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7 Powerful Photos Of Military Moms Breastfeeding In Uniform

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As the founder of the "Normalize Breastfeeding" project, photographer Vanessa Simmons has captured and shared countless images of mothers nursing their babies around the world. 


Her new series depicting military moms breastfeeding in uniform is particularly stunning.



While photographing mothers in the Washington, D.C. area as part of her Normalize Breastfeeding Tour, Simmons documented a group of breastfeeding women in their Army, Navy and Air Force uniforms.


Some of the moms in this series found Simmons through friends on social media, and others joined through her partnership with Breastfeeding in Combat Boots -- a nonprofit that advocates for military mothers working to nurse while serving their country.


"I have learned that many active duty moms are struggling to find support to continue nursing and pumping once they return to work full-time," Simmons told The Huffington Post.  



The photographer first took pictures of an active duty mom breastfeeding in uniform in March 2015, but when she shared an image from the session on Facebook, she was disappointed to see the comments section flooded with hateful, misogynistic responses. 


With this series, Simmons wants viewers to see the beauty and power in military moms breastfeeding. 


"I hope that others recognize the difficulty at hand for every mother to breastfeed their baby, yet I also hope that they see the strength of the women who serve our country while serving their families simultaneously," she said.


"I am inspired by their stories, I am impressed by their bravery in the midst of mothering, and I am grateful to have the opportunity to share the images that I have captured," she added.


To learn more about the #NormalizeBfing project and tour, visit Simmons' website, NormalizeBreastfeeding.org. And keep scrolling for more photos of military moms nursing in uniform, along with snippets from the photographer's interviews with them.


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See The First Trailer For 'Indignation,' The Sundance Hit Based On Philip Roth's Novel

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"Indignation" has a great many bona fides: James Schamus is making his directorial debut in a Philip Roth adaptation that marks the latest star vehicle for "Perks of Being a Wallflower" breakout Logan Lerman. The drama was well-liked when it premiered at Sundance in January -- I thought of it as a brasher (read: male) version of "Brooklyn."


The story of Marcus Messner, a whip-smart working-class Jewish boy who moves to Ohio to attend a conservative college, "Indignation" is a coming-of-age story set in the early 1950s. Against the backdrop of the Korean War, Marcus explores his first romance on a campus that often clashes with the cultural liberation he desires. 


The Huffington Post and its parent company, AOL, are exclusively premiering the first "Indignation" trailer ahead of the movie's July 29 theatrical release. Pay particular attention to the exchange between Lerman and Tracy Letts that opens the trailer -- it leads to an intense 15-minute tête-à-tête that alone is well worth the admission price.




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Wild Behind-The-Scenes Photos Remind Us That Movies Are Much More Than Magic

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She makes it look so easy.


In “How to Steal a Million,” Audrey Hepburn coolly stops a man whom she presumes to be a thief from stealing her father’s forged painting. The pair gets into all manner of hijinks, before, naturally, professing their passionate feelings for one another. Each line and action scene flows smoothly into the next, in that stream of perfectly timed events that makes audiences exclaim about the magic of movies.


Of course, movies aren’t magic, but the products of lots of money and grueling work. To capture the grittier side of the industry -- or at least the scenes we don’t always see -- a photo exhibition titled “The Art of Behind the Scenes” aims to reveal those offhandedly magical moments not captured on camera.


In one photo, Hepburn and her co-star in “How to Steal a Million,” Peter O’Toole, sit uncomfortably crammed in a broom cupboard, his leg twisted around her demure lap, in preparation for shooting a heist scene. In another scene, on the set of “Moby Dick,” filmed in 1954, a crew of shirtless men helm a lifeboat while two cameramen maneuver around the choppy waters, trying to capture the perfect shot, a feat that wouldn’t have been weathered if CGI had been around at the time. In yet another, actress Brigitte Bardot sits on the floor with legs splayed, cigarette hanging from her lips, playing what looks to be a game of Solitaire, in a perfect image of on-set ennui.


These and other images of how movies are made were collected by Finch & Partner and Jaeger-LeCoultre in “The Art of Behind the Scenes," which will be on view at the Hôtel du Cap in Antibes, France, on May 13, 2016, coinciding with the annual Cannes Film Festival. See a preview of the collection below.


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Thousands Come Together To Celebrate Queerness And Community At DragCon

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Last weekend, over 22,000 entertainers, artists, fans and queers from around the world descended upon the Los Angeles Convention Center for the second annual convention dedicated to the art of drag and queer performance, RuPaul's DragCon.


The two days of festivities consisted of panels, screenings, meet and greets, social media meet-ups and enough wigs, clothes and merchandise to outfit an entire army of drag queens.


As a whole, DragCon proved to be an otherworldly gathering of queer creatives, legendary figures, entertainers and influencers who traditionally are only accessible by way of nightclubs or similar nightlife spaces.


“Ru would say we have a responsibility with this show to not only make it really great but also to find a way to bring people together,” "RuPaul's Drag Race" Executive Producer Randy Barbato previously told The Huffington Post about the genesis of DragCon. “It’s sort of like – it’s like an extension of being good producers, you know — we’ve identified this group of people, our tribe, and want to bring them together."


This was perhaps the most remarkable thing about the convention -- the accessibly of these figures to the general public by individuals who typically aren't engaged in club culture, or for whom nightlife just isn't their cup of tea.



"People like ourselves and all the people we usually are working with in clubs are teaching these guys through example that it is ok to be homo freaks and weird queers, and to be creative, successful and proud all at the same time," LA-based performance duo The Boulet Brothers elaborated in a Facebook post. "We didn't have much of that when we were growing up, so it's nice to imagine that we might inspire someone in that way. Thinking about all of this brought the whole Drag Con full circle for us because the event on some level is literally helping to open the doors of self acceptance, change and self esteem for some people."


While the panels, Ru girls and gaggles of queens were certainly exciting, there is something be be said about people who find empowerment through living authentically coming together and celebrating the parts of themselves the world has historically condemned.


And that's exactly what RuPaul's DragCon provided.


Check out a video above courtesy of Reddit to see some of the faces of the 2016 DragCon, and check out some photos below courtesy of World of Wonder.


Want more information on RuPaul's DragCon? Head here.


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This Organization Is Helping Women Of Color Thrive In The Communications Field

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Lauren Wesley Wilson knows first hand the challenges of being a black woman who works in the communications field.


As a former professional and strategist for some of the country’s top corporate public relation firms, Wilson is well-aware of the unique experiences women of color face working in a profession that she says is dominated by white men and women. The most glaring issue she says she faced early on in her career was not having access to or knowledge of the people of color who were in leadership positions in her field that she could reach out to for mentorship and guidance.


Wilson decided to change that and she did with the creation of ColorComm.



Thursday marks five years since Wilson launched ColorComm, which she calls the first and only nationwide network of women of color in communications that provides them with professional advice, guidance and resources to encourage them to create connections that will help them get ahead in their careers.


