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This Guy Loves Playing Recorder More Than You've Ever Loved Anything

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Pablo Picasso had his paintbrush.


Monet had his water lily pond.


And this guy? He has a recorder, which he plays with a passion exceeding every elementary-school music teacher's wildest dreams:




 Alex Grosse spotted the man rocking out amid Los Angeles traffic and uploaded a video of the "pied piper" to YouTube on Wednesday. In the video, Grosse looks on with an approving, bemused smile as the unknown man vigorously toots his own horn to John Fogerty's "I Saw It On TV."


Earlier this month, the mystery musician made waves with this performance, crushing ZZ Top's "La Grange," to the clear amusement of pedestrians nearby:




He's also been spotted multiple other times, all of which leads us to wonder: Just who is this mythical creature?

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Dad-To-Be Illustrates Pregnancy News With Captivating Time-Lapse

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This time-lapse video first features the drawing of a couple -- then turns into something more.


Excited announcers: Parents-to-be Nick and Ari-Ann Rollins


Due date: March 2016


Announcement method of choice: The duo spread the word on YouTube with a time-lapse drawing. At first, the picture of the family includes only the couple until father-to-be Nick makes some changes to introduce their future bundle of joy.


Artistic inspiration: Citing art as his hobby and singing as his wife's "artistic talent," Nick told The Huffington Post the couple knew they wanted to do something different for their announcement. "When we discovered that we were going to be having a baby, we really wanted to try to do something unique because it's such an exciting thing to announce," he said in an email to The Huffington Post, adding, "We weren't expecting it to go beyond our circle of friends and family though!"


The pressure is on: Since being posted on YouTube on July 25, the pregnancy announcement has been viewed more than 68,000 times. Nick told HuffPost that the video has set the bar for the next big announcement. "We've already been thinking of some clever ideas for the gender reveal, but it looks like the pregnancy announcement video is going to be hard to beat."


H/T BuzzFeed


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Justin Sayre Of 'The Meeting' Skewers Planned Gay Boycott Of Fire Island

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In his latest clip for HuffPost Gay Voices, writer-performer Justin Sayre tackles the controversy that ensued after two gay hoteliers, Ian Reisner and Mati Weiderpass, hosted Republican presidential hopeful Ted Cruz of Texas at their apartment. 


The media firestorm that ensued prompted a planned boycott of the Fire Island Pines because of Reisner's reported financial stake in the popular gay resort area.


The ever-irreverent Sayre, however, has a few doubts. 


Sayre's "International Order of Sodomites" (I.O.S.) variety show gathers once a month for "The Meeting," honoring an artist or a cultural work that is iconic to the gay community. The next installment of "The Meeting" hits San Francisco's Oasis on Aug. 1 


In other news, "Sparkle & Circulate with Justin Sayre," the official I.O.S. podcast, features an in-depth interview with singer-songwriter and visual artist Justin Vivian Bond.


Meanwhile, you can also view some previous performances from "The Meeting" on Sayre's official YouTube page. For more Sayre, head to Facebook and Twitter.



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America's Next Top Talent Search Reality Show

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How many hours have you spent in Results Show Purgatory? You know, those few seconds before Ryan Seacrest or Cat Deeley or Tom Bergeron tells you who is or is not or might possibly be going home? The end of that cultural era may be just a few short commercial breaks away.


This past season, "American Idol" folded all the way in on itself with a Kelly Clarkson-theme week. The presence of Clarkson, the show's first and perhaps greatest success story, made its comparative lameness seem even more pronounced. "Idol" will come to an end after its 15th season, and much of the the reality competition genre appears similarly dusty. "Dancing with the Stars," "So You Think You Can Dance" and "The Voice" are leaking viewers. "The X-Factor" called it quits last year. Put another way: if these shows were collectively a top-8 finalist on Songs From the Year Barry Manilow Was Born Night, it might be time to prepare the exit package. 


For years, "Idol" dwarfed pretty much everything else on TV. At its peak, the show averaged more than 30 million viewers per episode (its most recent season pulled about a third of that). And unlike most other talent search series, it coupled those big ratings with tangible post-show success in the music industry. In the intervening years, needless to say, a lot has changed. Some of the reasons for the series' decline are expected. After more than a decade, any premise -- especially one specifically engineered to be formulaic -- would likely seem stale. But broader cultural change also doomed "Idol," and now threatens to destroy its entire genre.



Perhaps the most significant shift since the early 2000s has been the democratization of getting noticed. In other words: You don't need to drive 12 hours to audition in an overstuffed arena if you have a YouTube account. "Idol" was once a genuinely great way to gain exposure from the public and media insiders. Now, future pop stars can attract industry attention with sizable personal followings and self-promotion.


The growth of YouTube viewership is also an increasingly massive headache for traditional networks. Teens are watching less TV and more online video. Clicking through a few viral clips is more efficient than slogging through a whole season of filler. Producers and executives need to answer the difficult question: Why should someone be invested in a live TV show when she can just watch the highlights online?


Then there are the problems inherent with the tried-and-true "Idol" formula. The voter-based elimination system is perhaps most to blame for the brand's pervasive "meh"-ness. Six of the last seven "Idol" winners have been white dudes who strum guitars (the infamous "White Guys with Guitars" phenomenon) and, with the exception of Phillip Phillips, have seen relatively little success. Richard Rushfield, author of American Idol: The Untold Story attributes this to the gap between what viewers like and what music executives know will do well. "You have this alliance between young girls and grandmas and they see it, not necessarily as a contest to create a pop star competing on the contemporary radio, but as … who's the nicest guy in a popularity contest," he told ABC News. In other words: Likability equals votes, not record sales.



So are reality talent search competitions still viable? A notable exception to the trend: the ongoing summer-smash success of "America's Got Talent," which consistently places first or second in Tuesday night ratings. An unlimited range of contestants (no restrictions, age or otherwise) results in an entertaining mix of talent and surprise. Winners receive $1 million and a Vegas residency; the show isn't built on an empty promise of mainstream record sales and the superstardom it can't deliver. The likeability vote is a help, not a hindrance. Plus, the show airs in the summer, historically a dead zone for scripted programs. But all long-running series must eventually adapt: Judge Howard Stern has announced that he will leave the show after this season, and some reassembly may follow.


Another case study for the post-"Idol" world is NBC's "The Voice." Contestants need only be 15 years or older, resulting in a wider range of backstories and vocal styles ("Idol" originally had an age requirement of 16-24, though in later seasons this was widened to 15-28). The show's signature big red swivel chairs, intended to minimize everything that's not the voice, actually puts a lot of focus on the judges themselves, who are legitimate superstars rather than industry insiders. Duet sing-offs raise the stakes and change up the traditional performance format (as opposed to the no-stakes awkwardness of an "Idol" group number). But no shiny new franchise can sustain forever. The most recent season's last episode hit an all-time finale low in the key 18-49 demographic.


