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20 Essential Songs To Celebrate Fourth Of July Like An American

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Besides fireworks, grilled meats, beer and waving the flag, there's no better way to celebrate the birth of America than by singing America. While there are many great songs out there dedicated to eagles, touchdowns and all things badass, we've gathered 20 essential American jams that will bring a tear of freedom and justice to your eye.

"The Star-Spangled Banner" - Whitney Houston


"God Bless America" - Celine Dion


"Party in the U.S.A." - Miley Cyrus

You can also listen to the Notorious B.I.G. remix or this alternative version by Life on Repeat.

"We The People" - Billy Ray Cyrus


"American Badass" - Kid Rock


"R.O.C.K. in the U.S.A." - John Mellencamp


"Where the Stars and Stripes and the Eagle Fly" - John Tippin


"Philadelphia Freedom" - Elton John


"Made in America" - Kanye West & Jay Z ft. Frank Ocean


"Living In America" - James Brown


"Made in the USA" - Demi Lovato


"Born in the U.S.A." - Bruce Springsteen


"America" - Neil Diamond


"American Woman" - The Guess Who


"American Pie" - Don McLean


"I've Been Everywhere" - Johnny Cash


"Courtesy of the Red, White and Blue" - Toby Keith


"America the Beautiful" - Ray Charles


"America, Fuck Yeah!" - Team World Police


OR you can write your very own song in honor of the land of the free and the home of the monster trucks, just like Rosa G did with "Fourth of July."



'Jimi: All Is By My Side' Trailer Shows André 3000 Stepping Into Jimi Hendrix's Shoes

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André Benjamin, who you know as Outkast's André 3000, stars as Jimi Hendrix in a new biopic that was unable to use any of Hendrix's actual music. From the looks of the trailer, it won't matter. Benjamin seems to inhabit the psychedelic shoes of Hendrix with finesse. "Jimi: All Is By My Side" depicts the singer's early days in 1966 and '67, before he became the rock legend he is now. The trippy trailer makes it look like a must-see biopic. "Jimi" is written and directed by John Ridley, who won the Oscar this year for penning "12 Years a Slave." The movie opens Sept. 26.

'Life Itself' Crafts Heartfelt, Candid Portrait Of Roger Ebert

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"Life Itself," the documentary about the many years Roger Ebert spent as the country's primo film critic and the rich but complicated personal life he led on the side, may be 2014's most wrenching film. Directed by Steve James ("The Interrupters," "Hoop Dreams"), the movie is based on Ebert's 2011 memoir by the same name. It's not a sycophantic take on the life of an American treasure, nor is it an excuse to fawn over an outsized personality who rightfully captured the nation's admiration.

James offers a warts-and-all take on Ebert's life, just as the former Chicago Sun-Times critic does in his own writing. Sandwiched between a recap of Ebert's childhood and a celebration of his contributions to popular culture, James delivers the portrait of a man who made no apologies for his bouts with alcoholism, his love of voluptuous women and his temperamental dynamic with "At the Movies" co-host Gene Siskel. The documentary proves that, even if not everyone loved Ebert's thumbs, no one denies his resilient legacy.

Oscar-winning screenwriter Steven Zaillian ("Schindler's List," "The Girl with the Dragon Tattoo") and his producing partner, Garrett Basch, approached James in 2012 with the rights to Ebert's memoir for their company, Film Rites. James hadn't yet read the book, but he quickly devoured it. A longtime Ebert fan, James watched "At the Movies" in its original, Chicago-based iteration (called "Sneak Previews") in the 1970s. When he later moved from southern Illinois to the Windy City, James began reading Ebert's reviews in the Sun-Times.

"I just thought, you know, what a great critic," James recalled when HuffPost Entertainment spoke with him at the movie's New York press day.

Ebert himself was the one to break the news that "Life Itself" would become a feature film. He did so in a tweet on Sept. 7, 2012, about a month after awarding "The Interrupters" four stars and 18 years after calling "Hoop Dreams" the best movie of 1994.




Days before the shoot was slated to begin, Ebert, who'd battled papillary thyroid cancer since 2002, entered the hospital with a fractured hip. "Life Itself" offers a glimpse at the days of a decaying cultural figurehead, told through the most intimate and compassionate framework. It's tough to watch at times, if only because we feel such deep sympathy for the subject. Ebert maintains a smile as nurses care for his needs and rehabilitation becomes increasingly onerous. That struggle provides a poignant fabric for the nostalgia of Ebert's heyday, when he was galavanting across the Chicago bar scene, the Cannes and Sundance film festivals, the Conference on World Affairs and other "cosmopolitan" (his word) stages, making friends and enemies aplenty along the way.

"My goal as a filmmaker is always to help you understand a main subject, including their warts," James said. "But I’m also trying to discourage you from sitting in judgment of them. I’m trying to sit back and look at it as the viewer and go, 'Okay, if you’re going to think he’s an asshole in this moment, it’s not like I want to take that out, but what can I do to kind of reposition you a little bit to think about that reaction, so that you don’t just condemn him?' No one articulated better than Roger: Movies are like a machine to help you generate empathy, to help you understand the hopes and fears of other people and their lives, and walk in their shoes, essentially."

"Life Itself" elicits deep empathy in candid interviews with the likes of Martin Scorsese (whose career Ebert helped to propel), documentarians Werner Herzog and Errol Morris, TIME critic Richard Corliss, New York Times critic A.O. Scott and a plethora of Chicago newspapermen who knew Ebert in his early days. Together they share heartfelt memories of Ebert's best and worst times, his unflinching passion for cinema and his perennial status as the best raconteur in any room.

"Outside of Chaz, [Gene Siskel] was arguably the most significant relationship of his life."

The movie's most surprising moments are exposed in Ebert's volatile relationship with Siskel. While Siskel was writing for the Chicago Tribune and Ebert for the Sun-Times, the critics were bitter rivals. By the time they were cajoled into doing a television program together, their dynamic became the utmost blend of love and hate. Vintage outtakes from "At the Movies" show the men bickering over the way they read their lines for the camera. Each hurls insults at the other as they struggle to find the perfect take while recording intros to various episodes. One might think there is nothing but animosity between the pair. It's only through interviews with Ebert's devoted wife Chaz, Siskel's wife Marlene and the show's producers that we learn there was much more to the relationship.

"There are other things that he didn’t really write as candidly about in the memoir, like his relationship with Gene," James said, referring to Ebert having documented his own weaknesses in the book without fixating much on his struggles with Siskel. "He talks about it some and he definitely talks about how there was this competitiveness, but the tone of the chapter he devotes to Gene is much more wistful, like, 'Yes, we once had our battles, but I miss him every day. [...] I knew that if we were going to do this we have to dig deeper than this memoir does into that relationship, because, outside of Chaz, it was arguably the most significant relationship of his life."