"When I was thinking about launching ColorComm, I was 25 and I looked around where I worked and didn't see people of color in leadership positions and was wondering how I was going to be able to carve out my trajectory in communications if I didn't have people to look up to at the executive level," Wilson told The Huffington Post.


"You really need a support system when you're navigating your way through communications and it doesn't happen formally," she added. "You kind of just have to figure out how to get there on your own."



During the first year of the organization's launch, Wilson hosted invite-only luncheons with senior executives from various companies and brought women together to meet, mingle and learn from one another.


"What I thought was why don't we get all these women together in one room and show them how to develop mutually beneficial relationships," Wilson said.


The luncheons quickly grew and within a year, ColorComm transitioned into a paid membership organization with 40 members based out of Washington, D.C. Over the next three years, it continued to boom and it is now a professional membership organization with over 500 members in six different cities: D.C., New York City, Chicago, Atlanta, Los Angeles and San Francisco.


Wilson also made huge headway when she kicked off ColorComm’s first annual conference in August 2014.


"The conference was driven by people in cities where ColorComm did not exist," Wilson said. "We really realized that we could connect women throughout the country and we don't necessarily have to have ColorComm chapter in their city to have the ColorComm experience."


Wilson was right -- women from all over traveled to Miami, Florida, to attend the inaugural conference and engage in the experiences it offered. Standout journalists like Soledad O'Brien spoke to the crowd and reporter Lisa Ling attended the following year. The Huffington Post's very own Arianna Huffington will deliver the keynote address at this year's conference.



Within five years, Wilson has managed to launch and build a successful network of women who work together to help uplift, congratulate and inspire others through their work. It is a crucial platform for women of color who Wilson says often don’t receive the respect or recognition from their bosses that they deserve.


"[Women of color] need to be the drivers of our own careers," Wilson said. "Taking advantage of your own career, we think we have our bosses and that they're going to do that for us and frankly they don't."


Wilson offered five tips women of color should consider to get ahead in their careers:



  1. Take an assessment of yourself, where you are and where you want to be.

  2. Set goals that are actionable and can be achieved.

  3. Be proactive and set deadlines for yourself (time moves quickly).

  4. Get outside of yourself and get uncomfortable (i.e., go to events alone, introduce yourself to higher ups, ask for promotions).

  5. Always be prepared, have a portfolio of great work to show. 



Through her work at ColorComm, Wilson has helped to curate a crop of women who have become industry influencers.


Now, five years after ColorComm's inception, Wilson says she is still blown away by the organization's success and proud of the return on the investment her dedicated team and passionate members have made in the organization.


"[ColorComm] gives me sense of purpose in the work that I do," Wilson said. "This work isn't easy. I’m glad we’re celebrating five years… it's bigger than where we started. Doing work every day where you know that you're fulfilling yourself and others really just makes me want to go to work and do this work."


To commemorate the organization's five-year anniversary, ColorComm hosted a special celebratory luncheon on Thursday in Washington, D.C., with over 120 leaders in communications including renowned professionals like TV One's host and managing editor Roland Martin, White House correspondent April Ryan and Chairman of Ogilvy Public Relations, Chris Graves. 

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Thousands Of Egyptians Are Posting Selfies To Challenge Their Goverment

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Thousands of Egyptian citizens have found a clever way to respond to government censorship: by posting cell phone selfies with the confrontational hashtag “Does a mobile phone camera shake you?”


The question is directed at Egyptian authorities, who arrested five members of a satirical troupe Atfal al Shawarea, or Street Children, earlier this week. The group is known for using phone cameras to shoot selfie-style videos that criticize the government.


Atfal al Shawarea's videos are typically filmed on the streets of Cairo as the troupe's six members perform a mix of spoken dialogue and song. The group posted a clip earlier this month titled "Sisi my president has brought us down," ridiculing the Egyptian President Abdel-Fattah el-Sisi.


The satirists are now being investigated for “inciting protests that aim to disrupt peace and security and cause violent crimes against state institutions,” reported Egyptian news website Ahram Online. The BBC says four of the men were held "on suspicion of insulting state institutions and inciting protests," while another was detained on similar charges.





Members of the satirical group Atfal al Shawarea perform in one of their selfie-style videos. 


Since the troupe members were arrested, Egypt’s journalists, artists and activists have launched an online campaign to demand their release and to condemn the government's crackdown on creative dissent


Satirist Bassem Youssef, known as "Egypt's Jon Stewart," posted a Facebook Live video calling on authorities to release the members of Atfal al Shawarea and other detainees.


“If you truly are not scared, let these kids go. If you really don’t care, let these kids out. But since they’re still inside, it means that you’re still scared, terrified,” Youssef said.  


Prominent Egyptian actors Khaled Abol Naga and Amr Waked also posted selfies demanding freedom for Atfal al Shawarea.








Egyptian novelist and political commentator Ahdaf Soueif added her voice to the campaign. 





Roughly 16 million Egyptians are on Facebook, and social networking platforms have often played a part in local and national politics, most notably during the Jan. 25, 2011 revolution. Egyptian citizens often express their frustration and rally support for artists and dissidents on social media. 


The “Free Atfal al Shawarea” hashtag follows an ongoing online and offline campaign condemning the imprisonment of Ahmed Naji, an Egyptian novelist serving a two-year sentence on public indecency charges related to his novel Istikhdam al-Hayat, or Using Life.



If you really don’t care, let these kids out. But since they’re still inside, it means that you’re still scared, terrified.
Bassem Youssef, Egyptian satirist


The Sisi government's suppression of artists is part of an ongoing crackdown on freedoms and an attempt to quell criticism, international commentators say.


More than 1,200 people were detained in Cairo last month after protests over Sisi’s decision to transfer control of the strategic Red Sea islands Tiran and Sanafir to Saudi Arabia.  


A recent police raid on the Egyptian Journalists Syndicate headquarters in downtown Cairo and the arrest of two journalists has also angered civil society. 


Sisi's regime has also targeted rights defenders and is investigating a handful of human rights groups, among them Human Rights Watch.

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These Zany 'Would You Rather' Illustrations Will Have You Racking Your Brain

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When the last time you pondered life's biggest philosophical questions? For example would you rather have candy corn for teeth or gummy bears for fingernails? And would you rather live on a lily pad or inside a tumbleweed?


We know, we know, this is some tough stuff.


Hallie Bateman, a 26-year-old freelance writer and illustrator, recently took to Twitter and shared some of her "Would You Rather" comics.  And let's just say, they left us scratching our heads!






The comics include pressing questions, like, "would you rather always wink after every sentence or have to say everything twice?" and "would you rather wear clothes made of pepperoni pizza or pancakes with syrup?" 






Bateman said that her friend Michelle Lee wrote the genius questions while she brought them to life through her quirky illustrations. The 26-year-old mentioned that Lee has always had a knack for coming up with the wackiest "would you rather" questions. In fact, she enlisted Lee to help come up with questions for the series a while back, as part of a weekly column Bateman was working on for The Awl, but the comics never got published. 






"After waiting for a long time and trying to submit them elsewhere, I just decided to tweet them," Bateman told The Huffington Post. "It was fun to see what people's answers were!"


