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3 Fabulous Day Trips From New York City For Antique Lovers

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Fall is the unofficial "antiquing season." It's a great time to take a little day trip to pick up a few fabulous items to refresh your home -- or to start stocking up on one-of-a-kind gifts.

Here are three destinations that are within a few hours drive from New York City. Share your favorite antique shopping destinations in the comments below!


Somerville, New Jersey
somerville new jersey
Photo by Flickr user Doug Kerr
If you only think of the Garden State in terms of highways and rest stops, you've got the wrong idea. New Jersey is filled with cute little towns, many of which are home to charming antiques stores. Multiple antique stores dot Somerville's main street. Our favorite is the Somerville Antiques Center, which is home to dozens of individual sellers offering everything from vintage handbags and clothes, to furnishings of every style. You can easily spend a whole day browsing the two levels. Be on the lookout for the occasional estate sale, held in the back of the Center. Somerville is also reachable through NJTransit's Raritan Valley Line.


Woodbury, Connecticut
woodbury connecticut
Woodbury is the "antiques capital of Connecticut." Martha Stewart has shopped there -- and where she goes, we follow. You'll generally find really high-end pieces here, specifically furnishings dating back to the 18th- and 19th-century. One such place is G. Sergeant Antiques, a favorite of collectors and museum curators. Even if you're just browsing, you're bound to be inspired. For a full dealer list, visit the Woodbury Antique Dealers Association.


New Hope, Pennsylvania
new hope pennsylvania
New Hope's known as an antiquing hotspot, which has often lead to New York City-level prices. However, deals can still be found. If you love vintage clothes, there's Love Saves The Day (always packed, occasionally costume-y, but they have good coats, dresses and men's clothes) and Nightbird Vintage (particularly good for vintage jeans). Walk across the bridge to Lambertville, New Jersey, for more shopping. A few highlights: Mill Crest Vintage (beautiful clothing selection with eyebrow-raising prices), Panoply Books (vintage books, plus some records and art) and The People's Store (multiple antique dealers).


Following Backlash, U.S. Forest Service Says Media Won't Need Permits To Shoot On Federal Land

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After the U.S. Forest Service's announcement earlier this month that photographers may be required to get a permit to shoot on federal wild lands, the backlash was swift. First Amendment advocates expressed concern that the policy could impinge upon press freedoms and the rights of journalists, bloggers and individual photographers. "It's pretty clearly unconstitutional," Gregg Leslie, legal defense director at the Reporters Committee for Freedom of the Press, told The Oregonian after reports emerged that people could be fined up to $1,000 for taking photographs on federal wild lands without a permit. "They would have to show an important need to justify these limits, and they just can't."

It seems the adverse public reaction to these restrictions has made an impact. On Thursday, the agency said that it had heard the concerns of the public and would make changes to their policy to ensure that it does not violate First Amendment rights.

Tom Tidwell, chief of the Forest Service, told The Washington Post specifically that the restrictions wouldn't impact the media at all. “Based on the feedback we’ve made so far, we’ll make changes to make sure this doesn’t apply to news gathering,” he said.

Previously, The Oregonian reported that the Forest Service would require reporters to apply for permits, except for breaking news coverage of events like fires and rescues. Concerns were then raised that these restrictions could be abused so that only select news outlets or journalists covering positive stories would be given permits.

But Tidwell asserted Thursday that this would not be the case. “The fact is, the directive pertains to commercial photography and filming only -- if you’re there to gather news or take recreational photographs, no permit would be required. We take your First Amendment rights very seriously,” he said in a written statement. “We’re looking forward to talking with journalists and concerned citizens to help allay some of the concerns we’ve been hearing and clarify what’s covered by this proposed directive.”

According to the Forest Service, individual professional and amateur photographers will generally "not need a permit unless they use models, actors or props." Commercial filming that involves groups of more than two people, on the other hand, will require permitting. A group of up to three people would likely pay around $30 for a permit, the agency said, while a large crew of 70 or more people might need to shell out around $800.

Still, though the Forest Service has clarified who they intend to target with these restrictions, it's not yet clear what exactly constitutes a "commercial" shoot, especially those that may involve a small number of people. Questions may also be raised about the broader issue of ownership of public lands and how access to them is regulated. "We own the forests," commented one Oregonian reader on Friday. "[The Forest Service is] just supposed to be managing them for us!"

The Forest Service says that restrictions on photography and videography have been in place on a temporary basis for four years, but they are now looking to make them permanent. These restrictions are meant to ensure that the 36 million acres of federal wild lands are kept pristine and to prevent them from being exploited for commercial gain, the agency says.

Members of the public have been encouraged by the agency to comment on this directive online. The deadline for public comment is Dec. 3.

'Truly Brave' Kids With Cancer Are All Smiles In Music Video From Cyndi Lauper, Sara Bareilles

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One look at the amazing kids in this video, and you'll notice the smiles on their faces long before the fact that they are battling pediatric cancer.

On Thursday, the "Today" show released the video above as part of their Shine a Light series. The video, called "Truly Brave," combines Cyndi Lauper's chart-topper "True Colors" and Sara Bareilles' recent hit "Brave," and spotlights several patients from the Children's Hospital of Philadelphia who are helping the two female artists sing the remix.

Seven years ago, "Today" co-host Hoda Kotb was diagnosed with breast cancer. She knows firsthand the struggles cancer patients go through and more than empathizes with the ones who must do so as children. So to acknowledge the strength of these kids, increase awareness of pediatric cancer and raise money for the American Cancer Society, Kotb created this collaborative project.

Kotb took over the Children's Hospital of Philadelphia to film the video, which shows the kids sneaking out of their rooms and banding together for one of the cutest painting parties we've ever seen -- all the way down to their plastic suits and blue scrub booties.

To donate to pediatric cancer research, use the widget below or visit Kotb's Crowdrise campaign page.






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Jasmine Guy On The Big Lesson She Learned After Stardom (VIDEO)

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Though most people remember her as Whitley Gilbert, the southern belle on "A Different World," actress Jasmine Guy has had an incredibly versatile career as an artist. A professional dancer and choreographer, Guy got her start performing in New York at Alvin Ailey. She went on to appear in films like Spike Lee's "School Daze," the TV series "Fame," and released her own self-titled R&B album in 1990.

"I kind of looked at life like graduating from high school. Once you did [one thing], you move to the next level -- and that ain't always the case," Guy says in her recent interview for Oprah.com's new web series, "Who Am I."

"My biggest lesson in my life has been learning how to live in between the gigs," she says. “I understand my own fragility, and I don’t take that for granted anymore."

Also in the interview, Guy talks about raising her daughter, Imani, to have her own individuality. "I started to pray, 'God, please just don't let me get in the way of who she is supposed to be,'" Guy says.

Now that Imani is a teenager, things have become all the more complicated. "Actually having another woman mind to talk to and relate to -- and try to get to clean the bathroom -- is a little tricky," she says.

