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How 90,000 Lost, Damaged Photos Were Restored And Returned To Victims Of 2011 Japan Tsunami

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A picture that holds a memory is worth much more than a thousand words.

Electronics company Ricoh has restored and returned more than 90,000 photos lost or damaged by victims of the March 2011 Tōhoku earthquake and tsunami in Japan.

Through an initiative called “Save the Memory Project,” which began in April 2011, Ricoh worked to uncover of photographs washed away by the tsunami. They found and cleaned a total of more than 400,000 photos, PetaPixel reports.

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Many of the photos were found by responders immediately following the tsunami. Volunteers have spent the last four years compiling and cleaning the photos in various factories in Japan.

In its overview of the project, Ricoh described the process as "Rinse away the dirt and heavy contamination, loosely wash away the dirt, carefully and meticulously remove dirt and such on a detailed level, lastly, rinse the photos a final time with clean water."

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tsunami uncovered photos

Once the photos were clean and dry, they were scanned and uploaded a digital database where people affected by the tsunami could search for and view the images. The photos are organized by region, and separated by subcategories including “wedding photos” and “children.” When a person saw a photo that belonged to them, they could then submit an application to receive the original copy.

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The Save the Memory project came to an end earlier this month, but as of March 9, 2015, a total of 90,128 photos had been returned to people who believed their memories had been swept away.

H/T PetaPixel

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Powerful Short Film Challenges Beauty Ideals That Govern Skin Color

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In discussions of mainstream beauty ideals, it's not uncommon to hear media outlets discuss the prominence of certain body types, addressing disorders like anorexia and bulimia in the process. However, for many women, particularly women of color, these are far from the only harmful ways myths and norms shape perceptions of beauty, and shape perceptions of ourselves.

In her powerful short film "Yellow Fever," Kenyan artist and filmmaker Ng’endo Mukii explores the relationship between a woman and her skin color, and the hierarchy of globalized beauty imposed on impressionable minds and bodies. "While growing up, I would come across women who practiced skin bleaching (‘lightening’, ‘brightening’), and often had a condescending internal reaction to them," Mukii explained in an email to The Huffington Post.

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"Now, I realize they are only products of our society, as are we all. Since our media perpetuates Western ideals to our girls and women, and we consume this information continuously from a young age, how can we fault anyone who is susceptible to these ideals (men included), without challenging the people that are creating them?"

Mukii explores these concepts and beyond in her enrapturing seven-minute short, which combines layered ethnographic visuals with emotive dance sequences and textural animated interviews with family members including her mother and young niece. "If I were American, I would be white, white, white, white and I'd love being white," Mukii's five-year-old niece says, sitting before a white pop star on the television screen. As she innocently proclaims that magic could potentially turn her skin another color, the scene becomes both jarring and heartbreaking.

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Mukii comes from a background of painting and drawing, yet became fascinated with film and animation during her time at the Royal College of Art in London. When embarking on her graduation film, which eventually became "Yellow Fever," Mukii was comparing the processes of taxidermy and early ethnographic filmmaking -- namely the editing and deletion involved in reducing a subject into a flattened "other." Determined to change the stakes, Mukii placed herself in the role of both subject and artist, allowing her complexity to take its full, textured shape.

"Essentially playing both the role of the ethnographer and the ethnographic, forced me to confront an internalized friction within myself," she explained, "the conflict between seeing, being seen, and seeing what other people see in you."

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To visually express her encounter with her full and fluid self, Mukii employed a multidisciplinary film practice to embody what she calls her "almost schizophrenic self-visualization." Each moment is pulsing with conflict and desire, concretizing the intense role beauty norms play on women's self love. "I found the pixilation body-landscape sequences the most exciting in terms of technique," she said.

"I had not worked with breathing bodies before in this way, and the effect of the staccato movement created from photographing individual frames was very satisfying. I was trying to create a sense of being uncomfortable in one’s own skin, and had been reading Frantz Fanon’s work at the time... I don’t know, it was the body as a breathing landscape, and the eruption of emotion. It just fit."

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Mukii named her film after Fela Kuti's 1970s song of the same title. However, while Kuti's lyrics lash out at the women who choose to use skin bleaching products, Mukii wants to challenge those who create the ideals. In her words, "rather than alienating or attacking people who are victims of them, we should actively address the lack of celebration of women of all appearances."

"Why is there no acknowledgement of the pressure that exists to push Kenyan (and other) women to willingly poison their skin and bodies with various chemicals (mercury included) in an attempt to have a paler complexion? Why is this not some form of body dysmorphia related to the skin? Why should any normal girl feel that she will be more beautiful and lead a happier life if she loses weight? Why should any normal Kenyan girl feel the same, but in relation to being paler? Why do we live in societies that agree to either of these ideas?"

To begin to grapple with these questions and more, watch "Yellow Fever" below. Let us know your thoughts in the comments.






Yellow Fever: FULL from Ng'endo Mukii on Vimeo.



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Holy Haystacks! Researchers Have Officially Discovered A New Monet

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You know what they say: Looks like a Monet, feels like a Monet, has Monet's authentic signature in the corner as determined by a hyperspectral camera with an XRF device... Then it probably definitely is a Monet!

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"A Haystack in the Evening Sun," 1891, by, that's right, Claude Monet


Researchers at the University of Jyväskylä in the Department of Mathematical Information Technology have officially confirmed what they've long suspected, that the 1891 work "A Haystack in the Evening Sun" was indeed painted by the bearded Impressionist who painted all those other haystacks -- Claude Monet himself.

To verify the claim, the team set out to unearth, date and authenticate Monet’s signature from the piece, which for decades has remained covered in paint. According to Phys.org, the pastel colored painting, which has been owned by the the Gösta Serlachius Fine Arts Foundation since the 1950's, was investigated at the University in the Recenart Research Center for Art, where they used a hyperspectral camera to examine the elemental composition of the work. Said camera captured pictures of 256 different wavelengths in the near-infrared region of the painting, a region not visible to the human eye.