The Twitterverse was definitely stumped -- as are we.


If you can't get enough of the "would you rather" questions, fear not! Lee actually has a Twitter page dedicated to the brain teasers, appropriately called "Would Mew Rather." 


Now excuse us as we furiously debate these forever.






























H/T MyModernMet

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Historical Reenactor Gets Medieval On A Drone Buzzing Overhead

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Drones weren't around in the Middle Ages. Obviously.


So when one started buzzing over the Rusborg medieval reenactment festival in Russia earlier this month, a man dressed as a warrior took serious exception.


The gadget's camera captured a video of a reenactor breaking away from a battle to hurl what looks like a spear into the sky.


The object strikes the quadcopter and sends it spinning down to Earth:





However, the man's weapon was just a soft-tipped javelin. 


"Therefore the quadcopter was not destroyed," Pavel Semyonov, who organizes the event in the Lipetsk Oblast region, told Rossiyskaya Gazeta. "It just dropped to the ground." 


Drone owner Gennady Tolcheev came under fire from some reenactors who said the quadcopter had no place at the event, UPI reports. The festival is so dedicated to historical accuracy that guests aren't even allowed to wear modern underwear. 


But Tolcheev said organizers had given him permission to film, and the javelin-thrower has since voluntarily offered to pay for the minor damage he caused to the drone.


Watch Tolcheev's full video here:





The three-day festival has taken place annually since 2005. More than 1,000 participants gather to take part in a host of medieval activities including traditional fighting, archery and crafts.

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Here's What Being A New York Chorus Boy Is REALLY Like

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To young, aspiring thespians, the life of a New York chorus boy might seem like a glamorous, spotlight-and-sequin-filled dream. As it turns out, however, the able-bodied stars of Manhattan's theater world have to work twice as hard as they play. 


As part of the emsemble cast of the 1960s-themed dance musical, "Trip of Love," Ian Campayno appears -- at alternate points in the show -- as a sexy surfer, a Woodstock-era flower child and, in one particularly woozy sequence, a hallucinogenic denizen of Alice's wonderland. But on days when the Off-Broadway hit has both a matinee and an evening performance, Campayno must adhere to a strict daily regimen to keep his energy level high. 


That doesn't mean that he doesn't find time to have fun, too, particularly when his show hosts an enthusiastic audience.  



"When I first saw the show, I was amazed at the visual journey you get to go on. Between the lights, the sets and, of course, the amazing costumes, there really is so much to look at and smile about," Campayno, 30, said of "Trip of Love," which opened in New York in October. "I think audiences enjoy the show because it is fun. Pure, enjoyable, fun." 


Not surprisingly, regular gym time is a necessity for the Pittsburgh native, who now resides in Manhattan's East Village, and his cast mates in order to get through the two hours of "stylized, super athletic" dance routines in barely-there costumes twice a day.



The best part of the show, he said, "is the people. We are a family, and it's wonderful." 


HuffPost Queer Voices asked Campayno, whose stage resume includes the Broadway production of "Mary Poppins," to take us through his routine on a typical two-performance day. Showcasing the work that happens behind the scenes of a big-scale musical, the actor shared 15 snapshots of his two-show day, and as you can see for yourself, it was equal parts sweaty, quirky and glam. 



"Trip of Love" is now playing at New York's Stage 42. Head here for more details. 

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22 Summer 2016 Books You Won’t Want To Miss

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This summer, in addition to the obvious 2016 warm-weather pastime of drinking watermelon water while listening to “Lemonade,” we’re looking forward to reading new books! Because, although we are big proponents of couch lounging, reading in the grass while using a book to shield your eyes from the sun has its particular joys.


Thankfully, there’re a lot to choose from. It may not be the summer of “the next next ‘Gone Girl,’” but there’s a meticulously wrought new thriller out in June, one that examines a violently broken relationship between sisters. There’s also a wry adaptation of Shakespeare’s “Taming of the Shrew,” a screwball story set in 2052, and a new slate of advice columns from Heather Havrilesky, aka Ask Polly. Choose wisely, dear readers; in our opinion, you can’t go wrong with one of the following.



Homegoing by Yaa Gyasi (June 7)


Though the consequences of the African slave trade have been horrific, profound and undeniable, it can be difficult to grasp the scale -- how widely the effects reached through geography and generations. In this ambitious debut, Gyasi maps out the wide-reaching aftermath, following two branches of a family tree -- one daughter married to a British colonizer in Ghana, the other, unbeknownst to her sister, sold into slavery in America -- over the course of several generations. -Claire Fallon



Goodnight, Beautiful Women by Anna Noyes (June 7)


If Charles Baxter endorses a short story collection, you know it’s worth checking out. In the case of Anna Noyes, the praise is well-deserved; she writes poignantly about women of all ages and economic backgrounds coming together and drifting apart in New England. The stories are loosely connected, demonstrating how the rippling effects of one event, of one lie, can reach farther than imaginable. –Maddie Crum



Sons and Daughters of Ease and Plenty by Ramona Ausubel (June 14)


Ramona Ausubel’s second novel begins charmingly: a family relaxes on Martha’s Vineyard, without a care. Fern, one of the book’s protagonists, bakes and gardens, feeling like “a mother and a wife and herself all at once.” What a feeling to aspire to! But this dream-state dissolves in a puff, as the family learns that they’re out of money. Learning quickly that their morals rested on their comfort, Fern, her husband, and her children readjust, and not smoothly.  –MC



The Girls by Emma Cline (June 14)


The Girls: It’s a bold title that promises to appeal to half of the population, to any young woman, or any woman who has ever been young. It’s Emma Cline’s first novel, and its first few pages carry the same intoxicating energy catalyzed by its catchy title. Its introspective heroine notices a group of young women who exuded “prettiness and ugliness at the same time,” and quickly becomes wrapped up in their world, too distracted by its allure to notice its dangers. –MC



Under the Harrow by Flynn Berry (June 14)


A quick read that envelops you in its suspenseful plot from the first page, Under the Harrow is the first book by Flynn Berry and it’s already racking up praise. It’s the story of Nora, who learns that her sister Rachel has been murdered and takes it upon herself to abandon her own passions to solve the mystery. It’s not solely a plot-fueled thriller, though: Berry’s sentences are spare and biting. -MC



Vinegar Girl by Anne Tyler (June 21)


Shakespeare’s stories may be timeless, but that hasn’t stopped generations of writers from updating his stories with contemporary re-writes. The latest additions are published by Hogarth and written by authors whose usual thematic choices align with specific plays. So, Gillian Flynn will recast the thrilling “Hamlet,” and Margaret Atwood will reframe “The Tempest” in light of climate change. Anne Tyler seems a perfect fit for the problematic “The Taming of the Shrew,” a play that questions gender expectations, but in doing so reinforces them. Her Baptista is an absent-minded professor, her Kate a responsible teacher who finds herself in charge of her family’s daily affairs. –MC



The Mandibles by Lionel Shriver (June 21)