Other recent reality competition hits are, like "America's Got Talent," more purely fun, un-predicated on the promise of lasting career success. The enormously popular "American Ninja Warrior," a cross between "American Gladiators" and "Wipeout," is designed specifically so that its contestants will fail. But as Slate's Willa Paskin pointed out, "Unlike almost all reality shows, there are no bad guys." It's about pure entertainment, focused on human athletic pursuit -- and ostensibly free of the overproduced theatrics of the "Idol" cohort. The American public may finally have tired of the TV contestant backstory, as was expertly parodied in this "Key & Peele" sketch.




So what's an aging reality brand to do? One promising option is to loosen up the formula.


"Last Comic Standing" retooled after seven lackluster seasons by dropping the fan-voting system altogether; instead, a panel of judges decides which comedians will continue on. Producers also did away with the traditional audition process, instead culling contestants from submissions and inviting only the best to compete. The show's ninth season, currently airing on NBC, is now pulling solid ratings


A less successful experiment: The current season of "SYTYCD" is billed as "Stage vs. Street" -- a bout between traditional, studio-taught styles and "street" forms of dance. But by imposing such artificial rules, "SYTYCD" has essentially pulled a reverse "America's Got Talent" and limited its own reach. Viewership for the 12th season is hitting series lows.


Critics have been declaring the end of reality TV for years, but that's not quite right. On FOX, Gordon Ramsay's "Masterchef" and "Masterchef Junior" are heating up as "Hell's Kitchen" dwindles. It's the circle of televised life. Like a contestant on "America's Next Top Model" (whose 22nd cycle premieres next week), the competition show will be made over and emerge, looking unfamiliar and absurd -- and poised to take the title. I was not rooting for you, reality television. None of us were rooting for you. But maybe, just maybe, there's still time to learn something from this.


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These Abandoned Rural Churches Are Still Powerful Sacred Spaces

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Some people think dilapidated, abandoned buildings should be torn down, but photographer and historian Kelly Micheau Gomez sees these buildings as gateways to another time.


"Where others might see filth, decay, and paranormal conjuring, I see a story of a structure that sits like a dog-eared page in a history book that has been forgotten," Gomez told The Huffington Post in an email.


Abandoned churches are particularly striking for Gomez. The 31-year-old from Gainesville, Florida has photographed over 40 decaying churches in six southeastern states.


For early American settlers, a church represented commitment to the land they'd chosen. It was a symbol of their intentions to lay down roots and build a long-lasting community for themselves and for their children.


Even though it's often been years since they were last used, when Gomez steps inside these buildings she gets the strong feeling that she's walking on sacred ground.


"Although they might appear desolate and forgotten, they were once places where people gathered to support one another in good and bad times," she told HuffPost. "Four walls in between which memories were created, relationships were built, and life was lived."


See more of Gomez's work on the "Far Enough Photo" blog, or follow her on Instagram


 



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Here's Why Walter Palmer Keeps Saying He 'Took' Cecil The Lion

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George Orwell once wrote that political language “is designed to make lies sound truthful and murder respectable.” The same could be said of the language of the hunter: 



I had no idea that the lion I took was a known, local favorite, was collared and part of a study until the end of the hunt ... I deeply regret that my pursuit of an activity I love and practice responsibly and legally resulted in the taking of this lion.




The words come from Walter Palmer, arguably the world's most infamous dentist. He sent them to patients in a two-pronged letter. In it, he apologizes for his murder of Cecil the Lion -- a beloved African male with a black mane and scientific significance -- and for the “disruption” the illegal kill caused Palmer’s now shuttered Minnesota practice, River Bluff Dental.


Critics point out his words ring as more contrite about the latter crisis than the former. What some are calling Palmer’s non-apology for the death of Cecil uses the obtuse and passive wordplay characteristic of the shadiest mea culpas in American history, from Ulysses S. Grant’s to Donald Sterling’s. He paints Cecil’s death as an outlier, insisting throughout his email that the hunt was sold to him as “legal” and “responsible.” Not once does he question the frailty of those terms in an industry reliant on players in impoverished countries (grotesque amounts of poaching are de rigeur in Zimbabwe, as any seasoned hunter knows).


But his most egregious abuse of the English language is his smallest: that little verb, “to take.”


Used commonly among hunters, the euphemism reveals a culture of Orwellian doublespeak prevalent throughout the hunting world, meant to assuage critics and lure the conflicted curious.




One of the few critiques of the dentist's choice of verb came from Jimmy Kimmel, who quipped, "You take aspirin. You killed the animal." 


Kill euphemisms are tailored for the style of hunt. Trophy hunters like Palmer favor “taking,” or “collecting,” a nod to the golden era of safari hunting, when celebrated British nobles dragged entire families of zebra and gazelle back to their gloomy castles as carcasses. Today, we hear the buck hunter's analog more often: “harvesting.” This is reserved for those who kill for food -- deer, turkeys, elk -- usually in their home country. Lively as it is, the debate around the rhetoric of domestic hunting sheds light on the more exotic sin of "taking" a lion. 


“Harvest,” with its undertones of a bygone era of ripe wheat fields and feasting pilgrims, has become the rhetorical weapon of choice for hunting organizations liaising with the American public. On its website, the Arizona Game and Fish Commission slips the word in with two saintlier aims: listing only the “management,” “preservation” and “harvest” of wildlife as its mission. Nowhere in the statement does the word “killing,” or even “hunting," appear.


Nearly identical language attends an amendment passed this May by the Texas state legislature to protect the rights of hunters in the face of what one NRA director called “extreme animal rights groups" (itself a neat turning of the rhetoric of "extremism").


At the website of the Ohio Department of Natural Resources, the Disneyfication of the term reaches new heights, with the option of printing one’s own “My First Harvest” certificate. Field questions include, “What kind of animal did you harvest?” complete with a drop-down menu specifying type, family and species. There’s even an option to upload a picture of the “harvested” animal, as if it weren't shot dead, but adopted. 


The perversity of the trick hasn’t escaped ordinary rifle-toting citizens. On hunting forums, the topic inspires entire threads. Some argue that sugarcoating what they do only isolates hunters from the general public, a consequence no rights-lobbying shooter wants. Then there is the whiff of political correctness surrounding the whole thing, practically a dirty phrase in these forums. 


A debate begun in 2003 on Rimfire Central, a pro-gun website, shows how rapidly the conversation can splinter. Titled “Hunting euphemisms: caving to the PC crowd?” the thread opens with a poster -- "Bill Bryan" -- explaining that he’s recently returned to hunting after a spell, only to notice "magazine writers, brochures from gun makers, websites, etc. using a new kind of lingo.” The change he typifies as a clean swap: “saying ‘harvested’ instead of ‘shot’ and ‘take’ instead of ‘kill.’”


