A runner has recorded the spectacular changing scenery of his regular route in a mesmerizing time-lapse video.

Cinematographer Jeff Dougherty repeatedly braved rain, snow and other elements over the course of 17 months to capture the five-mile loop through Bozeman, Montana, on a GoPro camera strapped to his forehead.

With the camera set to time-lapse, it took photographs at a regular interval.

By May, he’d amassed 98,366 images which showed his running in all seasons — which he then painstakingly processed into the clip.

“I was able to create this continuous hyperlapse throughout the year, showing off all the changes that come with the seasons,” Dougherty posted to YouTube on Monday. By early Saturday, the clip had garnered almost 250,000 views.

Check it out above.

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When you’re the president of the United States and leader of the free world there are undoubtedly certain perks, like flying in your own airplane or being able to skip traffic in your motorcade.

But that doesn’t mean you’re exempt from snapping a picture of someone else every once in a while. On Saturday, following the dedication of the new Smithsonian National Museum of African American History and Culture on the National Mall in Washington, former President George W. Bush asked President Barack Obama to snap a picture of him with someone attending the ceremony.

Obama was shaking hands when Bush tapped him on the back and made the request. After fumbling around with the phone a bit, the president happily obliged.  

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A new book pays homage to the most famous drag queen in the world ― and recent Emmy winner ― RuPaul and the most popular queens to ever sashay onto ― and off of ― his hit show “RuPaul’s Drag Race.”

The Essential RuPaul: Herstory, Philosophy & Her Fiercest Queens is a new book from John Davis that celebrates the history of Ru and the “Drag Race” girls, as well as the show’s other spin-offs.

“I wanted to make sure that fans of the show, particularly those like myself who have been along for the ride since season one, can learn something about their favorite queens who we don’t necessarily see on social media constantly through parody videos, music releases or advertising campaigns,” Davis told The Huffington Post. “For me, drag artists like Roxxxy Andrews, Nina Flowers and Raven are such fierce and established performers who deserve just as much spotlight as the ‘it-girls’ of RuPaul’s Drag Race.”

Check out some of the beautiful illustrations from “The Essential RuPaul” below, along with a more extensive interview with Davis.

What do you personally find so compelling about RuPaul’s Drag Race?

From the outset it was the creativity and artistry of the “Ru Girls’” that caught my attention and across all seasons it is the costume creation challenges and runway presentations that get me totally excited! I feel like there really isn’t a better season for costuming than season three, where contestants like Raja and Manila Luzon had to muscle their way through more original wig and costume creation challenges than any season before or after. Seeing a creative person in their element, taking never before seen materials and turning them into a fantastical themed runway outfit is truly mesmerizing!

What do you think viewers can learn from the show?

I believe the biggest message of the show truly comes from RuPaul’s philosophy on self esteem and empowerment; “If you can’t love yourself, how in the hell are you gonna love somebody else?” “Drag Race” showcases creative people, mostly gay men, tested both physically and mentally in a gauntlet against their drag peers from different socioeconomic and cultural backgrounds. As a viewer, particularly a gay male viewer, I’m able to see men just like me take on challenges that aren’t just about wigs, makeup and dresses but are about finding truth in oneself and coming to terms with one’s own power through adversity. Since the airing of the very first episode of “Drag Race,” drag artistry has evolved in such a different way and at such an increased pace whilst really opening up the borders of “what is drag.” The world is seeing a real resurgence in the art form shedding light on the alternative drag performance art scene whilst honoring the iconic pageantry scene that continues to flourish.

What do you want people to take away from this book?

A book showcasing the queens of “Drag Race” and RuPaul herself is hardly the most serious topic in the world at large, however its through the back stories of the queens we’ve grown to love on television that we can truly find mirrors in our own creative endeavors. The drag superstars we know today have worked so hard to get to the point in which they are now revered and I just hope we can all take a moment to celebrate and appreciate the roads all of our queens have sissy-ed their walk down to reach their thrones.

Want more information about The Essential RuPaul: Herstory, Philosophy & Her Fiercest Queens? Head here and check out more beautiful illustrations from the book below.

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A powerful new project is bringing the images and stories of butch and masculine-of-center queer women into mainstream conversation.

Butch Is Not A Dirty Word is an anthology of essays, stories and photography curated by Esther Godoy, who, for over two decades, had little to no positive experiences of relating to the queer community until she moved from Australia to Portland, Oregon, at age 23. 

“This project spawned from many a frustration I experienced during my coming of age as a queer butch woman,” Godoy told The Huffington Post. “As a more masculine-presenting female, the narrative of my entire life has been ‘other,’ ‘weird,’ ‘unattractive’ and ‘different,’ ― both before AND after I had realized I was gay.”

Godoy laments the lack of visibility butch and masculine-of-center women receive from the media and entertainment industry. As a result, she decided to begin Butch Is Not A Dirty Word, initially as a photography project, with Georgia Smedley, inspired largely by Meg Allen’s highly successful “BUTCH.”

“In Portland, I and others like me were welcomed warmly and openly into many different queer spaces and communities,” Godoy said. “BINADW was born out of a desire to share this experience, as a way to open up this conversation in Australia, and to try and push for more visibility and acceptance amongst the queer community.”

The Huffington Post chatted with Godoy last week further about Butch Is Not A Dirty Word, what butch and masculine-of-center visibility looks like in 2016 and how we, as a community, can do better.

The Huffington Post: Where — if anywhere — in popular culture do you see positive representations of butches? 

Esther Godoy: To my knowledge, literally no where, not only are there no positive representations in popular culture, there are hardly any less-than-positive ones either. In terms of very mainstream media, “Orange is the New Black” is the closest thing I’ve seen, and in this particular media context they are still being “othered” from society. I remember as a kid watching a movie with my family and there was reference to a dyke character on the show. Whilst I didn’t know exactly what a “dyke” was at that age, just via the movie’s narrative I learned that it was something “bad.” Slowly more lesbians are popping up in mainstream media, but almost every single negative portrayal of a lesbian in these contexts is targeted at the more masculine presenting ones. 