What if the 2008 financial crisis had sent the United States over a cliff, without any real hope for a true recovery? Shriver, the acclaimed author of We Need to Talk About Kevin, imagines a grim future in which the worst does happen -- the government defaults on its debt, the dollar collapses, and runaway inflation destroys families’ savings. For an American readership bracing for a potential Trump presidency, this might feel all too real, but the scrappy coping strategies of the quirky family at the novel’s heart might offer some reassurance of the human will to survive. -CF



How to Set a Fire and Why by Jesse Ball (July 5)


Jesse Ball began his writing career as a poet, which explains a lot. His novels Silence Once Begun and A Cure for Suicide are both spare and elliptical, frog-hopping from scene to scene, making stories that aren’t plot-driven into page-turners. How to Set a Fire and Why seems to be no exception; it’s told by a teenage protagonist who can’t manage to stay in school in spite of her knack for seeing straight through to the truth that underlies things. She’s a lovable misfit worth hanging out with. –MC   



Night of the Animals by Bill Broun (July 5)


Set in the near-future -- 2052, to be exact -- Bill Broun’s curious novel follows a homeless man around London as he contemplates freeing animals from London’s zoo. Cuthbert Handley suffers from hearing imagined voices, but he explains the phenomenon neatly: he’s in touch with the inner lives of animals, who speak to him directly. In prose that employs a variety of British dialects, Broun composes a story that’s engaging not only for its strange plot, but for its inventive use of language, too. Plus, Mary Gaitskill calls it, “the most beautiful, strange novel I’ve read in years.” –MC



Problems by Jade Sharma (July 5)


A slim novel about a woman with self-destructive impulses and a bit of a heroin habit, Problems reads with the loping ease of a dark, mordant reverie. The narrative of the protagonist, Maya, drifts with the stream of her consciousness from why she got married to how she makes tea to what her mother’s MS is like, but thanks to Sharma’s blunt yet elegant prose, the effect isn’t scattered or disorienting -- it’s intoxicatingly human. -CF



Pond by Claire-Louise Bennett (July 12)


The peculiarities of everyday life -- the texture of an overripe banana, say -- are given weight and meaning in Bennett’s novel, which was originally published in Ireland with much success. A woman waffles between childhood memories and droll daily observations that together form a picture of a woman living a quiet, independent life. –MC  



Heartbreaker: Stories by Maryse Meijer (July 12)


Lindsey Hunter, the author of the sharp, dangerously wrought novel Ugly Girls, calls Heartbreaker “a scowl of a book, a gleaming, hungry mouth, a chomp.” Which is to say that Meijer’s stories are intense and threatening, with language that invigorates the senses. Like the writers of her ilk -- Hunter, Amelia Gray, Laura van den Berg -- Meijer makes the dangers of girlhood come alive, crafting characters who flirt with violence. -MC



Hot Milk by Deborah Levy (July 12)


“The oldest star is about 13 billion years old but the stars on my screen saver are two years old and made in China,” Deborah Levy writes in the opening scene of her new novel. The protagonist’s computer screen has just broken after a rough tumble, and as usual, Levy takes an ordinary annoyance and morphs it into a universally felt travesty. The novel centers on Sophie, a fledgling anthropologist, and her mother Rose, who suffers from mysterious limb paralysis. The two are spending time in Spain, consulting with a physician who may be able to cure Rose, and in the meantime, Sophie reflects on illness, caretaking and the illusion of control perpetuated by the Information Age. –MC



How to Be a Person in the World by Heather Havrilesky (July 12)


Heather Havrilesky has made a name on The Awl and, now, NY Mag’s The Cut, as the tell-it-like-it-is personal advice sage to lost millennials, would-be artists, and mournful singles -- and that name is Polly. Fans of her verbose, caps-locky, profanity-studded, tear-jerking advice columns, which tend to meander through moments of personal reflection and heartfelt commiseration before landing on emphatic advice, will be treated to a book in the Ask Polly series this summer. The book includes some favorites, but also a whole mess of new material. Get ready to adult. - CF



Ninety-Nine Stories of God by Joy Williams (July 12)


The cover of Joy William’s slim new story collection is perplexing: four German Shepherds sit contentedly in a rowboat, lost, it seems, on a rough sea. The dogs look content enough, even though there’s no land or sun in sight. Like Williams’s stories, it could be a parable for the aimlessness of existence, and the strange and quiet joys we find while drifting. Packaged as super-short flash fiction, Williams’s already spare style takes on the dreamlike nature of Lydia Davis’ weird and wonderful stories. -MC



Monterey Bay by Lindsay Hatton (July 19)


Plunge right into 1940s Monterey, and the Cannery Row made famous by John Steinbeck, in this historical novel about famously charming biologist Ed Ricketts. In limpid prose and acutely captured sensual detail, Hatton tells the story of 15-year-old Margot Fiske, who arrives at Cannery Row with her entrepreneurial father, but snarls up his plans by getting mixed up with Ricketts -- first as his sketch artist, then as his lover. -CF



Multiple Choice by Alejandro Zambra (July 19)


Every student who’s labored over standardized tests has questioned whether these multiple choice barrages can show anything about what we know and how we think about literature and the world around us. Zambra takes that frustration and flips it into a brilliant, book-length meditation on the limits of meaning, or the lack thereof. Formatted as an SAT-style test, Multiple Choice uses the form of the dreaded standardized test to create a philosophical playground for readers that’s anything but standard. -CF



The Fire This Time edited by Jesmyn Ward (August 2)


Seminal essayist James Baldwin has been thrust back into mainstream parlor conversation this year with the runaway success of Ta-Nehisi Coates’ powerful Between the World and Me, a book that drew comparisons to Baldwin’s The Fire Next Time. Now, novelist and memoirist Jesmyn Ward is, in turn, carrying on Baldwin’s legacy of writing fearlessly and evocatively about race in America. Ward introduces, edits and contributes to this anthology, inspired by the country’s recent racial turmoil and the comfort she found in The Fire Next Time, which also features essays from brilliant writers such as Edwidge Danticat, Rachel Kaadzi Ghansah, Kiese Laymon, and Claudia Rankine. -CF 



I’m Supposed to Protect You From All of This by Nadja Spiegelman (August 2)


They fuck you up, your mum and dad. / They may not mean to, but they do,” wrote the inimitable Philip Larkin. In less succinct but equally profound fashion, this memoir by the daughter of Art Spiegelman (the cartoonist behind Maus) and French art director Françoise Mouly illustrates how even the most well-meaning parent passes down trauma and unwittingly reenacts painful dynamics with his or her children. For any mother or daughter who’s longed for the perfect relationship, yet seen it dangling tantalizingly out of reach, Spiegelman’s perceptive and poetic family memoir will be a salve. -CF 



Known and Strange Things by Teju Cole (August 9)


Cole, the author of the novels Open City and Every Day Is For the Thief, fuses quotidian observations about a character’s surroundings with weightier thoughts about the places he explores. Open City is narrated by a man exploring New York City on foot; Every Day Is For the Thief follows a man who returns to Nigeria, noting how it’s changed, and how it’s stayed the same. Cole, then, is a master observer, so his essays are sure to be a pleasure. They range in subject matter from photography to literature, and each is brief yet thorough. –MC  



