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Arkansas' Thorncrown Chapel Is The Glass Church In The Woods 'So Close To God' (PHOTOS)

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Visitors to Thorncrown Chapel in Eureka Springs, Arkansas will probably be struck by two things: the immense glass walls and ceiling and the dense forest visible all around. This was the dream of Jim Reed, a retired school teacher who envisioned a glass chapel that would inspire his friends and visitors by being "so close to God."

chapel

Reed wasn't a particularly religious man, according to a brief history written by his son and Thorncrown pastor, Doug Reed. In fact Reed had originally bought the land in order to build himself a retirement home, expecting to live out the rest of his days among the majestic Ozarks.

His son writes:

"[Jim] wasn’t the only one who admired his location, however, and people would often stop near his house to gain a better view of the beautiful Ozark hills. Instead of fencing them out, Jim chose to invite them in. He decided he and his wife should build a glass chapel in the woods to inspire their visitors."

chapel

chapel

Reed joined forces with architect E. Fay Jones to realize the vision of Thorncrown Chapel. Throughout the process of building it, the younger Reed writes, "it seemed God’s hand was in everything." From finding a location to dealing with funding issues, Reed had several experiences that seemed to indicate "divine" intervention.

"Though [Jim] was alone, he felt like someone was gently pushing him, as if to say, “Walk this way!” When Jim reached Thorncrown’s current site, the urging stopped. He looked around. Before him was what looked like a natural stone altar. To his right stood majestic rock bluffs and to his left was a beautiful wooded setting. There was no question that this was the spot, and Fay agreed."

chapel

When funds began running out, Reed considered quitting the project. His son describes what happened next:

"Jim stepped out one evening to take what he thought would be one last walk down to his half-finished dream. He told himself that he would allow himself one final look and never return. Questions filled his mind: 'Why would God do this to someone who is trying to serve Him?' 'Why would the Lord give a person a great idea and then abandon him?'

Then, just as Jim was about to leave his dream behind, he did something he had never done before. On the still incomplete altar, he fell on his knees and he prayed. And though Jim had prayed before, it was never on his knees and never like this. He wept and cried, and in the midst of his travail, he found he was not alone."

Reed's son characterizes the moment as a "revelation" that ultimately gave him the strength to move forward with the project.
Reed realized, his son writes, that "he had a relationship with Christ that would change his life." Three days later, Reed received a loan that was enough to cover the chapel's final expenses.

chapel

chapel

In 2013 a proposed Southwestern Electric Power Co. power-line project threatened to impede Thorncrown Chapel's peaceful setting but was defeated -- at least temporarily -- by a grassroots coalition that included The American Institute of Architects.

“Thorncrown Chapel stands among the preeminent examples of spiritual architecture in the 20th century," AIA CEO Robert Ivy said.

chapel

chapel

After Dark: Meet NYC's Acid Betty, Artist And Nightlife Personality

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

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


The Huffington Post: What did your journey to becoming a fixture in the New York nightlife scene entail? How did you come to embody Acid Betty as a persona?
Acid Betty: It started with me leaving Los Angeles in hopes of becoming “more creative” and open-ended with no intention in mind other than happiness. I was a professional dancer and helping cast some of the largest music videos to date, but noticed that the art and passion was definitely missing and not for me. I then found myself at a lot of drag icon Sherry Vine's shows and, in the end, became best friends with her hair stylist/boyfriend at the time. One thing led to another and Marec and I were having too much fun dressing up and going out as recluses on Sherry’s list. I do apologize to Kenny Kenny and Brandon Olsen now -- I am sure I was a mess every week, like clockwork, but they still let us in for free.

I had a full-time job so Acid Betty was my hobby. I loved going out to clubs and surprising the freaks working there with another over-the-top look. After a year or so of being a hobby freak, I realized New York needed me. Don’t we all have those delusions at one time or another? So I hosted hundreds of parties, as well as throwing my own very successful freak fest: Acid Disko! I was working almost five nights a week as Acid and doing web design and marketing with left-over eyeliner during the day.