In terms of visibility, has it gotten better or worse or stayed pretty consistent for butches? 

In mainstream media there is no visibility. I mean even in queer media, I know we’re going back ten years here, but in a whole six seasons of “The L Word,” there was just one masculine-of-center lesbian character, a trans man, a drag king and then literally 50-100 feminine-presenting lesbians. And in the more recent “Lip Service,” we have even fewer masculine presenting lesbians! The main character, who is deemed to be the most masculine (and funnily enough the most promiscuous ― just like the L word) is more on the feminine presenting side with some tomboyish traits.

I think thats why Meg Allen’s BUTCH photography project has been so powerful. For the first time in my life, and many others, there is a catalogue of butches you can browse through, shown in their own personal environments. It shows butch as a myriad of different physical presentations and identities and this has been so special, and so life changing for so many.

Trans visibility — especially for binary trans people — has skyrocketed in recent years. This is obviously valuable and positive for greater understanding of the trans community but it could be argued that in some ways, it has been or could be problematic for those people who do not identify as trans but who do not adhere to traditional gender identities or understandings — like butches. What are your thoughts on this?

At the end of the day we are all one big family, and ANYTHING that is good for our wider community is good for us. The more healthy, happy and confident individuals we have as a part of our community the better! I think the trans and gender-fluid dialogue has been a long-time coming and I am so glad to finally see it taking off. I see all these wonderful and amazing things happening for our trans and gender\queer family, and I am truly so pleased.

In relation to BINADW I think we’re on a slightly different trajectory. All we’re trying to do over here at BINADW is add another conversation to the mix, and to make sure that anyone that falls under this umbrella has an opportunity to be seen and heard as well. Visibility is everything ― “you can’t be what you can’t see,” and we want to have strong and positive representations of butches and masculine-presenting females out there in the world, to ensure that the next generation have what they need to be able to move through life with a little more ease.

What do you want people to take away from this project?

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Indonesian filmmaker Paul Agusta says “The Game Kiss” is very much a tribute to his first love. 

The short film was the first of eight installments in Agusta’s 2012 “Parts of the Heart” series, which followed the life of Peter (Ardy Rinaldy), a young gay man growing up in Jakarta, Indonesia. “The Game Kiss,” in particular, depicted 15-year-old Peter’s first intimate, same-sex experience. 

Agusta has said the protagonist of his series was drawn from his own experiences, noting, “Every story you’ll see in this film is either based on an actual event in my life or an amalgamation of events and emotions felt in various moments of my life.”

Get a sneak peek at “The Game Kiss” above, then head to Viddsee, an Asian company that curates and shares powerful short films, to view more. 

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When the news broke that Mexican police had attacked a group of students from a teachers college and abducted 43 of them on Sept. 26, 2014, photojournalist Emily Pederson was living in the southern Mexican city of Chiapas.

Though she was 300 miles away from Iguala, where the students were attacked, the case resonated with her. She kept seeing images of the students’ faces plastered on city walls as their disappearance became a symbol of impunity and drug war-fueled violence in Mexico.

“I witnessed the ramifications, even on people who were totally unconnected to the case,” Pederson told The WorldPost. “So eventually, I went to the school where they studied in Guerrero. I wasn’t sure what I was going to find there.”

The fact that this has been [the students’] fate is so representative of the whole trajectory of Mexican history up to this point.
Photographer Emily Pederson

What she found was a social movement centered around the families of the missing. Pederson spent the next two months with them, following them to meetings, traveling with them in a caravan to California and “just doing a lot of listening.”

Monday will mark the second year since the Ayotzinapa Normal School students were abducted. Their disappearance has become the highest-profile human rights case in a country where the government has a long history of “accusing innocent people to protect guilty ones,” in the words of investigative journalist Anabel Hernández.

One image Pederson views as emblematic of that legacy is a shot depicting three of the Ayotzinapa students above a poster of people disappeared during Mexico’s “dirty war” of the 1960s through 1980s.  

“A lot people really felt that connection,” Pederson said. “It was really felt as the latest in the long succession of not only a terrible drug war crime and tragedy, but a very highly charged political crime… The fact that this has been [the students’] fate is so representative of the whole trajectory of Mexican history up to this point.”

The emergence of a social movement with international reach is one of the few positive developments in the Ayotzinapa case over the last two years.

The Enrique Peña Nieto administration continues to cling to a thoroughly discredited account of what happened the night the students were attacked. Prosecutors have arrested more than 100 people in connection with the case, but convicted none. Dozens of the key witnesses upon whom the government based its claims were tortured, casting doubt on the reliability of their statements and likely making them inadmissible in a courtroom.

Independent journalists, a team of forensic specialists and two hefty reports by a group of experts fielded by the Inter-American Commission on Human Rights all conclude that physical evidence contradicts the government’s version of events.

Ahead of Mexico’s annual Independence Day celebration on Sept. 16, thousands of people marched in the streets demanding Peña Nieto’s ouster. His government’s mishandling of the country’s most prominent human rights case is one of the key issues that sent public faith in his presidency tumbling.

Below are some of Pederson’s photos from her time with the families of the missing students. She is also working on a short film called “They Took Them Alive,” scheduled for release within the next two weeks. The film’s title is a nod to a chant yelled by family members and their supporters at demonstrations: “They took them alive, and alive we want them back.”

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Nothing gets a crowd riled up quite like a surprise appearance by Lin-Manuel Miranda, and that’s exactly what happened at a Weird Al Yankovic show. 

During his performance at Radio City Music Hall in New York on Saturday night, the parody singer brought out the “Hamilton” creator to help him sing “Yoda,” a riff on “Lola” by The Kinks. Yankovic played most of the tune solo, pointing his mic at the crowd and inviting them to sing along toward the end.

Then, to the audience’s surprise and delight, the singer announced, “Okay, now just Lin-Manuel!” And out came the Broadway star. 

Following the performance, Miranda expressed his excitement over Twitter.

And when one fan wrote that he’d seen the whole spectacle from the audience, stating, “I’m OFFICIAL DEAD,” Miranda responded wonderfully with this: 

So when’s the “Hamilton” parody album coming out, Weird Al?