Therein lies the documentary's charm. That unbridled honesty gives way to true joy, when Ebert is at his professional best or when portions of the memoir are read aloud, enunciating his affection for Chaz -- who is arguably the movie's shining star -- and the industry in which he works.




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Chaz Ebert and Steve James attend the Los Angeles premiere of "Life Itself" on June 26.


It's that generous spirit that James says pervaded Ebert's life throughout his final years, even before he became ill. A.O. Scott says that's why Ebert was a "tougher" critic in his younger days, but James thinks it's because Ebert kicked some of his vices, fell in love and garnered a richer appreciation for, well, life itself.

"I think Roger became a more generous spirit in later years with films, because with all that he’d been through he kind of appreciated that he was able to be doing what he was doing at the level he was doing it," James said. "I do think that made him a little more generous of spirit. I don’t fault him for that."

America hasn't, either. Even after Ebert left broadcasting in 2006, he remained the nation's most celebrated critic. Not everyone appreciated his thumbs-up/thumbs-down approach to reviewing for television, particularly Richard Corliss, who challenged the binary approach in a 1990 Film Comment essay discussed heavily in the film. Yet, regardless of whatever objections arise, everyone seems to recognize the cultural fortress that is Roger Ebert. That's what the documentary sets out to depict. And it does, ever so lovingly. Listening to Ebert's passion for film, and for his own life, is so enriching that by the time his final days are upon us on-screen, it's sob-inducing.

"The level of candor was pretty remarkable, and the only place it really changed was at the end," James said. "You see in the movie that once he leaves home and goes back to the hospital and rehab, there’s not another image of Roger in the movie. And, in fact, there was not another image recorded of Roger anywhere. I have, I think, the last image of Roger. It’s not in the movie -- it’s a shot where my DP is on him and then pans off of him, and that was the end of the shoot.

"Even though Roger lived his life in this incredibly courageous, public way, and the way in which he dealt with the cancer he did in a very public way, just like this film shows a degree of candor you hadn’t seen before, there’s also a degree of candor beyond the scope of this film that you never will see. And that’s kind of as it should be."

"Life Itself" opens in limited release on July 4.

There Is Now A Russian Version Of 'It's Always Sunny'

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"It's Always Sunny In Philadelphia" is a great TV show. But how will it translate to Russian?

Apparently, we're about to find out. Judging by the looks of a TNTRussia YouTube video, a new version of the show is set to air in Russia. The cast looks entirely based off of the American version -- blonde haired girl, dungy bar, goofy guys who are doing a lot of yelling and drinking. But what will get lost in translation?

We're not really sure, but we're looking forward to finding out.

12 Young Latina Artists Changing The Contemporary Art Landscape

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When family tales are passed from generation to generation with no single point of origin, when history fails to document years of pain and struggle, when personal identity becomes too complex to describe in a single sitting, when memory and imagination mingle in the land of dreams, this is where art comes in very handy.

For young Latina artists, art is an invaluable tool to archive the past, understand the present and activate change in the future. Yet, as with many underrepresented populations, Latina artists and the work they produce are often silenced and overlooked. An exhibition entitled "Y, Qué? (And What!)" is here to change that.

Composed entirely of Latin artists under the age of 35, "Y, Qué?" presents a diverse array of multimedia artworks through which to navigate the past, archive the intangible, occupy multiple spaces and personas and unabashedly declare one's existence. Exploring themes of race, class, gender, sexuality and cultural identity, the selected emerging artists don't just tell us their stories, they show us.

"Y, Qué?" is the 19th edition of the "Young Latino Artists Exhibition," a highly anticipated exhibition series at the Mexic-Arte Museum in Austin, Texas. Guest curated by Más Rudas Chicana Collective, this year's stunning exhibition showcases the bold future of female artists and the unrelenting power of art to make sense of the world around us. Behold, 12 young Latina artists changing the landscape of contemporary art.





"Young Latina Artists 19: Y, Qué?" runs until September 7, 2014 at Mexic-Arte in Austin, Texas.

How China's Most Famous Grounded Artist Collaborated With A Navajo Man Thousands Of Miles Away

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The idea was to raise the profile of a small Navajo art festival by roping in Ai Weiwei, the fiery Chinese dissident artist. And that's precisely what's happened. Suddenly, Navajo TIME, an annual festival that takes place deep in the desert in the American Southwest, is making headlines. Of the ten works commissioned by the state arts agency of New Mexico, the one that's causing all the fuss is Pull of the Moon, an international collaboration between Ai -- who remains captive in China since running afoul of the government a few years ago -- and Bert Benally, a Navajo artist you've probably never heard of.



One of those things is not like the other. So how did Ai's work end up on Coyote Canyon, thousands of miles from his home? According to a report by Artnet, organizers reached out to his studio knowing the publicity boost Navajo TIME would receive if Ai participated, not expecting that to happen:

"To their surprise, he agreed. 'For him to be interested in a project like this is like one in a million,' Santa Fe art advisor Eileen Braziel, who suggested contacting the Chinese artist, told the Albuquerque Journal. “He immediately said he was interested.” Apparently, the dramatic landscapes of Coyote Canyon reminded the artist of the labor camp where he had grown up in Western China during the Cultural Revolution."


To create his share of the earth art, Ai sent ground-down pottery shards from his notorious Dropping The Vase series. In a press release, the artist calls the shards "evidence of the powder's origin." He continues: "I think this is an interesting idea because we can only see ourselves, our past, through material evidence such as these shards. It is important to pass on to future generations where we are from and to give a glimpse of the mind and soul of the people living in that time."

The powder was shaped into a design drawn up by Ai. The project is necessarily ephemeral (TIME stands for Temporary Installations Made for the Environment). While this means it's no longer possible to see Pull Of The Moon in its original form, related works are in the planning stages, including sound art based on the audio captured at Coyote Canyon during the installation, and a film about the making of the project.

This Giant Picnic Blanket Will Forever Transform Your Summer Snack Fantasies

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There are few joys as nostalgic and pure as packing up a wicker basket full of treats and hitting the grass, picnic style. The only thing missing from this leisurely trifecta of food, sunshine and horizontal relaxation was, of course, art. Until now.

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Swiss artists and twin brothers Frank and Patrik Riklin have revolutionized the potential of the almighty lunch break with Bignik, which is basically a really, really big picnic. The artist duo created the massive installation in Stein, Switzerland, covering a public space with a participatory work of art massive, beautiful blanket.

The super-sized feat, 160,000 feet of comfy, ant-resistant goodness, was sewn together from recycled towels, curtains, sheets and tablecloths, all donated by the local community. The setting gave way to a massive family-friendly art feast, with 1,500 visitors bringing sunscreen and snacks to the novel art event.

"Art has to have a clear function," Patrik expressed. "It should be experienced amidst life and not be confined to art galleries and museums!" He took the words right out of our mouths. We'd potentially add that it should also be experienced amidst peanut butter and jelly sandwiches and potato chips, whenever possible.