"The camera is principally operating as a scanner, which scans one line at a time," researcher Ilkka Pölönen told ArtDaily. "The optics includes a prism structure which diffuses the light’s wavelength order, a custom-made sensor is used capable of recording infrared radiation. When the camera is moved using the scanner an image of the whole picture can be obtained."

The camera yielded a single table with a number of spectral data. Researchers then applied Monet's signature to the data spectrum separation methods and -- voila!-- a good deal of scientific data later and the painting was attributed to Mr. Monet himself.

"Spectral imaging and its many applications has been a favorite area of research. Two dissertations have already been published on this subject and have dealt with, among other things, medical and environmental science applications," explained Pekka Neittaanmaki, dean of the department of mathematical information technology at Jyvasklya.

Well, we can't exactly say we're surprised, but we hope at least one Monet lover out there sleeps more soundly tonight knowing their haystack conspiracy theory was on track.

The Evocative Photos Of Aleksandr Rodchenko, Who Changed The Way We See Photography

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Before Stalin-era Soviet restrictions on artistic expression turned Aleksandr Rodchenko's work into a paean to Communism, the legendary Russian artist revolutionized photography. "We have a duty to experiment" was his motto, turning away from a century of "introspective" photography.

With his Leica in hand, Rodchenko spent the 1920s creating daring experiments with perspective; he photographed with an outward focus and unusual points of view, framing the images with bold, oblique cuts. He lived through radical changes in his home country and ended up sparking radical change in his chosen art form.

Born in St. Petersburg in 1891, Rodchenko saw the end of the Tsarist empire, greeted the coming of Lenin, and witnessed the Stalinist purges. As the son of a turbulent generation, he could not be anything but turbulent himself. While his initial work during the 1910s and 1920s was part of the thriving Russian artistic avant-garde, Rodchenko was one of many artists whose instincts were curbed by strict guidelines for artistic expression under the Soviet regime. His later work, from the 1930s until his death in 1956, focused on sporting events, parades and other traditional subjects for propaganda.

Through June 28, the Palazzo Manin Codroipo in northern Italy is presenting one hundred works from the artist showcasing his subjects, techniques, and inventions. The collection covers his work for magazines, cinema and advertising, as well as an evocative self-caricature from 1922 and many beautiful compositions created with Varvara Stepanova, his partner and companion.

Rodchenko’s early work shows a gifted and daring visual artist, infusing seemingly mundane tableaux with new life. This exhibition strips away the dictates of Socialist Realism to reveal the vivid, thoughtful, unforgettable images for which Rodchenko is known.



This post was originally published on HuffPost Italy and was translated into English.

Rare Vintage Photos Of John And Yoko Capture Their Final Times Together

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In September of 1980, Japanese photographer Kishin Shinoyama spent two days in New York with John Lennon and Yoko Ono, as the lovers and creative partners collaborated on the album "Double Fantasy." Over the course of those two days, Shinoyama captured approximately 800 photographs, capturing what, according to the artist, was "a moment of unclouded happiness for John and Yoko."

Just months later, on December 8, Lennon was assassinated at just 40 years old. "Double Fantasy" was his last studio recording.

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Over 30 years later, Shinoyama and Ono are releasing a book of photo essays, also titled "Double Fantasy" and published by Taschen. The book, released in a limited edition of 1,980 copies -- a subtle ode to 1980 -- features many photographs never before shown publicly. One depicts the lovers behind the scenes, collaborating in the studio while donning matching sunglasses, while another captures a tender kiss between the dreamy duo as they wander Central Park. For the love-struck pair, daily life seemed like something out of a dream.

Releasing the book now was Yoko's idea. "There were many pictures that Yoko had never seen for over 30 years," Shinoyama explained to T Magazine. "She said to me, 'Thank you for taking images of my happiest time. How about making a photo book with these pictures?'"

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The images, chronicling one of the most iconic and heartbreaking love stories of our time, capture the many moments, both mundane and miraculous, that formulate a life in love. It's nearly impossible not to recognize the sinister aspect of these wildly romantic photos though, depicting a love that would soon come to an end. And yet the power of photography, in at least some way, ensures the inspiring love between John and Yoko will endure.

"Every moment ends instantly. It becomes past, you know. Photography is one of the tools that you can use to record each moment. I think these photos were taken at the time of their supreme happiness. As I see it now, I still think that John’s and Yoko’s pure love continues on."

Shinoyama's words are reminiscent of a statement Lennon himself made to Howard Smith in the early 1970s, discussing his marriage with Ono. "It’s called love. And there’s nothing that splits that up, you know."

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"Double Fantasy" is available from Taschen books. See a preview of the images below.

Examining The All Too Overlooked Art Of The Lost Pet Poster

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It's not all that often that regular folks -- read: non-artists -- decide to draw, photograph or even collage an impromptu art piece, reaching into the depths of their souls for inspiration, and plaster them throughout the public realm for all to see, interpret and act on.

We're talking about lost pet posters, the peculiar breed of artwork that turns the most non-artistic of pet owners into creative adventurers almost instantaneously. The genre obviously arises only in the most heartbreaking of circumstances, thus prompting unlikely pet owners into some spontaneous soul searching and creative expression. They're bizarre, handmade forms of public communication, intensely personal and yet all so alike.

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Fifteen years ago, Canadian artist (and animal lover) Ian Phillips became fascinated with the ephemeral paper artworks, which retained their prevalence even in an increasingly digital age. He collected lost pet posters from around the world, pleading for wayfaring dogs, cats, hamsters, ferrets, parrots, cows, and cockatiels. Compiled into a book titled "Lost: Lost and Found Pet Posters from Around the World," the posters are at once desperate, sweet, heart-wrenching and honest. They can be funny and sometimes, quite bizarre. And, in nearly all cases, they're painfully adorable.