"Is this," he wonders, "Orwellian, or what? Is it still OK to say 'kill' and 'shoot'?"


Even the first few responses vary wildly. One commenter differentiates based on type and purpose, writing that "one KILLS Rats, Mice, and other vermin. However one HARVEST [sic] game animals that he intends to consume for food." Immediately below, a writer dismisses all synonyms for killing as "PC BS." The debate briefly derails when a poster accuses Bryan of actually being a secret "'hug-a-tree' sort of guy or Peta lover ... just trying to start some BS here!!"


Stripped to its core, the debate over the rightness of the word "kill" is really about killing itself: is hunting wrong or right? Here is where semantics confuse an already confusing issue. The statistics on hunting as conservation -- a link that's led to words like "culling" and "harvesting" in place of "killing" -- remain murky. A slice of the data in favor of big-game hunting of the sort Palmer does relies on the self-reporting of hunters, who may well claim to prefer shooting elderly male animals in unscenic venues (the best hunting scenario, from an ecological perspective) to slant research in their favor. 


They would be wise to do so. In the age of the Internet, PR nightmares lead to actual action, from California's ban on hunting with hounds -- a bit of legislative damage control after a photograph leaked of the state's Fish & Game Commission president grinning next to a dead cougar he shot -- to the wave of international airline bans on dead animal cargo, instated after a picture of a reality TV huntress lying next to a bull giraffe she felled went viral. 


Before the age of the shareable image, those who would sway the public understood the power of language. In his 1996 book, In The Company of Animals: A Study of Human-Animal Relationships, ethicist James Serpell tracked various euphemisms for killing and maiming animals. Many revolve around vivisection, or surgery done on live animals, often for research purposes. 


Vivisectors "do not kill their animal subjects," Serpell writes. "They 'dispatch,' 'terminate,' or 'sacrifice' them," just as hunters "are only 'harvesting,' 'bagging,' or 'taking' the animals they shoot to death."  


As in hunting, leaders in the fur and meat industries are fluent in this alternate language. Furriers routinely describe animals as succumbing to euthanasia -- a misuse of a word that literally means a mercy killing, done to alleviate the suffering of the killed (though animals in fur farms may well be living miserable enough lives to justify the usage). Serpell cites an edition of the British Meat Trades Journal published near his time of writing, advising meat purveyors to divorce their product from "the act of slaughter," by swapping out the words "butcher" and "slaughterhouse" with what Serpell calls "American euphemisms": "meat plant," "meat factory."


Even before the specter of government bans, shooters had their lingo. Centuries ago, British fox hunters developed synonyms for killing, some more chilling than the word itself: "bowled over," "rolled over," "brought to book," "punished," "dealt with," "accounted for." In a 2012 essay against the euphemistic creep in American hunting circles, Chris Eberhart, a bowhunter and outdoor writer in Michigan, described the surreality he experienced shooting in Germany:



German hunters never use the word blood. The euphemism for blood is the word sweat. And no animal is ever wounded by a German hunter.  Instead, wounded game is described as sick. A non hunter could listen to two German hunters talk about wounding an animal and tracking and have absolutely no idea what they were talking about.




In contrast with the euphemisms of today -- intended to endear the public to the cause -- European code words came about expressly to exclude. Hunting was the sport of the elite, and elitism thrives on inside knowledge. As Eberhart points out, to regular folk in an old country, hunters speak an incomprehensible language.


American coding traces to a philosophical shift. The great early 20th-century environmentalist Aldo Leopold pioneered the idea of game as a kind of crop. The Rimfire Central debate ends on this note as well. Citing Leopold's 1933 book Game Management, the thread's final commenter writes that "effective communication means knowing your audience." Leopold, the commenter suggests, communicated effectively:


 




We have learned that game, to be successfully conserved, must be positively produced rather than negatively protected. We have learned that game is a crop, which Nature will grow and grow abundantly, provided only that we furnish the seed and a suitable environment.




This language is echoed by trophy hunters, who defend their actions as ultimately beneficial to the ecosystem. (Though Leopold, who changed his views on predator eradication by the end of his life, would surely disagree with them.) A favorite example is of the white rhino, a near-extinct species brought back from the brink, partly due to private South African landowners eager to entice wealthy Westerners to pay to shoot.


The case is provocative -- some estimates place the population's rise from 100 to 11,000 from 1960 to 2007 -- even while limited trophy hunting continued. But crediting hunting for the rise misrepresents the reality of the conservation effort, a multidimensional approach that has involved fertilization intervention by researchers, as well as sweeping limitations on poaching and, yes, hunting -- both activities of which were blamed for wiping the species' numbers down so low in the first place.  


In the case of Walter Palmer, the underbelly of the word shows. What he calls "taking" has come to mean an explicit series of events. We know Palmer and a group of men baited a lion out of safe land with a dead animal strapped to a vehicle. The dentist shot the tricked animal with a bow, piercing Cecil's flesh. The group then stalked the wounded lion for 40 hours until Palmer had a chance to shoot and kill (and claim) his paid-for trophy with a rifle. One, some or all of the men beheaded and skinned the lion, trying before they left the carcass to extract the tagged collar that proved their downfall. This, now, is "taking."


Unfortunately for Palmer, another word describes the operation: "poaching." 



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7 Women Share The Pain And Joy Of Pregnancy In Tender Photo Shoot

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With her "Honest Body Project," photographer Natalie McCain wants to help women of different shapes, sizes and backgrounds feel beautiful and empowered.

 

The latest addition to the project is a maternity photo series  she calls "The Beaty In A Mother." "I wanted to help show how different everyone's bodies look during pregnancy and show that no matter what size you are, pregnancy is beautiful!" McCain told The Huffington Post. "I want to encourage new mothers to love their body and feel comfortable in their skin. "

 

"The Beauty In A Mother" features intimate portraits of expectant mothers, along with quotes from the photographer's conversations with them. One image and quote from the series that McCain posted on Facebook really resonated with commenters and received over 36,000 likes. 



I'm 35 weeks pregnant and just last week I had maternity pictures taken to celebrate this horrible, but beautiful pregnancy. For the first time in about 35 weeks I felt beautiful, and was so excited to share this moment with my friends and family. Later that day we got the sneak peak pictures back and I posted them on Facebook thinking my friends and family would think I was beautiful and would love them, however that wasn’t the case. All I received were negative comments about how huge I am, about how unhealthy I am, and about how they think my baby is going to be a 10 to 12 pound baby by the looks of how much I weigh. I literally went in the bathroom and cried for hours. It’s so hard being plus size, pregnant, sick, and getting negative comments about the way I look. If I’m happy and accepting of my body, why can’t everyone else just be happy for me?!