This year marked the second ever install of the glorious Bignik, and only 4% of the Riklin brothers' full vision. That's right, by 2040 they hope to expand their blanket to an area comparable to 100 football fields. Just think of all the potato salad. If more museums took a hint from sand boxes, we imagine they'd be far better off for it.

h/t Junk Culture.

Chinese Artist Exhibits Gorgeous 'Sculptures' Built By Bees

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The Beijing-based artist and beekeeper Ren Ri is a focused man. His new three-part series -- titled "Yuansu" in reference to the Chinese word for "element" -- turns bees into his collaborators. Yuansu II features sculptures made by bees, of beeswax.

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Courtesy Ren Ri


In an interview with CoolHunting, Ren explains the "special" properties that make beeswax such an interesting material:

“It’s unstable and can change shape with temperature. The structure of wax cells is orthohexagonal, which is an inconceivable feature in the natural world and it’s a peculiarity of honeybees."

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Courtesy Ren Ri


The sculptures are housed in transparent plastic polyhedrons. At the center of each is the queen bee, positioned thusly so as to enable the worker bees to build around her. They build symmetrically, due to the even planes of the polyhedrons. Every seventh day, Ren changes the gravity of the structure by rotating the box onto a different side. The act is in reference to the biblical concept of creation, but introduces a random element. Ren determines how to shift the box by the roll of a dice. Each time, there's no telling how the bees will react to their new environment.

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Courtesy Ren Ri


Ren is concerned with the ways of nature. He's also interested in cutting out human intervention. One of the purposes of Yuansu II is to "eliminate the subjectivity of the artist" via "the mediation of bees," Ren explains in the interview.

2014-07-01-yuansu4.JPG

Courtesy Ren Ri


The sculptures can be seen at the T Museum for Contemporary Art in the Chinese city of Hangzhou until early August. For more on Ren's work -- including a performance piece that involves (steel yourself) Ren pressing bees to his face -- visit CoolHunting.


For Your Viewing Pleasure, We Present Some Nude Piles As Art (NSFW)

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Since the earliest days of artistic creation, the nude form has provided endless aesthetic inspiration to those working with camera, paint or pen. Back in the day, a scandalous representation like Francisco Goya's "The Nude Maja" could keep art lovers hot and bothered for days. In the post-internet age, you're going to need some more nudes.

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Enter: Evelyn Bencicova. The 21-year-old photographer, born in Bratislava and based in Berlin, takes photographs with the drama of Theodore Gericault's "Raft of the Medusa" and the dark eroticism of Salvador Dali's "Voluptuous Death," if designed to get voted up many a time on Reddit.

We're not quite sure what to call what we're looking at here, so we'll call it "the nude pile." In fancy terms, pallid, undressed forms converge into contorted amalgamations expressing a combination of togetherness and isolation. In not so fancy terms, nude pile. Bratislava piles on nudes on nudes on nudes, in such ambiguous positions it's hard to tell if they're engaged in an orgy or a post-apocalyptic nap.

We're somewhat hypnotized by Bencicova's surreal human-scapes and their particular brand of spooky-sexy that's so very hot right now. We're not quite sure if "nude piles" have what it takes to be the next big art trend, but we can say with certainty we could imagine many other far worse kinds of piles. Let us know your thoughts on the NSFW visual feast in the comments.

Israel Mourns, Pakistani Nomads And A Feast In Rome: Week In Photos, Jun. 29 - Jul. 6

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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. Rome holds a fireworks display over the Tiber river and the Castel Sant'Angelo during the Girandola feast of the city's patron saints, Saint Peter and Saint Paul, on June 29, 2014.
girandola
(TIZIANA FABI/AFP/Getty Images)

2. People fill the street during an annual democracy protest in downtown Hong Kong on July 1, 2014.
protest
(AP Photo/Vincent Yu)

3. The Brasilia Cathedral pictured at night on June 30, 2014, during the 2014 FIFA World Cup football tournament in Brazil.
world cup
(FRANCOIS XAVIER MARIT/AFP/Getty Images)

4. Flames and smoke billow from the blown-up house of Amer Abu Eisheh, one of the Palestinians suspected in the killing of three kidnapped Israelis, in the West Bank town of Hebron on July 1, 2014.
amer abu eisheh
(HAZEM BADER/AFP/Getty Images)

5. Germany's Angelique Kerber serves to Russia's Maria Sharapova during the women's singles fourth round match at the 2014 Wimbledon Championships, southwest London, on July 1, 2014.
wimbledon
(CARL COURT/AFP/Getty Images)

6. Israelis mourn and light candles in Rabin Square in Tel Aviv on June 30, 2014 after the announcement that the bodies of the three missing Israeli teenagers were found.
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(OREN ZIV/AFP/Getty Images)

7. A Pakistani nomadic woman carries a bucket with a container of camel milk for sale on her head as she walks along a street in Karachi on July 2, 2014.
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(RIZWAN TABASSUM/AFP/Getty Images)

8. Rescue workers put out a fire following a bomb that exploded at a busy roundabout near the market in Maiduguri, Borno State, on July 1, 2014.
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(STRINGER/AFP/Getty Images)

9. A journalist runs out of the U.S. Supreme Court carrying a copy of the decision in Burwell v. Hobby Lobby Stores in Washington, DC, June 30, 2014.
supreme court
(Chip Somodevilla/Getty Images)

10. Bend the Arc, a Jewish social justice group, dances around two women dressed as brides during the annual San Francisco LGBT Pride Parade June 30, 2013.
san francisco pride parade
(Sarah Rice/Getty Images)

Learn How To Fold A Pocket Square Just In Time For All Of Those Summer Weddings

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It's the little things that can make all the difference when it comes to making an outfit stylish, such as the right tie or pocket square. Both can help you instantly transform an outfit by adding a splash of color to a formal suit. And now that wedding season is in full swing, you might be in need of a quick style upgrade.

In the video above, online men's fashion retailer Mr Porter taps Michael Hill of Drake's, a leading London tie-maker, to demonstrate four different styles of folding the classic pocket square: businesslike, casual, elegant and eccentric. Yes, these are not your grandfather's pocket squares.

Watch the video to learn how to fold a pocket square, then shop our picks in the slideshow below.



After Dark: Leo GuGu, Stylist And Nightlife Personality

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This is the eighth 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?
Leo GuGu: Well, it all started way back when. I’m from Boston and I’m pretty young, 23 years old. When I was coming out -– I came out when I was 16 -– I didn’t have many gay friends so I started going to the gay community center called GLASS in Boston. I think it’s closed now but I would go there and just hang out with other gay people.

I discovered Vogue dancing there, drag queens and all of the gay culture. One day they were playing a movie called “Party Monster” and I thought it was so weird, morbid and very interesting. It was like -- this is what nightlife is to me. My mom even told me growing up, “You know, I used to go to all of these NYC parties.” My mother and I would always kind of dance in our living room to her old records from the ‘70s. I love disco.