The Princeton Architectural Press, due to popular demand, has issued a Fifteenth Anniversary Edition of the cult classic, which remains as aww-inducing as ever. Images intended to ensure the safety of Gummo, Ginger, Jerry and Bo become works of folk art in their own right, showing how dark instances can occasionally spark hope, community and creativity in us all.


There's A Girl In Uruguay Who Looks Exactly Like Cara Delevingne

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First Taylor Swift, now Cara Delevingne? It's safe to say celebrity twins are taking over the Internet.

14-year-old Olivia Herdt -- who lives in Uruguay, according to her Instagram -- looks quite a bit like Delevigne, a British model and actress. In fact, Herdt has accumulated over 13,000 Instagram followers because of her startling resemblance to the current face of Yves Saint Laurent Beauté.

Take a look below:

Wow my ig is so pink right now lol

A photo posted by Oli (@olivia.herdt) on




Oh green eyes..

A photo posted by Oli (@olivia.herdt) on








Don't believe us? Check out this photo of Delevingne:

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H/T Cosmopolitan

This 24 Carrot Gold Cake Is What To Make Your Most High-Maintenance Friend

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"Put your money where your mouth is."

That's exactly what Paige Russell did when she created the "most expensive cake in the world," called the 24 Carrot Cake (get it?). The decadent gold treat looks like it belongs in a bank.

Luckily, this cake isn't just for the rich and famous, as Russell released a step-by-step video and recipe guide on the Instructables. Though it may look (and sound) expensive, the carrot cake gets its name from the 24 baby carrots included in the recipe.



Russell joked that the cake is "a food friend for the new gold MacBook Pro." It also looks like it would be the perfect Easter cake for the bougie family on the block, who probably already have this $49,000 chocolate Easter bunny as their table centerpiece.

Head over to Instructables to get the full recipe for the 24 Carrot Cake.

To check out desserts that are actually made of real gold, see the slideshow below:

Want to read more from HuffPost Taste? Follow us on Twitter, Facebook, Pinterest and Tumblr.

In 'Time' Video, Steve Grand Cozies Up To Model Daniel Williams, But It's Far From A Perfect Love

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Singer-songwriter Steve Grand finds -- and loses -- love in snowy Chicago in his latest video, "Time."

The out star, 25, gets cozy with hunky model Daniel Williams in the clip for the piano-driven pop ballad, which is a cut from his debut album, "All-American Boy," released March 23.

The video explores the entire course of a relationship -- from the couple's first meeting on an empty train station platform to a fiery breakup, with a playful snowball fight in between -- in just over five minutes. Still, there's a surprise twist at the end.

"My lyric style is definitely very story-driven," Grand, who has cited Billy Joel, Lady Gaga and Bruce Springsteen as musical influences, told HuffPost Live earlier this year. "I try to tell stories from my life, whether it's one single moment in time or something that's been recurring in my life."

The album, he said, "is an arc, and every song is a plot point on that arc."

The Beautiful Way One Teen Photographer Is Honoring Her Father's Legacy

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It's hard to keep up with Amber Mozo.

If she's not photographing bikini models in Hawaii or shooting for an island resort in Fiji, you can probably find the 19-year-old backpacking around the world where she's documenting the stories of people we don't often see.

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Mozo runs her own freelance photography business, chronicling life as she sees it: raw and free.

While she's getting used to big name clients and a jetset life, the teen photographer's latest project is her biggest and most meaningful.

Mozo discovered her passion for photography when she was just 11 years old. Her father, renowned surf photographer Jon Mozo, died when she was 10. He was shooting pictures at Backdoor Pipeline, a Hawaii surf break famous for its unforgiving nature, when he drowned. He was 33 years old.

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Amber and her dad, the late surf photographer Jon Mozo, in 1999.

“I remember just wanting to use his camera,” Mozo told The Huffington Post. Her uncles told her not to touch his equipment, but when her mother said it was OK, Mozo picked up the camera and hasn't stopped shooting since.

"I was 11, walking around with his huge camera, and that’s when I really fell in love with photography. When I was in my young teens, just taking pictures of everything.”

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Now, Mozo has travelled around the world with her father's camera, documenting her adventures. "I just felt like I was connected with my dad through that camera,” she says of the now outdated equipment.

In honor of the 10 year anniversary of her father's death, Amber is raising money to produce her first book of photographs, entitled “Chasing Light Around The World.”

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"I feel that experiences that happen to me, that changed me, could also change someone else or help someone else," Mozo said of her travels. "That’s really what I think is great with photography and art. It can move people. It’s really done a lot for me over the years, as a teen, going through things.”



“One thing that is important to me is I want to tell an honest story when I’m shooting," Mozo told HuffPost. "I think that’s what my dad did, as well. He was always quiet -- you didn’t even know he was taking pictures. Then he’d come up with all these amazing photos.”

“In all things she does she tries to honor her dad,” Amber’s mom, Nikki, told The Huffington Post in an email. “[Jon] started a photo book and didn't finish it, so I think it is very fulfilling for her to finish that task and carry on his legacy with his equipment and her eye. It makes our loss seem a little less painful, because nothing really dies when you pass it on to others.”

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You can support Amber's Kickstarter campaign here, and follow her on Instagram.

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The Removal Of Rupi Kaur's Instagram Photos Shows How Terrified We Are Of Periods

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There's nothing scarier than a fully-clothed lady with a little bit of period blood on her pants.

At least, that's what artist and poet Rupi Kaur learned when a photograph she took as part of "Period.," a project for her visual rhetoric course at the University of Waterloo, was removed from her Instagram account -- twice. The photo (embedded below) shows Kuar curled up in bed, dressed in a t-shirt and sweatpants. She also is menstruating, and a bit of blood has visibly leaked through her pants and onto the bed.