The women in the photos represent many different experiences, from health scares and fertility struggles to postpartum anxiety and body image issues.

 

"Pregnancy is a time in a woman's life when everyone feels open to speak about your body," McCain said. "They comment on your size, shape, weight gain, insist you have another child hiding in your stomach, etc. It can be really hard for a woman to come to terms with the changes her body is going through and having strangers make these snap judgements can really wear you down."

 

The photographer hopes her photos show moms-to-be around the world that they are not alone in their struggles. She also wants to encourage people to share their stories and support one another and themselves. "The next time you start to talk negatively about your pregnant body, take a deep breath and try to change your inner voice," she said. "Instead of saying the negative thought, try to turn it into a positive. Tell yourself how beautiful you look."

 

Keep scrolling and visit The Honest Body Project website to see the women's photos and read their reflections on motherhood.

 

Captions have been edited and condensed.

 


 

 

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About That Gritty, Dystopian 'Little Women' Reboot: It's Brilliant

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"That Dystopic Version of Little Women No One Asked For Is Coming to TV", announced i09. "Are you ready for a 'gritty,' dystopian TV version of Louisa May Alcott's 'Little Women'?", asked the L.A. Times. "CW to Make 'Little Women' Adaptation That Sounds Absolutely Nothing Like 'Little Women,'" snarked IndieWire. 


The dainty little women of Louisa May Alcott’s charming, PG-rated 1868 classic might be rolling over in their graves at the thought of this reboot, which relocates the March sisters to Philadelphia, transforms them into “half-sisters” and sets them up with the task of uncovering a vast conspiracy.


Alcott, on the other hand -- I think she’ll be resting quite comfortably.


It’s no longer a secret that the author, long known for her sweet, domestic tales for younger readers, didn’t exactly relish writing such cozy stories. She grew to see her stories of the March sisters as “moral pap for the young,” and the books certainly sand off (partially at the insistence of publishers) some of the darker or less societally acceptable aspects of Alcott’s own youth, on which Little Women was based. Jo, for example, was married off against her wishes -- though Alcott rebelled against her publisher by marrying Jo to an old professor rather than jolly Laurie.


The March sisters live in what we might call genteel poverty, with the Civil War as a vague, distant backdrop. Their adored father spends the first part of the story on the front, nobly caring for wounded soldiers. The family is left less than wealthy, but reasonably comfortable.



In the real Alcott household, the picture didn’t appear so rosy. Louisa’s father, Bronson Alcott, a Transcendentalist who rubbed elbows with Ralph Waldo Emerson and Henry David Thoreau, was so relentlessly idealistic that his family often faced significant deprivation. In 1843, he cofounded Fruitlands, a Utopian farm community that quickly proved lacking in the “fruit” department. The land failed to yield much in the way of crops, and Alcott limited their options even more by refusing to allow root vegetables, warm bathwater, leather, meat, coffee, cotton, wool, or, well, basically anything that might lead to human comfort. 


Meanwhile, Louisa May was living a more demanding childhood than Jo of Little Women, whose sacrifices are generally downplayed as minor and part of a fulfilling life. Her family participated in the Underground Railroad. To supplement her household’s income, she and her sisters worked from a young age as seamstresses, while Louisa May also taught and wrote. She briefly worked as a nurse during the Civil War, until she fell very ill, and her Hospital Sketches, based on her time there, helped launch her writing career.


In short, Louisa May Alcott’s life was a bit more gritty than Winona Ryder’s Jo would have us think; in transforming her memories into palatable domestic fables for young readers, she sanitized and sweetened an upbringing that was far from prim.



Plus, remember those shocking potboilers Jo wrote to make quick money in Little Women? Alcott argues, in the book, that these horror tales and pulp thrillers lack artistic and moral fiber. “I do not think that good young girls should see such things,” says Professor Bhaer to Jo, after he reads a sensational story much like the ones she writes. Convinced, “Jo wrote no more sensational stories,” wrote Alcott. “[T]he faults of these poor stories glared at her dreadfully and filled her with dismay.”


Strong condemnation -- especially coming from Alcott, who herself secretly wrote pulpy thrillers much like the ones she laments as immoral in Little Women. Under the nom de plume A.M Barnard, she wrote shocking tales of revenge and suspense aimed at a far more adult audience than Little Women.


Why did she also write such moralistic tales as Little Women and An Old-Fashioned Girl? Perhaps the clue is in the very scene where Jo is tempted to sell racy pulp fiction: “‘People want to be amused, not preached at, you know,’” Jo’s editor tells her. “‘Morals don't sell nowadays.’ Which was not quite a correct statement, by the way.”


Cheekily, Alcott alluded to how well morals have sold for her -- this scene occurs in the second part of Little Women, Good Wives, written after the immense success of the original volume. "She said, 'Money is the means and the ends of my mercenary existence,'" scholar Harriet Reisen told NPR. "She wrote what she called 'moral pap for the young' because it pays well." To maintain this moralistic brand, Reisen added, "She suppressed the fact that she had written pulp fiction that included stories about spies and transvestites and drug takers."


So before we write off this odd reboot of the cherished, oft-adapted children’s book, let’s remember what Louisa May Alcott was really all about. We may fondly remember Little Women as a soft-focus image of a perfect childhood, but it was never as gritty as Alcott probably wanted it to be. Sure, a dystopian thriller set in futuristic Philly is a far cry from Civil War-era Massachusetts, but judging by the author’s well-kept secret career as a pulp fiction writer and her tough-as-nails childhood, it might be as close to the spirit of her work as the original children’s book. 


Besides: It sounds kind of amazing.


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For 'Back On Board,' Greg Louganis Looks Back On His Legacy, LGBT Rights

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An amazing sign of progress on LGBT rights — and an example of how the entrenched homophobia in corporate America of years past has changed dramatically — is Freedom to Marry founder Evan Wolfson being heralded by General Mills, which, after the Supreme Court's ruling on marriage equality in June, featured him on a commemorative box of Wheaties, “the breakfast of champions.” Only a few decades ago, Olympic diving champion Greg Louganis, a man whose records in the ‘80s still have not been broken, didn't make the Wheaties box, nor did he get the kind of widespread, lucrative corporate endorsements that his peers received.


A new HBO documentary all about his life, "Back on Board: Greg Louganis" (debuting Tuesday, Aug. 4), points to the intense fear surrounding homosexuality that likely was responsible for the lack of endorsements for a sports superstar who wasn’t even openly gay at the time but was rumored to be so within the sporting world and the media. 