Behold the Dreamers by Imbolo Mbue (August 23)


Born and raised in rural Cameroon, educated at Rutgers and Columbia, and then devastated, along with her budding family, by the financial crisis, Imbolo Mbue has lived the story she tells in her poignant debut novel. It opens in 2007, when diligent Jende is hired as a chauffeur by a Lehman Brothers executive, and he and his wife Neni and their child are able to begin building a fabled American immigrant’s story of success through persistence and opportunity. The coming of the economic collapse, and the family’s close entanglement with their employers’ personal lives, looks to dash their dreams. -CF 



The Nix by Nathan Hill (August 30)


This doorstopper of a debut novel arrives on the scene with plenty of marketing muscle from its publisher Knopf behind it. The slyly funny, observant novel ranges from 1960s Chicago to the present-day, examining the mysterious forces that operate within families and individuals, sharply satirizing the all-too-familiar foibles of contemporary politics and mass media. -CF

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Justin Timberlake Loves This Daddy-Daughter Duo Dancing To His Song

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Justin Timberlake's new song, "Can't Stop the Feeling," has barely been out for a week, but it's already inspiring dance enthusiasts. Take Josh Rinder and his 6-year-old daughter Audrey, for example.


The dad and daughter choreographed a dance routine to the new chart-topper, and needless to say, it's incredibly cute. The duo even coordinated their outfits!


In fact, this daddy-daughter dance video is so adorable that Justin Timberlake himself shared it with fans.






"This is the cutest damn thing EVER," the singer tweeted, along with the YouTube link.


Making dance videos has become somewhat of a tradition for Josh and Audrey, who had a viral moment back in 2014 with their routine to Taylor Swift's "Shake It Off."





Clearly, you can't stop these two from having an awesome time together!


H/T BuzzFeed

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In Festival Favorite 'The Lobster,' Love Is A Droll Dystopian Nightmare

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Experiencing chronic singlehood? There are apps for that, but in the near future, there will be a cure. Or, more accurately, a punishment. 


Such is the premise of the new movie "The Lobster," which opens Friday, one year after winning the prestigious jury prize at the Cannes Film Festival. It's the latest from Greek director Yorgos Lanthimos, whose previous two films proved his penchant for fables about people living in fabricated systems. 2009's "Dogtooth" chronicles three adult siblings whose parents taught them elaborate lies about a world they've never experienced. "Dogtooth" is about escaping a scheme, while 2011's "Alps" is about entering one. The movie depicts a business where employees impersonate clients' recently departed loved ones. 


"The Lobster" is more complicated. This particular alternative society exists within what looks like a dreary version of our contemporary world. But unlike "Dogtooth" and "Alps," there are no entrances or exits.


The movie presents a dystopian future where single people are granted 45 days to find a partner before they are transformed into the animal of their choosing. The search occurs at a resort hotel where the uncoupled are tightly regulated. Among the rules: They are not allowed to masturbate, they can only play "individual" sports like golf and squash, they eat breakfast alone, and they attend etiquette lessons and prom-like dances for their hopeful relationships. Daily countdowns announce how much time is left before their transition occurs. Oh, and a big one: They must find a mate who mirrors their defining qualities, because animals of differing species cannot live together, of course. The "opposites attract" mantra does not exist. The process of finding love has become clinical and institutionalized. If irreconcilable differences arise, couples are assigned children as diversions.



"The familiarity was an important element of it," Lanthimos said of his and co-writer Efthymis Filippou's choice to set the courting process inside a common hotel. The uncanniness of this distorted romantic ecosystem makes "The Lobster" a satire. Why do we put such a premium on partnerships anyway, the movie asks. "It wasn’t a real concentration camp or prison where you put single people, but it had the appearance of something very positive and civil and nice. I think most of the choices were toward that kind of feel, so that it wouldn’t feel on the first level violent and repressive. It would be revealed as that the more you entered into it."


Colin Farrell gained 40 pounds to play the movie's central character, a newly divorced architect named David whose animal of choice is a lobster. (Lobsters enjoy long, fertile lives and have blue blood “like aristocrats.” Plus he "like[s] the sea very much.") David arrives at the hotel with a dog that was once his brother. Desperate to avoid becoming a crustacean, David feigns mercilessness in hopes of appealing to a potential partner known as the Heartless Woman (a delightfully stony Angeliki Papoulia). The gambit backfires, and David flees the hotel. He sets up camp in a nearby forest with a group of romance anarchists called the Loners. 


The oppressiveness of both the hotel and the forest is obvious, but their savage undercurrents are subtle. The fact that everyone assumes a dry affect makes "The Lobster" something of a comedy, as though all the complicated feelings and pressures associated with love have conditioned the world to no longer feel anything at all. Nobody who enters the hotel questions the rules they are handed, even though the spouseless are constantly degraded. 


"There’s a pretense of freedom and good intention, which is much more dangerous a thing, and much more creepy," Lanthimos said. 


The 42-year-old director usually works with predominantly Greek casts, but he enlisted a handful of Hollywood heavyweights for "The Lobster," his first English-language film. To complete the roster, he simply recruited actors he "liked." In addition to Farrell, that included Rachel Weisz, John C. Reilly, Ben Whishaw, Leá Seydoux and Ashley Jensen. 



"None of us did this because we’re reaching for box-office glory," Farrell said. (Indeed, trendy indie studio A24 will roll out the movie slowly, first in New York and Los Angeles. It will expand to additional cities throughout May.) "We were all there because we loved Yorgos’ work. We’d all seen 'Dogtooth' and 'Alps.' There was never a moment where we sat around and said, 'OK, today we’re going to read our lines as flatly as we possibly can.' That wasn’t a directive from Yorgos either. Just from observing and experiencing Yorgos’ previous work, I felt some kind of a pervasive internal experience when venturing into this world. Everyone just seemed locked into a very specific tonality that was inspired by the script."


Outside the actors' decisions, much of the tone sprung from the process of filming and editing "The Lobster." Lanthimos opts for sparse character descriptions in his scripts. In a pivotal scene where David befriends two men (Reilly and Whishaw) dining at the hotel, Lanthimos decided while setting up the shot to have all the single occupants face in the direction of the couples eating on the other side of the room. It's meant to motivate them. That physical distance emphasizes their inferiority, yet it simultaneously mocks their envy for the mechanical exchanges they are witnessing. After all, each of those pairs has been taught how to interact.


In our world, we put up walls that collapse as others get to know us. In this world, couples must maintain the qualities they present as commonalities. Walls can't be bulldozed. 


Through sardonic visual cues, Lanthimos creates a well-rounded world that needs few answers. We don't know quite how widely this shape-shifting phenomenon has seized society, or when it took hold. To those involved with the film, such questions don't matter, though Lanthimos did say, half-jokingly, that he imagines the movie taking place as soon as 2017. "The Lobster" is meant to deconstruct our fixed notions of relationships -- and human interactions, in general. 