It really wasn’t until I received a call that Lady Bunny wasn’t a real man, so "Project Runway" wouldn't be able to film her as a he [laughs]. So I became her last minute replacement for the all-Drag Queen episode of "Project Runway." After it aired “acid betty” was one of the highest searched terms on google in the world and I found hundreds of posts and blogs trying to explain, understand and hopefully celebrate this new strange idea of a Hybrid Drag Queen and why the last name Betty was a larger descriptive than just a name. It was fantastic!

After my five second stint on Project Runway I was working larger events and parties and began traveling and taking Acid on the road. Ironically, she still continues to be a great hobby. I have since been working on some new projects for Acid that will hopefully extend myself into the art world more seriously.

acid betty

You produce a diverse spectrum of work. How would you describe your aesthetic and your work as an artist?
Overall I hope my work leaves people challenged and inspired. My intention has never been to be a drag queen, an impersonator or a female illusionist. I try to express concepts, emotions or moments in time rather than be “a passable woman." I have been known to challenge the boundaries of the art of drag. I have been told my whole life that being a renaissance man would be my down-fall, but I can assure you it has done nothing but uplift me my entire life. I do pretty much everything you see. I style and design the hair, makeup and outfits as well as the video visuals that accompany some of my live performances. When performing I produce all original work and try to flex my humble acting and dance beginnings. I don’t believe you can call yourself an artist if all you are doing is prancing abut on top of someone else’s work -- so the continuation of original work and supporting other’s original work is very important to me.

You describe yourself as a "hybrid drag queen" -- what does this mean?
It was the best way to describe myself at the time. When I started working in New York the club kid scene was hardly breathing and there was only one kind of successful drag queen -- and it wasn’t me. I was pushing the boundaries of drag and including the lack of padding or tits as still beautiful! I came onto the scene and no one knew how to put back their eyebrows or style a wig. I was aiming to master the "greats" work -- such as Lady Bunny, Joey Arias, Sherry Vine and Leigh Bowery -- and then throw it back at New York and see what happened. I think they call it “Brooklyn drag” now, but at the time I was thrown up against a lot of discrimination within my community as well as out. However, I fought the good fight and now drag is just a mess isn’t it? The great part is I now have self-confessed “hybrid drag queens” all over this crazy world, so watch out!



How have you seen the NYC nightlife scene change and develop over the past decade?
I have been involved with the nightlife scene for over 10 years. It's not long at all when I consider my friend Penny Arcade has been here five times as long and Joey Arias for over 200 years. Most kids before moving to New York often have their eyes, ears and dreams on this city and that was me -- I definitely had childhood dreams of becoming a club freak at night and living in New York. I felt like I knew every club kid on "Geraldo" as my own fucked up friend. Luckily, while working in nightlife a lot of great old school kids came back out to my party, Acid Disko, or some performances and I always heard the same things: “It's nice someone is still trying to hold up the torch. We all miss our dying New York.” It's hard for me to imagine how they are feeling, even though I can attest to similar protests. There was an energy that drew people and me together and into their desires and fantasies and just let things go in the nightclubs. I can still experience it happening today -- just in smaller doses and more spread out.

What do you consider to be the most important thing coming out of what nightlife has shifted and developed into today?
I am not sure if there is anything important coming out of nightlife as much as a warning sign. We could possibly be losing our queer identity to Facebook status updates and "RuPaul’s Drag Race."

It is important for us queers to pass down a tradition and common knowledge only expressly understood by us and us alone.

The nightlife has always been a place for other queers to meet, support and interact with each other and it is important that we continue that tradition. If we sell out to ticket sales, what's hot on TV and begin to segregate between each other then we'll be left with no allies and no traditions of our own. It's time for the younger kids to start creating something new. Something we have never seen before.

Use that computer to the watch the past and create a better future.

In a similar vein to what Penny Arcade said in her feature, I think our egos are so quick to believe that we have a better thought or intention than those before us. What is often forgotten is that without those people before us we would not be having the choices we have today. We must remember the struggles and fights made for our said liberties today because they will slowly be taken back if we don’t pay attention.