“It's great, the progress we’ve made!” Louganis exclaimed in an interview with me on SiriusXM Progress when he was shown the Wheaties box featuring Wolfson. Indeed, the film reveals how much Louganis himself contributed to that progress, as a prominent sports figure who came out both as gay and as HIV positive during a time when there was much less acceptance. After he revealed his HIV status in the 1990s, Louganis lost most of the endorsements he had. (An exception was Speedo, which retained him though 2007.)




 


“[Director Cheryl Furjanic] reached out to me and I just agreed to do it,” Louganis said of the documentary, which shows him as he was immersed within the harrowing experience of seeing his Malibu home possibly taken away from him as he sat among his belongings, packed in boxes, trying to negotiate with the bank on the phone. The film flashes back to his amazing career throughout, then comes back to his uncertain present before flashing back again.


“There was so much going on at the time because I was in the midst of potentially losing my home,” he explained. “And what they did with the film, 'Back on Board,' it really goes through the chronology of my sports history and the sports footage really takes you back to that moment in time and, also, to that moment in time of what was happening in the world. People were dying of HIV and AIDS. I was diagnosed with HIV in 1988, six months prior to the Olympic Games. I didn’t think I would see 30 because people were dying. Fortunately, my cousin, who was my doctor, said, 'The healthiest thing for you is to continue training.' And that’s what I did. It was much easier for me to focus on the diving.”


Louganis is a long-term HIV survivor, obviously concerned about his health. He explained how he became an easy target of con artists who preyed upon his vulnerability regarding his being immune-suppressed.


“I learned that my case wasn’t so unique from what was happening in the country,” he said. “It was classic. 2006. The black mold scare. A contractor came in and said, ‘Your house is killing you.’ I was very fearful, so I made a lot of decisions out of fear. So then they took all of the equity out of the house in order to get the work done. And it was going to be to an investment, which was going to pay for everything. And they half-demolished the house [removing supposed mold], because work had to be done immediately. So [I was] in a half-demolished house; they got the money. Took all the equity out of the house and took off with my money.”


But, as "Back on Board" reveals, Louganis is a survivor in more ways than one. He dealt head-on with adversity in both his past and present, and now mentors swimmers on the U.S. Olympic diving team. And he's become a political activist, something he was previously reluctant to call himself. After supporting athletes competing in the 2104 Olympics in Sochi, Russia — plagued by international controversy over that nation’s “gay propaganda” law  — he went directly to the LGBT Open Games in Moscow, facing brutal homophobia along with other athletes.




“We were turned away from our hotels once they learned who the group was,” he said. “We had bomb threats. We had a smoke bomb set off by the military at one of our venues. We were kicked out of venues, and when we were in the midst of the some of the events. There was one time when I was fearful we might be detained….I got a true taste of what it’s like to be LGBTQ in Russia. And I was so grateful to be able to be there.”


And we're grateful that Louganis is still using his stature as a sports hero to fight bigotry. Come on, General Mills. It's not too late for that Wheaties box.


"Back on Board: Greg Louganis'' debuts on HBO on Tuesday, August 4th at 10 p.m.


 


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Valerie Harper Gives Fans Health Update Following Hospitalization

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Valerie Harper is recovering after she was hospitalized for an illness on Wednesday. The veteran actress took to her Facebook page Saturday to clarify that, contrary to reports, she is not in a coma and suggested her hospitalization was caused by medication that "didn't agree" with her:




The 75-year-old, who has battled cancer, was starring in the musical "Nice Work If You Can Get It" at the Ogunquit Playhouse in Maine. The theater said Brenda Vaccaro will take over for Harper for the remainder of the play in a statement released Saturday


“Valerie is feeling great right now and we want her to continue to rest and to enjoy her family. After discussing with them, we decided that we wanted to relieve her of any pressure of having to return to the show, which only runs for two more weeks," the statement read.


Best wishes for a speedy recovery. 


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NASA's Latest Image Of The International Space Station Is Breathtaking

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I spy with my little eye...


Continuing an epic summer of celestial photography, NASA released a stunning image of the International Space Station on Sunday. The shot, captured by agency photographer Bill Ingalls, shows the ISS flying across the face of the moon at a breakneck five miles per second.


There are currently six crew members on board the ISS, which orbits some 300 miles above Earth. The moon, meanwhile, is 238,900 miles away.


Ingalls has served as the senior contract photographer for the U.S. space agency for 27 years. You can see more of his stunning work on his personal website.


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Alleged Hunter S. Thompson Recording Is The Epitome Of Tech Frustration

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The legend of Dr. Hunter S. Thompson is not one of restraint and diplomacy. He infiltrated Hell's Angels in their heyday, burnt bridges all over D.C. covering Nixon's presidential campaigns and embarked on a wild goose chase for the "American Dream." Over his 67 years, Thompson created an image that was part reality, part fiction -- and oftentimes, it was hard to tell between the two. 


It makes a fun thought exercise, then, to imagine how that larger-than-life persona would deal with the banalities of daily living. 


What would the Doctor do when, say, some guys installing a new DVD player at his Woody Creek, Colorado, ranch made a mess of his home entertainment system? Would Thompson shoot off some rounds of bullets in frustration? Would he drive to their shop at night and leave an elk heart outside the door? Would he call and complain? 


Apparently, in 2004, Thompson picked the last option. He allegedly left a message for the wrong place, Design Audio/Video in nearby Glenwood Springs, Colorado, that had nothing to do with the issue. They fixed it anyway, after playing the message over about 15 times, the shop's manager told an industry publication. 




Eventually the clip made its way to YouTube, forwarded to a journalist by another audio professional, where it's racked up over half a million views. 


Being familiar with the Internet, we had some healthy doubts about the tape's authenticity. So we spoke to Cheryl Della Pietra -- who spent some time with Thompson as his personal assistant and recently published a novel based on the experience, Gonzo Girl.


In 1992, when Pietra was living as a waitress and trying to get a job in publishing, a friend at Rolling Stone told her the famous writer was looking for an assistant and asked if she'd like to throw her hat in the ring. (Thompson specifically requested a female assistant.) After faxing her resume and nailing a three-day trial run, Della Pietra hung out on Thompson's ranch for five months. 


She also had her doubts about the recording.


"While he could fly into a rage, it seems odd that he would do it to a machine," Della Pietra told The Huffington Post, adding that the rhythm and cadence of the voice on the tape does match what she remembers of Thompson. But Della Pietra also suggested the message reflects our public perception of the writer as a mad genius than the actual tone he might use to call customer service. "He could have very normal phone conversations." 