"It’s a world where the majority of characters really are unaware of the amount of power or choice that they have in their own lives, like so many of us are in this contemporary world," Farrell said. "I think every person has six months in their relationship of being the version of themselves that others wish they were, or that they think the other person wants them to be. And then inevitability, a truer, more essential version of themselves becomes the predominant self, and either the relationship falls apart or you go, 'Oh, shit, I didn’t know that’s really you,' and then maybe they’ll even love you more. With this, there’s a nullficiation of that because nobody’s living in a truth. For David, there’s no internal dialogue. There’s no emotional or intellectual understanding of himself. He’s just someone who emotionally is like a child -- who’s just doing as he’s told and towing the line and following the societal rules that have been held above him. So it was an exercise for me in not following the conventions of what you normally do in regards to searching for backstory and trying to find a character history. We could shoot the shit on his character history, but it was kind of irrelevant. Every character was literally born on the first page."

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An Art Student Is Photographing 1,000 'Bad Gals' On Their Own Terms

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For many young feminists around the world, the Internet is a space for connection, alliance and collective revolt. In a world where women are often undermined, judged, objectified, silenced and pitted against each other, social media can offer a safe space for young women to be seen and heard on their own terms. 


Bad Gals Club is a secret Facebook group that connects 1,000 women around the world, providing a digital platform to get weird and get real. One member of the group is Sarah Stockman, a Melbourne-based art student and emerging photographer. Bad gals, she says, are "free to define themselves [as such] as long as it doesn't cut down or oppress another bad gal," the photographer explained to The Huffington Post. 


"Bad Gals has been a place for support, for learning and growing with 1,000 other girls all at different stages of their journey into intersectional feminism," Stockman continued. "It has been an incredibly supportive and intelligent community to be a part of. I believe the group has made me a more politically and socially aware person, as well as giving me the comfort of knowing I have an army of a 1,000 Bad Gals behind me if I ever need them." 



Recognizing the significant impact Bad Gals Club had on her life, Stockman decided to create portraits of some of the women in the group, at once her muses and her peers.


"I don't think there are enough women photographing women in the way that they would like to be depicted," Stockman said. With this intention at the core of the project, Stockman reached out to the group inviting interested participants to pose as subjects. The responses flew in. 


Stockman began photographing the volunteers who expressed the most enthusiasm and conviction in their messages, believing they'd get the most out of the experience. However, she intends to continue the project until every interested woman has the opportunity to participate. "I have every intention to continue to photograph everyone that wanted to be a part of the series. I suppose it's something that will forever be growing and won't ever really be 'finished.'"



The photographer considers each portrait a unique collaboration between herself and her subject. As Stockman put it: "I watched a documentary on Richard Avedon years ago in which he described a 'good' photograph as a 'gift' from his subjects and I've felt an affinity with that ever since."


Stockman starts off the photography process by asking each model how she would like to be depicted. Then, the two together select an outfit that makes the sitter feel, as Stockman puts it, like a "bad gal." She starts off giving direction to help facilitate a feeling of comfort in her models, but eventually, the subject is meant to dictate the direction of the shoot. "It's my job to bring it out of them and hit the shutter at the right time."


As far as her artistic style goes, Stockman prefers to follow her own lead. "I’ve always been a little afraid of admiring a photographer too much and ending up emulating them, so I’ve tried to find people to admire elsewhere." She cites pro skateboarder Rodney Mullen as an inspiration, due to his extraordinary creativity and drive. "He skated alone for many years of his life and well into his professional career, due to living in an isolated location. He always said that if not for his isolation he would have been just like everyone else."



The bad gals in Stockman's photographs are fierce, vulnerable, and incredibly cool, each captured in her own home doing her own thing. Yet as intriguing as they are to a stranger's eye, the personal images are truly meant to reflect the sitter, and not much else. "I've always gone into shooting my friends or strangers/models with an outlook more like, 'I want to photograph them how they want to be photographed and perceived,' whether the images ‘go somewhere’ or not."


"I want the people I photograph to have something they can look back on and be proud of or happy with forever," she concluded. "Hopefully with more sentimentality and pride than just happy snaps from an event or the hundreds of selfies they've taken on their phones throughout their lives."


Spoken like a true bad gal. 


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Comic Artist Explains How To Draw A Steamy Queer Sex Scene

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When I was a kid, the words "comic book" conjured images of muscular superheroes -- mostly male -- in tight-fitting bodysuits and dramatic capes, kicking and punching with a BOOM! BANG! POW! to save whatever pretty lady needed saving. Even as an elementary schooler, I was not impressed. 


It never occurred to me that the sleek language of comics could be used to tell different kinds of stories -- stories less about kicking ass and more about, well, getting it. Fast forward to 2016 and the landscape of comics has changed immensely. Thanks to a new generation of comic visionaries, the genre has expanded to include more diverse stories from varied perspectives that don't involve so many goddamn capes! Thank the comic gods. 


One such artist is Sarah Winifred Searle, a New England-born cartoonist, writer, illustrator and graphic designer bringing women's stories into graphic and gripping forms. Rather than focusing on violence or war or stealing cars, Searle's work revolves around relationships, often but not always romantic ones. What's more, these relationships are frequently non-normative, in that they include queer women, people of color, sexual women, diverse body types and -- get this -- real, complex emotions. 


For example, one of Searle's recent comics, titled "Sparks," tells the tale of two women who fall in love in Edwardian England while working toward financial freedom. The artist deftly balances stimulating flirtation and heartwarming romance with political explorations of early feminism and 20th-century colonialism. 


I reached out to Searle to discuss the details of her craft, her thoughts on the contemporary state of comics and how she makes her sex scenes so h-o-t




You've been making comics since elementary school. What initially drew you to the medium?



Above all, I’ve always wanted to be a storyteller, but sometimes it felt like I’d have to choose between writing or art to do so. Prose wasn’t visual enough, but the pictures I drew needed more structure to communicate the epics I envisioned. Comics were the perfect format that allowed me to make the most of my interests and skills.


What did your early comics look like? 


My early comics were very manga-inspired, stylistically, and I started self-publishing and selling them at a local comic shop when I was 16.


Who were the comic artists or comic strips you grew up with?


As a kid, I remember having limited access to them until I discovered my stepdad’s big collection from when he was younger. My favorites were "Classic X-Men," especially stories about the younger mutants, and "Conan the Barbarian," but more for the booby ladies than Conan himself.


When "Sailor Moon" hit North America, it changed everything. The anime was cool, but the manga blew my mind. I’d never read a comic that felt like it was made for me like that before, and it wasn’t censored like the anime was -- it had a different approach to nudity and sexuality that felt grown-up. From there, I was finally getting old enough to figure out how to find more comics in line with my interests, which happened through cool librarians and hip friends and a great local comic shop.


Was there a wide range of perspectives and stories represented? 


While I read a lot of great books over the years, I could feel a gap growing as I realized how limited the perspectives in this media were. For example, no one’s bodies were fat like mine, at least not the heroines. The only fat characters were grotesque caricatures, villains or jokes. Seeing people like me treated so negatively did things to my subconscious that I’m still working to undo today.