Guy reunites with the cast of "A Different World" on "Oprah: Where Are They Now?" airing Sunday, October 5 at 9 p.m. ET on OWN. Find more "Who Am I" videos on Oprah.com.




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Alexandria Smith's Adorably Grotesque Cartoons Explore What Little Girls Are Made Of

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From the perspective of a parent, a child comes across as a glowing angel. From the perspective of a stranger, a child can appear either as a doughy bundle of cuteness or a miniature devil creature, depending on his or her perspective. But how does a child actually feel while inhabiting the tiny body of a not yet fully formed person?

Brooklyn-based artist Alexandria Smith certainly poses a good possibility. Her renderings of hybrid adolescence blend the exaggerated simplicity of cartoons with the constant in-between-ness of collage, yielding warped creatures at once appealing and grotesque, human and not quite.

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Alexandria Smith, Portrait of a Night Woman, 2013 Acrylic


For her first New York Solo exhibition, "Perpetual Adorations," Smith explores this amorphous and endlessly awkward experience of growing up. Yet instead of delivering a narrative coming-of-age tale, Smith delves into the dirtier details of first becoming cognizant of your body and yourself. Ideological issues of race, sexuality and cultural difference mingle with the physical challenges of existing in a strange and alien form that's constantly mutating.

Smith's exhibition revolves around a character, Marjorie, based in part off the artist herself. Mostly dressed in pigtails and ribbons -- though not always featuring a conventional face -- Marjorie dwells permanently in a bizarre time in one's life when the world is constantly shifting between states of magic and violence, and nothing is ever quite still. Rendered in claymation-esque cartoons that teeter between horrific and playful, Smith mimics our own youthful journeys of self-discovery.

We reached out to the artist to learn more about her show.

First, can you explain how the title "Perpetual Adorations" relates to the themes in the exhibition?



The title of my show at Scaramouche relates to my incessant obsession with making work using these hybrid characters as avatars to explore awkwardness as it relates to identity development and longing for belonging. Although I use the word adoration in the title, for me it refers specifically to a worshipping of these characters that have begun to take over my everyday life. It's perpetual in that it's everlasting, endless and constant.




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Alexandria Smith, between delight, 2014


Who is Marjorie? What similarities and differences does she possess compared to you?



Marjorie is a young girl that wears a pillowcase/bag over her head and is adorned in pigtails, a dress and Mary Jane shoes traversing time, space and memory to discover where she belongs. Although, she mostly lives in my brown kraft paper sketchings, drawings and performances, I do feel that she has begun to filter into my most recent body of work taking on a different form. She sees herself the way the world sees her and this is evident in the forms that she inhabits.


The similarities to me that Marjorie possesses are mostly related to insecurity and self-esteem issues that I faced as a child. These same traits still rise to the surface in adulthood especially as I navigate transitions in my career and personal life. Psychologically, experiences in childhood affect us well into adulthood and are conjured up through memories connected to places, smells, sights and social situations so I feel it is inevitable that Marjorie and I share qualities.

As for differences between us, I feel that Marjorie is my alter ego that only those closest to me will see, when I am in my most vulnerable state. She is eternally uncomfortable in her own skin but that isn't a burden that I possess so that is where we diverge. In a new multimedia project that is in progress, I am exploring a narrative in which Marjorie eventually comes to terms with her purpose and finds solace in who she is, so her fate does seem to be evolving.

You present a view of childhood in your work that's far more grotesque, warped and even violent than the common notion of this innocent, pure state. How do you think childhood has been misidentified and why do you think this is so?


For me there is an innate optimism and humor that exists in my work amongst the grotesque, warped and violent moments. There is a balance of binaries that occurs that I feel is uniquely reflective of emotions experienced during adulthood and childhood. I think that many adults tend to ignore the fact that children are subversive. This stage in their lives is full of magic, strangeness and uniqueness and it allows them to see things that others don't see. In my work, I try to encapsulate all of these elements to thwart this ideal outlook on childhood that only explores its innocence and purity. Childhood has been misidentified because we still treat young people as vessels to receive information as opposed to having the capability to enlighten us as well. It is taboo and we immediately sweep things under the rug that children say or do that reveal more about private matters in their homes and our society as a whole.

How did you decide to incorporate the influence of Persian and Indian miniatures into this series?

I believe my interest in Persian and Indian miniatures began when reading an exhibition catalogue or artist monograph many years ago. I began studying them more in depth as I was creating small paper collages that source my own paintings and re-contextualize them. I find that miniature paintings are a happy medium between artwork and narrative without being too literal, which I try to capture in my own work. The small scale of my collages and Persian and Indian miniatures force a close reading and intimacy with the work that is further complicated by a layering of interior and exterior landscapes.

How is childhood different for a girl than a boy? Is this something you aim to address in your work?

I think childhood is different for a girl than a boy mainly because society treats girls and boys differently. My work addresses the experiences of adults as well as children which is inherent in the boundaries that I blur by depicting hybrid characters. The characters in my work are sometimes multi-gendered and multi-racial so the work isn't only addressing specific differences or similarities but also the overlapping experiences we all share.

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Alexandria Smith, The uncertainty of it all, 2014 Acrylic, mixed media on panel


If you could compare your artistic process to another process -- cooking spaghetti or conducting surgery -- what would you say?

That's a very interesting question. I guess, as an athlete, I'd compare creating, specifically painting, to basketball. In basketball, you practice, run drills, shoot around and work on all of these individual elements. You put in a lot of effort to improve both mentally and physically, and bring these disparate parts together to create a homogenous, well-rounded game. Similarly, my studio practice is also physically laborious. I engage my entire body as I cut and construct paper and paint skins that are used to collage the surface of the panel. I use paint and glitter to cover both large and small surfaces which oftentimes requires me to adapt painstaking positions. My intuitive approach to creating allows me to enter a zone. There's a sense of mystery in the process and I enjoy seeing things unfold. No matter how difficult both of these processes are, I still find great pleasure in getting up everyday to paint and play basketball even as my body ages.

When I first began using oil paints in undergrad, it was to go against the grain and prove one of my professors wrong. Initially it was discouraging because I didn't know any contemporary (living) African-American painters that were making art using African-Americans as their subjects. In undergrad, I was an illustration major and was heavily influenced by Jacob Lawrence and as I became more immersed in the contemporary fine art world, I came across the work of Wangechi Mutu and was blown away. I began to realize my connection to the history of painting and as time went on, this became the impetus behind why I continued to paint. As I entered the teaching field I realized how impactful my role as a contemporary painter was to the lives of my students.



What is a visceral childhood memory of yours that continues to affect your artwork?

I don't have any one visceral childhood memory that affects my work but I do have many memories related to being bullied and teased. During my formative years, there were always aspects of my personality that made me different than my peers in school and everything; the way I talked, dressed and behaved was scrutinized. Those feelings are still very much present in my artwork.

"Perpetual Adorations" runs until November 2 at Scaramouche Gallery in New York.

