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10 Nostalgic Photos That Capture The Disappearance Of An American Icon

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Photographer Brenda Biondo has spent the last 10 years documenting a disappearing icon of the American landscape: playgrounds. From geodesic climbing domes to those swirling metal slides that never failed to scorch the backs of your legs, she captures what's left of childhood in the 20th century.

slide

Unlike the playgrounds and parks of today, Biondo's images frame the caricature-themed see-saws and coil-spring cars that made sandpits and gravel sanctuaries so magical to kids of the early to mid 1900s. Born out of the Progressive Era's reform movement -- a utilitarian effort that, among other things, sought to keep children out of the streets and dangerous urban settings -- the "reform park" gave rise to surprising feats of mid-century design.

But as safety standards have evolved over the last few decades, the pieces of playground past have begun to disappear. "As safety standards trickled down over the past 25 years, schools, cities and day care centers have been quietly replacing swing sets with all-in-one climbing structures that child-development experts say promote both physical fitness and social skills," USA today reported back in 2006.

I’d say probably half the equipment has been taken down since I took photographs of it,” Biondo explained to Colorado Public Radio.

"The structures that defined [playgrounds] -- towering metal slides, spine-jarring seesaws, expansive climbing gyms -- are now being hauled off to the scrap yard as schools and towns renovate their playgrounds," Biondo writes in her book, Once Upon A Playground. "When I took my own kids to local playgrounds and realized the loss, I decided to document as many of these remaining icons of childhood as I could."

Once Upon A Playground covers six decades of outdoor beauty, spanning 1920-1975. Filled with over 170 personal photos and 65 historical images, the piece is a tribute to the lost innocence of swing sets and jungle gyms. Snapped from emotive perspectives, and dripping in bold hues, the portraits transform equipment into anthropomorphized characters, and send us back in time to the days when a rusted basketball hoop sent us into a fit of elation.

Check out a preview of Biondo's work here and let us know your thoughts on the throwback imagery in the comments.





Once Upon a Playground is available through ForeEdge from University Press of New England. All photos copyright Brenda Biondo.

Jeff Koons: An Artist, Wrapped In A Mystery, Inside Shiny Stainless Steal

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"If Jeff Koons didn't exist, we would have to invent him," The Whitney's Donna De Salvo proclaimed to an audience of hungry critics last Tuesday.

The Chief Curator and Deputy Director for Programs was one amongst a few voicing their Koonsian exultations ahead of the museum's feature presentation -- the quietly titled "Jeff Koons: A Retrospective." As for the writers and photographers, artists and curators, they were waiting for the man of the hour, Koons himself, to take the podium and explain to us how exactly we should feel about his porn star paintings and glossy inflatable dogs.

jeff koons a retrospective
Artist Jeff Koons poses next to one of his sculptures during a press preview of "Jeff Koons: A Retrospective", an exhibition of his work at the Whitney Museum of American Art. The show spans the artist's three-decade career and will fill nearly the entire museum from June 27 through Oct. 19. (TIMOTHY A. CLARY/AFP/Getty Images)


Necks craned and bulbs flashed when the enigmatic artist -- a hologram of a human being, as Jerry Saltz puts it -- finally revealed himself, dressed in a sharp suit and impish smile. He appears more like a giddy politician than a salacious art star. "I really believe in art," he cooed, with his alarmingly sweet voice. "I believe in the transcendence... it makes me a better human being."

Listening to the man wax nostalgic about the beauty of creativity is a strange foil to his visually bombastic collection of works, spanning oversized mounds of rainbow Play-Doh, delicate glass recreations of his own sexual endeavors and gilded Michael Jackson-and-Bubbles figures. "There are so many strange, disconcerting aspects to Jeff Koons, his art and his career that it is hard to quite know how to approach his first New York retrospective," Roberta Smith wrote in the New York Times. And she's absolutely right.

jeff koons a retrospective
People look at the art work of Jeff Koons during a media preview of his retrospective at The Whitney Museum of American Art on June 24, 2014 in New York City. Nearly the entire museum will be filled with Koons' work; it opens to the public June 27th. (Photo by Andrew Burton/Getty Images)


Koons is the man known to many as the great Creator behind some of the corporate art world's biggest and shiniest sculptures. He's the proto-Warhol, a man who made it big with ground-breaking readymades in the 1980s, went broke after a disastrous divorce from his ex-wife and rose from the ashes to make his name and art ubiquitous in high-brow circles. To unsuspecting Vanity Fair subsrcibers, he's the nude man pumping iron somewhere inside the latest issue. To himself, he's a genius.

A cloyingly soft-spoken gentleman who's been known to obsess over every last detail of his exhibitions, most people agree he's a ball of contradictions. We've been introduced to his G-rated, family-friendly, and utterly sincere demeanor when he speaks -- and more than a few profiles have pointed out his mega brood of children and their vehicle of choice, the Koonsmobile. Yet his artworks scream sex, penetration and luxury fetishes, combining the allure of a lingerie-clad lady or an erect penis, with the bubblegum colors of cartoonish puppies and bunnies, wrapped up in varying levels of machismo and insecurity.

jeff koons a retrospective
A security guard next to a painting title 'Made in Heaven ' during the press preview of "Jeff Koons: A Retrospective." (TIMOTHY A. CLARY/AFP/Getty Images)


So how does one package this man, and his oeuvre, into a Whitney-shaped retrospective? And how do we navigate the jaded playground, stuffed with pretty little bits of perversion and banality. As always, the experience is riddled with love and hate, disgust and revelry, purification and contamination, knowledge and colossal ignorance. Contradictions, contradictions, contradictions, as curator Scott Rothkopf aptly captures.

"Jeff Koons: A Retrospective" is organized chronologically, for the most part, taking you through the Whitney's soon to be ex-location, floor by floor. As the rooms grow bigger, you push deeper into the career of Mr. Koons, his fascination with inflation and reflection looming larger with every step. What begins with the truly bizarre -- plexiglass cases of vacuums that stand as trophies and tombs of American consumerist past -- lurches forward with healthy doses of surprise and confusion.

jeff koons a retrospective
People look at the art work of Jeff Koons during a media preview of his retrospective at The Whitney Museum of American Art on June 24, 2014 in New York City. (Photo by Andrew Burton/Getty Images)


Your gaze meets his "Made in Heaven" series, an indulgent glorification of marital relations with a porn star, and a love so repugnant (if not for its framed appearance, but because we know how it ends) you can hardly stomach the floor. You can become hypnotized by his "Equilibrium" series, those Spalding basketballs resting in perfect peace amidst a sea of distilled water and sodium chloride reagent, for no apparent reason other than that they can.

You can walk the runway of sculptures, ranging from MJ-and-monkey to a headless, topless bather to a horny Pink Panther. Then your own face flashes in front of you as you catch your reflection in any one of his many mirrors. The dog, the kangaroos, the Venus, "Gazing Ball." The gangs all there.

It's not chaotic -- Rothkopf seems to have spared no polished stainless steel component the total treatment. His curatorial prowess is on display as much as Koons' career, and it's a tantalizing victory on the part of the young Associate Director of Programs. Sans chaos, it's just inundation, reminding you of the artist's obvious fixation with desire and novelty. In all forms. Koons turns tchotchkes and grotesque mementos into million-dollar sculptures worthy of the elite.