After her photo was initially removed on March 25, Kaur wrote powerful posts about the incident on Facebook and her Tumblr, which were shared over 11,000 times. "Their patriarchy is leaking. Their misogyny is leaking. We will not be censored," she wrote.

Instagram has since reinstated both of the photos, apologizing to Kaur in an email where they explained that the images were "accidentally removed" by a member of the Instagram team. (Instagram did not respond to HuffPost's requests for comment on the matter.) The fact that these images were ever flagged by users in the first place, however, speaks to a deep-seated cultural fear of women's periods -- the very issue Kaur's series addresses.

"I wondered why I scurry to hide my tampons and pads from the world and why I'm too ashamed to tell people I'm in pain because of my period at times I may not be able to do certain things like come in to work," Kaur told The Huffington Post, describing the initial inspiration for her photo project. "Why do I lie about it? As if it's a bad thing to have. This was just a small part of it. The issue is so much deeper. Some women can't visit their places of worship, or leave their homes or cook for their families while menstruating because they're considered dirty. We're laughed at in public if we have leaks. It goes on and on really."

thank you Instagram for providing me with the exact response my work was created to critique. you deleted my photo twice...

Posted by Rupi Kaur on Wednesday, March 25, 2015




It speaks volumes that the sight of period blood makes people uncomfortable in a world where we are consistently exposed to images that are actually explicitly sexual, violent and gory. We watch news reports about war and "Law & Order: SVU" marathons without batting an eye, but there has still only been one menstrual product advertisement, an Always print ad from summer 2011, that uses the color red to signify period blood. (When I think of tampon and maxi pad advertisements, ambiguous blue liquid and women frolicking around in white still come to mind.) When Apple's Health app came out in September, the company came under fire for omitting a woman's menstrual cycle from the many body-related things a user can track.

I grew up understanding in no uncertain terms that the most embarrassing moment you could have in your young life was to bleed through a pair of light-colored pants. And, of course, you must hide your tampon on the way to the bathroom, lest you expose any physical evidence that her body sheds its uterine lining once a month. The horror!

It's this enduring taboo that makes projects like Kaur's "Period." so important. We don't need to sit in an all-female circle praising our inner goddesses and pretending that every moment of having our periods is beautiful and magical -- the cramping sucks! sometimes it can be messy! -- but lessening the shame that surrounds menstruation is a worthy goal, and one that requires us to acknowledge that blood happens. Our bodies are sometimes weird and confusing, but they're also the only ones we've got, so we may as well love 'em.

Head over to Kaur's website to see the rest of her work.

The First Trailer For James Bond's 'Spectre' Is Here

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"Welcome, James. It's been a long time." That's Christoph Waltz as the dastardly Oberhauser (Blofeld?) in the first trailer for "Spectre." Sony released the James Bond film's debut teaser on Friday night, and while the plot remains a mystery, it looks to connect with earlier 007 adventures. (Eagle-eyed fans will note the inclusion of Mr. White, the bad guy who pulled some strings in "Casino Royale" and, after being captured, escaped in "Quantum of Solace.") According to the official "Spectre" plot synopsis, "a cryptic message from Bond's past sends him on a trail to uncover a sinister organization." Elsewhere, "M battles political forces to keep the secret service alive," while "Bond peels back the layers of deceit to reveal the terrible truth behind SPECTRE." Sounds good to us.

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Sam Mendes returns after the success of "Skyfall" to direct "Spectre." Daniel Craig once again plays Bond. Waltz, Ralph Fiennes, Naomie Harris, Dave Bautista, Lea Seydoux and Monica Bellucci all star. "Spectre" opens Nov. 6.

How The Rise Of The Middle Class Shaped American Folk Art

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The dictionary defines folk art as work "produced typically in cultural isolation by untrained often anonymous artists or by artisans of varying degrees of skill and marked by such attributes as highly decorative design, bright bold colors, flattened perspective, strong forms in simple arrangements, and immediacy of meaning."

While this definition conjures exoticized images of far off lands and age-old traditions, it fails to encompass the entire scope of global folk art -- for example, the crop born and bred in the United States. An exhibition at the Worcester Art Museum in Massachusetts entitled "American Folk Art, Lovingly Collected" will explore the branch of folk art shaped not by cultural isolation, but by the quickly changing cultural landscape engulfing it.

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Two Children in Blue, about 1840 attributed to Mary B. Tucker Image: Courtesy of the Worcester Art Museum


"Over the years there has been much debate of what folk art is," Paul D’Ambrosio, curator of the exhibition, explained in an interview with The Huffington Post. "But I see it as broad category of Americana done by artists with little or no formal training in the fine arts. It's a body of work that was brought together in the early 20th century by a diverse group of people."

"This includes portraits, landscapes, needlework pictures, quilts, painted furniture, all kinds of decorative arts. Sculptures, carvings, shop signs, cigar store figures. It's a very broad category, but it speaks to the centrality, the absolute integration, of handmade goods in American society, especially in the 18th and 19th centuries."

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Two Children in Blue, about 1840 attributed to Mary B. Tucker Image: Courtesy of the Worcester Art Museum


The exhibit provides a rare glimpse into the 19th century transformation of a New England town, and in turn, the town's unexpected effect on a burgeoning art movement -- one that arguably has more in common with a remote civilization than Western tradition. In 1800, Worcester County had about 60,000 residents. By 1840 it had grown to 95,000. In the decade that followed, between 1840 and 1850, the population grew by another 35,000 people to 130,000. "So you're talking about exponential growth," D’Ambrosio explained. "Along with this there are advancements in industrial technology, improvements in transportation, and the artists that created these works. They didn't have an industrial technique but they had an understanding of mass production and that's an idea that came along with the industrial revolution."