How do your identities as an artist and nightlife personality shape and inform one another?
I didn’t think they would ever affect each other or be related, as I never imagined I would be a drag queen or pursue such a thing. Nowadays they are one and the same. Acid Betty as my artistic expression vessel -- everything I do for pleasurable art is through Acid and my art collective the Haus of Acid. Working in nightlife also has given me a political message and grounds to start from. The discrimination and struggles I had to endure bringing Acid Betty to life have only fueled my fire and given me a voice to speak from.

How have you seen technology augment and mold nightlife during your time in the scene? Do you think this is necessarily good or bad?
Technology is affecting everything. I use videos and digital design in my work all the time now; it's almost customary. Also, the way people meet each other has definitely changed. Maybe all of the microphones and video cameras on phones and watches have reduced peoples' interactions to very controlled selfies and lovely conversations. I get ignored when I am out working, but then get a "poke" or "friend request" from the same boys who just hours previously ignored me. I think the kids need to definitely loosen it up a bit. Kevin Aviance told me once, “Honey, if I am not walking out with a shoe in my hand and part of my outfit missing it was not a good night.”

acid betty

What projects are you currently working on?
I am currently working on my first large art “secret project” for the Haus of Acid and am very excited to birth that out. Otherwise check out HausofAcid.com or AcidBetty.com for more information.

How do you see what is happening now in New York nightlife today as building on a historical legacy of artists, performers, musicians and personalities over the past decades?
I see a lot what is happening today in nightlife as a representation of the past. I find a lot of work in the museums from the 50’s, 60’s and 70’s being reflected into today's kids -- though I am not sure if they are aware of it or not. It seems pop culture has slowly infested the queer waters and the only music performed to is Top 100.

I love that music myself, but I go out into the nightlife for the second-better-life. The mirrored reflection of pop-culture. The perverted royal finger to what is normative.

Now you have to search within the nooks and crannies to find anyone brave enough to be honestly queer.

For more from Acid Betty head here to visit the artist's website. Missed the previous installments in this series? Check out the slideshow below.

The New Trailer For 'The Drop' Promises An Electrifying Final Bow For James Gandolfini

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Just a few days after the one-year anniversary of the death of James Gandolfini, we have the international trailer for the actor's final film, "The Drop." Co-starring Tom Hardy and Noomi Rapace, Gandolfini's final bow will feel familiar as he plays an ex-con trying to straighten his life out -- his cousin, played by Hardy, being in the same boat -- who finds himself in trouble with some gangsters after his bar is robbed.

"A new Gandolfini was emerging," director Michaël Roskam told USA Today. "Unfortunately, we are not going to be able to see more of it. But I am happy that we had this beautiful glimpse."

"The Drop" is based on a short story written by Dennis Lehane, who also wrote "Mystic River," "Shutter Island" and "Gone Baby Gone." Watch the trailer below.

9 Stunning Staircases That Really Steal The Spotlight (PHOTOS)

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What if the most gorgeous room in your home wasn't really a room after all? Well, with these jaw-dropping staircases that's exactly the case. From their ultra-modern designs to their bold pops of color, these passageways from our friends at Porch.com prove that a blank canvas doesn't always have four walls and a doorway.

If you could redesign your home's staircase, would you choose any of these? Tell us in the comments.





Have something to say? Check out HuffPost Home on Twitter, Facebook, Pinterest and Instagram.

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Are you an architect, designer or blogger and would like to get your work seen on HuffPost Home? Reach out to us at homesubmissions@huffingtonpost.com with the subject line "Project submission." (All PR pitches sent to this address will be ignored.)

Watch Pearl Jam Cover 'Let It Go' From Disney's 'Frozen' While Performing In Italy

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While performing their song "Daughter" in Milan, Italy on Friday night, June 20, Pearl Jam randomly broke out into "Let It Go" from Disney's "Frozen" for a about 30 seconds. We can finally check "grunge" off our list of "Let It Go" covers that we absolutely need to hear. Watch the amazing clip below.



[h/t Gawker]

Kevin Hart's 'Think Like A Man Too' Barely Tops '22 Jump Street' At The Box Office

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NEW YORK (AP) — The Las Vegas ensemble comedy "Think Like a Man Too" topped a slow weekend at the summer box office with $30 million, besting blockbuster holdovers from last week and Clint Eastwood's new Four Seasons musical "Jersey Boys."