From reflection to reflection, you're aware of Koons' bravado, and then you're aware of your own distrust of the art world.

jeff koons a retrospective
A woman walks past a sculpture titled "Michael Jackson and Bubbles." (TIMOTHY A. CLARY/AFP/Getty Images)


For me, one of his newer objects sums up my ongoing reluctance to love, or hate, Koons. A formidable pile of multi-colored gunks greets you on the last floor, catching your attention with impressively saturated red, yellow and blue, and perfectly crafted edges that look like the never-smooth surfaces of Play-Doh. Something inside me wants to stare at the tall pile, remembering what it feels like to hold the dough in your hand, see its stunning vibrance emerge from color-coded cans and even smell the pungent medium littered about a picnic table.

I'd sink into an adolescent day dream, and inevitably imagine the crumbly material wasn't Play-Doh, instead it was pure pigment, ice cream or feces. The recollection of that smell wakes me up, arouses the "What makes this art?" critic inside me, and reminds me that shiny objects shouldn't always be adored.

And maybe that's why we need Jeff Koons, as De Salvo relished saying. We can hate him or worship him, it doesn't matter. He'll keep on producing mammoth "masterpieces" that bottle up everything that's wrong about lust and consumerism into something that buyers and admirers lust after and consume. Maybe he's pulling a fast one on Steve Wynn and company, and later in his (immortal) life, he'll let us down easy.

Or not. Perhaps he's sincerely captivated by color and form, be it the Liberty Bell or a blow-up Hulk Hogan, and he and his factory of assistants will work until the end of time to convince us of their beauty.

jeff koons a retrospective
Artist Jeff Koons poses next to his sculpture titled 'Play-Doh." (TIMOTHY A. CLARY/AFP/Getty Images)


If you don't want to stare glut and hubris in the face, don't see this retrospective. If you don't mind peering into the void, letting go of the knee-jerk reaction to loathe and searching for something other than cynicism -- maybe, this mythical transcendence Koons speaks of -- it's a worth a visit. I guarantee no returns, or anything less than revulsion, but Rothkopf gets you to ponder the possibility, and in an art world that just doesn't want Koons to succeed (for further reading: general Koons hatred), that's all we can ask for.

jeff koons a retrospective
A security guard next to two sculptures during a press preview of "Jeff Koons: A Retrospective." (TIMOTHY A. CLARY/AFP/Getty Images)


jeff koons a retrospective
A man walks past a sculpture by Jeff Koons titled "Woman in a Tub" during a press preview of "Jeff Koons: A Retrospective." (TIMOTHY A. CLARY/AFP/Getty Images)


jeff koons a retrospective
A security guard next to a sculpture titled "Hulk." (TIMOTHY A. CLARY/AFP/Getty Images)


jeff koons a retrospective
Artist Jeff Koons' piece "One Ball Total Equilibrium Tank." (Photo by Andrew Burton/Getty Images)


jeff koons a retrospective
A woman looks at the painting by Jeff Koons titled "Antiquity 3, 2009-11." (TIMOTHY A. CLARY/AFP/Getty Images)


jeff koons a retrospective
(Photo credit should read TIMOTHY A. CLARY/AFP/Getty Images)


jeff koons a retrospective
(Photo by Andrew Burton/Getty Images)

After Dark: Meet Michael Musto, Cultural Critic And Nightlife Personality

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This is the seventh 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: Talk to me a bit about how you made your entry into NYC nightlife in the 1970s and your early days writing about the scene.
Michael Musto: Well, I went through Columbia College at Columbia University and was very young -- I entered at age 16. But eventually I started being dragged to different mixers and things of that sort. By the time I got out in 1976 I had a real taste for nightlife. By the time the ultimate disco -- Studio 54 -- came around I was writing for the SoHo Weekly News, which was an alternative weekly at the time. And so I got entrée by Steve Rubell himself, the co-owner, into Studio 54 -- the most legendary, eye-popping, spectacular nightclub of all time. I pretty much started at the top. I would go from there to the Mudd Club, which was in the then-wastelands of Tribeca. That was like the anti-Studio 54. It was a divey, rock n' roll place full of haughty people in skinny ties. It was kind of the antithesis of the glitz and the spectacle of 54.

I had a great time running back and forth between both worlds and just found nightlife immediately the place where LGBT people could find a home. A lot of people who had been bullied in their hometowns or rejected by their parents suddenly found a family -- however dysfunctional -- within the nightlife, which accepted you for your differences or eccentricities, individualities and special talents. Right away I felt like this was a great home for me. This was where I belonged.

How did that segue into becoming a cultural critic about nightlife and celebrity culture?
I was always a writer. So being attracted to nightlife it made sense that I should write about it. By 1984 The Village Voice was looking for a columnist, mainly for celebrity gossip. But because I had my finger on the pulse of clubs, that was also very integral -- the '80s scene of large clubs, large-scale lavish expenditure on bohemia, which might sound like a contradiction but it was a time of what you would call celebutantes. In other words, bohemian outrageous club people who also wanted to be tremendously famous and were catered to by these large clubs like Area and Limelight, which had enormous budgets to celebrate bohemia. Since I was already immersed in that it made sense for me to include it in my column at The Village Voice. I always found, as a cultural critic, that the clubs were the places where a lot of the trends were breaking, whether it be music, fashion, art -- it’s where it all came together culturally. Things that we were celebrating at Limelight, let’s say, were things the rest of the country would be catching up with three years later.

michael musto

How integral were you to the Club Kids scene in the late '80s and early '90s?
I was very integral to that. I was the first one to write about Michael Alig and the Club Kids when I saw that he was a rising force within the clubs. And Michael was smart and savvy enough to know that I was the person to cater and nod to as the person who was documenting everything that went on in New York nightlife. So he would put me on all of his different invites and I would tell my readers what happened without ever drawing the line at the bad stuff. I would openly chastise him and became kind of an elder statesman/critic of the Club Kid scene. I would celebrate what was good about them on the talk shows with them because they were up against all of these puritans saying they were the devil and the end of civilization. And I would say no, this is actually a good place for a young gay person to come of age in many ways. But I would also chastise Alig when he went too far and when his brattiness turned into real destructiveness. And he never minded -- I never had to worry about what I wrote because he never cared as long as you spelled his name right.

That’s interesting because I wanted to talk about the way your work has shaped public perception surrounding nightlife over the years. Do you feel a kind of responsibility for the way the Club Kid era is historically framed?
I do because most of my readers don’t go to clubs at all. They look to me as their entrée into nightlife. They would rather sit back and read about it through my eyes and through the years have come to trust my point of view on everything. So I do feel very responsible for relaying what is going on to a mass audience -- from a very inside point of view and funneled through my intelligence and my perception. So yeah, I think my point of view has been pretty integral to the way people perceive nightlife and I always make a point of celebrating gay nightlife even when I’m criticizing what’s wrong with it.

michael musto

Has changed at all over the years? That is, the way people perceive your role within nightlife and the dissemination of information?
Well, now there’s the Internet, now there’s Yelp, now everyone has a blog, everyone has a point of view on Facebook. So the entire world is a nightlife columnist or a critic -- but how many are really in the trenches every night like I am? And how many of them have my particular vision? They don’t. They have their own vision, which is wonderful, but I’m literally out there checking out new trends, catching up with the old, celebrating new stars on the scene and very few people my age would have the energy to do that -- but I do.