The art of this period is characterized by flattened portraits against a neutral, monotone backdrop, the subject either in full profile or looking straight at the viewer. Their straightforwardness is almost awkward, recalling the naivety of artists like Henri Rousseau or Morris Hirshfield. Yet the inspiration for said artworks wasn't the "primitive" artists of Europe, but rather the mechanization of the U.S.

"In 1800, artists imitated the mechanical means with their hands' work. A portrait painter would paint a similar composition over and over again, it would be called a formula or a stock pose. They would take elements and repeat them in order to speed up the production of the works. They were not judged as art, they were furnishings at the time. Artists would emphasize whatever they were best at, and their pictures would conform to their best talents to create the best possible products."

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Mrs. Kendall, about 1831 attributed to Ruth Henshaw Bascom Image: Courtesy of the Worcester Art Museum


A thriving middle class bolstered an engorged supply of commercial goods, many of which were made by hand. This newly skewed supply and demand opened up space for a healthy art market, able to make a living through their production of bright and bold handmade goods. However, despite their economic success, such folk artists were never considered on par with formally trained fine artists, until, perhaps, now.

Although it sounds almost counter-intuitive, the industrial revolution molded the 19th century culture of folk art, imbuing it with handmade alternatives to booming mechanical trends. "Some went as far as William Matthew Prior who developed a price scale where he charged less for simpler pictures and charged more for more elaborate ones. Basically, time is money. They're in this transitional period toward mass production, where soon they will be replaced by mechanical processes such as photography and lithography."

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Boy in Blue with Recorder, 19th century attributed to George G. Hartwell Image: Courtesy of the Worcester Art Museum


In this final moment before the eventual mechanical takeover, we see images oddly teetering between the handmade and the automatic, like stunted hybrids on the verge of a breakthrough. It's an interesting juxtaposition to the contemporary relationship between art making and the internet -- an artistic moment explored in MoMA's current contentious exhibition "The Forever Now: Contemporary Painting in an Atemporal World," which posits that "courtesy of the internet, all eras seem to exist at once."

"American Folk Art, Lovingly Collected" will run from July 15 until November 29, 2015 at the Worcester Art Museum. Until then, enjoy the preview below.



These Stunning Vintage Car Photos Will Make You Feel The Wind In Your Hair

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"A chariot can be made that moves at an unimaginable speed without horses," the philosopher Roger Bacon predicted in the 13th century. Another six centuries had to pass before cars finally became a reality. Over the years, cars, which started as a simple means of transport, have become an expression of power and freedom, a symbol of the American dream. In the popular imagination, cars represent the rise of the middle class and individual self-worth.

Throughout the twentieth century, but especially from the 1950s onwards, cars have inspired movies and made us dream. Many films have cars that are practically co-stars, like James Bond’s Goldfinger, Batman’s Batmobile, the Ghostbusters' Ectomobile, the DeLorean from "Back to the Future" and the Spear from "The Easy Life." This fascination has also spread to photography, where cars have played various roles throughout the decades: decorative elements of a landscape in transformation, mechanical monuments to modern aesthetics, a means of transport, but above all an individual space, an intimate space, where people talk, eat, sleep, love, as if they were in their own small, mobile houses.

Cars have become a favorite subject for many masters of street photography, as with the 23 photographers showcased as part of the Drive In exhibition (until May 2 in the Bildhalle Gallery in Kilchberg, Switzerland). Among these are the master Robert Frank, who traveled by car with his family for two years to tell the story of America; Elliott Erwitt, who brought sedans to the collective imagination with skillfully employed irony; René Burri, who crossed Brazil to document how traffic has changed the face of the country; Simone Kappeler, enraptured by the charm of a colorful America where cars are an intrinsic element of ‘80s culture; and Emil Schulthess, where cars help to build an aesthetic founded on the grotesque.

Check out a selection of photos from the Drive In exhibition below--but don’t blame us if you suddenly have an urge to snag a vintage car of your very own.



This post was originally published on HuffPost Italy and was translated into English.

The Art Money 20: Which Artists Have Performed Best At Auction Since 1995?

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This article originally appeared on artnet News.
by Eileen Kinsella and Jonathan Yee



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Source: artnet Analytics.


Which blue chip artists have performed the best from a financial standpoint in the past two decades?

The results might surprise you. Unlike other markets, where values are tied to set parameters—think stocks and bonds—the value of art is far more subjective, not to mention influenced by so many factors all at once: fickle collector tastes; ever-shifting critical and public appreciation; condition of individual works; and of course supply and demand. Take works by Vincent van Gogh for instance, which despite having scored some of the highest prices at auction over the years, rarely actually come on the auction block. (See: Do Riches Await In the Van Gogh Market?).

Using the time period 1993-1997 as a baseline, we looked back at the artists who were already selling for more than $1 million each at auction at that time and then followed their market performance through 2015 by tracking average prices and the compound annual growth rate of average prices. Alberto Giacometti tops the list of performers (see chart above) though some of that track record may be due to recent auction activity, say in the past five years. Though the list is understandably heavy with names of Impressionist and modern artists, it also includes at least one Old Master (Canaletto) and several more contemporary names (Francis Bacon and Roy Lichtenstein). (See: The Old Masters Market Is Restoring Its Image to Make It Sexy and Canaletto, Caravaggio Fail to Sell at Christie's Worst Old Masters Sale Since 2002.)

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Alberto Giacometti's Chariot, which was conceived in 1950 and cast in 1951–2, sold for $101 million in New York this past May.
Photo: Courtesy Sotheby's.


In 2010, Giacometti's record vaulted to $103 million (£65 million) when Sotheby's London sold the sculpture L'homme qui marche I (1960). The next three highest prices were all set in the years since then or right before (between 2008 to 2010), indicating that the market had been gathering considerable momentum in the past decade alone (See: $101 Million Giacometti Leads At Sotheby's Sale).