Maybe, but Thompson did have a reputation for putting on macho stunts. On "The Tonight Show," Johnny Depp once explained what it was like to witness Thompson make a memorable entrance to a bar. "I literally saw sparks," Depp said, "then I heard, 'Out of my way, you bastards!'" It's that sort of comical bravado we hear hints of in this tape.


Della Pietra acknowledged Thompson's healthy sense of humor, after being asked about rumors that he'd once tossed Bill Murray into a pool -- strapped to a chair -- in order to settle an argument. But his joking was well-intentioned.


"There was no malice to [his pranks]," she said, "they were fun and funny."


Was this another one of Thompson's bizarre jokes, or a sign the storied journalist had gone off the rails? We may never know.


 


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Living Burlesque Legends On Why They Love The Art Of The Tease

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WHY I LOVE BURLESQUE! For Today's Episode of Workin' The Tease we honor the Burlesque Legends, who we interviewed at this year's Burlesque Hall of Fame Weekend. These women, in their 60s, 70s, 80s, & 90s, REMOVE THEIR CLOTHES & SHIMMY IN STYLE. Embracing their bodies, both past and present, to STANDING OVATIONS.Featuring: @Dee Milo, Isis Starr, Penny Starr Sr, Liza Jourdan, & Madame E. Made with the participation of The Burlesque Hall of Fame and Photolena

Posted by Workin' The Tease on Monday, July 6, 2015

Since the 1860s, burlesque has been serving up a delicious combination of eroticism and empowerment, as badass beauties combine ribald comedy and the art of undress to stimulate their audience's body and mind. 


Derived from Italian burlesco or burla, meaning joke or ridicule, the burlesque tradition in America in particular combines pop entertainment with avant-garde activism and serious social undertones.



Burlesque stars of the 1930s, '40s and '50s, whether they knew it or not, helped usher in a new era of feminist liberation. As photographer Marie Baronnet explained in an earlier interview with The Huffington Post: "These women were pioneers, using their art to conquer for themselves and for other minorities their independence. They were natural activists of the feminist cause, consciously for some, not so much for others. But they all were 'free spirits' at heart, and so bold for their time."


Kitty Kat DeMille, co-creator of the burlesque web channel Workin’ The Tease, is no stranger to the bewitching powers of the art form. In a recent video for the page, DeMille invited living legends of the burlesque stage, now in their 60s, 70s, 80s and 90s, to wax poetic on their lifelong passion. Many of these women, it should be noted, still perform, embracing their bodies and sexuality at any age. 


We've compiled some of our favorite moments from iconic burlesque names, including Isis Starr and Madame E, below. Watch the entire video above.







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Artists With Disabilities Explore The Far-Reaching Potential Of Visual Expression

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Have you heard of Creative Growth?


The Oakland institution offers a professional studio space where adult artists with developmental, mental and physical disabilities can create work. It also provides gallery exhibitions, representation, guidance, a community of likeminded artists and a safe space in which to grow. The late Judith Scott, whose meticulously woven bundles lit up the Brooklyn Museum in a retrospective last year, is a Creative Growth artist who experienced from Down syndrome and hearing loss. 


"It's the best facility for local, adult artists living with disabilities," Jonah Olson, an artist and former teacher in Creative Growth's printmaking studio told The Huffington Post. "The amount of work they produce and the quality of it, it's incredible."


Olson, who now lives in Los Angeles, is a member of the band L.A. Takedown, which was invited by pehrspace to curate a month's worth of programming at the DIY venue and gallery. Along with his bandmates, Olson elected to use the opportunity to expose Southern California to lesser known contemporary outsider artists, living and working just a few hours up north.


"I've had an interest in outsider art for a long time," Olson explained. "You make art as a child and the reasons for doing it now, in my case, are no different now than they were then. It's very basic. Intrinsic. I think that's what drew me to art made by people with developmental disabilities."



The show, a survey of the space's more prominent and lesser-known names, loosely revolves around themes of art and music, SoCal and NorCal. "Not a lot of the artwork specifically is about music, but we are grouping the work around the idea of being in the cities of LA and Oakland," Olson said. "And since we're a band, approaching this at a both venue and art gallery, we're looking through the lens of music".


The artists of Creative Growth will be on view throughout the month of August, coupled with musical performances and film screenings curated by L.A. Takedown. All proceeds from the month will benefit the artists and space. "LA doesn't really have a place like Creative Growth," Olson said, discussing his hopes for the show.


"There is kind of a flow going between the Bay and Los Angeles. A lot of artist are fleeing the Bay Area because of rising prices and moving down to Los Angeles -- this big influx of working artists. But at the same time, Oakland has these traditions like Creativity Explored and Creative Growth, that have been around a really long time and have been successful. This is something LA doesn't have and for a lot of us, hasn't seen."


To familiarize yourself with some of the artists on view, check out their work:


Luis Aguilera


Aguilera, born in El Salvador, renders his personal narrative in electric-laced pastels, accompanied by fantastical animals, friends from Creative Growth and pop cultural references. Somewhere between Basquiat and Richard Diebenkorn, Aguilera's flattened colorscapes merge memory with the infinite landscape of the imagination. 




Terri Bowden


Bowden's work often centers around albinism, whether through pale human flesh or a fruit stripped of its juices. The artist, who herself was born with albinism and visual impairments, whimsically riffs on pop culture influences, incorporating her personal battles into muted yet appealing visions. 




John Hiltunen


Hiltunen's collages chop and screw postcard-perfect landscapes with retro fashion ads and canine head shots. The resulting pastiches are William Wegman meets Linder Sterling, jarring mashups of disparate yet ubiquitous imagery, remixed and made strange.




John Martin


Martin's works are inspired by memories of growing up with his family on an Arkansas farm, marked by his personal visual lexicon, which includes trucks, snakes, pocket knives and cell phones. The flat and vibrant images, often rendered on found paper, merge memory and fantasy as they naturally intermix in the mind. 




Donald Mitchell


Mitchell crosshatches obsessively, at times so much that he completely swallows the forms and faces lurking on the page. More recently, though, Mitchell has allowed his finely rendered, black-and-white figures to reveal themselves, often amidst his furiously rendered line fields.




Aurie Ramirez


Ramirez's watercolor world is part Victorian masquerade, part Kiss concert, park glam rock fairy tale. Her psychedelic, pastel renderings channel cultural influences from the Addams family to David Bowie, all mixed up into a very pretty punk rock reverie.




Gerone Spruill


Spruill, a comic book fanatic and aspiring DJ, channels his passions into epic misadventures of a comic book breed, in which characters like DJ Disco Duck and Chuckles roam Chocolate City in search of rap stardom, all while looking painfully cool. Aside from possessing enviable flat tops, '90s jumpsuits and soul patches, the protagonists all share a love of feet -- from high heels to penny loafers -- which often comes into play throughout their happy quests. 