The Kevin Hart sequel "Think Like a Man Too" narrowly edged out "22 Jump Street," which earned $29 million in its second week of release, according to studio estimates Sunday. The DreamWorks animated film "How to Train Your Dragon 2" slid to third with $25.3 million. The top three films are all sequels that moved into the big box-office summer season following surprise hit originals released in the springtime.

Moving into summer's bigger competition actually diminished Sony Screen Gems' "Think Like a Man Too." The first film, also directed by Tim Story and starring mostly the same ensemble led by Hart, opened with $33.6 million in April 2012.

Warner Bros.' "Jersey Boys," Eastwood's adaptation of the Tony-winning Broadway musical about Frankie Valli's group, opened in fourth with $13.5 million. The film drew an overwhelmingly older audience, with 71 percent of its moviegoers over the age of 50.

Overall business at the multiplexes was down considerably. "Think Like a Man Too" and "Jersey Boys" pale in comparison to the openings on the same frame last year, when "Monsters University" and "World War Z" led a weekend gross 38 percent higher.

The box office will get a boost next weekend when Paramount's "Transformers: Age of Extinction" opens. The film, the fourth in the franchise and featuring a revamped cast led by Mark Wahlberg, is expected to be one of the summer's biggest grossers.

But this weekend belonged to Sony, which occupied the top two spots. Last summer was rockier for the studio, with disappointments like "After Earth" and "White House Down." Rory Bruer, head of distribution for Sony, called the chart-topping weekend "a call for celebration."

Bruer said "22 Jump Street," which has made $38.2 million overseas (a large amount for a comedy), will become one of the biggest R-rated comedies ever worldwide.

Paul Dergarabedian, senior analyst for box-office tracker Rentrak, attributed the success of "Think Like a Man Too" to the draw of Hart, even in an ensemble. Following "Ride Along" and "About Last Night," the movie marks the comedian's third film to open with $25 million or more this year.

"He's a bona fide movie star," Dergarabedian said. "He's versatile, he's so well liked and he's super funny. Talking about what actors are bankable and consistent, he's right there in that group."

"Jersey Boys," while made for a relatively little $40 million, performed weakly despite the broad popularity of the musical, which toured. While Eastwood's prestige attracted many moviegoers, the R-rated film didn't feature stars aside from Christopher Walken and drew mixed reviews. It performed similarly to jukebox musical "Rock of Ages," which opened with $14.4 million in summer 2012.

Dan Fellman, head of distribution for Warner Bros. still called it a "really good result" that will provide counter-programming for older moviegoers amid the summer blockbusters.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Rentrak. Where available, latest international numbers are also included. Final domestic figures will be released on Monday.

1. "Think Like a Man Too," $30 million.

2. "22 Jump Street," $29 million ($14.5 million international).

3. "How To Train Your Dragon 2," $25.3 million ($43.5 million international).

4. "Jersey Boys," $13.5 million ($1.6 million international).

5. "Maleficent," $13 million ($44.7 million international).

6. "Edge of Tomorrow," $13.3 million ($21.5 million international).

7. "The Fault in Our Stars," $8.6 million ($20 million international).

8. "X-Men: Days of Future Past," $6.4 million ($11.3 million international).

9. "Chef," $1.8 million.

10. "Godzilla," $1.8 million ($15 million international).

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Estimated ticket sales for Friday through Sunday at international theaters (excluding the U.S. and Canada), according to Rentrak:

1. "Maleficent," $44.7 million.

2. "How to Train Your Dragon 2," $43.5 million.

3. "Edge of Tomorrow," $21.5 million.

4. "The Fault in Our Stars," $20 million.

5. "Godzilla," $15 million.

6. "22 Jump Street," $14.5 million.

7. "X-Men: Days of Future Past," $11.3 million.

8. "Blended," $6.1 million.

9. "Frozen," $3.4 million.

10. "A Hard Day," $3.4 million.