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It’s been nearly 25 years since “The Golden Girls” wrapped, but the cultural imprint of Dorothy, Blanche, Sophia and Rose remains massive, inspiring drag homages, a coloring book, a podcast and even a planned restaurant.

With that in mind, writer-director Jonathan Rockefeller hopes his latest project will endear the “Golden Girls” to an off-Broadway audience in a spectacular new way. “That Golden Girls Show! A Puppet Parody,” which is currently in previews at New York’s DR2 Theatre, recasts Miami’s fab foursome as fuzzy, “Sesame Street”-style marionettes.

Watch the new show’s faithful recreation of the series’ opening credits above.

Previously, Rockefeller paid tribute to “The Golden Girls” with “Thank You For Being A Friend,” which also recreated the series with puppets, but transported the four women to the present day to comment on current events. The new show, he said, turns the clock back to 1985, when “The Golden Girls” first debuted on NBC, and weaves together a number of character arcs that fans will recognize from the series.

Rockfeller, who got his start in show business by working alongside “Moulin Rouge” director Baz Luhrmann in Australia, told The Huffington Post that he didn’t have to drastically overhaul any of the “Golden Girls” humor because the show was very ahead of its time.

“They were talking about race, religion, sex, gender – all these things – and I think that’s what made them interesting. They were talking about gay marriage back in 1985, and now we’ve just got that in the past couple of years,” he told The Huffington Post. The series also presented older women in a way that had never been done on television before, he said. “[It showed that] women of a certain age could be sexy and could have wonderful lives, and did it in a humorous, fun and loving way.” 

Whether or not “That Golden Girls Show! A Puppet Parody” will recapture what made its source material so special remains to be seen, but its creators are going to great lengths to please the core “Golden Girls” audience of “girls, gays and grannies.” Like the original series, the new show promises to be “an evening of cheesecake and sex,” according to Emmanuelle Zeesman, who plays Sophia.

With that in mind, what’s not to love?

Currently in previews, “That Golden Girls Show! A Puppet Parody” opens at DR2 Theatre in New York on Oct. 3, with performances scheduled through Dec. 11. Head here for more details. 

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Beginning Sept. 27, 2016, the Tate Britain will exhibit the work of the four artists shortlisted for this year’s Turner Prize, the contentious award presented each year to a British visual artist under the age of 50. (Damien Hirst and Tracey Emin are among those famously nominated in the past.) 

This year’s Turner Prize show, featuring artists Michael Dean, Anthea Hamilton, Helen Marten and Josephine Pryde, is notable primarily because the majority of featured artists are women artists. Also, though, because there’s a giant butt on view. 

The hefty derrière is part of a sculpture titled “Project for a Door” by Anthea Hamilton, whose work often melds pop culture and art history with a dirty sense of humor. Hamilton’s work takes the shape of a 30-foot rump, protruding from a large brick wall, with two giant hands spreading the cheeks for all to see. The piece is inspired by Italian artist and designer Gaetano Pesce’s 1972 proposal for a doorway into a Manhattan apartment building, that, shockingly, was never realized. 

“It was a hypothetical idea at the time and an act of architectural commentary,” Sculpture Center’s Ruba Katrib told artnet News of Pesce’s original design.
“I think it says a lot that he imagined that the people entering this building in an elite district of Manhattan would be traversing between a spread ass. Pesce believes in figurative architecture, and he radically reconsiders the boxes we have become accustomed to in his works.”

While Pesce’s idea was seemingly an exercise in improbable absurdity, over 40 years later, his juicy dream finally took shape. A catalog essay for Hamilton’s piece also references the 1975 murder of Italian film director and writer Pier Paolo Pasolini, who was gay. When Giuseppe Pelosi confessed to the killing, he first said he beat the filmmaker to death after he asked to sodomize Pelosi with a stick. Later, he recanted this version, admitting the murder was purely an act of homophobic hate. 

Although at first glimpse Hamilton’s creation may come off as giddily asinine, the piece alludes to the dark repercussions of sexuality, desire and nonconformity, exaggerating taboos to surreal extremes and placing them quite literally in your face. 

The serious and the playful coexist in Hamilton’s hefty caboose, inviting viewers to take a closer look at what’s really lurking between the cracks. (Or, in this case, crack.) The work, not too surprisingly, is already the subject of so many selfies, hashtagged with quips like #assgrab, #butthead and #babygotback.

Will these photogenic sweet cheeks bring home the coveted Turner Prize? Only time will tell. 

“Turner Prize 2016” is on view at the Tate Britain until January 2, 2017. 

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Laila Love ASMR, as she goes by on YouTube, sits before her laptop camera in a room that appears to be a bedroom masquerading as a spa. A Himalayan salt lamp is propped next to a sprawling white bed, along with a spread of lit candles that I can only imagine smell soothing as hell. 

In the video called “~Sensual Trigger Words~ *ASMRotica* *3Dio Binaural*,” Love wears a low-cut T-shirt, rectangular glasses and fluorescent pink lipstick, her black hair styled with short, Bettie Page–style bangs. She greets her viewers in a painstaking whisper in which every consonant is elongated, enunciated, even somehow massaged. “Now today I wanted to do a sexy, sensual trigger words video ― Part 2,” she says, her dimples popping in and out of view as she attempts to hold back a smile. 

“Sensual,” she begins. The word is brought to life in Love’s mouth, stretched out and softened as if spun from cotton candy, or uttered in a melodramatic perfume commercial. “Love. Close. Satin. Warm. Quiet. Whisper.” She keeps speaking with hushed restraint, connecting trigger words like linked sausages, hinting at a story without actually making any linguistic sense. “Bodies. Soft. Smooth. Care. Gentle. Liquid. Breasts.” If there was any question, the story is about sex. 

Love works in the field of ASMRotica. ASMR, which stands for autonomous sensory meridian response, is a phenomenon experienced by people who claim sensual forms of stimulation incite a tingling sensation near their scalps and spines. The tingling sensation, sometimes described as a “braingasm,” can be a response to visual, olfactory and auditory stimuli of varying kinds ― from Bob Ross’ voice to the crinkling of a plastic bag. ASMRotica, however, is when ASMR moves from stimulating to sexually arousing. 