So, nightlife kind of started at home for me because I just partied with my mom until I was 16 and stole her wine and then she stopped partying with me [laughs]. I had like empty bottles under couch in my bedroom. So it started at home and when I would go out I felt like such an enigma. I would have fun and people loved my energy. Mind you I wasn’t in drag, I was just being a boy and having fun. I’ve always been that friend you have that would just put on a wig for shits and giggles and carry on. Like, everything’s kosher –- that’s my attitude. And over the years it’s gotten really fabulous and I love it.

My first party was when I moved to New York and I went out with my little fake ID to Amanda Lepore’s party called BIG TOP in 2010 at University Place and 13th. I was 19, didn’t know anyone and I would just go and pretend I was with my mom dancing in the living room -- or Robyn #dancingonmyown -- having a gay old time. That’s where I started. The DJ at the time was Paisley Dalton who I now do my Thursday party with, My Chiffon Is Wet, because back in the day he told me he was starting this new party, that he loved my energy and wanted me to host for him. So I got in that in 2011 and it’s been going on every single Thursday since.

The Huffington Post: How does your work as a stylist at Patricia Field intersect with your identity as a nightlife personality?
First off, I’m in a big walk-in closet during the day so my outfits are very taken care of [laughs]. I never have to worry about what I’m wearing because I’m in a closet all day. And it’s also a blessing to have Patricia Field, the designer I work for, in my life. I love her and she loves me. And that’s kind of her legacy and what she’s known for –- the kids coming through and grabbing a look, going to the party in the look. Waking up the next day and coming through with coffee and a story to tell. It’s that and a lot of tourists and Manhattanites.

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The Huffington Post: A number of prominent people in nightlife seem to be involved or have previously been involved with Patricia Field. Is there a reason for this?
Let’s face it: New York is really cool. But it’s like selective cool. Sometimes you have to fit a certain mold to be cool and to be accepted by others. And with Pat you just have to be yourself. I mean, she’s in her, I believe, 70's, and she’s still here and doing her thing, running her business. She is a strong businesswoman and that’s also what I admire.

She’s ahead of the curve because she has no qualms, there’s always drama whenever you go but she’s not judgmental about where you came from and who you are. If you’re a good person she will love you even more and she can always tell. And I think that people want to be around that –- I want to be around that.

The Huffington Post: So you feel like people are naturally just drawn to Patricia Field because of her openness and legacy?

It's nice, it’s organic, it’s contagious. It’s like a bad flu.

The Huffington Post: Do your looks primarily come from Patricia Field?

Right now most of my clothes are from Pat’s but I’ve become friends with a lot of the designers so they make things for me. Like David Dalrymple, I love him so much. He’s the in-house designer for the store and a genius. He makes most of my outfits. And then again I also wear my drag clothes during the day -– I look like a crazy gypsy woman sometimes and when I walk into Duane Reade or something people follow me because they think I’m gonna steal [laughs]. It’s the shade, I like walk in and they’re like “security on aisle two” and I’m like “Oh fuck, I’m just buying deodorant -- can you just leave me alone? I have money. My purse is Versace. Stop me.”

But most of my clothes are from the store. I discovered thrifting when I was in the 4th grade so I’ve been thrifting since then. I went to the same store all of my life until I left Boston in 2009.

leo gugu

The Huffington Post: As a stylist why do you think nightlife is important to pushing fashion, and the fashion industry, forward?
I think some people are creative but they’re creative by default. They go out to see what the kids are wearing because they have no knowledge of the scene as a result of where they live or their lifestyle. But people always go because they want to see the crazy club kids and crazy drag queens and feel fabulous around all of these people who are wearing a tinfoil grill or a trash bag as a purse –- people just need that inspiration.

It’s like going to an art gallery/community center/wreck room. I say that all the time to my friends, the club is such a community center because you see the same people all the time. And it’s like, "girls don’t you have something to do?" But we all don’t because we all came to see each other [laughs]. And that’s what makes it fun. You can relax and drink and dance; you can do whatever you want to really.

That’s what keeps nightlife alive, in my opinion. All of these different tribes of people just coming together like a community center or a wreck room at these places that are only open at night, that you have to sacrifice your next day for or your health even sometimes. But it makes it better because everyone wants to be appreciated, everyone wants to be loved and nightlife is the shit with no make-up. It’s like a founding father of art. Like that club Area way back in the day and how they did all of those installations. Studio 54 still rings a bell, the Sound Factory is still making noise. These places they don’t go unnoticed.



That whole idea of the club as a community center is really interesting. One thing Ryan Burke talked about in his feature was how he sees nightlife heading into a much more mixed crowd setting –- do you feel the same way?

Hell yeah because, to be quite honest with you, I love everybody. I don’t care your gender, your race, what size shoe you are, your sexuality -– I’m an open book. Hell, I may even be pansexual. But to walk into a party, into a bar, and feel like you walked into Abercrombie and Fitch and you’re like not welcome because there’s just one type -– that’s fucking boring! What is that? Are we in Minnesota? Are we in the Midwest? No boo, mix it up. And that’s how I have fun at my parties because I invite everybody. I don’t care who you are, what you do as long as you don’t cause trouble and don’t throw shade -– come out and have fun, let’s have a ball! It’s way better that way because you get to meet more people and that is what nightlife is about: meeting people, sharing experiences and having moments.

How do you see what is happening in nightlife today as building on a historical legacy of past artists, performers, musicians and personalities?
Nightlife today is the same as nightlife way back when, in my opinion. Times have changed -– people are different, but I think it’s the same reoccurring thing. There’s still jazz clubs in Harlem, there’s still rock bars in the Lower East Side. I think that the people are just doing new and inventive things with social media and integrating technology into nightlife performances and installations and all that -– which makes it way more stimulating.

leo gugu

Could you talk some more about the way that technology and the Internet have shaped and changed nightlife?
Definitely from a promoter’s standpoint, if you’re not on Facebook you don’t have a career. Like whenever I do my parties I send out my invites, I talk to my friends about it on Facebook. You have to have a presence on social media whether you like it or not. And I’ll be honest, sometimes I’m not in the mood to Facebook but when I do and I send things out to people and then they come, it makes me feel so satisfied. I’m just like “Yes! Yes! Thank God I hit up my friend that I haven’t seen in like four months on Facebook.” And it’s hard too –- if there was a social media network that was easier than Facebook and you could just think about it and it would happen, if it was that simple, I think that life would be easier. Facebook is pretty funny but now they’re charging people for all of this stuff.

The Huffington Post: Yeah, you have to pay now to have your events highly visible in a lot of cases.
It’s become so political!