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Universal and Focus are owned by NBC Universal, a unit of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are units of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by 21st Century Fox; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of former creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Entertainment Corp.; IFC is owned by AMC Networks Inc.; Rogue is owned by Relativity Media LLC.

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Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jake_coyle

This '80s Rendition Of The 'Game Of Thrones' Theme Song Is An Absolute Booty Thrill

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We all hum the "Game of Thrones" theme song whenever an episode starts -- or whenever we are thinking about watching the show. Thanks to Russian producer Steve Duzz, we now have an amazing '80s remix full of sweet synths that can only be matched in glory by an LED dance floor. Get your groove on by listening to the track below.

Watch Jennifer Connelly's 'Labyrinth' Audition, Including A Conversation With Jim Henson

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Jim Henson's bizarro fantasy film "Labyrinth" came out when Jennifer Connelly was 16. The actress' audition, likely from early 1985, has been on YouTube for a few years, but Vanity Fair dug it up over the weekend to remind us of a young Connelly's third starring role, after "Phenomena" and "Seven Minutes in Heaven." The clip is cute because you can see the actress converse with imaginary fairies, but it's especially interesting because the final moments find Connelly discussing the character with Henson.

As noted in Henson's "Red Book," we now know that Connelly was up against the likes of Helena Bonham Carter, Jane Krakowski, Yasmine Bleeth, Sarah Jessica Parker, Marisa Tomei, Laura Dern and Ally Sheedy for the part. Maybe it was her inquisitive nature at the audition that won over the director. No matter. It brought her face to face with David Bowie, a.k.a. the crotchety Goblin King, and for that we are forever grateful.


Student Gets Trapped In Vagina Sculpture (PHOTOS)

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We bet he feels like a d--k.

An American exchange student had to be rescued after he got stuck inside a giant vagina sculpture.



The Guardian reports that the unidentified student got trapped on Friday at the Tübingen University's institute for microbiology and virology in southern Germany.

22 firefighters had to pry him loose.

According to the Mirror, the sculpture, called "Pi-Chacan," was crafted by Fernando de la Jara and has been on display since 2001. Its name "is said to mean ‘love making’ in Peruvian-Indian," the Mirror reports.

"I was there!!! He just wanted to take a funny picture,“ witness Erick Guzman posted to Imagur, according to the Herald Sun. “The fire department was not really amused, and he was really embarrassed.”

The Sun points out there is still at least one mystery unsolved in this whole debacle:

"Exactly how the student explained his position to local authorities has not yet been reported."



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Taiwan Art Exhibit In Japan Salvaged By Name Fix

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TOKYO (AP) — An exhibition of Chinese art from Taiwan has opened as planned after the Tokyo National Museum revised promotional materials that had omitted the word "National" from references to Taipei's National Palace Museum.

Taiwan is sensitive to how other governments portray it, and last week its first lady, Christine Chou, canceled a trip to Tokyo for the exhibition. But on Monday, the Taiwanese museum's director accepted an apology from the Tokyo museum's curator at an opening ceremony for the exhibition, whose centerpiece is a lustrous white and green cabbage carved of jadeite.

"I believe this will suffice to restore the positive sentiment toward Japan among the Taiwan people," said the Taiwan museum's director, Feng Ming-chu. She said the past two or three days had been "regrettable," but added that once the problem with the name was fixed the exhibition could proceed.

"The most important thing is trust, sincerity and mutual respect," she said.

The National Palace Museum houses many treasures taken to Taiwan when the Nationalists fled there from mainland China during a civil war in 1949. China still claims Taiwan as its own territory.

Japan formally recognizes mainland China but also has close ties with Taiwan, which has full diplomatic relations with only 23 countries, most of them in Latin America, Africa, and the south Pacific.

"The upcoming exhibition in Japan of some of Taiwan's most treasured collections of antiques would have been a perfect example of cultural exchange if not for a row over the name of the Taipei-based museum that owns the items," the Taiwan newspaper The China Post said in an editorial.

It noted that the word "national" in the Taipei museum's name indicates it is a government-run museum.

"We are disappointed at the Tokyo museum," it said.

Staff at the Tokyo museum would not give a reason for the original incorrect references in the posters for the exhibit.