For her brand of ASMRotica, Love operates in the domain of sound, delivering breathy words loaded with innuendo. “Drip. Moan. Rock. Heavy. Lust. Desire,” she continues, her words reclining and writhing as momentum builds. “Building. Feeling. Pleasure. Hot. Scream. Harder. Moaning.” Her tone is suggestive enough to make a parent cover her kid’s ears. The climax hits. “Together. Release.” And then things wind down. “Sticky. Ecstasy. Finish. Quiver. Gasp. Wet. Dripping. Flow. Love. Deep breaths.”

Depending on whether or not you respond to ASMR, you may, by this point, be feeling some seriously sexy tingles up and down your spine.

Love first learned about ASMR through an old boyfriend who’d recently discovered that the term helped explain an experience he’d long struggled to describe. When he outlined a “pleasant tingling sensation that starts at the base of your skull and travels down your spine,” Love immediately recognized the feeling, too.

“I had gotten tingles from having my hair touched or played with, getting my hair cut, and when people whisper into my ear,” she explained in an interview with The Huffington Post.

The non-clinical term ASMR was coined in 2010 by a woman named Jennifer Allen, a manager at a cybersecurity company. “I first remember experiencing ASMR and noting that it was a strange occurrence in my early 20s,” Allen recalled in an interview. “I searched the internet a number of times for any indication of what the experience was or who else might share it, but found nothing for over a decade.”

Allen would periodically search the internet for some semblance of a similar experience, but never came up with results. Then she stumbled upon a steadyhealth.com forum thread titled, “Weird sensation feels good.” “Once I read the accounts of others, I realized what I was experiencing was similar and decided to pursue answers,” she said. Allen later founded an ASMR Facebook Group as well as an ASMR Research Survey to collect people’s anecdotal experiences. The survey received over 4,000 responses in the first 10 days, according to The Washington Post.

There are currently two peer-reviewed, scientific, published, research articles about ASMR, one of which mentions its sexual effects. Also, not too surprisingly, Reddit provides plenty of anecdotal evidence. Bryson Lochte, a former Dartmouth College undergraduate student, studied ASMR using neuroimaging technology for his senior thesis, examining how the neurobiology of the reward system is positively influenced by the internet. Lochte’s research has yet to be published, though he keeps readers updated on his blog.

The primary goal of ASMR is relaxation. It allegedly can, in serious cases, assuage insomnia or even severe depression, as numerous Reddit users continuously attest. Homemade videos of purposeful scraping and light tapping rack in millions of views on YouTube, thanks to people using the delicate sounds as a form of meditation. (This video, with over 85,000 views, features a woman brushing her hair for over an hour.) For a select few, the sensation is so intense they claim it’s paralyzing. 

Love’s videos, however, aren’t just ASMR, they’re ASMRotica. So instead of crumbling up masking tape or jingling coins in a bowl, Love is sucking on lollipops, licking ears and roleplaying your girlfriend.

She made her first video about a year ago, on a whim. In it, Love lies down on a bed in a tank top and underwear, speaking into the camera as if it was her lover, softly helping him or her drift off to sleep. “I have this big test tomorrow. School stuff, you know?” She giggles. “It’s so nice waking up to you, even if it is the middle of the night.” Eventually she offers a scalp massage. 

“I had been watching videos for several months and just one day kind of decided to make my own,” Love said. “I wasn’t expecting anything to come of it, but to my absolute surprise, my channel blew up overnight. It was crazy how much attention that one, poor-quality video got. Since so many people liked the first video, I decided to make a few more with a similar theme. My channel grew pretty quickly from that point on.” 

Love now has 82 videos and over 50,000 subscribers to her name. Although the content varies from Love chewing gum to reciting Maya Angelou poems, the general thrust is always the same. Exaggerating the viscous smack a tongue makes when it brushes against the roof of a mouth. Turning every consonant into an alien kiss. “My videos have always had an erotic edge,” Love said. “Not sure why, but that’s just the type of content that I like making. I like being fun and flirty and sexy and combining that with ASMR just came naturally to me.”

Although Love is, to an extent, performing in the videos, she’s hesitant to call her on-screen self a character. “Laila Love is a persona in some sense and not in others,” she explained. “When I create my videos, I am creating a fantasy, a refuge, a place for people to go to feel pampered and cared for. But I don’t really feel like Laila Love is a too much of persona because there is more of me in her than anything made up. I just try to be myself and make the kinds of videos that I think people will enjoy.”

Occasionally, Love answers questions from her fans, posed to her on Twitter, in videos uploaded to her site. The questions range from “What size are your pretty feet?” to “Have you seen ‘The Rookie’ 1990? If yes, what do you think about Sônia Braga’s Liesel?” (She’d rather not say, but: big, and she hasn’t seen it.) When asked, “How soft are your down below parts?” Love responds with a seven out of 10. When asked about the harassment and slut-shaming she sometimes receives online, Love says: “It makes my humanity hurt, some of these bad comments.” 

Each of her videos takes several hours to make, with most of Love’s time spent editing and processing the content. Love does make some money from them, although they’re not her primary source of income. She also writes and runs an online store. 

When asked about the most common misconceptions she encounters in her unorthodox career, Love responded: “That it’s all about sex. It isn’t. My work might have an erotic edge but a lot of of ASMR is strictly about relaxation. People use ASMR for different reasons. Some use it to help treat their insomnia, some to calm their anxiety, others to relax after a long day and yes, some to get off.” Think of it as a happy ending massage magically delivered through your laptop.

In what is to me the most perplexing video, “Vegan Muk bang Eating Show *ASMR*,” Love eats a salad ― her favorite food ― before the camera, lingering over every bite. “What I’m going to have today is chicken salad,” she says beforehand. “It’s vegan, of course. Vegan chicken, vegan bacon bites, cucumber, tomato, and croutons.” She smiles coyly. “I also have a carrot salad left over from the other day that’s going to go bad soon so I’m going to eat that too.”