Gaudí's Sagrada Família To Reach Another Milestone

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This article originally appeared on ArchDaily.

by James Taylor-Foster



The Basilica of the Sagrada Família in Barcelona have laid out their planned milestones for the forthcoming year, visualising it in a short film that begins to piece together Antoni Gaudí’s incredible vision. The Sacristy and Raking Cornice will be constructed between this year and next, while new stained glass windows will be installed flooding the interior spaces with evermore coloured light.

See what the Sagrada Familia Will Look Like in 2026 below.



Cite:
Taylor-Foster, James. "Gaudí’s Sagrada Família To Reach Another Milestone" 23 Sep 2014. ArchDaily. Accessed 25 Sep 2014.

The Love Story Between A Squirrel And A Horse, Told In An Adorably Surreal Photo Essay

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This post originally appeared on Slate.
By David Rosenberg

horse

There’s nothing more heartwarming than a love story between a horse and a squirrel. Asia Kepka didn’t know this at first—her series on the unconventional couple, Horace the horse and Agnes the squirrel, began when a friend brought over two masks. Kepka and her girlfriend Lynn Dowling put them on, gave them names—Agnes is named after Dowling’s late mother; Horace after a Hollywood actor and ex-neighbor of Dowling. Kepka then set up a camera to take a photograph of the couple seated on a red couch enjoying some accordion music.

“I’m always drawn to older people and coming up with characters,” Kepka said. “So when I saw them I thought of them as a lovely middle-aged couple who had fallen in love.”

Dowling began writing the imagined backstories about the pair: They met on a train, enjoy a lively social life, like to travel and play music. Kepka said that, over the course of the subsequent year, roughly 100 images and stories have been added to the series they titled “Horace and Agnes: A Love Story.” It helps that Kepka sees her house as one big stage and is open to developing new story lines from just about anything.

“I’ve got a huge collection of clothing—my house is kind of like a theater,” Kepka said. “Some people call it hoarding, but I call it collections.”

“You never know what you’ll be fascinated or stimulated by. When you see an object, an entire story can evolve from it.”

A lot has evolved from that first shoot. Friends have expressed a desire to participate, new characters have appeared, a Facebook page was started, exhibitions planned, and a prototype of a book created.

The chaos and lightness from the project has been a welcome release for Kepka. Around 10 years ago, she began a series titled “Bridget and I” with a mannequin she found on eBay. Her life during that period was turbulent and confusing filled with passionate affairs and subsequent breakups. She then suffered a series of painful losses, including one of her best friends and both of her grandmothers with whom she was very close and who were living in her native Poland. In hindsight, Kepka said, the melancholic feel of “Bridget and I” was a visual diary, a reflection on where she was feeling during that emotional period. Using photography was helpful in allowing her to recognize what was happening to her.

“I was in my thirties and the life I imagined a long time ago wasn’t happening,” she said. “I longed to be a mother and have a family and I was trying to figure out my role as a woman and as an artist.” Using the mannequin “was only a vehicle to tell the story in a more dynamic sense. I could have done them by myself but when you have two characters you have more flexibility in creating a more dynamic narrative.”

After nearly 10 years working on “Bridget and I,” Kepka said it was time to move on and she was ready to begin a new chapter in life. And then, suddenly, a horse and squirrel mask appeared and the opportunity presented itself.

“What helps me to survive is comedy,” she said. “It’s a medicine. It’s very important to create work that has depth and also a sense of humor. There is so much serious and difficult work out there and there is a need for something that makes people warm up a bit.”

“Horace and Agnes: A Love Story” will be on view at the Griffin Museum at SoWa in Boston beginning Sept. 25.

See more images on Slate.

Artists To Serve Radioactive Soup At Frieze London

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This post originally appeared on artnet News.
By Henri Neuendorf

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Ei and Tomoo Arakawa will serve soup with vegetables from Fukushima at Frieze London
Photo: Frank Gualtieri via Wikimedia Commons


Two Japanese artists are offering visitors to this year’s Frieze Art Fair in London the chance to try a soup made from vegetables grown in Fukushima, The Independent has reported.

The soup’s main ingredient, daikon radish, was grown in Fukushima where, in March 2011, an earthquake and subsequent tsunami caused a local nuclear power plant to melt down, contaminating the surrounding area with radioactive waste.

Ei Arakawa and his brother Tomoo, who call themselves the United Brothers, were born and raised in the affected Fukushima prefecture. The artists plan to fly their mother from Japan to London to prepare the broth at the art fair. The performance, entitled Does This Soup Taste Ambivalent?, is meant to express the pair’s solidarity with those affected by the nuclear disaster.

The artists insist that the soup is safe to eat and have assured Frieze organizers that the vegetables have been approved by the Japanese Farmers’ Association. Frieze director Matthew Slotover told The Independent “They are flying in vegetables. They’ve been tested, they’re safe, but there’s clearly a psychological barrier.”

The Frieze catalogue explains “The gift of food represents the essence of hospitality, sharing and humanity. However, the soup United Brothers offer is laced with the (conceptual) possibility that it may be radioactive.”

The artists will be serving the soup daily at Frieze Art Fair, free of charge.


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9 Things You Need To Know About 'Gone Girl' Right Now

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The following contains some spoilers about "Gone Girl."

David Fincher's "Gone Girl" kicked off the 52nd annual New York Film Festival on Friday night with a lot of fanfare and a surfeit of positive reactions on Twitter. Starring Ben Affleck and Rosamund Pike as Nick and Amy Dunne, a married couple hiding secrets and lies from each other and themselves, "Gone Girl" is a thrilling combination of pulpy noir tropes and wicked black comedy. Affleck and Pike are powerhouses onscreen, and the film's supporting cast (especially Tyler Perry, Carrie Coon, Kim Dickens and Neil Patrick Harris) are exceptional as well. In short, this is one of the year's truly great films, a conversation starter that doubles as perfect Friday night entertainment. Following the film's New York Film Festival press screening, Fincher, Affleck, Pike, Perry, Harris and author and screenwriter Gillian Flynn participated in a press conference about their feature. Highlights from the 30-minute Q&A session are below.

1. Don't Expect To See Everything You Loved In The Book Onscreen

gone girl gillian flynn

During the last nine months, much of the discussion around "Gone Girl" focused on its ending.

In January, Flynn (pictured above) told Entertainment Weekly that things were tweaked and Affleck was "shocked" by the screenplay. "He would say, 'This is a whole new third act!'" Flynn recalled.

Flynn later walked back those comments, and early reviews confirmed that the book's ending was retained for the feature film. Which isn't to say the "Gone Girl" denouement matches the final pages of the novel beat for beat. Flynn lost some key plot turns in the transition to screen, leading to a more streamlined conclusion that still manages to retain the book's true intentions.

"For me, I realized the important thing was to not be slavishly devoted to exactly every plot line, but to ultimately make sure it felt like the book," Flynn said during the press conference. "I was very concerned with [keeping] the tone and the dark heart of it and to not turn it into a whodunit."