You’ve been hosting parties and writing about nightlife for decades by this point -– why are you still doing it?
I’m drawn to this scene. It’s something that you always find yourself wanting to be part of because it’s a scene that celebrates people for their gay sexuality, bisexuality, transgender identity and all of the different aspects of the rainbow. And it elevates you for being different.

Growing up I was always self-conscious that somebody was going to pick on me or I didn’t quite belong. I really didn’t get bullied that much; it was more the sense that I knew I was different and wasn’t certain how I was going to fit in within the world. But there are no such doubts in the club world. Ever since the '70s when I started being part of the feast of nightlife, I’ve felt welcomed and felt that even if I don’t look like Zac Efron or have the personality of a talk show host that people are happy to see me. Not just because I can give them mentions but because they respect the years that I’ve applied to the scene and my dedication to it.

michael musto

I want to read you a quote from Walt Cassidy’s "After Dark" feature: “The nightlife experience today is no longer linear. It is broken up into two parts. The participation, which largely consists of documenting the experience, followed by the process of offloading it into cyber space and having a secondary experience online.” Do you agree with this? How do you feel like technology and the Internet have augmented nightlife in the modern day?
Too much about being in a club is about people wanting to share bragging rights that they were there. So they have their phone up in the air documenting some drag performance. And I guess they figure they’re going to watch it later when they post it on YouTube. I’d rather watch it when I’m there -- that’s the whole point of being there! But I don’t find it that detrimental to the point of devastating the scene. I think it’s just one of those nuisances, like people who get too drunk or coat checks that cost too much. It’s just the way things are today and it’s still worth leaving the house to interact with people because you are going to find interaction.

The people who are going out to a bar or club basically want to be there more than just to document it. It’s just that the era of the large dance club is gone and might never come back. Between Mayor Giuliani’s crackdown, which was continued by Bloomberg, combined with the enormous power that was being wielded by the community boards and the way nightlife was being portrayed as the evil stepchild that needed to be sent to the back of the bus, it’s really hard to open a large dance club today. And I’m afraid that the younger generations has lost the talent of even wanting to dance. It’s not like bike riding -- it doesn’t just come automatically. So that’s one thing that’s changed that might never come back -- gay nightlife in New York is more about the intimate bar with the drag show than it is so much about a big, dance euphoric event.

The economics of throwing a club party are also enormous nowadays. People can’t even take a risk anymore -- that's why you’ll see 12-18 different promoters on an invitation because they’re trying to draw in all of these different lists. Combined with what we were speaking about as to the Internet and their phone apps -- people just don’t want to go out as much anymore. So it’s hard to throw a successful large dance party. Fortunately there was Viva on Saturdays at Stage 48, there’s Berlin Fridays at Providence, which is more of a medium-sized party. But the '80s days of Area, Palladium and Danceteria with floors upon floors and ambiances upon ambiances filled with mixed crowds in many instances -- it’s going to be hard to get that all back. It’s just not right for this moment.

I kind of feel like we just saw that with Liberty Saturdays. They tried to make something along the scale of a mega-club happen and it lasted about five or six weeks.
Yeah. And they tried for some kind of mixed crowd which the gays were not ready for.

I don’t think it meshed quite the way they thought it was going to.
They ran for the doors screaming [laughs].

Well, do you feel like what you see happening in New York nightlife today as consciously building on a historical legacy of artists, performers, musicians and personalities? Or do you feel like there’s a certain amount of erasure of queer history that takes place?
I feel that even under the modern strictures of everyone having to behave themselves and looking behind their backs to see who is watching, nightlife still thrives as a celebration of the underdog, the avant garde, the performer, the drag queen. Nightlife is all about rebellion and celebration of the underground. And the more you push it down the more they’re going to bounce back and fight against the oppression.

As for the history, there are a lot of kids who have never heard of anything past two years ago -- they don’t even know about Britney Spears’ early period! And I’m not mad at them for that. I’m not Larry Kramer screaming about how dumb the kids are because I don’t think they are dumb. As long as they exhibit an interest in learning, I’m OK with that. If they have a curiosity, if they’ll do a Google search, if they’ll come to me and ask about the past, if they’ll pick up a book or an old column of mine that shows a certain interest and enlightenment. But I know when I was 20 I certainly didn’t want to hear about Stonewall or whatever speakeasy existed in the 1930s before Stonewall.

michael musto

What do you think is the most important thing to come out of what nightlife has shifted and developed into today?
[after a lengthy pause] It’s hard when you think of the glory days that I’ve lived through. I mean, one good thing about the horrible economic crunch that’s hurt everyone’s lives and nightlife is that you don’t find as many messy people in clubs annoying you and having to be thrown out at closing time. Most people are fully together; they’re going to a club or bar for a specific reason. They’re enjoying themselves for that period in time, they’re going home and they’re going to wake up and go to the gym or go to their job or whatever. So I find there’s a lot more self-composure than there used to be. I’m not necessarily saying that’s a good thing because, you know, having a methy rock star vomit on your lap or something can be interesting [laughs]. I just find the Club Kids, for example, today are much more self-possessed, confident, have a mission, they’re ethical, they’re legal, they have day jobs and they just have an enormous talent for dressing up that doesn’t really spill over into the amoral or the outlandishly unreal. I mean, thank god we still have the spectacle, we still have fabulous fashionista types that will illuminate a party with their clothing. But they don’t have the horrifying behavior that can go with that at times.

What publications and gigs are you currently engaged with?
I have a weekly column “Musto! The Musical!” on Out.com every Monday. I’m blogging at papermag.com, which is Paper Magazine’s website. Theblot.com, which is a very fun sassy, sarcastic website. Also The Daily Beast, the style section in the New York Times and everyone else who asks me. I'm also a host on the roof at The Standard on Tuesdays for Susanne Bartsch’s “On Top.”

If there was something you wished to communicate about the evolution of queer history through nightlife in New York to the new generation, what do you think is the most important thing to emphasize or ensure is not forgotten?
I would want the kids to know that even though we assume things must have been horrible for gays in the past, that’s not 100 percent the case. When it came to nightlife in the 70s, for example, to me it was the peak of gay nightlife. It was a fabulous time to be gay in New York City. Sure, things like "Don’t Ask Don’t Tell" or gay marriage weren’t on the table -- they weren’t even conceptually thought of as ideas yet. But beyond that if you were fairly affluent and doing well, you had a hell of a time being a gay New Yorker. The clubs, the bars, the opportunities were enormous and it was just a wonderful celebratory post-Stonewall time of exploring different freedoms.

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

This Is What Goes Into Writing A 'Transformers' Movie

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As writer of three "Transformers" films, including the just released "Transformers: Age of Extinction," Ehren Kruger has used his keyboard to imagine numerous giant robots, conjure pithy one-liners and, twice, destroy large parts of Chicago. He's also the mastermind behind 2014's best piece of dialogue thus far: "I think we just found a Transformer."



"That was from the early pitch stage, yeah," Kruger said when asked about creating the immortal (just me?) quote from Michael Bay's fourth "Transformers" film. "It's a good moment. Mark's really good in the film."