In hot pink lipstick, Love moves her mouth toward the camera to capture every crunch and swallow as she enjoys her meal. “A piece of chicken,” she whispers, before ushering it inside her. For many individuals, watching and listening to someone eat would be nothing short of a nightmare scenario. But the video has 14,000 views. One comment reads, “I like it when you talk clean to me :)”

There is something oddly comforting about Love’s ability to blend the erotic and the banal, implying that sensuality isn’t all lingerie and dirty talk but back tickles, dinner leftovers and sleepy ramblings. In Love’s world, everything seems bursting with erotic potential ― that is, if executed slowly and gently enough. 

In the year 2016, the internet is frequently described in many ways ― addicting, mind-numbing, infuriating, stimulating, democratizing, a colossal waste of time. Relaxing is not often on the table. And yet, the world of ASMRotica paints a picture, Bob Ross–style, of a very different online realm, one in which authentic sensual pleasure is just a YouTube video away. There won’t be penetration or nudity, not even much obscenity. But perhaps a haircut, a gentle bedtime story, or a soft scalp massage. 

Correction: An earlier edition of this article incorrectly stated there was no official published research on ASMR. We regret the error.

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Social studies teachers across the country are celebrating right now.

The U.S. National Archives ― aka the official record-keepers of America ― uploaded a lot of historical GIFs on Friday. Teaching just got hella more fun!

The GIFs are based on historical videos, photos, animations and other media, and you can snag them all on Giphy. There are more than 100 GIFs to choose from, and new ones are being added daily.

Each animation includes a link to the National Archives database so you can educate yourself on the history behind the image.

You can also create your own GIF if you check out the Digital Public Library of America’s annual GIF IT UP challenge. Submissions will be open the entire month of October.

Here’s a collection of our favorites:

Richard Nixon and Elvis Presley at the White House, 1970

The eagle has landed: The flight of Apollo 11, 1969

Ice-skating chimpanzee, 1963

War news from the South Pacific featuring Clark Gable, 1943

Photograph of the Panama-Pacific International Exposition, 1915

Sammy Davis Jr. USO show, 1972

The Beatles in Central Park, 1964

Babe “The Great Bambino” Ruth, year unknown

Ernest Hemingway drinking to the news of the Invasion of Normandy, 1944

Celebrations in Times Square on V-E Day, 1945

For more history-in-action GIFs, check out the whole collection here.

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An important new comic book series is on the market that claims to be the first-ever mainstream superhero book to specifically focus on a transgender character as its central protagonist.

Alters is a project published by AfterShock comics that is committed to not only diversity in its storytelling, but also amongst the staff creating the series.

This comic takes place in a world where a new kind of mutant ― Alterations, or Alters ― are emerging. Our protagonist, Chalice, discovers she is an Alter as she begins her own personal transition from male to female.

“I think it’s important to see yourself reflected in media, and for trans people we so rarely do,” Tamra Bonvillain, the colorist for Alters, told The Huffington Post. “I also believe having more and more examples of trans people begins to normalize the concept to people in general.”

The Huffington Post chatted further with Bonvillian and writer Paul Jenkins last week about the genesis of Alters and what the team wants readers to take away from this powerful, ongoing narrative.

The Huffington Post: Tell us a bit about Alters. How did it come about? What can readers expect?
Paul Jenkins: Alters has been in the works for quite some time. A number of years ago, I had the idea for a series involving people who are at a disadvantage somehow in our society who develop superpowers. The focus would be on the collision of hyper-advantage and disadvantage ― in others words, the stories would concentrate on the person in the middle. And that is at the heart of Alters. While our main character, Chalice, is transgender, it is about much more than that. There is a character dealing with cerebral palsy, another who will be dealing with depression, and yet another who is homeless. I believe these stories will allow readers to contemplate the various issues our characters are dealing with, and think about the contrast between their personal situations and their powers.   

What can young kids who may be questioning their own gender identity take away from this comic book?

Tamra Bonvillain: I’ve heard many trans people say that they never knew that being transgender was a thing when they were younger. By seeing an example, maybe that will help show them that it is possible, and they are not alone.

What can cisgender people take away from this comic book?

Jenkins: I’m hopeful readers will take two things away from this: that they will be entertained and also given food for thought. On one level, Alters is a fun comic about a cool heroine who goes against a maniacal villain. She kicks butt, and she’s part of a unique team of heroes. But I’m hopeful Alters will add something positive to the ongoing discussion about transgender [identity] in this country. Let’s be clear: we cannot possibly claim to somehow be representative of the experiences of trans people. I can only listen and learn and try to write interesting stories that treat the subject with sensitivity. I will say that in the time I’ve been researching this story and writing the issues, I have learned so much from the various trans people who have given me input. I put a lot of time and effort into my research, and that will continue for all of the situations we cover in Alters.

What else can we expect from you in the future?

Jenkins: I recently released a new novel from St. Martin’s Press entitled Curioddity ― it’s a story of a person relearning how to see all the magic around him. I’m now working on the next novel, and of course we will have more issues of Alters every month. Added to that, I work in a number of other mediums such as film and animation so I’m pretty busy these days. 

Want to check out Alters for yourself? Head here.

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For a full week each September, the literary community takes time to celebrate books that have been banned in the past and to talk openly about the dangers of book censorship. On the day of the first presidential debate between Hillary Clinton and Donald Trump, the kickoff of Banned Books Week has never been more necessary in America.

Yes, really.

It’s true that in the United States, this yearly freak-out over book challenges often feels like overkill. For all its problems, the U.S. has a pretty good handle on the whole free speech and free press deal, right?

The American Library Association gathers data on banned or challenged books each year and spreads the word about which reads are drawing the ire of parents, local officials, and others, which always makes for a jarring set of infographics. But for a country of well over 300 million people, the actual numbers reported by the ALA aren’t that alarming. One infographic available on the ALA’s website shows statistical breakdowns of the most challenged books from 2015, who made the challenges, and what the reasons given were.

The total number of challenges in 2015, according to the graphic: 275.