Added Affleck: "What was very interesting was the book asked very hard questions about marriage and relationships. It didn't want to gloss over what we don't like to look at in others and ourselves. Sometimes you find out ugly things when you ask hard questions. That's why they're hard. [...] We wanted to give truth to Gillian's really dark look at marriage and David's subversive take on the dark look at marriage."

2. But Nick & Amy's Cat Actually Has Some Important Significance

gone girl ben affleck

Characters such as Nick's parents are short-changed in the film version of "Gone Girl," but not the Dunne's cat. The house pet watches silently as the couple's marriage collapses in on itself.

"There's a screenplay book called 'Save the Cat.' It's all about making your character likable," Flynn said. "In the first 10 minutes he should do something that makes you like him. I enjoyed that in the first 10 minutes he literally saves the cat."

"And yet you still don't like him," Affleck was quick to respond.

"I liked him," Flynn said. "I love that he's so devoted to his cat."

Affleck noted that the cat was a tough customer during the five days it was on set ("half-dead" is how he described the animal). But Pike joked that she, or rather Amy, won the cat over by making crepes.

"Which I don't actually like," Flynn said about the food preparation scene. "I feel like Amy is playing Cool Girl again at that point by letting him up on the counter."

3. David Fincher Is "Not Just A Demon"

gone girl david fincher

David Fincher has a reputation for being hard on actors -- just ask Jake Gyllenhaal -- but Affleck said it was a dream to work with the iconic filmmaker.

"I would have done the phone book with David, so you can imagine my relief when I read 'Gone Girl' and it wasn't just an alphabetical list of names," Affleck joked to some laughter from the crowd (there should have been more, it was funny). "It had a story and stuff."

This is the first film Affleck has made with Fincher, but don't expect it to be the last.

"I would do it again and again and again, a million times," he said of working with Fincher. "It was a joy. David, despite his reputation, is a very funny and nice guy. Not just a demon. That's the pull quote."

4. And His Desire For Many Takes Sounds Really Reasonable

david fincher gone girl

As for Fincher's oft-discussed desire for multiple takes from his performers, the director had a perfectly good explanation for what it accomplishes:

I always feel it's a silly thing to talk about: what you do to actors. I don't think you ever enter into the shepherding of something that's this expensive and complicated without letting them know upfront that we're all doing this together. The pressure on the set is there before the actors show up, so everything is done. There's no re-lighting within the take. It's how many bites of apple we give the people who are perfect for the part. To make it more concise, more human, less presentational. I feel like this thing is ... inflicted. But we're doing this together. We have to work as a ballet company. [...] Everyone has to make it sing, and then you can get a lot of data across to the audience in a short period of time.


5. Men & Women View Nick In Different Ways

gone girl

"Gone Girl" is the kind of divisive movie people will debate about long after it leaves theaters. (This might be the closest we get to "The Wolf of Wall Street" in 2014, at least in terms of discussion and outrage.) According to Affleck, he's already seen the discourse play out during his press obligations.

"Really what I found is that women and men have a very different reaction to this character," he said. "Most of the women journalists go, 'What was it like playing a dick?' Most of the men just go, '... Yeah.'"

6. And Amy Is A Lot More Complicated Than You Might Think

gone girl

Amy, too, is quite divisive, which is exactly how Flynn hoped she would come across onscreen.

"I see Amy as someone who knows all the tropes. She's seen the Lifetime movies. She's not afraid to use that to her will," Flynn said. "She's someone who can play any role that she wants, from the Cool Girl who men want to hang around with, to the woman men are afraid of. She's willing to kind of go there. That was what was at the center of Amy. It's basically nothing. It's someone who is made of a bundle of stories pulled together over the years."

According to Pike, who is given one of the trickiest characters in recent memory and pulls it off with an effortless aplomb, playing Amy was a lot of fun because of her multitudes and femininity.

"She's alluring, unpalatable, compelling, confounding. All those things. It goes beyond like or dislike. I understand her and like or dislike doesn't come into it," Pike said. "I'm really interested in the fact that I don't think she could have been a man. The way her brain works is purely female."

Allowing that her comments might be taken by some as negative, Pike added that most "strong female characters" in movies are either given the qualities of a man or are prone to using sex to get their way.

"Amy can do that, but it's not her modus operandi to use sex," Pike said. "It's just one of the things she can try on."

"Basically, she's having it all," Flynn added. "She's a modern woman. Lean in."

7. Rosamund Pike Doesn't Want David Fincher To See Her New Movie

rosamund pike

"Gone Girl" isn't the only movie Rosamund Pike has in theaters this fall. She also stars with David Tennant in "What We Did On Our Holiday." Not that the actress wants Fincher to know.

"The other day I was in London seeing the premiere of a film I did right before this," Pike said. ("What We Did On Our Holiday" had its U.K. premiere on Sept. 22.) "I watched it thinking, 'Oh, God David would hate that. David would have absolutely whipped that out of me.' I think you have pre- and post-Fincher in your work."

8. And It's A Good Thing She Doesn't Have Any Siblings

gone girl

Amy Elliott is an only child in "Gone Girl," and it's a trait Fincher realized was key to his casting process. Fortunately, Pike fit the description.

"It's this hermetically sealed socialization," Fincher said about why it was so important for the actress and character to share the same familial structure. "It's just a different thing."

Added Pike: "Weird kid."

Countered Fincher: "No. Just off."

9. Finally, In An Alternate Universe, This Could Have Been Ben Affleck's "Gone Girl"

gone girl

When asked why he cast Ben Affleck to play Nick Dunne, Fincher joked it was because the actor "was available." Except not really: As Fincher noted, Affleck had to "shut down his movie at Warner Bros. and send all the people he had hired home." That film was "Live By Night," and Affleck is set to direct it for Warner Bros. following his stint as Batman.

It turns out, however, that Affleck could have directed "Gone Girl" too. "He had already read the book because, I guess he didn't want to tell me, but Fox maybe offered it to him," Fincher revealed during the press conference.

In the end, neither that possible offer nor "Live By Night" made a difference when it come to hiring Affleck. Said Fincher: "Just because it's perfect casting, doesn't mean you shouldn't do it."

"Gone Girl" opens nationwide on Oct. 3.

'Until We Could' Is The Tear-Jerker Poem Celebrating Gay Marriage That Needs To Be Heard

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Get your tissues ready, because this poem is seriously powerful.

"Until We Could" is a picture of the love shared in committed same-sex relationships. In the beautiful words, written by inaugural poet Richard Blanco and narrated by actors Robin Wright and Ben Foster, is the bond shared between couples who yearned to be legally married.

"I knew since I knew you. But we couldn't," ends one stanza.

The poem travels through a history of the fight for LGBT rights, from protests, to rallies, to "bold words on signs and mouths," to pride parades. And then -- finally -- to "I do's."

The campaign Freedom To Marry commissioned Blanco to write "Until We Could" to celebrate the ten year anniversary of Massachusetts becoming the first state to legalize same-sex marriage on May 17, 2004.