The "Mark" there is Mark Wahlberg. He plays Cade Yeager in "Age of Extinction," a Texas inventor who gets roped into the ongoing battle between robots in disguise. HuffPost Entertainment spoke to Kruger about the decision to focus on Cade, working with Michael Bay and where the franchise can go from here.

Why did you decide to focus on a single father and his daughter in this film as the human entry point to the story?
That was something where once Michael decided he wanted to do the movie, he definitely didn't want to follow another teenage protagonist. He felt he had captured lightning in a bottle with Shia LaBeouf [who starred in the first three films], and he wasn't going to find another actor to provide that, male or female. You know, Michael has matured too over the course of this time. So when we talked about it vectoring into the franchise from a totally different human perspective, it was Michael who had the instinct early on to say that there was a father-daughter story to tell. Prior to that we had talked about themes of creation and origin stories on Earth and the notion of man-made Transformer technology. We didn't have our human story at the beginning and Michael really sparked to that relationship. He was right to do so. Once he brought that up and we started talking, it became clear the film was going to have two protagonists, with Cade and Optimus both in sort of parental roles, defending their families. It gave it a spine.

There is a lot going on in this movie. How do you make sure every character and plot point is getting a fair shake?
The shape of things changes a lot through editing of the picture. Michael will find where there needs to be humor or amazing visuals or where we need to be reminded of the emotional connection between our heroes. It takes its shape. There are three movies worth of stuff that we try to pack into the suitcase of each one of these things.

This is the third "Transformers" film you've written or co-written. Was the overstuffed suitcase of storytelling required to make these films something that surprised you at first?
Yeah. Part of the promise of these movies is that you’re going to pay $10-15 for a ticket and walk out of the theater saying, "That was money well spent. They delivered some amazing things that I haven't seen in a movie before." So often you go to a blockbuster movie and there are maybe two or three good sequences. One of these movies, you go in expecting five sequences and Michael will deliver seven. That's his instincts. That's just who he is as an entertainer. He's someone who doesn't feel like he's competing with the movie in the theater next door, he's competing with you not going to Six Flags.

Does having Michael Bay as director free you up to write literally anything that comes into your imagination?
So, I'll pitch the idea that Lockdown [one of the "Age of Extinction" bad guys] is a bounty hunter and he needs a ship and the ship needs to be big enough to carry him and Optimus Prime. Three months later, the ship is the Alcatraz of the galaxy. I can't pitch an idea that’s too big -- or bigger than what Michael is going to turn it into. It is tremendous fun.

Has he ever told you no?
The only thing I do keep talking about that seems too big until we find the right stories for it -- or the way to make it make sense -- is the Unicron character from the mythology, who is a planet-size Transformers. It's not that it's too big, just that it'll be onscreen whenever we figure out how to make it visually interesting and amazing.

There is a lot of world-building in "Age of Extinction." Are you prepared to take this franchise to further entries?
Should the audience want a film to go forward with more stories, we definitely talked about how this film needs to set those up. There's such an amazing mythology of Transformers, much more than just Autobots versus Decepticons. So we're very happy with the mythology that we've set up in this movie, and if it's successful we're certainly deliver on the promise that this film ends with.

This interview has been edited and condensed.

Floods, Festivals And A Massive Russian Submarine: Week In Photos, Jun. 22 - 29

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Nothing quite compares to the power of a photograph to communicate the goings on in the world. Ranging from the serious to the silly, these photos offer peeks into what happened around the globe this week.

1. A woman enters the sea at Copacabana beach in Rio de Janeiro at sunrise on June 27, 2014, during the 2014 FIFA World Cup football tournament in Brazil.
world cup
(GABRIEL BOUYS/AFP/Getty Images)

2. Palestinian boys, one wearing an Algerian flag, look at graffiti artist Belal Khaled painting a portrait of Italian football player Andrea Pirlo on June 23, 2014 in Khan Yunis refugee camp in the southern Gaza Strip.
refugee
(SAID KHATIB/AFP/Getty Images)


3. U.S. President Barack Obama and Senior Advisor Valerie Jarrett (L) watch the 2014 World Cup match between the U.S. and Germany while en route to Minneapolis, Minnesota on June 26, 2014.
obama watch world cup
(MANDEL NGAN/AFP/Getty Images)

4. A cyclist attempts to travel along a waterlogged avenue in Recife, Brazil on June 26, 2014, ahead of the U.S.-Germany World Cup match.
brazil floods
(PATRIK STOLLARZ/AFP/Getty Images)

5. A newly born giraffe stays close to her mother in their enclosure at the zoo in Brono, Czech Republic on June 26, 2014.

giraffe
(RADEK MICA/AFP/Getty Images)

6. Russian Navy officers and other officials attend a ceremony launching the Rostov-on-Don Russian diesel-electric torpedo submarine at the Admiralteiskiye verfy shipyard in St. Petersburg, on June 26, 2014.
russia submarine
(OLGA MALTSEVA/AFP/Getty Images)


7. Festival-goers gather to watch the sunset ahead of the Glastonbury Festival of Music and Performing Arts on Worthy Farm in Somerset, southwest England, on June 25, 2014.
glastonbury festival of music and performing arts
(LEON NEAL/AFP/Getty Images)

8. Residents of the self-proclaimed 'Lugansk People's Republic' and the 'Donetsk People's Republic' cross into Russia at the Russian-Ukrainian border crossing of Izvarino on June 22, 2014.
donetsk peoples republic
(JOHN MACDOUGALL/AFP/Getty Images)

9. Tourists visit the Bell caves located at the Beit Guvrin-Maresha National Park in central Israel, on June 24 2014.
bell caves
(MENAHEM KAHANA/AFP/Getty Images)

10. Members of the Al-Abbas brigades, who volunteered to protect the Shiite Muslim holy sites in Karbala against Sunni militants, parade in the streets of the shrine city on June 26, 2014.
iraq
(MOHAMMED SAWAF/AFP/Getty Images)

'Greater Light' House In Nantucket Is A Beautiful Monument Of The Quaker Faith

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NANTUCKET, Mass. (RNS) It is an old family story that has become part of the island’s lore.

In 1929, two bohemian sisters visiting this island about 30 miles off the coast of Cape Cod were driving up the cobblestones of Main Street when a herd of cows cut them off. On a whim, Hanna and Gertrude Monaghan decided to follow them.

After a couple of turns, the cows headed for an old barn behind a row of mansions built by Victorian-era ship captains. Between the horse trough, the hayloft and piles of cow and pig manure, the two sisters from Pennsylvania had a vision.

Where others saw an eyesore, they saw “Greater Light,” their soon-to-be dream home, art studio and expression of their Quaker faith.

“I think of these two indomitable women,” Joanne Polster, a Nantucket Historical Association “interpreter” said as she waited for visitors at Greater Light at the beginning of the summer season that’s expected to bring 40,000 tourists to this once quiet island. “Everybody in town was against them, but they stuck to their principles. They had faith. Greater Light is a monument, a testament to their faith.”

Nantucket has numerous historical sites and houses, including an old wooden windmill, a house built in 1686 and a world-class museum dedicated to the whaling industry that sustained this island for decades. But Greater Light is the only site where religion is a master key to local history.