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Women Authors Need Your Support. Here's Why

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Thanks to the change-inspiring VIDA count, we already know men are disproportionately represented in major book reviews, with some outlets covering four times more books by men than by women.


Though the slow crawl of progress has begun, we’ve also learned that men win more literary awards, and that books about men get more attention than books about women. The publishing business, it would seem, is a man’s world.


Unfortunately, another startling statistic concerning gender inequity in the book industry has recently been unearthed. It turns out writers are much, much more influenced by their male forebears than by classic women authors.


Indie publisher Tramp Press conducted an informal study, asking its forthcoming authors to list writers who’ve inspired their work. Of the 148 influential authors listed, only 33 (or 22 percent) were women.


“I read letter after letter from well-meaning, perfectly nice men and women who list reams of writers they admire, without apparently noticing that the writers they are listing are all of one gender," Tramp Press co-founder Sarah Davis-Goff wrote for The Irish Times. In the article she elaborated on the subtle forms of sexism she experiences as a publisher, from liaising with other female editors who call reading novels starring women protagonists “difficult,” to reading the man-centric slush pile at her own imprint. 


The crux of the issue is difficult to pinpoint, as the industry’s sexism has pervaded its far-flung corners. Male-inspired reading lists aren’t just the fault of publishers; they are the fault of reviewers, of those determining academic curriculums.


Which isn’t to say there hasn’t been effective pushback. Inspired by 2014’s social media campaign to spend 365 days reading only women writers, novelist Kamila Shamsie proposed that 2018 be the Year of Publishing Women. An aspirational suggestion, to be sure, but one bold publisher -- And Other Stories -- already made the commitment, hopefully urging others to follow suit. 


If you want to read more books by women, we’ve got ample suggestions.


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How To Become A LEGO Architect

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Admit it: you have a secret LEGO stash somewhere. Before you had even considered becoming an architect, you had already built cities, developed housing and mastered the art of using every last brick, no matter the size.


You may think you've outgrown your favorite toy now, but we have the perfect book to turn your childhood LEGO collection into a legitimate (and seriously fun) adult pastime. The LEGO Architect by Tom Alphin brings the best of playtime to the forefront of design through a visual story of the history of building, infused by models made entirely of LEGO. 


Find out how to build your own neoclassical dome, or Frank Lloyd Wright's trademark Prairie House, or even the iconic Lever House by Skidmore, Owings & Merrill, using the simplest of LEGO components. Enter the world of The LEGO Architect, where little white bricks can do anything with a little ingenuity and some architectural know-how. 



Broken into categories by architectural period, Alphin explains how to build everything from art deco towers to brutalist libraries with LEGO bricks. With the help of a team of LEGO building artists, Alphin collected some of the most impressive (and realistic) tiny buildings, producing a beautiful compendium of miniature architecture expressed using plain white bricks.



As educational as it is fun, The LEGO Architect is full of bite-sized portions of architectural history, beginning with the first use of columns in ancient Egypt, back when they weren't tiny and plastic. The book draws a LEGO-infused timeline from neoclassical through prairie style, art deco, modernism, brutalism, and postmodernism, leading into present day. Alphin dubs the current style "high tech," referring to works by futurists like Daniel Libeskind,Santiago Calatrava, and I.M. Pei.



Finally, the building section: Alphin has incorporated a seriously awesome, in-depth chapter on how to go about constructing the LEGO masterworks included in the book, and many more. The Builders Guide covers all of the necessities, ranging from generating ideas, to building in the correct scale, to a detailed examination of every single type of LEGO building component. Get ready to build your own tiny Burj Khalifa, Chrysler Building, orFallingwater. If this doesn't bring out your inner child, we don't know what will. As a teaser, check out Alphin's step-by-step guide to building SOM's Lever House below. 




The LEGO Architect is available now for pre-order on Amazon.







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18 Comics That Capture The Reality Of Breastfeeding

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Breastfeeding can be emotional, challenging and rewarding. It can also be funny. In honor of World Breastfeeding Week, we've put together a roundup of lactation-themed comics filled with humor, imagination and cultural critique.


From witty interactions to earnest descriptions, here are 18 comics that paint a real picture of breastfeeding. 



This article is part of HuffPost Parents' World Breastfeeding Week coverage. Read more here.


 


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Staged Photographs Reenact Real, Hostile Encounters With NYPD

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"The fear in that moment is that you don't own anything," Easy Al, a resident of the Fordham section of the Bronx, recounted to Vice, describing a traumatic confrontation with the NYPD. "You do not own anything. Because they have the power to take away your freedom. They have the power to take away your possessions. They have the power to take away your life."


Easy Al, whose brush with police reportedly began with him sitting on the street, telling jokes, is one of the subjects and collaborators in photographer Dru Donovan's recent series "Positions Taken." The black-and-white photos depict staged reenactments of real encounters between young black men in the Bronx and the NYPD, encounters that the civilians felt violated their rights.




EASY AL: We was all on the block, sitting in front of the building, telling jokes and stuff. And the police just ran up on us and they just started snatching everybody off the stoop. They put us all against the wall, and they had us on our knees. And my knees were killing me. They were yelling, "Who got the drugs?" We were all quiet while they threatened to beat us down. They had one guy shackled up on a leash, like a dog. 




Police misconduct has moved to the forefront of national conversations, largely due to the injustices associated with deaths of individuals like Sandra Bland (and four other incarcerated black women the same month) and Sam DuBose. Donovan, in particular, was interested in photography's role in the debate.


So often employed as a means for evidence and proof, photography is assumed to be subjective, unbiased and true. Shifting the conventional role of photography in the conversation surrounding police brutality and malpractice, Donovan creates staged photographs of authentic encounters between police and civilians, emphasizing not the violence of the moment but its emotional impact. Through her surprisingly quiet images, Donovan challenges our assumptions about photography while providing six individuals a platform to share their experiences. 


The Huffington Post reached out to Donovan to learn more. 


What initially prompted you to use photography as a way to explore the timely issue of police conduct?


There has been a national conversation about police and civilian relationships, and I've been thinking about photography's role in that discussion. Civilians are using cameras to record stills and videos while police are talking about wearing body-mounted cameras. In this way, cameras are being used as proof, witness, to create evidence. Which I think is really important. But it made me think -- is there another way to access and understand the incident through photography? Specifically, the emotional complexities of the experience.


How did you attempt to navigate such a contentious and difficult subject?


I am interested in working with people on both sides of the encounter, both civilians and police. But I started with civilians who had interactions with police who felt their rights had been violated or their power was taken away. I thought maybe there is a way to understand these experiences by asking people to recount the incident through photography. I am very interested in thinking about photography’s role in relaying these relations.


Is this the first time you have used photography to summon past experiences and traumas?