“It seemed like the perfect fit immediately," Blanco told The Daily Beast. "It was a cause I believed in and wanted to be part of. As the first openly gay inaugural poet, it felt very inspirational. Love is love, marriage is marriage. In both cases they come with the good and bad, the great and dysfunctional.”

Though bold efforts for recognition have paid off, the fight continues. Today, 19 states and Washington D.C. have legalized same-sex marriage. Hopefully one day, the idea that "love is the right to say 'I do and I do and I do,'" as Blanco wrote, will be accepted across America.

H/t The Daily Beast

This Slow-Motion Video Of Tattooing Is Painfully Beautiful

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They say "beauty is pain," and a new video shows that's definitely true when it comes to tattooing.

The video, part of the YouTube series Smarter Every Day, uses incredible slow-motion visuals to show the science behind inking.

(Story continues below)


As the video shows, the tip of a tattoo machine consists not of a single needle but of multiple needles grouped together.

"Ink is held in between those multiple needle points using capillary action, and when it punctures the skin it drags the ink down into the dermis," explains the series' host, Destin Sandlin.

Tat's amazing!

'Scandal' Recap: Season 4 Gets Off To A Steamy, Wild Start

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Welcome to our "Scandal" chat! Each week, we'll review the ups and the mind-bogglingly twisted downs of everyone's favorite bonkers show. This week, we're discussing the Season 4 premiere, "Randy, Red, Superfreak and Julia."

JACK:

Danielle,

First, how incredibly delightful is it that "Scandal" is back? The world was a bleaker, less forgiving place with it gone. And, of course, I am equally delighted to be doing this again with you. Plus, this was kind of a great episode to come back on.

OK, let's get to it. First, the hair. There is so much exposition-via-hair in this episode that we have to go through it (hair)piece by piece.

Season 3 ended with Olivia getting on that plane with Jake and going off to that mysterious island, and the first thing we notice when "Randy, Red, Superfreak and Julia" opens is that Olivia's ditched the sleek look for some awesome curls. DC Olivia is dead — this is Island Olivia! Or, Island Julia, really, since that's what Olivia is calling herself these days. She's also got Jake around for the crucial jobs of not wearing a shirt and pleasuring her. (He's also sporting a bit more of a casual look.) What could go wrong?

Duh, everything. Just as we predicted, Olivia's off that island in about two seconds once she gets some mail with the tragic information that Harrison is dead. She returns to DC and straightens her hair again. RIP Island Olivia. I loved your hair. (She says she's only coming back to plan Harrison's funeral. Three minutes in, and already the lies are starting this season.)

Cyrus's new hair, however, gave me that sad and depressed feeling inside, much like I imagine Cyrus to be a lot of the time. He has desperate-old-man-who-doesn't-want-us-to-notice-he's-balding-and-got-a-disgusting-hairpiece hair. Maybe it was a present to himself after James died. (RIP James.)

Otherwise, Cyrus seems about the same, spearheading yet another ideological overhaul in the seemingly endlessly permeable Grant White House. He's also sparring with Portia de Rossi, who, even though she's playing the head of the RNC, seems to have been given a cheap Hillary Clinton wig. When those two were in the same room I almost found myself having to look away from the hair horror show on display.

In the hair upgrade department: Abby, who became the new White House press secretary after Olivia took off on a plane and abandoned everyone she loved the most. Her job is much better than the one Huck got at a—gulp—technology store. She's ditched the weirdly glam hair she was sporting last season for an altogether nicer look. Maybe this means that Abby will have a real role this season? She certainly has enough on her plate in the White House, especially with the First Family in the state it's in.

Mellie, for instance, has turned into a drunken zombie who won't even get out of her pj's. Her hair, which used to reach Dolly Parton levels of altitude, has never looked so lank, but then, again, neither has she. You can't really blame her, either, since she has to deal with the murder of her son, the fact that she's married to Fitz, and the fact that everything is basically terrible.

Fitz's hair is basically the same, but that's because he's a repressed WASP whose coldness will eventually lead to his downfall. (Sorry I'm just over this man.) He won't discuss his recent suicide attempt with Mellie, leaving them with probably just the weather and Instagram to talk about.

Quinn and Huck's hair also remain the same. Huck gets a pass because he's all messed up inside, but Quinn doesn't because she's Quinn and the fact that she's still alive makes me angry. She seems to be back in the fold, though, helping Olivia when a real-life Scandal Of The Week happens and she needs to Handle It. It seems like Liv didn't need too much of an excuse to get back into the game, much to Jake's chagrin. Goodbye island sex, hello lots of talking in bed about DC evil. Jake's going to need to get a new hobby. (He can keep up the blush-worthy pillow talk to Liv, though. Talk about a moment where everyone went "daaaaaaaamn.")

I haven't talked much about the plot of the episode because it was mostly about getting everyone sort of back together, but what did you make of David becoming Attorney General, or Papa Pope being the same horrible person he always was and lying to Liv about not killing all those people and about killing her mom? Oh, and what about Liv's white suit only getting busted out at the end, and that moment with Fitz? And will you miss Island Olivia's hair as much as me?

DANIELLE:

Jack,

Now that "Scandal" is back, it feels like things are right with the world again. The sun is shining brighter, the birds are chirping louder, and the turmoil and all-encompassing evil of the show's ongoing plot are back in their rightful place. HURRAY!

I wholeheartedly agree with you. The hair in this episode is something to behold, and I feel like each character's hair tells a serious story about each individual. As much as I was loving Liv's -- er, Julia's -- island look, it just didn't fit her as naturally as the straight look paired with a classic trench coat. In the same way, the island just didn't fit her. As soon as she got back to DC she fell right back into her old habits -- which, as they say, die hard. But I got the sense that as relaxing as that island was, filled with a shirtless, scruffy Jake and presumably lots of sex on the beach, it wasn't fulfilling her the way fixing terrible problems and whirling in the political evil of DC is.

I was happy to see Harrison get a proper sendoff. As awkward as it would have been to pretend like his character just disappeared, I have to say I was sort of expecting that. But I was happy to see his spirit kept alive in a sort of respectful way that brought all the gladiators back together (even if it was just for a moment, although let's be honest: they're all gonna come back together eventually).

As much as it looks like Abby has made a way for herself and struck gold in the White House, she's still very obviously an outsider -- a fact that is pointed out repeatedly from Mellie calling her "red-headed woman" to David Rosen telling her that nobody knows her name. Despite her sharp-talking, "I only have three minutes" attitude she seems lost just like everyone else. She's just doing her day job and going through the motions, the same way Huck is. As for Quinn, sigh. I'm still annoyed that she's alive and I'm confused that she decided to bat for the other team again and is so vehemently loyal to Liv once again.

Mellie was a super-genius in this episode! The thing I love about Mellie is, even when she's got a drink in hand, deflated hair and is donning the universal depressed woman's uniform (Uggs and sweats), she still exhibits this silent strength. The scene where she frankly tells Fitz she has no time for b.s. -- including waxing her vajay and pretending like he's not going to eventually become wrapped up in Olivia again -- was just another example of her ability to keep on keeping on despite everything she has been through: dead son, her husband's missing mistress, rape and Fitz's attempted suicide.