The Huffington Post: How do you see fashion trends developing within nightlife?
This is how it kind of works in nightlife -- I’ve noticed that especially in New York there is always a trend, because I do parties for Susanne Bartsch all of the time -- she was one of the first people to book me for a major club, and she always gets me on board for fun parties. I’ve been working with her for two-some-odd years. There’s always a trend -– it’s weird how it happens. It’s not even like I sent a message like “girl I’m wearing this.” Because the girls don’t really plan outfits like that. But when you show up to the club and you’re like “yes! I look good in my rhinestone hat, my rhinestone hat is everything, it’s giving me life, I’m alive, this bitch better work,” and then you get to the club and you look around and there’s like five other people in rhinestone hats! It happens all of the time. It’s something kind of kinetic or psychic about the nightlife scene.

The Huffington Post: One thing Susanne is pushing right now is taking the art out of nightlife and showcasing it in a different context -- taking it into the galleries. What are your thoughts surrounding that?
I love it. Even when I work for Susanne myself, I would go in my look but I feel like I’m a walking piece of art. When I’m hosting for her sometimes, like when we did On Top last summer, I would just stand on the bar and dance my ass off in this structural Mylar headpiece. That’s what it’s about and she has every right to do that.

The Huffington Post: Do you see this kind of thing Susanne is trying to do, taking art from the clubs to the galleries, do you see that happening a lot more in the future?
Oh yeah. Even her party at the SoHo Grand -– that was awesome because it was personal, you could see people. You’re face-to-face, the music wasn’t too loud but there was a DJ. Joey Arias performed and Amanda Lepore did cabaret-style performances. I got to get people’s names for the first time after like a year of knowing them at the club [laughs].

Can I do shout-outs?

The Huffington Post: Sure.
Shout out to Paisely Dalton, Gerry Visco, Susanne Bartsch, Michael Musto, Kenny Kenny, Early Ross, Le Baron, Le Bain at The Standard, The Boom Boom Room, Eastern Bloc, and all the girls on the scene. Shout out to House of Field, Patricia Field all day everyday.

I have My Chiffon Is Wet at Eastern Bloc right now and we host with Alan Cumming every single week with Ruby Roo.

Thank you HuffPost! I love you!

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

'Be Masculine,' Erik Carter Project, Explores What Gay Male Masculinity Means Today (NSFW)

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A new project is in the works that seeks to explore and push the boundaries of how we understand and experience masculinity within today's 21st century queer culture.

From photographer Erik Cater comes "Be Masculine," an exploration of how we understand ourselves as physical and virtual beings conducted through portraits and interviews. The project is an attempt to start a larger conversation about what masculinity means today, and why so many gay men expect and verbalize the need for this ideal from one another.

In order to better understand "Be Masculine" and the future of this project, The Huffington Post chatted with Carter about his work, the individuals involved and what he, as an artist, is trying to accomplish.

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The Huffington Post: What are you trying to show about masculinity through this project?
Erik Carter: This project is an attempt to understand the idea of masculinity through individual perspectives, and with these attempts I'm trying to reveal that masculinity is not as simple as its standard definition. The word masculine has a different meaning for every man and it's rooted deep and early through their own experiences. Though the idea of masculinity that some gay men are familiar with is that which is requested of them. Some men may grow up with requests to be more masculine from their parents or other authority figures, and now we have other gay men requesting the same thing, only for different reasons. This project is an exploration in discovering more about who we are as gay men now, and revealing the truths about who we want to be.

Who are the individuals engaged in this project?
The individuals engaged in this project are men who live in New York City and identify as gay, which is both specific and broad. The project spawned from the topic surrounding gay men who ask other gay men to be more masculine or, in a sense, more "straight acting," therefore identifying as gay is the only specification for each subject. However, I do feel this project has the capacity to be a concern for all men, regardless of sexual orientation.

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Why is this project important?
I feel this project is important because I think that by putting limitations on the idea of what is masculine, we are halting our own progression. So much is lost by essentially asking another person that if you want to share my company you need to be less gay, and that loss not only affects those that make such requests but those who receive it as well, because the temptation to give in to that character can be high. It can be unhealthy for some gay men to continue to seek out a kind of straight-normalcy because in doing so they may be pushing themselves back into the closet, and therein lies further complications. I also think that it's just important to show masculinity in it's full range and honor the broad scope of perspectives, because sometimes we only get to see a very narrow view.

What do you hope that viewers take away from these photos?
My hope is that viewers, particularly young viewers, will start to see that masculinity is malleable, so that they can take pride in whatever way masculinity manifests itself, whether that's in their voice, their body, their walk, or simply in their mind. My ultimate hope is that viewers will see these men, read their stories, and reconsider their own ideas, so that the phrase "be masculine" will become defunct altogether.

Check out a slideshow of images from "Be Masculine" below. For more information about the project head here.

Pink Floyd Will Release New Album, 'The Endless River,' In October

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As the 20th anniversary of Pink Floyd's last studio album, 1994's "The Division Bell," approaches, the band will be releasing a brand new record titled "The Endless River," sometime in October. The news was first announced by Pink Floyd guitarist and vocalist David Gilmour's wife, Polly Samson, on Twitter.




Pink Floyd touring vocalist Durga McBroom-Hudson, who sang backup with the band throughout the 80s and 90s, was the next to confirm the album's existence, posting a photo from the recording sessions on her Facebook. She echoed Samson's reveal that the songs initially began during the "Division Bell" sessions, and that the album will contain "all unreleased songs."

"The recording did start during The Division Bell sessions (and yes, it was the side project originally titled "The Big Spliff" that Nick Mason spoke about). Which is why there are Richard Wright tracks on it. But David and Nick have gone in and done a lot more since then," McBroom-Hudson wrote on Facebook. "It was originally to be a completely instrumental recording, but I came in last December and sang on a few tracks. David then expanded on my backing vocals and has done a lead on at least one of them."




There's no word as to whether Roger Waters is involved with the record in any way, but he is reportedly working on a solo album at this time. Gilmour also plans to release a new solo album in the near future, his first since 2006.

The Ultimate Tiny Home Is In A Dumpster (PHOTOS)

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Tiny homes in shipping containers are so last year.

For the past several months, Huston-Tillotson University's environmental science professor Jeff Wilson has been living small in a dumpster. The self-proclaimed "Professor Dumpster" has been living in what he calls the "magic boxes" most people see as nothing more than a place to put their garbage. His motivation? With the help of his students, Wilson wants to take a new approach to the way single-family homes use their resources by maintaining his lifestyle in a sustainable 33-square-foot abode that's roughly 1 percent of the average-sized American house.

But his project doesn't quite end there. Over the next six months, Wilson and his team will transform the trash bin into a small version of a typical home before remodeling it to maximize sustainability with features such as solar power and a "green toilet."

"We’re going to take all of the lessons we’ve learned from this about design and living in small spaces and we’re going to build the tiniest home to code in the city of Austin," Wilson says. "We want to develop a ‘how to’ for building the tiniest home possible."