Masami Zeniya, executive director of the Tokyo museum, acknowledged having "upset" the Taiwanese with the misnaming. "We take this matter very seriously and made the corrections immediately," he said. "We would like to apologize for causing trouble."

The exhibition opens to the public on Tuesday. The jadeite cabbage will return to Taiwan in two weeks, as planned, but 200 other items will be on display until the exhibition moves in September to the Kyushu National Museum on the island of Kyushu.

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Associated Press writers Miki Toda and Koji Ueda contributed to this report.

Ten global R&D projects that are changing arts and culture

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Research and Development (R&D) projects can provide arts organisations with a robust framework that brings arts, technology and rigorous research together to test how they might engage with audiences in new ways or test new business models. Because arts funding is limited and resources are stretched, it's vital to publicly share the results of our experiments with one another. This includes our successes and our mistakes – so that others can learn from them and innovate further.

Sam Smith Covers Whitney Houston's 'How Will I Know,' & You Will Know It's Incredible

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Twenty-two-year-old British singer and songwriter Sam Smith has taken on something of a musical challenge even the most talented of performers might refrain from doing: covering the iconic Whitney Houston hit "How Will I Know."

How did he do? Well, while simultaneously paying tribute to Houston's original while also owning the rendition with his unique vocal stylings, all we know is that it's incredible.

[via Rolling Stone, SiriusXM]

These Hip Hop-Classic Art Mashups Are Pretty Much Perfect

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Hip hop and classical artwork might not seem like a match made in heaven, but Gisella Velasco and Toni Potenciano found a way help these classics brush that centuries-old dirt off their shoulders.

Spitting sick verses over stunning sketches since December 2013, Fly Art Productions describes the project as "paying homage to the good things in life: fine art and fresh hip hop." And indeed, the classics are looking super fly with the additional swagger of contemporary lyrics. Master verses from Jay-Z, Beyonce, Kanye West, the late great Tupac, TLC and more are each paired perfectly with the accompanying painting. Who knew Drake went so well with Joan of Arc?

Here are just a few of the verse-visual mashups:



































You've Never Seen Anything Like This Hand-Drawn Video Game

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If your grandparents had video games, we now know how they would have looked.

A new game called "Cuphead," which is set to be released in 2015, is animated in the style of a 1930s cartoon. In fact, it was created the same way that cartoons were created back then, using hand-drawn cel animation and watercolor backgrounds.

Painstaking? Sure. But the final product really does make the game look like it's from another era:





For comparison, here's Disney's 1937 film "Snow White and the Seven Dwarfs."



And 1928's "Steamboat Willie."



"Cuphead," which was previewed at this year's E3 conference, is the first by Canadian developer Studio MDHR. And unlike other throwback video games, there's no 8-bit music to be heard here. The game's soundtrack is entirely made up of original jazz recordings, composed by Kristofer Maddigan.

The game's creators describe it as "a classic run and gun action game heavily focused on boss battles." While they haven't yet announced every way you'll be able to play it, we do know it will be released on Steam (PC) and XboxOne.



When you do get your hands on it, you can play as either "Cuphead" (on the left in the below photo) "Mugman" (on the right). If a friend joins, you can play as both.

cuphead

All in all, we're excited.

cuphead

[h/t The Daily Dot]

This Is What The 'Batman' Premiere Looked In 1989

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Wait 'til you get a load of these pictures from the Los Angeles premiere of 1989's "Batman." Tim Burton's film debuted in theaters 25 years ago today, and the blockbuster helped usher in this current era of superhero franchises. There are plenty of fun features dedicated to the legacy of "Batman," so go ahead and read those. We'll be here imagining a world where James Brolin dressed like Don Johnson in "Miami Vice" in normal social settings, while Don Johnson dressed like Fonzie. Oh, wait, that was real life in 1989? Brb getting in our DeLorean.


J.K. Rowling Thinks Malfoy Is A Jerk, Too

These Two Dachshunds Are The Cutest Firefighters You'll Ever See

Forget Everything You Knew About The Circus -- This Is Trapeze As Fine Art

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We wish every trapeze performance were this mesmerizing.