I totally agree with you about Cyrus. The hair hurt my soul, the same way James' death did. But I wasn't surprised, considering the circumstances. His whole speech to Fitz about Olivia and how "we've all seen this movie before" was spot on and I was so glad somebody said it. As much as that last scene was great and both Fitz and Liv managed to temporarily pretend like they've moved on, we all know there will be the inevitable sappy scene between the two of them... le sigh.

As for Jake, I'm really interested to see what hobby he takes up now that Olivia is back at it. My guess is that he goes after Rowan and B6-13. This episode was interesting because he was sort of treated like an object whose sole purpose was pleasuring Olivia. I'm interested to see where that goes.

Papa Pope remains evil, and he will obviously be pissed off by the fact that Olivia is back. Fitz is depressed, and I'm pretty sure the only thing that will bring him back to life is Liv.

Can't wait to see what Shonda's got in store this season!!!

Now That We've Seen 'Gone Girl,' Does It Live Up To Expectations? Let's Discuss

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On Friday, the New York Film Festival screened the world premiere of "Gone Girl," David Fincher's adaptation of Gillian Flynn's best-seller. Starring Ben Affleck as Nick Dunne and Rosamund Pike as Amy, his wife who goes missing, all eyes are on how the film lives up to the celebrated novel. We've already confirmed that the ending isn't as altered as previously imagined, but there is so much more to unpack within the 149-minute fever dream. HuffPost Entertainment editors Matthew Jacobs and Erin Whitney attended the screening and were left with more than enough to consider about "cool girls," manipulative pregnancies and anniversary gifts gone awry. (Warning: Spoilers ahead for anyone who hasn't read the book.)

gone girl


Jacobs: "Gone Girl" is arguably fall's most anticipated movie, and I can now say that it lived up to all of my expectations. It's been a year and a half since I read the novel, so I was more concerned with the film capturing the right tone than adhering to certain plot beats. With that in mind, Fincher has crafted an impeccable treatment of Flynn's story. It pulsates (literally, at times, thanks to Trent Reznor's threatening score) with the mystique of a macabre character study and the starkness of a rote crime procedural -- even though it doesn't feel rote at all.

With adaptations of novels as layered as this one, structure is often the first thing that suffers. Instead of establishing a film that can stand alone, they feel like the result of a checklist that ensured the right milestones from the book are satisfied. That's what I worried would happen to "Gone Girl," with its dual-narrator structure and heavy relationship with characters' pasts. But Flynn does smart things with the script -- the dialogue rarely feels expositional, even though these characters must do a lot of explaining throughout. And Ben Affleck and Rosamund Pike carry the film; Affleck with a detached rage and Pike with a calculated chill. I am thoroughly impressed, even if the final 10 minutes could be a bit more concentrated. You read the novel more recently, though, Erin. Did the movie hold up for you?

Whitney: I hate to admit it, but I can't deny the overwhelming disappointment I felt throughout the film. Full disclosure: I had literally just finished reading Flynn's novel days ago and completely loved every terrifying, brilliant page of it. I think that when you truly love a book that much, you're going to find yourself let down by any visual adaptation to some degree, and that's what happened for me. First though, let me state that Fincher's adaptation is a good movie with some of the best casting and performances I've seen all year. Whether you read the book or not, there is still something enjoyable and rewarding to take away from the film. But then again, I'm a perfectionist and a harsh critic, and when something I love in one form isn't translated as well in another, I feel cheated.

For me, Fincher's film played like a fun, entertaining recap of Flynn's novel, harvesting the best gems of the story that make it exciting and thrilling. Yet the film doesn't divulge the dark, twisted complexities beneath the surface, the nuances of Amy's psychopathy, Nick's sickened resentment and their ultimate addiction to destroying one another. Flynn's ability to continually flip the reader's sympathy and hatred for her characters doesn't translate as strongly to the screen, which is unfortunate since that is truly the defining achievement of her original story. In the film we aren't given strong reason to despise Amy wholly nor understand the depth of her passionate insanity -- instead of mutilating herself on the bathroom floor, she calmly drains her blood via a needle and tube while reading a book, and her murderous act in the film's latter stages is played as triumphant. Some of these moments are even comical in the film, which overall had more humor than I felt suited the story, trashy fun humor that read like an inside joke. I wanted "Gone Girl" to be darker and dirtier, in the vein of "Seven," but it felt lighter and too fun. Did this element of humor stand out to you, Matt, as much as it did to me?

Jacobs: I wasn't that disenchanted by the humor, but I do agree there's an "inside joke" sentiment running throughout the movie. Flynn seems to be writing for the people who read her book, which, in all fairness, will probably comprise a good bulk of the moviegoers who catch "Gone Girl" in theaters. She trims the edges of her story to fit a 2.5-hour format. Without the finesses of the character internalizations one can only glean from the more limitless pages of a novel, the movie does come with a whiff of melodrama. But sandwiching those hysterics between humor, for me, was a necessary respite, mostly because it doesn't distract from the more wrenching moments, like when Amy bludgeons herself with a hammer or when another character collapses upon her in a crimson deluge of blood. I think this movie captures a sense of cold calculation, which might mean, at times, truncating the characters' more inner workings in favor of emphasizing how astute their instabilities are.

What doesn't work for me, on a critical level -- and I very much understand this m.o. among critics and fans -- is when a movie like this is judged largely in comparison to the rest of the director's cannon. Fincher is working from a source material that commands a different atmosphere (and certainly a different interest level) than "Seven" or "Fight Club" or "The Social Network." Sure, "Gone Girl" may be a lot noisier than "Zodiac" and more restrained than "The Girl with the Dragon Tattoo," but I'm more interested in the way Fincher caters to the many people who want an accessible, big-budget thriller as well as those who can appreciate its stylistic nuances. I'm impressed, if not unsurprised, that Fincher has accomplished that.

Whitney: I have to agree with you that I'm definitely in the camp of not wanting to compare a director's latest work to his oeuvre. I strive to avoid succumbing to that temptation, but with someone like Fincher I find that even harder to do, and lately I've been craving more of the grittiness of his earlier work.

And I can definitely understand the decision to sacrifice the subtleties and latent darkness of the characters as a means to tell a more cohesive story. Sacrifices must be made somewhere, and I think Flynn made apt choices with her screenplay. Yet still, I don't think a story as rich and densely layered as "Gone Girl" is most suitable for a big-screen adaptation, mainly due to the time constraints. I can't help but wonder what it would look like as a miniseries. The era of the cinematic anthology TV series is in full swing right now, with FX's "Fargo" and HBO's "True Detective" proving that more can be accomplished with a 10-hour movie format broken up into episodes than with a roughly three-hour feature. While I'm not a fan of remakes, I do sort of hope that one day Fincher or another filmmaker will take "Gone Girl" down the anthology route so all of its delicious, psychotic and haunting fragments can be hashed out. Till then we have the film, and it is good and it does the job fine. It's like enjoying an incredible dish at a restaurant then going home and attempting to recreate it -- the overall flavor is there, but something's still missing. Or maybe I just need some distance from the book to better appreciate the film as a singular entity.