Today, as a professional storyteller, representation is something I try to be very conscious about. I do my best to listen and learn from people with different backgrounds and experiences than mine, and to use what I learn to improve. I hope that by creating different kinds of comics with different kinds of characters, I’m helping create a new world where anyone can find reflections of themselves in media to reassure them that they’re worthy of leading their own stories.







When embarking on a new comic, what is the first step? Does it often start with an image? An idea? A storyline? 


As vague as this sounds, it usually starts with a feeling. The best way I can sum up my work is to say it’s inspired by intimacy of all sorts -- connections between family, friends, lovers, even strangers -- and I usually begin a story with a goal for what kind of warmth and growth I’d like to depict. Sometimes I’ll also have some context in mind, such as setting or characters, but those aspects evolve pretty organically as I start crafting the big picture.


How do word and image interact in your work? Would you say that your images lead the narrative or vice versa? 


I wouldn’t say either leads, but rather that there’s a careful balance. My work is really inspired pacing- and layout-wise by shoujo manga, which tends to have fewer panels and less text per page than Western comics. Facial expressions, body language, and moments of pause fill more visual space, but in doing that, the dialogue -- even if it’s sparse -- gains significant narrative weight. Because of that, I have to make sure it’s written extra well!


Comics come out looking so crisp and clean. Can you talk about all the steps that go into creating such a seamless final image? 


I love making animated gifs of my process to show how that works! Here’s one of a page from “Better Than Fiction”, a short autobiographical piece that I made for The Secret Loves of Geek Girls.










Step 1: I write a script that breaks down what goes into every panel.


Step 2: I do very rough, tiny thumbnail sketches to figure out how I want to lay out the page.


Step 3: I do a tighter rough version on the computer at full size, a stage called "pencils" in comics, where I problem solve any poses, perspective, etc.


Step 4: Now it’s time for "inks," where I draw the final line art in Sketchbook Pro. It’s the simplest step, but it takes the longest because I have to make sure it turns out perfect!


Step 5: And then I bring it all into Photoshop for coloring, lettering, and polishing up.



Is it fair to say you specialize in queer erotic comics? 


I’d say I specialize in comics about relationships, which includes a wide array of non-sexual work as well, but queer and femme-centric erotica does hold a special place in my heart!


Are there certain other artists working in this genre that inspired you? 


Gosh, I’m inspired by so many people. What got me really started on making my own erotica was Spike Trotman’s resurrection of Smut Peddler, a series of anthologies that collect stories by some of the greatest lady smut cartoonists. It features herself, Jess Fink, E.K. Weaver, Amanda Lafrenais, Niki Smith, Megan Rose Gedris, and so many other cool folks. This work is produced consciously separate from the straight male gaze, which dominates most mainstream sexual content and can be alienating to a lot of people. It celebrates different kinds of bodies and relationships and sexualities in fun, inclusive ways, and the actual stories are often just as good as the dirty bits.







When it comes to depicting sex, what are the advantages of working in comics? What are some of the setbacks? 


A definite advantage is that while I can shape the pacing somewhat from my end, the reader ultimately controls it. Unlike with a video, which is cut according to what a director thinks people want, the reader can skim through the less interesting parts and linger on the most enticing panels as long as they wish. As with any medium, however, that way of experiencing something may not be everybody's cup of tea.


When creating a sex scene, what are the main things on your mind in terms of what you're trying to convey and communicate? 


I go in with the mindset that sex itself isn't the point of my comics, but rather it's natural progression of a greater story. Even if it's a vignette where we only see that particular kind of moment between the characters, there are always ways to weave in context and add depth. Sex offers opportunities for character development and growth that are really unique and special. After all, when else do we see them vulnerable quite like this? And I want to make the most of that.


This mindset really helps with issues such as objectification. While it can be an interesting narrative device, it should be treated thoughtfully, and focusing on the characters as people instead of bodies mashed together really helps prevent the more explicit parts from falling into an impersonal gaze that may alienate some readers.







I feel like a lot of the tension and sexuality in a sex scene comes from a balance of revealing and concealing. How do you decide how much to show in a sex scene? 


Oh, definitely! My approach of considering sex as story dictates what I decide to reveal and how. It may seem less titillating at first glance, but focusing on how tightly someone grasps their partner's hair can say a lot more than a gratuitous closeup of their genitals. It draws you into the intensity of the moment. Emotional engagement is hot!


And that's definitely not to say I'm not a fan of gratuitousness. It just has greater impact in moderation.


What are you working on now? 


"Sparks" is the story of two women who meet and fall in love while working in service in Edwardian England, and their subsequent journey toward social and financial independence as they work toward a life together. It's been really fun to explore queer sexuality in the context of that era, and as a history nerd, I also get to do satisfying things like rage against colonialism and discuss the accomplishments and limitations of early feminism. It's currently being serialized digitally on Filthy Figments, with some exciting news coming soon!


I'm also working on a few other projects, some of which I ramble about over on my website, some of which are yet unannounced.




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Clairvoyant Says Wear This Color If You Want To Be The Most 'Magnetic' Person In The Room

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If you've got an event or a date coming up, you might want to ditch the classically safe neutrals and go for something with a little more pop.


Dougall Fraser, a proclaimed psychic and clairvoyant, has always been deeply in tune with energy and colors, and specifically how the two relate to each other. As he explains in the above video, the Law of Attraction plays a big role in his beliefs, and there's one particular color that makes the biggest statement.


"If I had to connect one color to the Law of Attraction, it's green," Fraser says. "It's about enthusiasm, it's about creativity, it's a very kinetic color."



I often say, 'If you want to be the most magnetic person in the room, think green.'



"If you wear green, if you meditate with green, if you think green, you are inviting attention to you," Fraser continues. "If you're going to a party and you want to meet people, you want to wear green. I often say, 'If you want to be the most magnetic person in the room, think green.'"


Those who aren't naturally outgoing can also benefit from experimenting with green, Fraser adds. "If you're a shy person, green might overwhelm you, but it's also something to flirt with," he says. "Allow people to see you."


As a clairvoyant, Fraser says he can see auras of certain colors surrounding each person. He views those who radiate green as natural performers. 


"I'll see [green] around poets, writers, speakers, authors, performers on any level," Fraser says. "They enjoy the energy of performance."


So, he points out, wearing and thinking green is as much about visually showcasing your own energy as it is about attracting others. 


"Green helps us attract attention to us, but really, really deliver our message at the same time," Fraser says.


Another colorful tip from Dougall Fraser:


Adding this color to your bedroom can really spice up your sex life

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Casa Del Acantilado Is The House Of Every Hobbit's Dreams

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Somebody call Frodo, because we just found his ideal dwelling place.


The incredible Casa Del Acantilado is built into a seaside cliff on Spain's charming southern coast. Its wavy, undulating roof -- made from shimmery zinc tiles -- is meant to mimic a dragon's scales, architects Pablo Gil and Jaime Bartolomé told Designboom.