And as Ruth Graham pointed out in Slate during last year’s Banned Books Week, it’s unclear if any, let alone a preponderance, of those include actual bans:

A “challenge,” in the ALA’s definition, is a “formal, written complaint, filed with a library or school requesting that materials be removed because of content or appropriateness.” By that definition, Sims’ one-woman freak-out in Tennessee qualifies as a “challenge,” despite the fact that it posed no real threat to [Rebecca] Skloot’s book, let alone the “freedom to read.”

It’s fair for Graham to have concluded that “Banned Books Week [..] traffics in fear-mongering over censorship, when in fact the truth is much sunnier: There is basically no such thing as a ‘banned book’ in the United States in 2015.”

Then Donald Trump became the Republican nominee for president. 

Sure, Trump loves The Art of the Deal, his 1987 memoir-slash-business-self-help-manual ― though for the most part he doesn’t seem to like reading at all. In August 2015, as his campaign was picking up steam, he claimed in a debate that the book was his “second-favorite book of all time” ― after the Bible, of course. Still, that love didn’t prevent the candidate from threatening the book’s ghostwriter, Tony Schwartz, with a lawsuit this summer after the author publicly claimed he wrote “every word” of The Art of the Deal. (Schwartz also admitted he believed the book contained self-aggrandizing falsehoods from Trump, and that he regretted being part of the project.)

But fine, Trump believed he had a contract with Schwartz regarding the book’s authorship. What about Timothy O’Brien, a writer Trump sued after the publication of his investigative book Trump Nation? O’Brien cited multiple sources close to the mogul in estimating that his actual wealth was around $150 to $250 million ― far below his own vaunted self-worth of over $4 billion. For this journalistic, er, crime, Trump sued O’Brien and his publisher for $5 billion. (The lawsuit was dismissed.)

So Donald Trump loves to sue people who write things that he wishes they hadn’t. A 2013 Atlantic article about his lawsuits documents his proclivity for legally battering people who express themselves in ways he doesn’t care for. It’s not incredibly free speech-friendly, especially since he has admitted to bringing expensive lawsuits he knows he can’t win solely to cause expense and stress to his opponents. But it’s within the bounds of legality. If a court doesn’t believe he’s in the right, he doesn’t win the case. (Indeed, he rarely does.)

But what if a man so averse to free speech becomes the leader of the heretofore free world? Here are a couple choice quotes indicating what Trump would like to do about our current speech and press freedoms:

In February, he proclaimed:

One of the things I’m gonna do if I win [...] is I’m gonna open up our libel laws so when they write purposely negative and horrible and false articles, we can sue them and win lots of money. We’re gonna open up those libel laws. So that when The New York Times writes a hit piece that is a total disgrace, or when The Washington Post, which is there for other reasons, writes a hit piece, we can sue them and win money rather than have no chance of winning because they’re totally protected. [...] We’re gonna open up those libel laws, folks, and we’re gonna have people sue you like you never got sued before.

In August, he took his loathing for freedom of the press to Twitter:

Earlier this month, he blamed “free expression” for the recent bombings in New Jersey and New York:

They’re all talking about it so wonderfully, because, you know, it’s called freedom of the press, where you buy magazines and they tell you how to make these same bombs that I saw [...] We should arrest the people that do that because they’re participating in crime. We should arrest them. Instead they say, “Oh no, you can’t do anything, that’s freedom of expression.”

As HuffPost’s Michael Calderone wrote at the time, “What’s chilling about Trump’s remarks isn’t his criticism of jihadi propaganda ― which is clearly awful ― but his casual dismissal of ‘freedom of expression’ and ‘freedom of speech,’ bedrocks of American democracy, as potentially disposable in fighting terrorism.” 

For many years, the U.S. has cultivated rigorous speech and press freedoms, a culture where book banning exists only as a boogeyman for librarians and free press advocates. So comfortable are we with our carefully guarded rights that, lately, liberal college students who decry racism have been painted as the most serious perceived “threat” to free expression. By electing someone so cavalier about the nation’s most cherished foundational rights, we could risk what’s taken 200 years to build. 

This Banned Books Week, share your favorite banned or challenged reads, pick up a frequently protested classic, and embrace the awareness-spreading holiday like never before. And most important, talk about what could be the biggest boon to book-banning in generations: the election of President Trump.

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Ladies and gentlemen, boys and girls. The words we use to refer to each other collectively have a tendency to lump us into gendered groups.

The choice to identify people ― both strangers and close friends ― by their genders has long been a go-to for English-speakers. But how did this practice start, and is it still relevant to how we live today?

The Toast has an excellent breakdown of how gendered language first appeared thousands of years ago. Briefly, in Proto-Indo-European English, there were two grammatical “genders,” or classes of nouns and pronouns: animate and inanimate. “Animate” later split into two more genders, male and female. Some of the languages that emerged ― including Armenian and Danish ― later lost the male and female divide.

In English, the divide remains clear, evidenced by a poll conducted by The Huffington Post and YouGov.

Respondents were asked how they would refer to two groups: women under age 20 and men under age 20. They were given the option of referring to these groups as simply “people,” but fewer than 2 percent selected that choice. “Guys” was also presented as an option regardless of gender (as in, “hey, guys”), but poll-takers were reticent to refer to a group of women as “guys,” too ― it only accounted for 1 percent of the vote.  

Instead of those gender-neutral terms, 41 percent of respondents said they would refer to a group of women under 20 as “young women”; 33 percent would refer to them as “girls”; 9 percent would refer to them as “ladies,” and 4 percent would refer them as “chicks.” Thirty-six percent of poll-takers said they would refer to an all-male group under 20 as “boys”; 38 percent prefer “guys,” and 6 percent prefer “gentlemen.”

The same trend arose from questions about men and women over 20. Forty-two percent of respondents would call women over 20 “women”; 31 percent would call them “ladies”; 12 percent would call them “young women,” and 6 percent would call them “girls.” Thirty-one percent of poll-takers would refer to an all-male group over 20 as “guys”; 45 percent would refer to them as “men.” Again, fewer than 2 percent of respondents to both questions would refer to the group as “people.”