The fact that Greater Light exists at all is a work of faith. The building reopened to visitors in 2011 after renovations by the NHA. The sisters spent years adapting the gray barn, adding a mishmash of gilt pillars, wrought iron balconies, mahogany doors and carved wood church windows. The horse trough became a bed, the hayloft became a garden balcony, the pigsty became a patio.

And somehow, Greater Light became a physical manifestation of the sisters’ faith in God. They took the house’s name from Genesis: “And God made two great lights: the greater light to rule the day and the lesser light to rule the night; he made the stars also.”

It is also a direct reference to the Quaker idea of the “inner light,” the interior personal connection between each individual and God. But like everything else in Greater Light, the sisters had their own version of inner light.

“Gertrude and Hanna Monaghan chose to devote their lives to art, as an expression of their faith,” wrote Betsy Tyler, a Nantucket historian, in a companion book to the house. “They were Quakers, but of a decidedly different mold from the earlier Quaker population of Nantucket. Rather than rejecting art, they embraced it.”

Hanna Monaghan, writing in her memoir 40 years after the purchase of the barn, put it this way: “Something happened in this Quaker household. A virus struck under the pseudonym of ART. How it entered this sanctuary and hit two who came from a long line of Quaker martyrs cannot be explained. Thereafter these two victims lived for nothing but art.”

But they needed a place to put it. In Philadelphia, the sisters were unquenchable collectors. They frequented junk yards, demolished buildings, auction houses and secondhand stores. Hanna Monaghan, the younger by 10 years, would be frequently overcome with the need to own someone else’s junk — old windows, pieces of fabric, abandoned statuary.

In her memoir, she recalls the most audacious of their purchases, made before they ever set eyes on Greater Light — two black wrought iron gates that measured 12 feet by 6 feet. When the gates were eventually sent to Nantucket, they fit the opening from the barn to the garden as if custom-made.

“They didn’t believe in accidents,” Polster said, standing in front of the massive gates, which frame a sunburst pattern, a symbol that echoes Quakerism’s inner light. “They believed in divine accidents. While Hanna was fretting about where they would put things, Gertrude was saying God will provide. And he did.”

The locals — who numbered about 3,000 in the 1930s — were less accommodating. Many considered the sisters’ house a disgrace to the island, and told them so.

But by the time of their deaths — Gertrude in 1962 and Hanna in 1972 — the house and sisters were seen as assets, not the least to the local Quaker community. Once the dominant religion on the island, membership had dropped to only a handful of “Friends,” as the Quakers call themselves, at the time of the sisters’ arrival. They helped revive meetings at the old Quaker Meeting House, also on Nantucket’s list of historical sites.

“Here, (Quakerism) matters,” Polster said. “The house substantiated their faith because it all worked out in the end.”

These Are Some Of The Past Year's Most Spectacular Wildlife Photographs. Could You Pick A Favorite?

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For the first time ever, nature lovers and photography buffs everywhere are being given a chance to choose a winner in the esteemed "Wildlife Photographer of the Year" competition.

To mark the prestigious contest's 50th anniversary this year, a new publicly-decided category -- the "People's Choice Award" -- was announced earlier this month. The category welcomes members of the public to cast their vote for the photo that best "captures your imagination."

Every year, the spectacular photographs that clinch the top prizes at the wildlife photography competition invariably leave us awestruck, gaping in amazement at the skill (and often-perfect timing) of the photographers behind the masterpieces.

Based on the 50 jaw-dropping images in the "People's Choice" collection -- pre-selected by a panel of judges from more than 41,000 entries -- this year will certainly be no different.

"In this landmark 50th year we’re opening up the judging experience to the many wildlife photography fans that follow the competition so closely," said Tom Ang, a member of the 2014 judging panel, per a press release. "If you’ve ever puzzled over why one image wins out over another, this is your chance to have your say. But with so many outstanding shots and just one vote per person, the pressure is on to cast it wisely."

Voting for the "People's Choice" collection closes on Sept. 5, 2014. The winner of the "People’s Choice Award" will be announced at the "Wildlife Photographer of the Year" awards event in October.

The "Wildlife Photographer of the Year" competition is jointly organized by the BBC and London's Natural History Museum.

Scroll down to see a handful of images from the "People's Choice" collection. Do you have a favorite?


What's New On Netflix In July?

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While it feels like June has only just begun, we are in the final hours of the summer month. Some of us may not be ready for July, but there is one thing we can all agree is great news: the beginning of the month means new movies and TV shows on Netflix. When you want to beat the summer heat and couch surf for a few hours, here are the new additions to cleanse your viewing palette:

TV Shows:
1. "Animorphs: Seasons 1 & 2" available on July 1
2. "Knights of Sidonia" Season 1 available on July 4
3. "Hemlock Grove" Season 2 available on July 11
4. "Pac-Man and the Ghostly Adventures" Season 1 available on July 17
5. "Baby Daddy" Season 3 available on July 18
6. "Melissa & Joey" Season 3 available on July 18
7. "Hell on Wheels" Season 3 available on July 19
8. "Lost Girl" Season 4 available on July 24
9. "Continuum" Season 3 available on July 26

Movies:
1. "12 Angry Men" available on July 1
2. "A Raisin in the Sun" available on July 1
3. "Bad Santa" available on July 1
4. "Basic Instinct" available on July 1
5. "Boyz N the Hood" available on July 1
6. "City of God" available on July 1
7. "Dead Man Walking" available on July 1
8. "Fever Pitch" available on July 1
9. "Funny Face" available on July 1
10. "Gandhi" available on July 1
11. "Honey, I Shrunk the Kids" available on July 1
12. "Legends of the Fall" available on July 1
13. "Patton" available on July 1
14. "Philadelphia" available on July 1
15. "Primal Fear" available on July 1
16. "Star Trek VI: The Undiscovered Country" available on July 1
17. "The Karate Kid" available on July 1
18. "The Karate Kid II" available on July 1
19. The Karate Kid III" available on july 1
20. "The Manchurian Candidate" available on July 1
21. "The Parent Trap" available on July 1
22. "Under the Tuscan Sun" available on July 1
23. "Winnie the Pooh: Springtime with Roo" available on July 1
24. "American Ninja" available on July 1
25. "Ararat" available on July 1
26. "The Babysitter" available on July 1
27. "Best Defense" available on July 1
28. "Blue Chips" available on July 1
29. "Body of Evidence" available on July 1
30. "Can't Buy Me Love" available on july 1
31. "Cheech and Chong’s Up in Smoke" available on July 1
32. "Crimson Tide" available on July 1
33. "Croupier" available on July 1
34. "The Dark Half" available on July 1
35. "Don’t Look Now" available on July 1
36. "Eight Men Out" available on July 1
37. "Halloween: Resurrection" available on July 1
38: "The Hunt For Red October" available on July 1
39. "Jersey Girl" available on July 1
40. "The Keys of the Kingdom" available on July 1
41. "Madeline" available on July 1
42. "Mean Girls" available on July 1
43. "My Girl" available on July 1
44. "My Girl 2" available on July 1
45. "People I Know" available on July 1
46. "Phantoms" available on July 1
47. "Star Trek: The Motion Picture" available on July 1
48. "Venus" available on July 1
49. "Renoir" available on July 6
50. "Homefront" available on July 9
51. "Out of the Furnace" available on July 9
52. "The Battered Bastards of Baseball" available on July 11
53. "Sleeping Beauty" available on July 12
53. "The Master" available on July 14
54. "Hitch" available on July 14
55. "The Last Days" available on July 15
56. "Christmas with the Kranks" available on July 26

'Transformers: Age Of Extinction' Crushes Weekend Box Office With $100 Million Opening

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LOS ANGELES (AP) — "Transformers: Age of Extinction" is ruling the box office.

