

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In 1990, a man named El Anatsui was among the first batch of sub-Saharan Africans ever to present at the Venice Bienniale, the grand ball of the art world. By 2007, the Ghanaian artist was the beau of the very same ball, having transformed the end of the Bienniale's main hall, the Arsenale, into a corridor of disorienting light, beamed off the sort of ingenious piece that would become his calling card: a suspended sheet woven of flattened liquor bottle caps.

el anatsui

Anatsui's new work looks familiar, but tackles fresh concerns.


The New York Times declared him a "global star," one of a few African artists on which every critic in the Western world felt compelled to make some kind of judgment. In Anatsui's case, the reviews tended to be as glittery as the work -- witness the blitz surrounding his sweeping retrospective last year at the Brooklyn Museum of Art, the launch of which prompted the Times anointment. His, after all, are beautiful sculptures rich with innuendo, not only about the detrimental effects of colonization (European countries were the first to introduce, and reap handsome profits from, the sale of liquor in parts of Africa -- a continent now plagued by alcoholism), but also in terms of environmental concerns such as recycling and waste. Then there is the poetic commentary on the shiftiness of a work of art: Anatsui's are made with much help from local workers, and draped according to the whims of each setting's curators.

But a new show overturns many of those expectations. One year later, Anatsui has picked a wholly unpredictable setting to debut a quietly daring exhibit. "Metas," at the Mnuchin Gallery in Manhattan's Upper East Side, might at first glance seem to present more of the same: Bottle caps? Check. A closer look, however, reveals an artist grappling with the fixations of a different place and era than his own.

el anatsui

The legacy of abstract expressionist Carl Andre, who famously worked in a grid pattern, is evident in several of Anatsui's newest pieces.


el anatsui


From a series of flattened steel plates to sculptures strung of caps of a single color, the works at Mnuchin represent an artistic "leap," says Sukanya Rajaratnam, a partner at Mnuchin, who worked closely with Anatsui on the exhibit. The conversation begun in Venice is morphing into "a more art historical dialogue," in Rajaratnam's assessment, one that loops in the voices of American minimalists like Donald Judd (the subject of a recent exhibit at Mnuchin), and 20th century European cubists.

el anatsui


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Metas III, by El Anatsui, 2014. Courtesy Mnuchin Gallery.


What were once shimmering portals into African history are now experiments in form and line. Just as Pablo Picasso entered a blue period as a way to explore the dimensions of a single color, Anatsui is "moving away from color into a grey palette," Rajaratnam points out. Pinned onto the walls of Mnuchin -- an unconventional gallery space, set inside a townhouse -- these new bottle cap sculptures recall the oeuvre of artists not typically associated with Anatsui. The clarity of geometry and color, the shocking simplicity of the work's direct placement onto the walls, it all calls to mind the phenomenon of Kazimir Malevich, the Russian abstract expressionist who in 1915 stunned war-weary audiences with the purity of the first totally non-representational painting in Western art, titled simply, Black Square. The subversion here is circumstantially different. Set against the townhouse's innate decorum, Anatsui's sculptures seem vaguely revolutionary, the gallery version of a child's wild scrawls on the walls of the wealthy parents' brand new home.

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Womb of Time, by El Anatsui, 2014. Courtesy Mnuchin Gallery.


el anatsui

Disciples, by El Anatsui, 2014. Courtesy Mnuchin Gallery.


The historic townhouse is full of the sort of architectural details popular in romantic comedies set in New York City: high molding, a grand rotunda, and an arched stairway curling up the building's three floors. Every piece was newly created for this space. According to Rajaratnam, Anatsui welcomed the chance to design for a setting so different from any he'd shown in, where the simple fact of the juxtaposition of his work inside creates drama.

el anatsui


el anatsui


A few pieces span curved walls. One clings to the stairwell side, like sort of jewel-encrusted cobweb, creating what Rajaratnam calls an "interface with the environment." Anatsui typically builds work that can be folded into a suitcase and shown anywhere, and this exhibit reverses that notion. The work befits the space, and vice versa. "We are not a traditional white box," Rajaratnam says. "And El is not your typical artist."

Metas is presented in collaboration with the Jack Shainman Gallery, and runs through Dec. 13 at the Mnuchin Gallery.
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