A similar pattern of activity can be seen with Francis Bacon, where auction activity has been extremely robust in the past decade. Bacon is second on our list of best performers as viewed by compound annual growth of average price. Bacon has been a favorite of some of the newer-to-the-game über collectors of contemporary art, particularly from the Middle East and China. The record for the highest price ever achieved at auction was the $142.4 million paid for the triptych Three Studies of Lucian Freud (1969) sold at Christie's in November 2013.

Picasso might seem to be the natural choice for first place but his market has been lofty for quite a long time now (see $140 Million Picasso at Christie's Is World's Most Expensive Painting at Auction). Artnet Analytics research indicates that between 1993 and 1997, 79 of Picasso's works sold for at least $1 million each at auction. But in terms of our measure of compound growth in price performance, his name turns up at #17.

Here is the complete list ranked in order from highest to lowest:

1. Alberto Giacometti
2. Francis Bacon
3. John Singer Sargent
4. Rene Magritte
5. Roy Lichtenstein
6. Camille Pissarro
7. Amedeo Modigliani
8. Georges Braque
9. Claude Monet
10. Marc Chagall
11. Fernand Leger
12. Canaletto
13. Wassily Kandinsky
14. Paul Cezanne
15. Joan Miro
16. Pierre-Auguste Renoir
17. Pablo Picasso
18. Alfred Sisley
19.Henry Moore
20.Henri Matisse



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60 Years Of Jane Doe Portraits Give Nameless Women The Attention They Deserve

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On May 10, 1950, the body of an unidentified woman with red hair and freckles was found in Bath, West Virginia. An unnamed individual had been mushroom hunting along U.S. Route 522 when he stumbled upon the Jane Doe. Forensic experts determined that she was between 35 and 50 years old at the time of her death, and that she had undergone a hysterectomy and appendectomy -- her scars said as much. But little more knowledge came of investigations.

She remains anonymous to this day.

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This story is one of many unsolved cases presented in Sarah Honan's project "Blink.," a series of portraits aimed at recognizing, honoring and memorializing the women who've lost their identities to forgotten crimes. Consisting of 18 painted and illustrated renderings of Jane Does, the artworks attempt to crack open an archive of over 2,000 unidentified women in morgues and unmarked graves across the United States.

"For years I have been bewildered by how we seem to ignore the crises women face across the world today," Honan explained in an email to HuffPost. "Be it the atrocities we see in the developing world or the sheer lack of female political representation in the developed world."

She started her series after coming across the National Missing and Unidentified Persons System, an online record of the unsolved deaths of women in America. Inspired by the "horrors" she saw during her research there -- the countless women, from various walks of life, whose identities had been stripped from them in death with no recourse -- she decided that she wanted to give these women a voice, to "allow them to speak for every woman and girl who has ever been physically or emotionally abused because of her gender."

Nineteen-year-old Honan originally presented her project, made possible through pledges via the Ireland-based, crowdsourcing site Fundit, as an installation in Waterford City, Ireland last month, as part of a backdrop displayed in the window of an unused storefront. Now the images, along with the forensic information Honan collected for each portrait, can be found on the "Blink." website.

"Blink. should act as both a personal memorial for each individual represented but also enter a very public forum," the artist concluded. "My goal has always been to have the tragic stories of these women inspire dialogue on the issues they represent. Although they may have become anonymous in death, I hope that Blink. gives them the opportunity to change even the way one person thinks about identity, about gender-based violence and about the representation of women in society."

You can see a preview of the Jane Does below. Head over to Honan's website to learn more.

Two Of Madonna's Dancers Re-Create 'Vogue' In Honor Of Iconic Song's 25th Anniversary

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It's hard to believe it, but Madonna's seminal smash, "Vogue," was released 25 years ago this month.

Jose Xtravaganza and Salim "Slam" Gauwloos, two dancers who appeared in the iconic "Vogue" video and subsequently toured with Madonna, reunited in Los Angeles to re-create the famed choreography in this short video honoring the anniversary -- and the results are pretty amazing.

Jose Xtravaganza and fellow dancer Luis Camacho Xtravaganza are often credited with introducing Madonna to the Harlem House Ball community which, in turn, inspired her to write the song and feature the dance style in her music videos and tours.

Below, watch Madonna's original "Vogue" video, featuring Jose and Slam, from 1990:

Gay Love On A Montana Ranch Captured By Photographer Brian Powers

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In case you needed a reminder, love between lesbian, gay, bisexual and transgender people exists everywhere.

While stories surrounding the struggle for LGBT visibility and rights tends to focus on more urban areas or metropolises, gay people are everywhere. This stunning photo series from photographer Brian Powers is a reminder of that, elevating the lives and love of a gay couple named Benjamin and Brandon.

"Love is a big part of who I am," Powers told The Huffington Post. "It is what drives me, inspires me and keeps me up at night. I knew that the best way to share their love with the world, was to strip down their relationship to the truest form. Two individuals being united by something we all desire, LOVE."

The Huffington Post chatted with Benjamin and Brandon this week about the photo series, their relationship and what life is like being gay when you're in Montana.

montana1

The Huffington Post: How did the photo shoot come about?
Bejamin and Brandon: Ben serves in the military and spends a great deal of time away from our place outside Seattle -- not to mention that both of our careers have taken us far from Montana, where we really feel our allegiance is. We loved representing our relationship and our background, and thought that an awesome set of photos would be the perfect way to keep ourselves grounded and always remember being back home. Montana has a way of really clearing your head. I think its the big skies and fresh air.