The fourth installment in filmmaker Michael Bay's morphing robots series earned $100 million in North America during its opening weekend, making it the biggest debut for a movie this year, according to studio estimates Sunday. The Paramount blockbuster outperformed "Captain America: The Winter Soldier" and its $95 million inauguration in April. "Age of Extinction" also earned $201.3 million from 37 international territories, specifically making $90 million in China, where it was partially filmed and co-produced by partners like the state-owned China Film Group and the China Movie Channel.

"With almost half of the international total coming from China, it shows how important that marketplace is to the worldwide box office," said Paul Dergarabedian, senior analyst for box-office tracker Rentrak. "This film has really capitalized on all fronts."

"Age of Extinction" stars Mark Wahlberg and Nicola Peltz as a human father-daughter duo who aid the shape-shifting robots from the Hasbro toy franchise. Besides the addition of a new human crew, the sequel also introduces the popular Transformers characters based on the likenesses of dinosaurs.

"I think putting Mark Wahlberg front and center accomplished what we wanted to do, and that's re-energize the franchise," Paramount vice chairman Rob Moore said. "He appeals to audiences, both critically and as an action star."

"Age of Extinction" topped the previous entry in the series, "Dark of the Moon," which took in $97.9 million during its opening weekend in 2011, but failed to eclipse the $108.9 million debut of the second film, "Revenge of the Fallen."

The first three "Transformers" films starred Shia LaBeouf as a teenager who befriends hulking alien robots Optimus Prime (voiced by Peter Cullen) and Bumblebee. The original 2007 film made $70.5 million and went on to domestically gross $319.2 million.

"Age of Extinction" was distantly followed at the North American box office by a trio of sophomore efforts: "22 Jump Street" in second place with $15.4 million; "How To Train Your Dragon 2" in third place with $13.1 million; and "Think Like a Man Too" in fourth place with $10.4 million.

"The 'Transformers' movies are known for being released around the Fourth of July, so this really ensures the film will have a strong second weekend," said Dergarabedian. "The only movie opening ahead of next weekend in wide release is the Melissa McCarthy comedy 'Tammy' and that will be counterprogramming to 'Transformers.'"

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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. "Transformers: Age Of Extinction," $100 million ($201.3 million international).

2. "22 Jump Street," $15.4 million ($9.6 million international).

3. "How To Train Your Dragon 2," $13.1 million ($17.9 million).

4. "Think Like a Man Too," $10.4 million.

5. "Maleficent," $8.2 million ($16 million international).

6. "Jersey Boys," $7.6 million ($11 million international).

7. "Edge of Tomorrow," $5.2 million ($6.9 million international).

8. "The Fault in Our Stars," $4.8 million ($13 million international).

9. "X-Men: Days of Future Past," $3.3 million ($6.2 million international).

10. "Chef," $1.6 million.

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

1. "Transformers: Age Of Extinction," $201.3 million.

2. "The Break-Up Guru," $20. 5 million.

3. "How To Train Your Dragon 2," $17.9 million.

4. "Maleficent," $16 million.

5. "The Fault in Our Stars," $13 million.

6. "22 Jump Street," $9.6 million.

7. "Mrs. Brown's Boys," $7.8 million.

8. "Edge of Tomorrow," $6.9 million.

9. "Blended," $6.4 million.

10. "X-Men: Days of Future Past," $6.2 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 Entertainment Writer Derrik J. Lang on Twitter at http://www.twitter.com/derrikjlang.

Report Finds NYC’s Art World 200% Whiter Than Its Population [UPDATED]

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With the Whitney Biennial, the withdrawal of the Yams Collective, and questions of race fresh in our minds, the Museum of Arts and Design (MAD) opens its new biennial, NYC Makers, tomorrow. Included is a project that offers another stark reminder of the imbalanced demographics of the art world: Census Report, produced by the collective BFAMFAPhD. Consider this, undoubtedly their most striking finding: New York City’s formally educated arts world (in this case defined roughly as working artists and those with arts degrees) appears to be 200% whiter than its general population.

Glass Artist Freezes The Motion Of The Sea In Stunning Sculptures

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Ben Young can transform glass into seawater. Well, almost, anyway.

The 31-year-old self-taught artist has made a name for himself creating intricate glass sculptures that uncannily resemble moving water. Young crafts his sculptures -- all painstakingly made and planned by hand (no computers or other high-tech equipment!) -- by layering sheets of gleaming glass, one on top of the next.

“I work with 2D shapes and have to figure out how to translate that into a 3D finished product," Young said, per his website. "I love watching … the different way the light plays inside the glass. I love the liquid qualities the glass brings with it. It enables me to play with lighting and watch the glass react."

Young, a New Zealand native who now lives in Sydney, Australia, has been working with glass for almost 15 years. A boatbuilder by trade and an avid surfer, Young "was inspired to capture the perfection and raw power of the sea and of the perfect wave," he says on his site.

Last week, an image of one of Young's pieces went viral after being shared online by an impressed Redditor. Young told The Huffington Post in an email this week that he's been blown away by the recent attention.

"I love what I do and am proud of my work but to get such amazing feedback from around the world is so humbling," he wrote. "Motivation is at an all-time high, lots more ideas to turn it to reality."




For more on Ben Young and his artistic process, watch the short video -- created by videographer David Child -- below:

My Name is Ben Young - Official trailer from DAVID-CHILD on Vimeo.

Bon Iver Employs Electronic Choir For New Track 'Heavenly Father'

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The following article is provided by Rolling Stone.

By DANIEL KREPS

Zack Braff got his soundtrack game on lock. A decade after injecting indie rock into the mainstream with Garden State, the actor/director returns with his new film "Wish I Was Here" that’s accompanied by more great tunes. The Shins' exclusive contribution to WIWH was revealed two weeks ago, and now you can listen to Bon Iver's new one by heading over to NPR. "Heavenly Father" finds Justin Vernon looping angelic coos to create an electronic choir before his robust voice enters on this reflective yet upbeat (by Bon Iver standards at least) track.

Rolling Stone’s 50 Most Important People in EDM

Wish I Was Here is the quasi-follow-up to Braff's breakout "Garden State." The film was made thanks to $3 million raised on Kickstarter, but it sounds as though "Wish I Was Here" was just an excuse for Braff to craft another kickass soundtrack. "As a music lover, nothing has been more gratifying than collaborating on this project with my favorite artists," Braff told NPR. "Between The Shins, Bon Iver, Cat Power and Coldplay ... I never dreamed I'd get to work with so many of my favorite musicians on Wish I Was Here." Bon Iver's single "Holocene" also features on the soundtrack, which arrives July 15th, while the film itself will see wide release on July 25th.