Check out some photos below.




H/T to FastCo. Exist to introducing us to this "ambitious" approach to living small.

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.)

Ground Up's 'Let's Ride' Is Your New Summer Party Anthem

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We love Ground Up here at the Huffington Post, and our choice to award the Philly rap trio a spot in our 20 artists to watch at the beginning of the year has only been further cemented by the release of their new single, "Let's Ride." This is the first release from their upcoming project, "Mega" -- after pushing 11 mixtapes, this will be the first album they will be selling -- and the movement has never felt stronger. Azar and Malakai's brazen rhymes are smartly paired with horn-staccato punches and bass rumbles provided by Bij Lincs. The video was shot in Bucks County, partying in the back of a truck as it cruises through the woods, proving that all you need to have a good time is good friends, dope beats and, of course, Super Soakers.



You can purchase "Let's Ride" on iTunes now.

'Transformers: Age Of Extinction' Beats 'Tammy' On Slow Fourth Of July Weekend

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NEW YORK (AP) — The Fourth of July went off like a dud at the box office, as the Michael Bay sequel "Transformers: Age of Extinction" and the Melisa McCarthy comedy "Tammy" led the weakest summer holiday weekend in at least a decade.

The North American box office was down a whopping 44 percent over the July Fourth weekend last year, when "Despicable Me 2" and "The Lone Ranger" opened. This weekend sputtered not because of an oversized bomb like "The Lone Ranger," but because of numerous factors, including that Hollywood simply didn't aim for big fireworks this year. The holdover "Transformers" led all films with an estimated $36.4 million, while "Tammy" had a below expectations Friday-to-Sunday haul of $21.2 million.

"This ranks as one of the lowest Fourth of Julys ever," said Paul Dergarabedian, senior media analyst for box-office tracker Rentrak. "We always think of Fourth of July being a big weekend. This year, we just have to lick our wounds and look forward to 'Planet of the Apes' and some other films to get us back on track."

Paramount's "Transformers," the fourth in the series, opened the weekend prior to the year's biggest debut with $100 million. The movie, with a rebooted cast led by Mark Wahlberg, dropped considerably (63 percent) in its second week of release despite relatively little competition.

Overseas, "Age of Extinction" is performing exceptionally well. It added $95.8 million from 37 territories for a two-week worldwide gross of $575.6 million. It's set to soon become the highest grossing film ever in China, with already more than $200 million in box office sales. "Transformers 4" was partially shot in China, features local star Li Bingbing and premiered at the Shanghai Film Festival.

New Line's R-rated, Midwest road trip romp "Tammy" boasts one of the most bankable stars in movies — McCarthy — but is a smaller, homespun movie made for just $20 million and directed by McCarthy's husband, Ben Falcone. Despite being savaged by critics, the Warner Bros. release made $32.9 million in five days since opening Wednesday.

"Why the weekend was so weak in terms of competition is hard to tell," said Dan Fellman, head of domestic distribution for Warner Bros., who said he was very pleased with the performance of "Tammy." ''It's just the way things fell."

The other new wide release was the horror flick "Deliver Us From Evil," which had no blockbuster ambitions. The Sony Screen Gems release, starring Eric Bana, opened in third with $9.5 million. Also debuting was Relativity Media's animated release "Earth to Echo," which took in $8.3 million.

Such movies are a far cry from the usual Independence Day fare, which has in the past included the opening weekends of "Spider-Man 2," ''War of the Worlds," two earlier "Transformers" releases and, naturally, "Independence Day."

But this year's July Fourth fell on Friday, an already lucrative movie-going day, and thus did little to add incentive for blockbusters. The World Cup, too, may have scared off some big releases. Next week, Fox's "Dawn of the Planet of the Apes" is expected to be one of the summer's biggest hits.

The unusual holiday lull meant that for the first time this summer, a movie ("Transformers: Age of Extinction") held the top spot at the box office for two weeks in a row.

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," $36.4 million ($95.8 million international).

2. "Tammy," $21.2 million ($2.5 million international).

3. "Deliver Us From Evil," $9.5 million ($2.5 million international).

4. "22 Jump Street," $9.4 million ($10 million international).

5. "How to Train Your Dragon 2," $8.8 million ($33.5 million international).

6. "Earth to Echo," $8.3 million.

7. "Maleficent," $6.1 million ($17.3 million international).

8. "Jersey Boys," $5.1 million ($2.7 million international).

9. "Think Like a Man Too," $4.9 million.

10. "Edge of Tomorrow," $3.6 million ($8.4 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. "Transformers: Age of Extinction," $95.8 million.

2. "How to Train Your Dragon 2," $33.5 million.

3. "The Breakup Guru," $17.5 million.

4. "Maleficent," $17.3 million.

5. "The Fault in Our Stars," $10.1 million.

6. "22 Jump Street," $10 million.

7. "The Divine Move," $8.8 million

8. "Edge of Tomorrow," $8.4 million.

9. "Blended," $6 million.

10. "Rio 2," $5.2 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 Film Writer Jake Coyle on Twitter at: http://twitter.com/jake_coyle

You May Not Know About The First Chinese Americans, But You Should

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It wasn't easy being Chinese American in the early days. From exclusionary laws to the racist caricatures that dotted newspaper comic pages, America wasn't exactly laying down the welcome mat.

And yet, there were success stories. The Chinese American, a newspaper founded by the activist and journalist Wong Chin Foo, hit stands before the end of the 19th century. The actress Anna May Wong, born in Los Angeles to Chinese parents, beat the odds and wound up starring in silent films a few decades later.

Some died too young to become known, like the World War II fighter pilot below. Guess which side Hazel Ying Lee flew for:

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Lee, on the right in the 1932 photo above, joined the U.S. Women Airforce Service Pilots and flew planes to warfront embarkation points. She died in a plane crash in 1944. Courtesy of Frances M. Tong, Museum of Chinese in America Collection.


We may not read about them in junior high school, but Foo, Wong and Lee are part of a great American saga. This fall, an exhibit in New York will attempt to tell it, through historic documents, maps, artworks, artifacts, and ephemera. Of the more than 200 items displayed in "Chinese American: Exclusion/Inclusion" many belong to the collection of the New York Historical Society, whose building will house the exhibit. Other sources include private collectors, various museums and historical societies, as well as the Library of Congress.

It's an understatement to call the effort a long time coming. In a press release emailed to HuffPost, Historical Society president Louise Mirrer describes the enormity of the imbalance at play. Consider that the first Chinese immigrants arrived on U.S. soil at the same time as the first Irish. Their impact over more than two hundred years "has been extraordinary," Mirrer says, "and yet its story is little or entirely unknown."

And yet it's a quintessentially American one. Take the rise of Joyce Chen. An émigré from Shanghai, she opened what would become a popular Mandarin-style restaurant in Cambridge, Mass, in 1958. Her reputation and subsequent cookbook led to a nationally televised cooking show -- the first TV series with an Asian host -- and her own Chinese cookware line.