Jacobs: I love that thought, Erin. "Gone Girl" would have made a stellar miniseries. In that format, it really could have employed Amy's and Nick's bifurcated points of view in a more substantial way than the movie can. But since that's not what we're left with, I'd call "Gone Girl" a resounding success.

"Gone Girl" opens in theaters on Friday, Oct. 3.

Reporter's Interview With Kristen Wiig And Bill Hader Is Hilariously Awkward

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This reporter probably should've seen "The Skeleton Twins" before he interviewed the film's stars, Kristen Wiig and Bill Hader. But if he had, we wouldn't have this hilariously awkward moment.

News anchor Chris Parente starts off his interview with Hader and Wiig by asking them to describe the film's plot. Then, seemingly out of nowhere, Parente asks Wiig, "Kristen, I am thinking, on this program, of doing the news completely full-frontal, completely nude. Do you recommend that? Do you have advice for going nude?"

Wiig, like everyone else, was completely thrown off by the question: "Um, do I have advice for going nude?"

When Parente says, "You do it in the film!" Wiig quickly catches onto his mistake.

"Not this movie. That's a different movie," Wiig clarifies, referring to her nude scene in "Welcome To Me."

The "Bridesmaids" actress ended up saving the totally awkward moment, listing off ridiculous plot twists that never actually happen in "The Skeleton Twins." Luckily, Parente was interviewing two actors with a sense of humor.

Watch the painfully awkward clip here:



[h/t E! News]

CORRECTION: An earlier version of this post referred to Kristen Wiig as "Kristen Wigg."

After Dark: Meet Ms. Fitz, Fashion Designer And Nightlife Personality

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This is the twentieth 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: You hail from Australia. What did your journey to becoming a fixture in the NYC nightlife scene as an artist and designer entail?
Claire Fitzsimmons AKA Ms. Fitz: My journey into nightlife segued through the fashion industry. I worked as a stylist and and art director and although my work was very creative, I had a hard time monetizing it because my portfolio was so off the wall. I did a lot of editorial and video work but the brands with the dosh [money] couldn't trust that I wouldn’t take a shoe and pull the tongue out and make it into a hat, or cast a plus-size female model with facial hair -- or something. So I had limited options for my career in Australia [laughs]. I moved to New York City to explore my dreams of entering into the fashion and art world and finding a niche of likeminded freaks.

Even back home it seemed to me that the most creative people in the world were congregating in the clubs of New York City. They were the ones I read about in Fabulous Nobodies -- they worked with Pat Fields, they were door girls, they were friends with Leigh Bowery or were part of the Club Kids. I was drawn like a magnet to the mythology of the scene. In my mind, the art scene, the fashion scene and New York nightlife were the same thing. It never occurred to me that they might be anything but completely intertwined.

I arrived in New York in 2009 and the scene I had imagined was not what it had once been -- it was the middle of the recession and the late 2000's were not kind to NYC nightlife. I retreated to the Internet and began posting my looks in colorful gif format on my style blog. That was during the period when having a style blog could still be a "thing." Through that online exposure Susanne Bartsch and her assistant Joey Labeija hired me for my first gig in 2012. I was also working at Paper Magazine as an event producer at the time and everything kind of just fell into place.



How does your work as a fashion designer and stylist intersect with your role as a prominent person in nightlife?
My background as a style artist means that I use my body and my clothing as a statement and expression of my art, and that’s a medium that translates well in the nightlife environment. I work very hard on my looks for events. They are primarily custom-made and there is a character that I'm building or creating. In nightlife you're only as good as your last look -- and I take that as seriously as one can (while there are still wars and people dying of hunger in the world).

How do you view the spectrum of work that you produce? What tends to be the focus of your work?
My art work is still primarily fashion-centric and motivated by my obsession with style as a tool for expression and dissent. I studied Political Philosophy at University and I'd say that I'm a feminist artist who uses fashion to create a vocabulary. I like to consider the intersection between subverting personal style, fashion-as-branding and artistry. Technically speaking I work with a lot of color and patterns -- mostly thats a personal preference -- but I also think that color and humor are great tools for sticking it to the man; which is ultimately what I'm trying to do.



You won the title of "New York's Best Nightlife Personality" at the Annual New York City Nightlife Awards in 2012 -- what was your career and role as a nightlife personality like at that time?
Let me preface this by saying that my friends and family back home are baffled that this is even a real award, and also very impressed and bemused that I managed to wrangle such a fabulous/dubious title!

At the time I had been thrust into the scene with Susanne Bartsch and was also working with Lady Fag, was helping throw the Dizzyland parties with my good friend Trey LaTrash and also was doing Frankie Sharp's Westgay parties. I kind of had it all going on and was loving being in the thick of it -- and that award really topped off the experience.

You were recently asked to curate a showing at Superchief Gallery during New York Fashion Week. How do you feel like fashion intersects with the art world?
Fashion and art are the same thing to me, just different incarnations. I aimed to curate a show during NYFW that brought together the current zeitgeist in art and fashion -- which I believe are net-based artists creating their own clothing and art that incorporate ironic statements on commercialism. Themes that I personally find endlessly interesting in relation to the fashion world are brand obsession, consumerism and celebrity worship, so I created works that explored those themes. My piece for the “Limited Edition” show is titled "ICONS" and featured beautifully constructed remakes of iconic celebrity red carpet looks from repurposed sportswear.

How has the Internet influenced your development as an artist and designer, as well as your work?
The Internet has been central in influencing and disseminating my art. We live in a time of the Wild West of the net; it's largely unregulated and we can share information freely. I don't think it will always be that way and we are lucky at the moment. I find it kind of ironic and a really interesting statement on the human condition that we use this mind-blowing opportunity for dissent and communication to take #selfies and make people famous on Instagram for their butts. I'm not saying there is anything wrong with it -- I'm just super inspired by the concept of digital narcissism, specifically pertaining to women's rights and feminism and how we see and sell ourselves online.

The most significant way that the Internet has changed the world of art is primarily in the medium, and less so the content. Artwork that exists only online or digitally is a difficult sell and nobody really knows how to make money off of it -- and mostly people give it away for free. It's much like when music went digital; nobody knew how to monetize that either. I'm looking forward to hearing about new platforms for sharing, downloading and purchasing digital art.



The Internet is also changing the face of fashion, primarily in the method by which people are exposed to it and consume it. People want to purchase instantly and online nowadays, and this certainly wasn't the case in years gone by. There used to be Fashion Weeks where only editors and buyers could see the new collections, then six months later the items would hit the stores. Now consumers view the collections at the same time as industry and the items need to be ready to be purchased instantly with a click. It's changing the production, the marketing and sales schedules dramatically, and will eventually overhaul the way the industry works.