Rolling Stone’s 500 Greatest Songs of All Time

Rolling Stone’s 500 Greatest Albums of All Time

In an interview with NPR, "Wish I Was Here" music supervisor Mary Ramos talked about how she flew to Wisconsin to screen the film for Bon Iver's Justin Vernon and his brother Nate. "They were enjoying it and laughing, but at a certain point, they just got quiet," Ramos said. "When it was over, Justin started humming. We talked afterwards about the relationship between Zach's character and his brother [Josh Gad], and Justin and Nate talked a little about their father — all the while Justin kept distractedly humming. Eventually, he sang out the words 'heavenly father.' Before I even left their house, Justin was recording the first version of the song in his downstairs studio. His inspiration was that immediate."

Rolling Stone’s 100 Best Albums of the 2000s

Rolling Stone’s 100 Greatest Artists of All Time



Listen to "Heavenly Father" on NPR.

Photo Series Captures The 'Beauty In Every Line' On The Faces Of LA's Homeless

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It's said that a picture is worth a thousand words. But if you ask Aimee Boschet, a moment capturing a glimpse into someone's eyes can make a picture worth a thousand more.

The Los Angeles-based artist's recent photography project, "The Elders," features older generations of her city's most vulnerable, whose striking stares, tired skin and open demeanor show the humanity within the too-often dehumanizing issue of homelessness.

"I am inspired by the soul that I see and feel when looking into the depth of the eyes of people a little older, perhaps a lot wiser, and with life stories that are marked on their faces, stamped with the age of beauty and time," Boschet states on the project's Facebook page. "For I see beauty in every line."

The photo project highlights individuals whose diverse backgrounds allow Boschet to explore the cultures, religions and lifestyles of each subject in profound and eye-opening ways.

"Together we engage in interesting and deep conversation," Boschet wrote. "We part with a respect for one another and a gentle and compassionate bond that was shared for only a small amount of time, but for me, it is time that will always be memorable and that I will look back on and treasure."

To see more photographs in Boschet's "The Elders" project, visit Aimee Boschet Photography's Facebook page.




homeless portrait one
Ramone

homeless portraits three
Yady

homeless portraits four
Yvete

homeless portraits five
Bobby Jo

homeless portraits seven
Billy Jo

homeless portraits eight
John

homeless portraits nine
Angel

homeless portraits ten
Name unknown

homeless portraits eleven
Bernard

Correction: A previous version of the story included two photographs of people who were not homeless. The article has been updated.

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You Will Never Look At Scissors The Same After Watching Them Made By Hand

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Pens, paper, scissors... It's so easy to take these everyday objects for granted.

Then you come across an incredible short like the one above and are reminded that almost every object has a history behind its creation. "The Putter" by Shaun Bloodworth is a stark, mesmerizing reminder of that fact.

While the scissors hand-crafted by 'putter' -- "a putter-togetherer of scissors" -- Cliff Denton of Ernest Wright & Sons in Sheffield, UK, are likely unlike any you've ever used, there is something remarkable in seeing the process nonetheless.

You won't look at scissors the same way after watching.

Yet Another 12 Mind-Blowing Documentaries To Watch On Netflix

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Gauging from the reactions to our first two collections of 12 mind-blowing documentaries to watch on Netflix, it's about time for another set. As always, binge-watch accordingly.

"Enron: The Smartest Guys In The Room"
Director Alex Gibney depicts the rise and fall of Enron in a way that frames its leaders as some of the more tangible villains of the documentary genre. Even if you vividly remember the publicity surrounding the 2001 scandal, this retrospective look at the fallout still manages to pace through the story of Enron with a level of engagement rivaled only by fictional thrillers.
enron

"The House I Live In"
"The House I Live In" takes on the tangible effects of drug abuse as just one aspect of a much larger issue. By delving into the workings of America's criminal justice system -- notably the "jailingest" one on the planet -- director Eugene Jarecki investigates the impact of the war on drugs: an effort that has cost more than $1 trillion, led to more than 45 million arrests and left illegal drug use essentially unchanged.
thehouse

"Whores' Glory"
This exploration of prostitution looks at the act of selling sex across three different countries, languages and religions. Director Michael Glawogger views his subjects through an unflinching yet compassionate lens, for a disturbing look at the crossover between sexuality and politics, and its impact on women from vastly different cultures.
thehouse

"Wal-Mart: The High Cost Of Low Price"
When "Wal-Mart: The High Cost Of Low Price" came out in 2005, according to the New York Times, Wal-Mart reacted by setting up "a public relations 'war room' to deflect and respond to criticism." Through mistreated former employees and small-business victims, director Robert Greenwald skewers the chain's unsavory practices in a way that would be completely infuriating, if it wasn't also quite sad.
walmart

"The Act Of Killing"
This 2014 Oscar nominee tracks two Indonesian death-squad leaders as they reenact their mass killings in whatever genres they wish. As they recreate their share of the atrocities -- totaling approximately 1 million deaths -- the film peels back an unflinching look at the meaning of evil once it is no longer contextualized by war.
the act

"Maxxed Out"
"Maxxed Out" mulls over the American reliance on credit cards and the resulting debt problem. Cut with standup bits from a young Louis C.K., it uses a smattering of personal stories and focuses on predatory lenders to help craft a narrative about the way unsavory business practices seek to profit off of the most vulnerable segment of society.
maxxedout

"The Institute"
The impact of "The Institute" on its viewers is, at least for the duration of the film, that of the Jejune Institute on its inductees. As it follows the story of participants in an two-year alternate reality experiment designed as "a citywide art project and living game," it will leave you questioning what is "real" and whether our experiences matter any less, once we discover that they have been contrived.
jejune

"Bronies"
"Bronies" delves into the world of adult (predominantly male) fans of the children's cartoon "My Little Pony: Friendship Is Magic." At once a community and a subculture, the show's following trades in a sense of love and acceptance that seem otherwise unavailable to its members. Beneath the cosplay, "Bronies" offers up a story about the way human nature seeks belonging, and the heteronormative assumptions that all too often get in the way of that basic desire.
bronies

"Aileen: Life And Death Of A Serial Killer"
Through the story of Aileen Wournos (the woman understood to be "America's first female serial killer"), "Aileen" dissects a triptych of the issues surrounding its primary subject's prosecution. It casts light on the way the stories of salacious criminals are sold to the press, the way both the public and court system digest a female murderer, and the chilling lack of remorse that defines serial killers, gender stereotypes aside.
aileen

"Hoop Dreams"
Tracking Chicago's top basketball prospects as they are recruited to attend competitive high schools, "Hoop Dreams" explores the intersection of race, education and class through a world in which success on the court can make or break a family's future.
hoop dreams

"For The Bible Tells Me So"
"For The Bible Tells Me So" is a simultaneously academic and emotional look the harrowing clash of Christianity and homosexuality. Through the stories of five families, director Daniel Karslake reveals the deliberate stigmatization of the gay community by religious conservatives and the many ways that scripture has been used as an argument against basic human rights.
bible

"Solitary Confinement"
This National Geographic feature paints a chilling portrait of the deeply tortuous effects of isolation. With a mix of experts and those that have experienced such extreme captivity, it takes on the caveats of a system that reduces violence in the general prison population, but also often leaves its captives too broken to function outside of the cells to which they've been confined.
solitary

Private Forest Retreat Rests Between A Rock And A Relaxed Place (PHOTOS)

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What better way to become one with nature than by building a woodland hideaway that balances right on top of it? By combining their client's need to escape the urban center of Prague with the "magic landscape" they found in the woods between central and south Bohemia, Czech architecture company Uhlik Architekti was able to do exactly that.