We'd also call it a modern hobbit's paradise. The interior of this cave-like home has a sleek, two-tier living room that accommodates up to 70 guests for dancing and dining. Visitors can also lounge on the balconies or in a pool overlooking the Mediterranean Sea. Mmm



Casa Del Acantilado's upper level has three bedrooms, with a sliding wall that lets two of the rooms become one. There's an ensuite bathroom and stunning views to boot.


Madrid-based GilBartolome Architecture built the house for a young couple who wasn't quite sure how to handle their cliffside plot of land, Dezeen reports. While there's a slim chance that we'll ever live in this incredible home, it's certainly enough inspiration to book a room at a cliffside retreat sometime soon.

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This Mobile Library Delivers Books To Kids In Need Via Motorcycle

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In a country where many families can’t afford books, one woman is getting them to kids in an unconventional way: motorcycles.


Rosey Sembataya, an English teacher and publisher in Uganda, started the Malaika Mobile Library in 2014, according to Christian Science Monitor. The library delivers books to kids in and around the capital city of Kampala via motorcycle.


"My sister has four children and I've been finding it very difficult to buy them books because they're quite expensive," Sembataya told the BBC. "So I thought there is a need to create something that can make story books accessible, and available at a quite cheap price."



Books in Uganda can be prohibitively expensive, according to the BBC. Many people rely on foreign friends buying books for them abroad, as a book in Kampala can easily cost $42 -- the price of a week’s worth of groceries -- or even $60 -- a month’s salary for a waitress.


That’s why Sembataya prices her library books at a flat, affordable rate: Parents pay $30 a year to borrow up to three books per week, according to Christian Science Monitor. That’s under $0.20 per book over a year.  


But high prices may not be the only things keeping Ugandan kids from reading: low literacy rates are an issue, too. A recent study found that close to one in three students complete primary school without having mastered basic literacy. By the time they reach adulthood, only 73 percent of adults in Uganda are literate -- compared to 99 percent in the U.S. and 87 percent in neighboring Kenya.


“The effects of not reading are so glaring it hurts," Sembataya told Christian Science Monitor. “If they can start reading now, we're going to build a generation of adults who love reading, and adults who write."



Sembataya started the library with her own savings, running it out of a spare room in her house, according to the BBC. Each week she sends enrolled kids their weekly allotment of books via motorbike taxis, locally called “boda bodas.”


While motorcycles are certainly an original mode of transport for a library, there are stranger ones around: There have been mobile libraries on boats in California, on horses in Indonesia, on a donkey in Colombia and even on a camel in Mongolia.


"In rural regions, a child must walk for up to 40 minutes to reach the closest schools," Soriano, the Colombian teacher who delivers books via donkey, told CNN in 2010. “For us teachers, it's an educational triumph when a child learns how to read. That's how a community changes.”

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John Amos On 'Roots' Remake: 'I Don’t Think People Are Quite As Interested'

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The 40th anniversary of "Roots" is in January 2017, and Warner Bros. Home Entertainment has decided to give the award-winning miniseries a digital makeover with the Blu-ray and Digital HD release of "Roots: The Complete Original Series." 


Starring an all-star cast including John Amos, LeVar Burton, Ben Vereen, Louis Gossett Jr., Maya Angelou and Cicely Tyson, the eight-part miniseries -- which was adapted from Alex Haley’s Pulitzer Prize-winning best seller Roots: The Saga Of An American Family -- follows the family legacy of an 18th century African warrior, Kunta Kinte (played by LeVar Burton), who is brought to the United States and sold into slavery.


For Amos, who portrayed the role of the adult Kunta “Toby” Kinte, the award-winning miniseries not only taught him about the traumatic effects slavery has on the separation of black families, but also how Haley’s story resonated with so many viewers.


"I learned so many things as a result of 'Roots.' I think the main thing that I felt and the biggest impression made on me was the effect that it had on the entire population, regardless of people's ethnic background," Amos told The Huffington Post. "'Roots' was something that a lot of people didn't really know the story or the idea of slavery and the ramifications that slavery provided on a global basis. I don’t think people really knew that until 'Roots' was developed and shown on television."


At the time of its original airing on ABC in January 1977, the series netted an estimated 140 million viewers, making it the most-watched television program at the time. The cultural milestone would later prompt The History Channel to acquire rights to the classic miniseries and book in 2013. On May 30, a four-night series event is scheduled to premiere on the network and simulcast on A&E and Lifetime.


Since the network’s announcement of the upcoming remake, which "will draw both on the book and the original miniseries from a contemporary perspective," some critics have raised a few concerns regarding the interpretation of the reboot.


As for whether or not the revamped version has potential on repeating award-winning history of its own, Amos is less than doubtful.


"I guess it will be contingent upon how well it's done, but I don't think it's gonna have the same impact for a number of reasons," he said. "One, the circumstances that 'Roots' was originally shown under was totally different circumstances than today. Today there seems to be tremendously more programming that has black subject matter and black characters, both on the screen and behind the scenes, than it existed with the development of the original. So much time has passed. I think there's a great deal of apathy about the subject matter. I don't think people are quite as interested. We had so many things going for us that made it such a unique and popular experience. One, the subject matter never [had] been delved into before. Two, it was derived from an international best seller… so there were a number of things that led 'Roots' to being the incredibly popular program it was."


The 76-year-old actor went on to add that The History Channel's decision to remake the hit series is "further evidence, for the most part, that Hollywood is creatively bankrupt. They have to keep going back to what's been done and what’s successful because they're pretty much out of fresh ideas."


However, his former co-star and executive producer of the remake, LeVar Burton told The Hollywood Reporter in April that the need to bring the series back into the national limelight lends itself to the fact that the story is "part and parcel of the civilization of this planet" and needs to be retold "so we don't repeat it."


In the future, Amos says he would like to see additional slave driven narratives, such as Steve McQueen's "12 Years A Slave," developed and included in the national scholastic curriculum for children.


"I think the more open people have become with it and realize that it was an institution that helped build this country and help build the economic foundation of this country and so many countries around the world, there might be a better understanding and a better appreciation of the contributions made by African-Americans and Africans in general to the world's economy," he added.


“Roots: The Complete Original Series” will be available on Blu-ray disc on June 7 and Digital HD on May 16.




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This Video Looks At The Past 100 Years Of Stunning Kenyan Beauty

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Cut takes its "100 Years" series to East Africa, again. This time the YouTube channel explores Kenya's history of beauty.


In the video, posted on Wednesday, model Keesa Andrea's hair is styled to replicate the beauty and hair trends of each decade starting with the 1910s and progressing to the present-day. 


From slick cornrows and statement accessories to elegant updos and bold makeup, Andrea's transition serves as a personified time capsule that's simply stunning. 


Watch the video below to travel through a century of Kenyan women's intriguing beauty trends.




-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

These Play-Doh Portraits Freak Us Out (But We Can't Stop Looking)

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A Portuguese artist is playing around with Play-Doh on the human face. It's fantastic, grotesque and -- well, just see below.


-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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