What was the most memorable moment from the shoot?
The first thing Brian said to us before the shoot was, "I am excited because most guys don't like getting photographed." This made us both laugh because Ben really hates the camera and being photographed. To encourage a natural feel Brian told us to carry on normal conversations while he was shooting, most of which were conversations about how awkward it was making up conversation and having someone take your pictures, but that turned out to be perfect, and he captured the most amazing snippets of us enjoying the awesome afternoon in the mountains outside town. We also had a good friend along to help out.

montana2

How did you meet? How would you describe your relationship?
Our relationship is very private, very committed, very balanced and very communicative. We believe these to be cornerstones in every relationship and do not settle for any less. To answer your question I will recount an analogy we came up with together to sum up our relationship:

When we were kids, building forts out of blankets and chairs-you try to make the most awesome fort, the biggest fort, the best looking most complex fort, and it was always a ton of fun. Adults don't get a lot of time to crawl around and build blanket forts (but that's not to say we haven't). Then you find a best friend, who also loves building blanket forts, and you decide that you want to build blanket forts together -- or build a life together. Our blankets and chairs have just transformed into an awesome apartment that is essentially just one big man-cave.

What is it like to be gay in Montana?
I grew up in Montana. My family still lives there and I return as often as possible. However, for college I moved about seven hours away to Seattle. So, while I can't entirely speak to living in Montana while being openly gay I can comment on my experience of coming out to that community. It's been a mixed bag somewhat, melding the rugged cowboy Montana standard with being gay. The notion that orientation does not effect personality. That you can indeed be gay and still enjoy country music, drive a truck, and that is okay. I feel incredibly fortunate and privileged to have a supportive family which really helps. My dad comes from a tiny town and is somewhat of a self-proclaimed redneck. However, coming out to him was the person I was the most nervous to tell but wound up being the easiest. His response was "I don't give a shit, you're the same person right? Just try and find someone who likes to hunt,” and Ben loves hunting so that is the best I could have asked for.

montana3

What is your relationship with the broader queer community?
We do not necessarily have a relationship with the larger queer community, putting our photos out there has been the most public place our relationship has ever been before. We think it is important to go out into the world and find whatever community they feel makes someone feel comfortable, supported and accepted -- and more power to them. We appreciate the support and encouragement that everyone has provided, regardless of their sexual orientation.

What do you hope viewers take away from the photo series?
There is one thing I hoped would be recognized through releasing our photos and was strong enough to overrule the importance of privacy that we value: it is difficult to grow up feeling different, without a role model you can identify with. Over the past ten years there has been a revolutionary change in the acceptance and acknowledgement of the gay community in the media, and more recently in our political system. However, that image still often supports stereotypes that a large number of young people don't identify with. We want to break that stereotype. The flashy, ostentatious, flamboyant community is alive and well, but there is also another community, one that is rarely in the news, and seldom makes it onto television. These stories do not make headlines because, to put it simply, they are somewhat boring and normal; we are two people, committed to each other and our life together. If you asked us to talk about ourselves or what defines us, we would say that we like to camp, hike, hunt and we crave the open sky and solitude that places like Montana, Yellowstone and Utah offer. We wouldn't talk about being gay, because that doesn't define us. It's my opinion that the next generation needs a more diverse array of role models, and I eagerly await the day that all states in this country give us rights, and then give us some privacy-and if the need us you will need 4WD and snow tires, and a map that is made of paper.

Brandon adds: As I came about accepting myself, I feel fortunate to have found stories from role models like Chely Wright, and Shane Bitney-Crone who really helped me develop a broader understanding of what being gay was and is, and that being honest and living a genuine life is crucial to maintaining and developing relationships with those that matter most to you, and remaining healthy, successful and happy. I feel thankful to have had their stories to read, watch and learn from and it is my hope that their messages continue to inspire all people. A quote from "Bridegroom" describes it best, "It's not a gay thing, it's not a straight thing, it's a human thing.

Hugh Jackman Hints At Final Appearance As Wolverine

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Hugh Jackman's time as Wolverine may be coming to an end.

The actor, who has portrayed the "X-Men" character since the beginning of the franchise in 2000, hinted on Instagram on Saturday that he may be doing that just one more time.

WOLVERINE ...ONE LAST TIME. HJ

A photo posted by Hugh Jackman (@thehughjackman) on





Cinemablend reported rumors earlier this week that Wolverine will indeed make an appearance in the upcoming "X-Men: Apocalypse." Could this be the appearance Jackman is talking about? Without Jackman as Wolverine, will the franchise crumble to pieces? We'd guess probably not, but one should never underestimate the Power of Jackman.

8 Facts That'll Change How You View 'The Breakfast Club,' According To The Cast

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In the same way that people are more than just a brain, an athlete, a basket case, a princess or a criminal, "The Breakfast Club" is more than just a movie. Released 30 years ago last month, John Hughes' classic film transcends generations and continues to reach new fans today. In fact, because of its popularity, it was recently rereleased in theaters and given a newly restored DVD and BluRay, providing the cast with an opportunity to reminisce about their time on set.

Though the movie has been around almost a third of a century now, there are still a lot of things about it that a lot of fans don't know. In honor of "The Breakfast Club's" 30th anniversary, HuffPost Entertainment talked to cast members Ally Sheedy, aka Allison Reynolds, and John Kapelos, aka janitor Carl Reed, about behind-the-scenes moments and stories that have never quite been told in full detail.

She's the basket case, he's the eyes and ears of the institution, and these are eight facts you might not know:

1. Judd Nelson wasn't almost fired JUST for picking on Molly Ringwald. He also couldn't stay in the shots.





By now you may have heard that Nelson, who played the volatile John Bender, was nearly let go from the film. Though his picking on Ringwald was a large part of that, Sheedy explained to HuffPost Entertainment that there was more to the story.

"Judd kind of does this very free-ranging thing with his body. You can see it in the movie," said Sheedy. "He’s not great at hitting marks, and he wanted to move around and stuff, and I think they were having trouble keeping him in shot."

The story goes that the cast went to Hughes and pleaded with him to keep Nelson on the project. They also talked to Nelson about how he could help himself out. "If I remember correctly, we all talked to him. The four of us. And I think my thing about it was just focus, just focus, just focus," said Sheedy.