Guys and chicks, men and women. These words don’t account for gender non-conforming people, and even for those who identify as cis-gender, they place our maleness or femaleness at the forefront of our personalities. Is it time to consider moving away from those swift categorizations we make in English? 

With singular pronouns ― him and her ― there’s an alternative that’s arisen, one that publications as widely read as The Washington Post have embraced. The singular “they,” while considered grammatically unsound by some linguists, is gaining traction as a gender-neutral alternative.

But when referring to collective groups, the YouGov poll shows, we often default to gendered categorizations in spite of the host of available alternatives, including “group,” “tribe” and “crowd.” 

Maybe we, the people, could stand to rethink that.

The HuffPost/YouGov poll consisted of 1,000 completed interviews conducted Sept. 17-Sept. 19 among U.S. adults, using a sample selected from YouGov’s opt-in online panel to match the demographics and other characteristics of the adult U.S. population.

The Huffington Post has teamed up with YouGov to conduct daily opinion polls.You can learn more about this project and take part in YouGov’s nationally representative opinion polling. Data from all HuffPost/YouGov polls can be found here. More details on the polls’ methodology are available here.

Most surveys report a margin of error that represents some, but not all, potential survey errors. YouGov’s reports include a model-based margin of error, which rests on a specific set of statistical assumptions about the selected sample, rather than the standard methodology for random probability sampling. If these assumptions are wrong, the model-based margin of error may also be inaccurate. Click here for a more detailed explanation of the model-based margin of error.

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This article originally appeared on artnet News.

That Andy Warhol committed a portrait of Mickey Mouse onto a pair of panties is just one of the many gems that Antiques Roadshow has afforded us over the years; and according to the production’s appraisers, the panties can fetch up to six figures.

In 1982, the artist picked up the “dime-store” drawers at the now defunct Lamston retailer in New York City’s Union Square neighborhood. He then gifted the specially designed intimates to Titti, the socialite daughter of then Swedish ambassador, Wilhelm Wachtmeister.

“In the 1950s, his style as a commercial illustrator, both artistic and personal, was seen as particularly suited to women’s merchandise,” artnet News’ own Warhol biographer, Blake Gopnik, explains. “He once did illustrations for the publicity for a women’s menstrual pad by Modess. He was always interested in crossing over between male and female culture ― even as an art student, he did a self-portrait of himself as a girl.”

According to Page Six, which first reported the story, Wachtmeister’s sister, Anna, was the one to bring the panties to the show. She also detailed that her sister Titti played a crucial role in helping Warhol secure a collaboration with Swedish vodka company Absolut.

Warhol’s decision to illustrate Mickey Mouse was likely informed by a series of screen prints he had just completed in 1981, titled “Myths.” The project comprised 10 portraits of characters from American mythology, each depicting fictional icons such as Santa Claus, Dracula, Superman, and one Mickey Mouse.

Little-known details about Warhol, such as his anti-Nixon graphic campaign, as well as evidence of his academic excellence, have been resurfacing in recent years. Notably, fans of the pop artist can also look forward to an upcoming biopic that stars actor Jared Leto, which is currently in the works.

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After giving his son a camera, photographer Timothy Jones learned what it looks like to see the world through a toddler’s eyes.

Sparked by curiosity, Jones let his 19-month-old son, Stan, borrow his Canon G12 camera to see what the toddler would find worthy enough for a quick snap. The father, who is a photographer from Bristol, England, figured his son would take some photos of the floor, but was surprised to find that Stan captured his surroundings from many angles. 

“He managed to capture the floor at his feet, the world at his eye level and what it looks like to him when he looks up at us,” Jones told The Huffington Post.

During his photography journey, Stan took photos of his dog and his mom and snapped some cute pics of his feet. He even managed to change the settings to sepia at one point. Jones said it was “pretty groovy” to see his son taking photos with no limits or pressure.

“I can’t remember anything from that age so it was great to see what he experiences,” Jones said. “I wish I could understand what is going on in his head at this age.”

As for Stan’s future in photography, Jones thinks his son might have a shot at following in his dad’s footsteps. 

“I would like to think he would keep at photography and possibly make a career out of it!” he said. “Who knows?”

See more photos Stan took as well as iPhone 6 photos Jones took of his son as he snapped pics below. Head to Jones’ site for more of his work.

H/T Bored Panda

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Saturday was a historic day as it marked the opening of America’s first National Museum for African American History and Culture. But there’s another day in the calendar year that holds special significance in black history: August 28. 

The importance of this day is highlighted in a short video produced by award-winning director Ava DuVernay, who was commissioned by the museum to create an exclusive orientation film. DuVernay, who studied African American history at UCLA and is a self-described “history buff”, spoke with CBS News’ Gayle King prior to the museum’s opening to explain some of the historic black moments that took place on August 28 across the years and why she decided to make these events the focus of her film.

“On August 28, a lot of really, truly amazing things happened in African-American history,” DuVernay told King. “They all fell on this date in different years.”  

The 22-minute film, which is titled “August 28th,” debuted at the museum on Saturday and chronicles some of the key events that happened on that date. Here’s a quick recap, as explained by DuVernay in the video above:

August 28, 1833: Slavery was abolished in the United Kingdom, which had a “trickle down effect and led to American abolition of slavery,” DuVernay said.   

August 28, 1955: 14-year-old Emmett Till was brutally murdered by three white men, which, DuVernay said, became a “flashpoint in the civil rights movement.” 

August 28, 1963: Dr. Martin Luther King, Jr. delivered his iconic “I Have A Dream” speech in Washington, D.C. 

August 28, 2005: Hurricane Katrina made landfall in Louisiana. The storm, which devastated New Orleans, inordinately impacted many of the city’s black residents.

August 28, 2008: Then-Senator Barack Obama accepted the democratic nomination for president, becoming the first black man to ever win the nomination and bid for presidency. 

But, it doesn’t stop there. DuVernay, who said she always tracks the date each year because “there’s always something interesting” that takes place, noted that August 2014 was the month when protests in Ferguson first picked up. The city immediately became a focal point of racial tension in America. DuVernay also mentioned that it was around August 28th of this year when San Francisco 49ers player Colin Kaepernick delivered his first official remarks on why he decided to protest the national anthem. 