The artist and fashion brands who can adapt to these changes are young, smart and tech savvy, and they are flocking to digital spaces to share ideas and goods. Our generation has been burned by the financial crisis, unemployment and bleak prospects and, consequently, the ideas that are valued and being shared right now are anti-commercial and community driven.

How do you see what is happening in nightlife today as building on a historical legacy of artists, performers, musicians and personalities over the past several decades?
I think it's essential to know your history and understand the legacies of those who came before you, regardless of your field. I love being regaled with history from my friends who were part of the Club Scene in the 90’s and have been lucky to work professionally with a number of the pioneers, including Desi Monster, Zaldy and the Paper Mag team. I get cranky when some children don’t bother to learn about the artists who paved the way for them!

New York is currently seeing a second wave of nightlife and it’s happening in raves and warehouses out in Brooklyn. It’s similar in many ways to the first wave. I mean, we’re still broke artists dancing around in dark rooms wearing stupid outfits. But particularly in regards to fashion, I think the queens seem more colorful and garish -- and there's also a cyber street style element that wasn’t so prominent in the first wave.



What current projects are you working on?
I’m currently in the early stages of producing and curating the second annual “Bushwick Gone Basel,” which is a gallery group show in Miami Basel. We’re partnering with Brooklyn venues and galleries to bring the brightest, talented underground artists from our neighborhood to Basel who might not have the resources or connections to have their own show at the festival. If you’d like to be on board to help or support, hit me up!

What do you see as the future of nightlife in NYC, particularly in terms of the way that it intersects with fashion?
Fashion has always drawn from the underground for trends, and in terms of the future of nightlife and fashion in NYC, increasingly we see established labels who want to connect with a cool young aesthetic (like DKNY or Diesel under the direction of Nicola Formichetti) reaching to the scene for inspiration and muses. Its a mutually beneficial understanding, if the artists are compensated appropriately. I think we’ll see more of that -- it’s an exciting time to be involved.

For more from Ms. Fitz head here to check out the designer's website. Missed the previous installments in this series? Check out the slideshow below.

Robert Plant Performs Doo-Wop With The Help Of Jimyy Fallon And An iPad

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Robert Plant stopped by "The Tonight Show" on Friday, in promotion of his recently released solo album, "Lullaby and... The Ceaseless Roar." As he did with Billy Joel, Jimmy Fallon enlisted the Led Zeppelin singer's talents to form a two-man doo-woop group, with the assistance of the iPad app Loopy.

"This looks like one of them funny shops in Amsterdam!" Plant joked as he was handed the chrome microphone. Building up layer by layer, the duo put together a brief, enchanting rendition of Gene Chandler's 1962 hit "Duke of Earl," the two switching lead, the Roots eventually providing some extra background harmonies.



Plant then took the stage with his band, the Sensational Space Shifters to perform the songs "Rainbow" and "Turn It Up" off of the new album. Watch the stellar performances below.





Photo Series 'Stacked' Showcases The Stunning Geometry Of Hong Kong's Public Housing

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Hong Kong is among the most densely populated cities in the world, and nowhere is that more apparent than in the city's public housing structures.

However, in his series "Stacked," below, Australian travel photographer Peter Stewart captures the geometric beauty of these buildings.

On one hand, the housing units themselves -- perched neatly on top of one another like legos -- reach far up into the sky with an almost overwhelming, futuristic vastness. But, on the other, Stewart's images inspire a sense of calm amidst the chaos, by evoking clean, geometric lines and vibrant colors.

Check out Stewart's Facebook and website for more; the prints are also available for purchase.

H/T Laughing Squid

Julien Douvier's Gifs Are More Zen Than Zany Cats, And That's A Good Thing

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GIFs are more often associated with zany cats than zen, but that hasn't stopped Julien Douvier from working some beautiful magic.

In the hands of this French designer, the endlessly moving frames take on a calming, tranquil essence. Where most GIFs loop in sharp, jarring segments, Douvier's "cinemagraphs" -- in which only part of the picture moves while the rest remains static -- meld together seamlessly, often building off the inherent repetition of nature.

One shot features the endless ripples of waves beneath a wooden boat. A more pastoral scene zeroes in on smoke drifting lazily from a cabin.

See some of Douvier's cinemagraphs, below. Visit his tumblr page or his personal webpage for more.

The Insane 'Family Guy' And 'Simpsons' Crossover Divides Fans

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Woo-hoo! The "Family Guy" and "Simpsons" crossover finally happened, but did it turn out to be a major d'oh?

It's no secret that both shows have not always seen eye-to-eye, with "The Simpsons" even sending "South Park" flowers after their two-episode takedown of "Family Guy." So it only seemed natural that the mega-hyped crossover episode consisted largely of "Family Guy" and "The Simpsons" taking shots at each other.

One awesome sequence even had Homer Simpson calling out Peter Griffin because the latter's favorite beer tasted like (and actually was) Duff beer.

“This beer tastes exactly like Duff!” said Homer. “It may have been inspired by Duff, but I like to think that it goes in a different direction,” argues Peter, obviously making a reference to the fact that "Family Guy" was inspired by "The Simpsons."

Other highlights include:

A bunch of crazy cameos
cameo

An epic fight
fight

And this ...
tv show gifs

After all was said and done, fans seemed to either love it or totally hate it:




























What did you think of the "Family Guy"/"Simpsons" crossover?

'Law & Order: SVU' Takes On Ray Rice, Solange And Jay Z Elevator Scandals

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"Law & Order: SVU" is practically founded on the tagline "ripped from the headlines" by taking story inspiration from real-life news.

In this Wednesday's episode of "SVU," "American Disgrace," famous basketball star Shakir “The Shark” Wilkins is accused of rape by a PR employee from his clothing line. Yet the show makes matters even more interesting by borrowing from some of this year's biggest celebrity scandals -- domestic violence discovered via elevator security cameras. "SVU" takes on the Ray Rice elevator assault and the Jay Z and Solange elevator fight in the latest episode to show just how ambiguous scandals can be when there's no audio and only raw camera footage.

"I'm trying to keep the show 10 minutes ahead of the news," "SVU" showrunner Warren Leight told HuffPost Entertainment earlier this month. Leight told us that he wanted to keep the series in tune with the manner in which news leaks now, which is coming more and more from security camera footage released by TMZ (on the show it's call LMZ).

"I loved the idea of just a silent black and white scene, then sound goes out," Leight said. "You kinda wanna know what's going on." The showrunner, who wrote the episode with Julie Martin, revealed that it also tackles the Donald Sterling scandal, but we won't spoil it for you.

Check out an exclusive clip above from the upcoming episode, which shows the silent elevator altercation between Henry Simmons' Shakir and Kelley Missal's Carla Cannon. The episode also features guest appearances by Stacy Keach and Teri Polo.

"Law & Order: SVU" airs Wednesday at 9:00 p.m. ET on NBC.
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