2. The topless scene wasn't the only scandalous moment removed. There was also a risque scene involving "MILFs."



Image: Giphy


Sheedy confirmed that a topless scene involving a swimming teacher was cut out of the film, saying: "I think John [Hughes] didn’t want to have it in the movie. I think he thought it didn’t really work for him."

Kapelos later added to the story, telling HuffPost that there was more to the scandalous moment. "I think there was also a scene with a bunch of MILFs or middle-aged cougar women who were doing an aerobics class in the gym and were really letting it go. I think there was a lascivious moment there," he said. "But you know... it's like putting a bow on an elephant. It just doesn’t belong there."

3. Rick Moranis, who was originally cast as the janitor, didn't just play the part as a Russian. He was also doing something suggestive with his keys.

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Moranis, who'd appeared in "Ghostbusters" the year before, was originally cast to play the janitor in "The Breakfast Club," and Sheedy even says she was "a little star struck" by him while filming. Things didn't work out, of course, and Moranis was soon replaced by Kapelos.

According to the script, the janitor is meant to be a former student of the high school, as indicated by his picture in the case at the beginning of the film. But when it came to Moranis' portrayal, Kapelos said the actor and producers didn't have "a meeting of the creative minds at that moment."


Kapelos pictured (middle) at the beginning of the film. (Image: MentalFloss)


"From what I was told," said Kapelos, "he wanted to play the character as a Russian with gold teeth and keys between his legs, playing with it provocatively... and so it’s like, it wasn’t organic, I guess is putting it politely and correctly."

4. No, Ally Sheedy did not really use her dandruff as an art project.

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Image: MakeAGif/MTV


Though it's reported that many scenes in the film were improvised, the scene where Allison Reynolds draws in the library isn't one of them.

Sheedy explains the scene was always in the film, and though she doesn't know who actually drew the picture, she did set the record straight on one detail. The actress explained that dandruff she scratched out of her hair wasn't actually dandruff or even Parmesan cheese as previously thought. "I think it was potato flakes of some kind," Sheedy said.

5. There's a dark answer to Judd Nelson's question, "How does one become a janitor?"


Image: Giphy


A memorable moment happens when John Bender asks Kapelos' character "how one becomes a janitor." Though it's clear Bender is just doing it to irk him, it turns out there was an answer to the question after all.

"Really? You want to know?" laughed Kapelos when HuffPost Entertainment repeated Bender's question. The actor then went into his character's dark history, saying: "You have to have your heart broken by your teenage sweetheart in your third year of university when you’re doing a great football scholarship. Drop out. Lose her heart. Lose her affection. Make sure her father hates you even more and will never include you in his future plans. Even if you try to make up to her. And then you get a job at your old high school as a janitor, and you try to lick your wounds. That’s how you become a janitor. That’s Carl's pathetic backstory."

6. A cut scene shows that Allison wasn't smoking pot with the others because she was actually off somewhere singing.




A variety of scenes from the movie were cut from the final film, and Sheedy recalled one that was a big moment for her character.

"John [Hughes] let me shoot something with Allison alone in the audiovisual tiny room, singing a capella," she told HuffPost. "That was something I just came up with. Singing a little song to herself. And that was, for me, the emotional transition that was when they were smoking pot."

"She sang the song to herself and then she walked out of the room and just joined the group," Sheedy went on. "So that wasn’t in the script, and he actually let me shoot it. He shot it twice, and then afterwards said that everybody sort of thought it was a little bit too weird."

7. Principal Vernon's anger was totally real.


Image: BavaTuesdays


Hughes allowed a lot of improvisation in the movie, and one moment that made it into the film was the conversation between Carl and Paul Gleason's character, Principal Richard Vernon, after the janitor catches Vernon going through confidential files.

"John Hughes just told me before the take, 'Cut him off and ask him for 50 bucks.' So I did," said Kapelos. "And if you see the movie again, take a look at Paul's reaction, because it’s real. He was really [ticked off]. And after John Hughes yelled 'cut,' it got a little funky for a bit. He was like, 'Really?' He got annoyed. We got the take on that one."

8. Kapelos told Emilio Estevez that if he'd been present for Martin Sheen's 1977 heart attack, he would have just let it happen... not knowing that Sheen was Estevez's father.

carl


Though he explained that no one has really told the story correctly, Kapelos says that one day on set he did call out Estevez and Nelson for goofing off while he was shooting a scene. He told HuffPost: "I'm on a movie set, and I'm scared, you know, shitless. I want to do well. They’re trying to make me crack up. They’re goofing off."

To get Estevez and Nelson to stop, Kapelos said, he told them: "You guys would’ve been great if you were on the set of 'Apocalypse Now' with Martin Sheen, and he goes in front of you and starts having his heart attack, and you’re not believing he’s in trouble, and he’s just wincing and moaning in pain and ripping at his chest and you guys would just sit there and let him have his heart attack, right?"

"In other words," Kapelos told HuffPost, "I was saying, 'Hey, I'm up here struggling. I’m in pain, and you guys are just letting me wither on the vine.'"

That's not how Estevez took it, though. "All of a sudden Emilio's face goes white. Like, I'm telling you, expressionless and white. And everybody's looking at me like I just shot the pope." Hughes told Kapelos that Estevez was Sheen's son, and though Kapelos was "flummoxed" and apologetic, it was too late. Estevez never accepted an apology. "The garage door was going down," said Kapelos. "That’s all Emilio wrote."

Bonus trivia: Ally Sheedy doesn't actually eat breakfast.


Image: Giphy


She's a member of "The Breakfast Club," but Sheedy says breakfast isn't actually her thing. "I never, ever eat it. Ever," she told HuffPost. "I really just like to get that caffeine going in the morning and just have that buzz as long as possible."

Happy anniversary, "Breakfast Club." Here's to another 30 years!

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