The short film features a bevy of talented black stars including David Oyelowo, Lupita Nyong’o, Don Cheadle, Angela Bassett, Michael Ealy, and others, who came together to help recreate history.

“I chose to focus on a date that has fascinated me for years,” DuVernay told Deadline earlier this month. “In my eyes, ‘August 28’ tells so much about black history through the lens of one date. The Smithsonian gave us an opportunity to tell this story and I’m honored to be part of NMAAHC’s inaugural installations.”

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Every presidential election has its buzzwords.

In 2008, “hope” rang throughout Obama’s winning campaign. In 2000, “SNL” satirized the standoff between Al Gore and George W. Bush by coining the word “strategery” and poking fun at the concept of a “lock box.”

In advance of tonight’s presidential debate, Merriam-Webster Dictionary has announced that it will be tracking which words are used, and which words see a spike in searches on its site.

Already, the online dictionary has wrangled up the words that have surged in use since the election cycle began. Among the popular 2016 election words are:

• Equivocate: to use unclear language especially to deceive or mislead someone


• Implacable: opposed to someone or something in a very angry or determined way that cannot be changed


• Trumpery: Worthless nonsense

Wait, what was that? The relatively uncommon word saw a big spike in usage this March, when a few social media accounts’ quips likening the word to Donald Trump went viral. According to Merriam-Webster: 

Trumpery has been in use in English since the late 15th century, and has been used, at one time or another, to refer to weeds, people (especially women of doubtful character), religious matters (especially those that are superstitious in nature), and generally worthless things in a broad sense.

Sounds about right.

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Popular web series “The What’s Underneath Project” is back for another season, bringing together artists, creatives and activists to discuss their relationship with their identities and bodies while removing articles of clothing.

The latest episode features writer Grace Dunham, the younger sibling of Lena Dunham of “Girls” and “Tiny Furniture” fame. Dunham, who uses “she” and “they” interchangeably as personal pronouns, engages in a candid and compelling conversation about their personal journey with gender, identity and their sense of self, as well as the trappings of fame.

The full interview is available through Fullscreen, but check out a clip above as well as our brief interview with Dunham about style and liberation below.

The Huffington Post: What do you want people to take away from this video/project?

Grace Dunham: In terms of my portion of the project, I simply hope that people will watch it and come away feeling a bit less like identity is some point of completion they need to arrive at. I don’t believe that one “becomes” them self; I believe that “becoming” is a process that doesn’t end.

It’s been said that queer style “is one of the most fashionable forms of resistance.” What are your thoughts on this? What is queer style to you?

Style is one way that people resist structures which tell us who to be and how to act. I think it’s amazing when people resist norms and dictates (and express themselves) through style, but I also think it’s one form of resistance that not everyone has access to ― because clothes cost money, because clothes can be unsafe to wear, because some people have bodies that most clothes aren’t made for, because lots of institutions like prisons don’t allow people to fully express themselves through style. That being said, it’s deeply inspiring how people find ways to express their style despite and against these forces. 

"I don't believe that one 'becomes' them self; I believe that 'becoming' is a process that doesn't end."

Also, I don’t believe there is a “most fashionable form of resistance.” Resistance is also about resisting hierarchies of value. It’s true that certain trends associated with queerness have gained attention and visibility in the fashion world, and it’s true that other political movements ― like disability justice, for example ― don’t have the same cache in these markets. But that doesn’t mean queerness matters more, it just means it is profitable right now. 

What does queer liberation look like to you?

Queer liberation looks like black liberation looks like disability justice looks like trans justice looks like indigenous liberation looks like climate justice looks like prison abolition. Basically, I’m not interested in or committed to a queer liberation that moves, thinks, and acts on its own.

This interview has been edited and condensed for clarity.

The full episode of Grace Dunham on “The What’s Underneath Project” is available on Fullscreen. While Fullscreen is a paid subscription service, all eight episodes in this season will be available for free with a month-long trial.

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A British artist has mastered the unusual art of paper cutting, transforming ordinary sheets of paper into breathtaking images of intricate swans, flowers and even the Millennium Falcon.

Pippa Dyrlaga of Yorkshire, Northern England, has been perfecting her craft since 2010 while amassing thousands of online views along the way. Each piece, which is first hand drawn, takes anywhere between four to 100 hours to create, she told The Huffington Post.

“It all depends on the detail, and research I have to do beforehand. The last piece I made took about 60 hours in total,” she said by email Monday.

“I first draw the image out in pencil in reverse, which can take a while to get right. As they are cut from a single piece of paper, I need to make sure it doesn’t fall apart and it makes sense,” she stated.

A video shared on her Facebook page captures this careful technique. It shows her first sketching the design ― in this case, a swan ― before it’s carefully cut out with an X-Acto knife. The final product is seen once the sheet is flipped over.

Dyrlaga said she happened upon this unique kind of art while pursuing her masters at Leeds Metropolitan University.

“I was drawing silhouettes and then started cutting them out. It was the first time a medium felt right, and I loved the simplicity of making something from nothing but a single sheet of plain paper. After seeing what some other contemporary paper cut artists were achieving, it really motivated me to continue and its the only medium I have really worked in since,” she stated.

Though she has a breathtaking collection on her website and social media pages ― where she also creates under the name Bear Follows Cat ― her favorite piece is one she keeps privately at home, she said.

“It’s got a secret name and it sits in my living room,” Dyrlaga said of the artwork, which she shared with HuffPost. The captivating black-and-white drawing resembles a swirl of leaves of different sizes.

“I made it at a real turning point in my life, in that period just after you finish studying where you feel a bit lost,” she said. “I quit my job after I graduated and got on a plane to Berlin without much of a plan and it pretty much sums up how I felt at the time, but I think it was the first time I had really challenged myself to make something so different to my usual work. I’ll never sell this piece, it’s my reminder to always try and push myself to try different things with my artwork.”

In addition to producing and selling cutouts — some by commission — Dyrlaga creates greeting cards and illustrations, as well.

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