Much of my work deals with revisiting experiences in order to offer a varied perspective to the actual event as a way to reflect upon meaning made through the medium of photography. An earlier series dealt with my own experience being with a friend through his illness and dying process. After he passed away, I revisited certain gestures and interactions I remember witnessing or participating in. In "Positions Taken," I am working in a similar way, by reconstructing events, but in this project I am revisiting an event that I have not experienced. Telling someone else’s story requires a lot of collaboration and communication.




BRANDON: I met up with my probation officer, and he said I had violated probation. At the time, I wanted to make a call because I had gotten driven up to his office by my mother. She had parked right in front of the probation window, but they had a two-way mirror. You can see the outside from the inside, but you can't see the inside from the outside. I had my phone in my hand. And he told me, "You can't make a call." But I wanted to let her know what was going on. So when I tried to make a call, he called for backup. They came in the probation office and threw me against the wall, trying to get my hands. He had one hand touching my upper back and his other hand trying to reach for my phone. He got it and threw it on the floor and grabbed my other hand. They read you your rights, and after that, it's like you have no control. They'll put the physical force on you, arrest you, and forget about you.




How did you find your subjects?


I met a young art student, Justin Johnson, who has been involved in the Black Lives Matter movement and whose own work investigates race and identity. He said he could introduce me to his friend Ronny, who had a gun pulled on him for a traffic violation. I met with the two of them and we had a really frank conversation and I told them about my idea, my concerns, and they shared their experiences. They said they could introduce me to some of their friends who had also had confrontations with police.


The photographs were made in one afternoon in the Fordham neighborhood in the Bronx. Initially four men volunteered to participate. When we began working, all the subjects exchanged stories and talked about having more friends and family that they felt had experiences of rights violations by police. They were incredibly instrumental in building the community of subjects we worked with, and started texting friends and family to participate. At one point a man named Easy Al walked by, stopped to watch, and asked what we were up to. I explained, and he was eager to tell his story, and ended up participating.


Who plays the role of the police in the photos?


These incidents couldn't be revisited without having someone be the person restraining. So I decided to ask the men participating to show each other and be the person standing in as the police officer, because I thought through this shared experience they would feel most comfortable restraining and holding each other. 




MOHAMED: It was late at night, and I was going out to get milk for my son [pictured, center], who was barely two at the time. A police van followed me from my building, and as soon as I turned the corner, they stopped, and four or five officers got out. When I asked them what the problem was, two of them got their hands on me and put me against the wall. There was one guy giving instructions: "Check the crotch. Spread the legs. Make sure he doesn't have anything stuck up there." I felt like it excited them, like they were having fun with it. No matter how much they offended me, I knew I couldn't defend myself at that point. They grabbed my wallet and saw my student ID, then started scolding me about how it was dangerous to be there. They told me they were trying to protect me from my own neighborhood. I lived right there. How could they protect me from being in my own home? Every time I walk by that corner I remember how I was pushed up against that wall. Standing at that wall to revisit the experience there with my son watching made me think of what he is going to deal with. It makes me want to prepare him better.




What were your goals for the series going in?


I wasn't interested in recreating the incidents precisely how they happened. I wanted to make sure that the subjects felt comfortable with what was happening. My hope is that removal of the actual event allows for a different contemplation of the conversation around civilian and police relations, as well as question both photography and video’s role in witnessing and recounting these experiences.


How do the reenacted images diverge from the original event?


There isn't a lot of aggression in the photographs. What is pictured is quiet and still. I was interested in getting to the emotional part of those moments through the re-visitation, as opposed to the chaos and violence, which shaped the subjects' accounts.


You've emphasized in our previous conversations the collaborative nature of the series. Can you expand on that? 


"Positions Taken" was a collaboration with the men in the photographs. We continued to talk after the shoot and discuss what photographs and text should be included with the piece. I worked with senior editor at Vice, Jacob Gross, and photo editor, Matthew Leifheit, and we decided to interview the subjects about their experiences, what it was like to revisit their experiences and their reflections on the photographs.




Ronny: I had just moved to New York, and I was driving with a friend back to my apartment. I was new to the area, and I accidentally turned the wrong way down a one-way street. Just as we made the turn, three cruisers pulled up with their guns out. I stopped the car with my hands on the wheel, and the cop yelled out, 'Hands up! Hands up!' So I put my hands up. And then somebody else yelled, 'Put your hands back on the wheel!' In my mind I was thinking that I could probably die over the stupidest thing, like putting my hands in the wrong place.




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Can You Spot The Emojis In These Real-Life Photos?

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Emojis are everywhere.


They're a staple in our text messages, Tinder conversations and much more. Chevy recently wrote a press release entirely in emojis to announce a new car. The World Wildlife Fund used them to raise awareness about endangered animals. They're even in the English dictionary. 


But have you ever thought what it would be like if emojis suddenly broke through into the real world? You know, sort of like the Looney Toones gang in the movie "Space Jam"? 



¡Hola!


That's the concept behind Emojis IRL, the latest project by Brooklyn-based art director Brad Warsh. For the past year, he has been integrating emojis into photos that he takes with his iPhone camera, creating hilarious (and, at times, oddly realistic) amalgamations of emojis in real-world situations.

  

Warsh, who previously worked on projects for Facebook, Ikea and Coca-Cola, said he usually has a general visualization of where an emoji could go in a picture. At times, though, he simply stumbles upon an interesting alleyway, doorway or table -- "I usually won't have to go out of my way too much from my commute to and from work or home" -- and inspiration strikes. 

 

His equipment? Three simple, completely free apps: He uses Slingshot -- Facebook's Snapchat clone -- to take the picture and place the emoji over the image. Then, he edits the picture using VSCOcam, a photo-editing app, and finally posts his creation on his Instagram account (@bradwarsh).

  

When asked why people have such a strong reaction to emojis, Warsh replied:

 


I've learned that people love emojis, that they've become such an integrated and seamless part of our lives, we all use them daily without even noticing anymore. They are so instantly recognizable to us. This project aims to show how much they are a part of our world.


 

Check out more of Warsh's emoji creations below.


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Watch Movie Characters Sing Mark Ronson & Bruno Mars' 'Uptown Funk'

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What do "Pulp Fiction," "Napoleon Dynamite," "The Breakfast Club" and 277 other movies have in common with Bruno Mars? One epic sing-along.


YouTube user DonDraperSaysWhat decided to edit 280 movies together to the sound of Mark Ronson and Bruno Mars' "Uptown Funk." The video, which took three months to make, features everyone from Robert Downey Jr. and Arnold Schwarzenegger to Burt Reynolds and C-3PO singing about how uptown funk gon' give it to you. 


Don't believe us? Just watch.


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