Measuring roughly 10 by 20 feet with breathtaking views and just enough headroom for one occupant to stand, the forest retreat rests freely on the ground -- except for one distinguishing feature. "We designed a compact enclosed volume -- an object resting freely on boulders with a stern raised on a huge boulder [...]" architects Petr Uhlik, Jan Sorm and Premysl Jurak explained of the project they completed in several extended weekends. "The multi-functional space is suitable not only for dwelling but also for smaller events, performances or just meditation."

But whatever its use, one thing's for sure -- this isn't your run-of-the-mill cabin in the woods.





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'Studs In Love,' Queer Digital Leather Cover, Released By The Hussy (NSFW)

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When was the last time you saw queer video art that draws heavy inspiration from Tom of Finland? Well, if you've been getting anxious, fear not -- "Studs In Love" does just that and much more.

From the mind of director Shane O'Neill comes this music video for a song by the two-piece garage band The Hussy. "Studs In Love" is off the group's new 12" split with the band Digital Leather called "False Trails/Hash Grails."

The video features a number of performers from the "Queer New World" that is the Brooklyn queer/drag scene, including Dominic Andolina aka Alotta McGriddles, Oddly Enough, Princess Mickey Jager and O'Neill himself.

The Huffington Post chatted with O'Neill this week to learn more about the concept for "Studs In Love," as well as his thoughts on representing queer culture through this work.

The Huffington Post: What was your team trying to communicate through this video?
Shane O'Neill: I had been considering attempting to make music videos for quite some time, and when I saw The Hussy perform this song at the High Noon Saloon when I was back in Wisconsin in December, I knew that this was the song I wanted to do. The song is simultaneously defiant and ridiculous, which I just love. It's hard for me to get excited about something unless there's at least a trace element of something funny, and hearing Bobby whine that he likes hairy asses still makes me giggle. I wanted the video to reflect the song's spirit of hyper-masculinity crossed with absurdity. And I wanted to make a pun on the word "stud."

Do you feel like this representation of the queer community receives as much visibility as more mainstream portrayals of queer identity?
O'Neill: The queer scene I'm depicting in the video doesn't really exist for me outside of fantasy. I mean, if a location can accommodate more than two people, then chances are at some point gay guys have met and hooked up there, but I have yet to actually witness a full-on Tom of Finland daddy cruising at a garage show. That said, I would love for that to become a reality. I say: more leather daddies at rock clubs now!!

The Huffington Post: Why is this video important?
The video is important to me primarily because I adore The Hussy, both as a band and as friends, so getting to be a part of their work is such an honor and completely exciting. Personally, the video gives me warm feelings because it speaks to the communities I'm so happy to be a part of: DIY music out of the midwest, the Brooklyn drag/queer community (as evidenced by Dominic aka Alotta McGriddles, Oddly, and Princess Mickey Jager), and the people I know who work in film. There was basically zero budget for this, which is the way I've always made 90 percent of my work, and it was really heartwarming to work with other people who were also interested in making this video for the sake of making the video. Obviously, in a perfect world I'd love to have the dollars to pay people with more than just love of the game, but in the meantime I'm so grateful to all the sweet creative people who helped make this little project happen. I also just hope it gave some people a chuckle.

Stunning Photos Of Tropical Sea Creatures Will Make You Rethink How You Feel About Slugs

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colorful nudibranch

What are these strange creatures and where do they come from? These are nudibranchs (new-dih-bronx), tropical sea cousins of the slug, which can most commonly be found crawling along the bottom levels of the shallow seas. These mollusks shed their shells and reveal their vibrant skins when they become slug-teenagers, which, according to National Geographic, gives cause for their name. When translated from its Latin and Greek roots, "nudibranch" literally translates to "naked gills."

In the dangerous ocean full of predators with sharp teeth, what's to protect a squishy, naked slug? Nudibranchs use their bright patterns to their advantage. In their profile of nudibranchs, National Geographic says that a nudibranch's high-color, high-contrast skin can actually be an effective camouflage among other colorful sea life, or mislead potential predators into thinking the nudibranch is poisonous. While this deception can be a powerful defense, the South Carolina Department of Natural Resources says nudibranchs are also gifted adapters, incorporating the defenses of their prey into their own defenses, and colors from their food into their own coloration. All of what they absorb is repurposed and pushed into their backs. For instance, a nudibranch can eat a jellyfish and digest all of its parts besides the stingers, and then push them through its back to sting predators.

Tropical ocean environments are extremely delicate, and rising carbon dioxide levels will inevitably damage them. When carbon dioxide levels go up, the acidity of the ocean increases, which can dissolve the calcium shells of the nudibranch larvae and kill them. With fewer nudibranchs eating algae within the ecosystem, algae may bloom on a massive scale and block sunlight from reaching coral reefs and kill the marine plants and animals that live within them, according to the BBC. Since nudibranchs are so sensitive to changing conditions, ecologists monitor these beautiful creatures to keep tabs on the health of an ecosystem, and use that data to plan conservation efforts.

Stay In This Brooklyn 'Jail' For Just One Dollar A Night!

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Planning a trip to New York? Great! Need a place to stay but hotels are just so expensive? Even most Airbnb places are too pricey? And you really want to stay in that "hip" Bushwick neighborhood in Brooklyn you keep hearing about? The one with all the artists?

Well, one artist, Mizo Jiaxin, has just the place for you. And it's only one dollar per night! (Plus a $300 deposit.) Act fast!

(There are just a few, tiny, itsy bitsy caveats. Really nothing to worry about. For starters, it's not so much an apartment as it is a jail cell:

cage

And you're required to be behind bars each day from 9a.m. to 12p.m. During those three hours, "you CANNOT access internet," and there are "NO electronic devices, books, radio, pens or craftwork." Also: "You CANNOT talk to anybody. You CANNOT do Yoga or any other exercises. You CANNOT sleep."

Cool? Oh, also, if you break any of those rules above, $100 is taken from your deposit.

Oh, and more thing: You'll be filmed the whole time. According to the listing, "the cage is monitored and reported via live stream online 24/7."

You'll have a key to the cage to let yourself in and out, and from 9p.m. to 9a.m. you can hang out in the space outside the cage all by yourself. For other hours of the day, other people might be milling about because, you know, the cage is an artist's studio after all.

jail

Alright! So originally this great deal was listed on Airbnb, but the company quickly took down the listing.

jail

That's okay, though. You can make the reservation here.

Your future room is housed inside this swanky roof deck:

jail

And here's a previous inmate visitor Matthew Silver in his jail room having a great time! You might recognize Silver as the pacifist "clown" street performer.

jail

[h/t Death and Taxes]

This Guy Perfectly Impersonates 29 Celebrities While Performing An Original Song

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We've heard some guys do some amazing impressions of celebrity men, and we've heard some girls do some amazing impressions of celebrity women, but we've never one person do such amazing impressions of celebrity men and women quite like Rob Cantor. You won't believe your ears when Cantor gets to Billie Holiday; you'll refuse to believe there isn't some girl singing from behind the camera when it gets to Gwen Stefani; and you'll question reality at Flipper. Don't believe us? Listen below. You'll see ... you'll see.

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