The artistic technology installation in the video above blends a trapeze artist's movements with stunning audio and visual effects. The project, called Ljós, made its debut two weeks ago at the Italian art festival "Festival della Fiaba," a rep for fuse*, the company behind the installation, told The Huffington Post.

Ljós' builds a visualization and audio experience based on the movements of an acrobat -- in this case, the very talented Elena Annovi. All of her movements are captured through the use of the Kinect motion capture camera and synced to the audio and video through various methods.

“Ljós is the translation of the latent elements of dreams into visible contents,” the video's Vimeo description states. “The body is the medium through which the connections between light, sound and movement are explored, leading the spectator into an unreal space, rarefied and disorientating.”

Watch the video above, and tell us what you think by tweeting at @HuffPostArts.

(h/t The Collectors Project)

Scientist Tries To Crowd Surf To Handel's 'Messiah,' Gets Kicked Out Of Concert By Concertgoers

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"Punk as f--k" isn't typically how leading theoretical chemists are referred to in the media. But this week, Dr. David Glowacki, a respected American chemist and Royal Society research fellow in London, earned that description after he was kicked out of a classical music concert for attempting to crowd surf during a performance of Handel's "Messiah."

Quoting witnesses, the Telegraph reports that Glowacki was enjoying a performance at the Bristol Old Vic in Bristol, England, and was "so overcome during the 'Hallelujah Chorus' he began lurching from side to side with his hands raised and whooping before attempting to crowd surf."

Tom Morris, the artistic director of the Bristol Old Vic, had previously invited the audience to "clap and whoop" with abandon during the performance. However, Morris admits that Glowacki, currently a visiting professor at Stanford University, was perhaps "over-excited" during the show, the Irish Independent notes.

Audience members reportedly became irritated with the antics and physically removed the scientist from the venue.

“Classical music, trying to seem cool and less stuffy, reeks of some sort of fossilized art form undergoing a midlife crisis,” a frustrated Glowacki told the Irish Independent. “Witness what happened to me when I started cheering with a 30-strong chorus shouting ‘praise God’ two metres from my face: I get physically assaulted, knocked down to the floor and forcibly dragged out by two classical vigilantes."

As news of Glowacki's crowd surfing mishap goes viral this week, the reaction online has been decidedly mixed.

One Gawker reader slammed the academician for acting "like an ass," while others -- including music psychologist Adrian North -- have defended Glowacki's actions and championed the idea that classical music can and should be enjoyed without the usual fuss and decorum.

"Classical music gigs are nothing like as lively as they used to be," North noted in a post on the news and opinion website TheConversation.com. "Fights in the auditorium appeared to be de rigeur in the early years of the 20th century."

As for Morris, he says Glowacki's unceremonious exit from the venue was a "good thing."

“Dr. Glowacki is an eccentric and a genius and only a very few people are likely to react to the music the way he did but it shows it is an environment in which unexpected things can happen," he told the Telegraph.

Kara Walker's Sugar Sphinx Evokes Call From Black Women: ‘We Are Here.'

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Kara Walker, the black artist who is known, loved and sometimes begrudged for making slavery-inspired silhouettes, hasn’t said an awful lot in public about about her latest work, “A Subtlety: Or the Marvelous Sugar Baby.” Instead, the giant Sphinx made of white sugar with the head and backside of a mammy and the brown babies fashioned out of unrefined sugar speak volumes.”I don’t really see it as just about race,”Walker told Audie Cornish at NPR in May. “I mean, I think that my work is about trying to get a grasp on history.”

The history that Walker is trying to excavate came hurtling into the present yesterday as throngs of people of color—including many black women—came to the abandoned Domino Sugar factory in Brooklyn to view the exhibit together. Known as “We Are Here,” the event was billed as “a chance for [the exhibit’s] thousands of daily visitors to reflect on history before the old factory space is replaced by high rises.” More than a thousand users RSVP’d on Facebook and participants wore black stickers with “We Are Here” scrawled across them in white letters. People were handed pamphlets with a timeline dating back to 1884 and they were invited to share their reflections about the exhibit on a wall near its exit.

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