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Joyce Chen, pictured on set. Private Collection. © WGBH Educational Foundation.


These early accomplishments happened despite landmark barriers. Among them was the 1882 Chinese Exclusion Act, "the nation's first-ever exclusionary immigration policy," Mirrer writes.

At its worst, the law took advantage of poor Chinese laborers, allowing them entry without naturalization. At its best, it treated Chinese Americans like criminals, demanding they register their identity with the government (the only other Americans subject to the rule were, in fact, criminals).

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Even movie stars were subject to the law. Above, the government-issued identification card for Anna May Wong, the silent film actress. Starting in 1909, Chinese entering or residing in the U.S. were required to carry such ID at all times. National Archives at San Francisco.


If it all sounds a little familiar -- calling to mind modern border state politics -- that's not by accident. Mirrer identifies the exhibit's crux as a concept we can't seem to agree on: "What it means to be American."

For more images of items from Chinese American: Exclusion/Inclusion , scroll down. All captions and photos courtesy the New York Historical Society.


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Adapting to the immigration laws that kept them apart, a local photography studio helped the Low family of New York create an impossible family portrait in 1961, by pasting in the faces of missing relatives. Courtesy of Museum of Chinese in America Collection.


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The large and prosperous community of Chinese residents in Marysville, California acquired this ceremonial dragon from China in the 1880s. “Moo Lung” appeared in parades and celebrations nationwide, including the July 4th, 1911 “Parade of Nations” in New York City. Library of Congress, Prints & Photographs Division.


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This 1950 watercolor by artist Jake Lee depicts Chinese laborers laying the transcontinental railroad track through the Sierra Nevada mountains, a pivotal project in the development of America. Courtesy of Chinese Historical Society of America.


2014-06-25-WriteyourcongressmaninChinesePress.jpg
During WWII, Chinese Americans and their supporters petitioned Congress to repeal the Chinese Exclusion Act. The 60-year statute was overturned in 1943, the year this ad was printed in the publication Chinese Press. However, Chinese immigration remained subject to severe quotas. Courtesy of Chinese Historical Society of America (CHSA).



2014-06-25-GingHawkClubMoCA.jpg
American-born Chinese youth gravitated to the Ging Hawk Club, which began in the 1930s as a YWCA-affiliated group. The photo above was snapped during a Thanksgiving at the Hotel Sheraton in New York City, sometime between 1933 and 1952. Courtesy of Alice Lee Chun, Museum of Chinese in America (MOCA) Collection.



2014-06-25-EmpressofChinafan.jpg
More than 200 years old, this fan depicts the Empress of China—the first American merchant vessel to trade with China. The ship departed from New York harbor in 1784 and returned the following year, laden with porcelains, silks, and teas. Courtesy of the Philadelphia History Museum at the Atwater Kent, The Historical Society of Pennsylvania Collection.



2014-06-25-ChineseAmericanNewspaper.jpg
Activist Wong Chin Foo published this newspaper, entitled Chinese American, in New York in 1883—possibly the first public use of the term “Chinese American.” In the wake of the 1882 Chinese Exclusion Act, Wong intended the title as an assertion of identity and a challenge to anti-Chinese sentiment. Chinese American, 1883. New-York Historical Society.

Street Artwork Channels The Bizarre Phenomenon Of Online Friend Requests

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We all know the feeling of making a new social connection in the virtual realm. Whether someone surprises you with an unexpected friend request, drops a "like" on your newest photo or really puts it all out there with a DM, odds are you've felt the strange tingle that comes with making a new digital friend. As banal as the reward may be, the feeling is, we have to admit, rather electric.

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All images © Aakash Nihalani



Artist Aakash Nihalani attempts to visualize this particular contemporary sensation with his series of performative installations entitled "Landline." The images bring physical shapes to invisible connections, allowing our online social efforts to materialize into things we can see, feel and touch.

Using tape, fluorescent paper, and corrugated plastic, and a magnetic hanging system, Nihalani literally connects individuals using large neon internodes. Resembling both a video game world and a street art-infested urban environment, the electric connections perfectly dwell in the undefined space between the real world and your social feed.

To make space for Nihalani's unwieldy links, chunks of the photographic subjects' midsection are removed.

"The participants examine their own insides and connections," Nihalani explains in an artist statement, "a visual expression of both the isolation and community I often feel living in Brooklyn. We spend so much time existing in virtual reality, these works are a visible connection to the real world."

Do you ever feel like you could use some additional connection to the world around you? Carrying around a giant geometric shape may not solve your problems, but you will get a kick out of the images below.

11 Beautiful Friendships Between Classic Authors

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Great writers tend to want to be at the top of their field, so literature can be a cutthroat community. It’s hard to imagine wanting to hang out with a direct rival, and indeed, plenty of authors have feuded with each other or publicly derided each other’s work.

But this doesn’t tell the whole story; writers can also glean considerable benefits from spending time around other writers. As any author who’s spent time in an MFA program or writing workshop can tell you, the opportunity to provide mutual support and feedback can ease the creative process.

Even aside from these practicalities, writers often share experiences and interests others don’t -- and sharing something few others understand can truly draw people together. As C.S. Lewis observed, “The typical expression of opening Friendship would be something like, ‘What? You too? I thought I was the only one.’" No one can understand the travails of a wordsmith as well as another wordsmith: the agony of a poorly turned phrase, the ecstasy of a finally-perfected work, the agony (again) of a nasty review.

Indeed, many celebrated authors have found other authors to be, as Anne Shirley would say, "kindred spirits." Though professional spats and rivalries might have strained these relationships, the joys of intellectual companionship won out.

Showing that love is just as powerful as the competitive spirit, here are 11 beautiful friendships between great authors:

D.H. Lawrence and Katherine Mansfield
lawrencemansfield
Two writers who died far too young, Lawrence and Mansfield formed a passionate friendship in the later years of her life. They staunchly supported each other’s writing, and Lawrence even wove Mansfield into his novels: Much of the character Gudrun in Women in Love was drawn directly from her. Lawrence, who was born into poverty, and Mansfield, who was from New Zealand, shared a sense of exclusion from the moneyed literary scene, as well as artistic impulses. Despite periods of turbulence and long separations which marred their friendship, they maintained a sense of kinship until Mansfield’s death in 1923.


Charlotte Brontë and Elizabeth Gaskell
brontegaskell
The reclusive Brontë sisters generally shied away from social situations, but Charlotte found herself circulating in intellectual society after her novels’ critical and popular successes, and she befriended several thinkers of the time. Most notably, Brontë easily bonded with the famous novelist Elizabeth Gaskell, and they became fast friends. Brontë stayed at Gaskell’s home several times, though the constant merry-go-round of socializing proved uncomfortable for Brontë, who once hid behind the curtains to avoid speaking to Gaskell’s guests. Their relationship fortunately survived such setbacks. After Brontë’s untimely death, Gaskell wrote a somewhat controversial biography of her friend that has remained an important, if flawed, resource for readers.

James Baldwin and Toni Morrison
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These two groundbreaking writers met when Morrison, then an editor at Random House, attempted to negotiate a book deal with Baldwin in 1973. Rather than a book deal, a friendship arose from their professional encounter, and they remained close until his death in 1987. Their mutual influence was readily acknowledged by both; as prominent, brilliant writers who unflinchingly confronted America’s racial demons, they possessed a profound understanding and insight into each other’s work. Said Baldwin of his friend, “I dig Toni, and I trust her.” Upon Baldwin’s death, Morrison memorialized him with a poignant tribute in The New York Times, writing: “You knew, didn't you, how I needed your language and the mind that formed it? How I relied on your fierce courage to tame wildernesses for me? [...] You knew, didn't you, how I loved your love?” (You should read her whole eulogy, but be prepared to cry.)

Ralph Waldo Emerson and Louisa May Alcott
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Many forget that the beloved purveyor of moralistic tales for young girls, Louisa May Alcott, had quite a radical streak. Alcott came from a leftist, abolitionist, transcendentalist family, and she counted Henry David Thoreau and Nathaniel Hawthorne as family friends. One of the most significant family friendships in Alcott’s life was that of Ralph Waldo Emerson, a lifelong friend of her father’s. In an essay written in 1882, Alcott remembered Emerson’s contribution to her education as a writer, recalling that he allowed her free rein in his extensive library: “His kind hand opened to me the riches of Shakespeare, Dante, Goethe and Carlyle, and I gratefully recall the sweet patience with which he led me round the book-lined room.” To a reader like young Alcott, Emerson’s willingness to share his literary bounty was the greatest gift possible.

Charles Dickens and Wilkie Collins
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The psychological thriller writer and the celebrated Victorian realist were both wildly popular in the 1860s, but they didn’t merely overlap in time period. Collins and Dickens befriended each other in 1851, when Dickens had already achieved literary acclaim. Collins’s career took off under Dickens’s patronage, and the two frequently collaborated on plays and other writing projects. Sadly, their friendship seemingly chilled in later years as the professional rivalry between them deepened and Collins battled an opium addiction and multiple illnesses, but their letters continued and Dickens’s death in 1870 grieved Collins considerably. In 1888, he fondly remembered the early days of their friendship: “We saw each other every day, and were as fond of each other as men could be. Nobody (my dear mother excepted, of course) felt so positively sure of the future before me in Literature, as Dickens did.”

Henry James and Edith Wharton
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English students for generations past may have thought of Edith Wharton and Henry James as birds of a feather -- authors of detailed literary novels that dissected social norms in turn-of-the-century high society. In reality, the two often questioned each other’s artistic choices, but this didn’t prevent the two intellectual giants from forging a long-lasting bond of friendship. The two moved in similar circles and eventually became pen pals, discussing first literary topics, then, eventually, more personal ones. James suffered from fits of depression, and Wharton endured significant romantic tumult during their friendship, but their mutual support was unwavering. Wharton, who came from wealthier roots, even conspired to help James financially without his knowledge. For two authors who often seem stiff and staid to modern readers, the two had a remarkably affectionate and even jokey relationship.

J.R.R. Tolkien and C.S. Lewis
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Who among us didn’t grow up on The Lord of the Rings and The Chronicles of Narnia? It seems almost too perfect that the authors of these two classic fantasy series were pals in real life. In fact, their friendship likely contributed to the mythologies the two went on to create. The pair met as English faculty at Oxford University, and their shared interests in Christianity -- Lewis was raised Protestant, Tolkien Catholic -- and in Viking mythology drew them together. They encouraged and inspired each other in their writing, and each ultimately found fame through their Christian-inflected, mythologically influenced publications. Rivalry and artistic differences inevitably put pressure on their friendship; Tolkien criticized the Narnia books for what he perceived as a careless mixing together of different mythologies, and it took far longer for his Middle Earth series to reach publication and acclaim. Still, their friendship endured -- a testament to the strength of their bond.

Elizabeth Bishop and Robert Lowell
elizabeth bishop
The friendship between Lowell and Bishop is iconic in the world of poetry. The two brilliant writers met at a party in 1947, just as each was blossoming into an an accomplished poet. They were immediately struck by each other -- Bishop said later, “I loved him at first sight.” It was, however, a platonic love and a lifelong correspondence that was born. The two were in awe of each other’s poetic talents and savored exchanging artistic insights with each other, resulting in thirty years’ worth of thoughtful letters between the two. Though Lowell was the more celebrated of the two in their lifetimes, and even used his influence to boost Bishop's career, they are both now considered part of the pantheon of great American poets.

Truman Capote and Harper Lee
capotelee
Truman Capote could be accused of being just as well-known for his bon vivant lifestyle and colorful feuds with other intellectuals as for his actual writing. Harper Lee, notoriously reclusive, refused to give interviews for many years after publishing To Kill A Mockingbird. Two more different literary personalities could not be found, yet the pair were close friends -- in fact, they grew up together in Monroeville, Alabama. Lee traveled with Capote to Kansas to aid him in his investigation of the murders of the Clutter family. This investigation laid the groundwork for Capote’s nonfiction crime classic, In Cold Blood, which was partly dedicated to Lee. Unfortunately, she was stung to see that the book was also dedicated to Capote’s lover and that her contributions to the book were given little credit; their friendship suffered as a result. The wide divergence in their lifestyles deepened the rift, and eventually they fell out of touch, but, by that point, their friendship had already made an impact on American literature.

John Cheever and E.E. Cummings
john cheever
The poet and the fiction writer were such good friends that Cheever’s daughter, Susan, was inspired to write a biography of Cummings published earlier this year. They met in 1930s New York, where Cummings was a well-known presence in the literary social scene. Cummings, nearly 20 years older, mentored Cheever as he commenced his writing career. They shared a determination to defy social mores in their work, as well as a dark, mordant wit, though Cummings is now all-too-often remembered merely for his beautiful, and somewhat sappy, love poems. When Cummings died suddenly in 1962, Susan wrote, her father wept.

Sylvia Plath and Anne Sexton
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Both incredibly talented poets who struggled with the social strictures of the time as well as mental health issues, Plath and Sexton had a great deal in common. Their evocative poetry, frustrations with the domestic role afforded to women of the time, and their deaths by suicide have factored largely into the cultural conversations about both. However, they are rarely discussed in relation to one another, in spite of having studied together at Boston University. They found some solace in each other’s presence in the poetry program, meeting for martinis after their seminar with Robert Lowell to discuss poetry. Rivalry may have complicated the relationship between the two volatile and brilliant women, but they also shared feelings few others could understand.
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