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Epic Birth Photo Captures The Exact Moment Mom Got Surprising News

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An Australian birth photographer recently captured a priceless moment in the delivery room.


On May 20, Jessica Jackson of Itty Bitty Photography was on hand to photograph Koto Nakamura as she gave birth to her first child. Nakamura and her husband Sina Niakansafy had been told at previous ultrasounds that they were having a girl, so needless to say, they were a bit surprised in the delivery room when they learned their new baby was a boy.


Jackson captured the mom's look of shock upon hearing the doctor declare she had a son.



"This photo was taken the moment Koto looked at me for clarification that her daughter was actually a son," Jackson told The Huffington Post. "Koto had thought she had misheard or misunderstood the doctor. She thought he was joking!"


"They were shocked initially, but then after a few minutes and they could comprehend and understand what had happened, they were so happy and discussing baby boy names and planning camping adventures with their little man," the photographer added.



The couple had planned to name their daughter Hinata, but in light of the surprise news, they chose a new name: Taiga. Jackson described the energy in the delivery room as "crazy!" 


"Lots of excitement and laughter and happy tears from laughing so much," she said. "Lots of jumping around and disbelief and jokes."


The birth surprise was even more incredible due to a conversation they had in the delivery room before Taiga's birth. "Earlier in the labor, the midwife on duty had told us a story of something similar happening a few years ago," Jackson recalled. "We all laughed it off saying 'Oh, imagine if that happened to Koto' and then it did! The midwife totally jinxed us," she joked.


As for the mom's feelings on the matter, Nakamura told Today, "I was shocked for a few seconds, and then it didn't matter if it was a girl or a boy."



The photographer said she hopes her photo of the mom's reaction "brings a smile to lots of people's faces."


"The expression is priceless. It was an amazing moment to be a part of," she added.


Jackson also believes the photo highlights the benefits of having a birth photographer present to capture special moments. "How cool is it going to be for baby Taiga to grow up not only hearing this story but being able to see the expression on his mum's face?" she said. "So cool!"


Keep scrolling and visit Jackson's website and Instagram to see more photos from Taiga's surprise-filled birth.



H/T Today

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Hilarious Web Series Breaks Down Exactly What We Love About Quirky Female Leads

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Maybe you haven't heard, but there are a whole lot of female-fronted shows on TV right now -- at least in comparison to the good-ol'-boy days. It's kind of amazing and refreshing, but let's be real: Comedies created by, for, and about women ("New Girl," "The Mindy Project," "Girls") can lean just as heavily on narrative cliches and stock characters as any Tim Allen vehicle. 


In case you're not so sure, the parody web series "Quirky Female Protagonist," created by Aliee Chan and executive produced by Adrienne Rose White (also the show's co-stars) will have you convinced in no time. 


The six-episode series, which will be screened this weekend at the Los Angeles Film Festival, takes just one classic scene from a female-led romantic comedy TV series to quickly skewer in each two-minute episode. In the first episode, Quirky Female Protagonist is lounging in a bubble bath with a cupcake while her Straight-Laced Bestie offers some tough love. In another, the girls get together for a brunch debrief about their love lives that gets tense. 


As the highly literal character names and show title hint, there's another big twist in this parody: Instead of satirizing the form through exaggeration and subversion of its tropes, "Quirky Female Protagonist" simply spells them out. The dialogue almost entirely consists of descriptions of types of dialogue rather than specifics, like a live-action, incomplete MadLib.





The first conversation begins as White interrupts Chan's bubble bath with the line, "Off-camera disruptive statement about long-term reclusive behavior." (Yes, that is the line.) Chan rejoins, "... Question?" As the scene escalates, the two wind up in the tub together, playfully splashing each other with suds and squealing, "Female bonding!"


In an interview with The Huffington Post, Chan and White traced this approach largely to their involvement with the New York Neo-Futurists, a theater troupe that aims to break down the dichotomy between theatrical constructs and real life. "[The Neo-Futurists] used the trope as dialogue in their shows … they called it deconstruction," explained Chan. This approach to picking apart how the stories we watch are put together, and identifying the common rhythms, beats, characters and relationships that power them, knocked around in her mind with all the women-led, rom-com-inspired TV shows she was watching.


"When I was writing the show," Chan remembered, "'New Girl' was fresh on the air, 'The Mindy Project' … and there was a lot of talk about women on TV." She told HuffPost she loves those shows, but was also "being critical of what I was watching and why I was watching it." The result: an affectionate yet almost brutally on-target deconstruction of those shows' common cliches.


White, who met Chan through the New York Neo-Futurists, saw something more in her friend's initial script than another iteration of a Neo-Futurist exercise in deconstruction. "To me ['Quirky Female Protagonist'] was inspired by these previous scripts, but it was serialized, and it had always been a one-off thing. I liked seeing the arc, deconstructing the arc of the season. When I saw what she wrote I just got so excited."


Of course, the arc of the season can be a lot faster when it's stripped down to the studs that underpin it. Chan and White say they have no plans to expand "Quirky Female Protagonist" into a more traditional, full-length sitcom, as the "Broad City" web series did. "'QFP' is designed to be quick one-offs because it is a direct parody," said Chan. The duo is working on other projects, though, including a full-length show concept about a high school dealing with the fall-out of a viral scandal. 


If "Quirky Female Protagonist" goes by way too quickly for you (it did for us!), rest easy -- Chan and White have a follow-up series. "Strong Independent Woman," set in Shondaland, is up next. "It’s our love letter to Shonda," said White. 


Yes, in the end, it all comes back to love. "You parody something because you love it. We love female comedies so, so, so much," Chan told HuffPost. "My goal wasn’t for people to be more critical." At the same time, love and critical thinking can go hand in hand. White added, "I would compare it to … when you go shopping and you realize you’re buying the same thing over and over again. You look in your closet and you have 17 black shirts, and you look in your closet and realize you’re ready for something pink." 


You obviously really love black shirts female-led TV rom-coms -- and there's nothing wrong with that.


Check out the first episode of "Quirky Female Protagonist" below:




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Cat With A Hole In Its Side Is The Trippiest Optical Illusion Ever

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Hole-y moly, this is a serious head-scratcher! 


Twitter user @hanamomoact, who lives in the United Arab Emirates, recently shared photos of a cat that looks like it has a cylindrical cutout on its side. And now we're questioning everything we know: Is this a cat or is this Swiss cheese? 






Check it out from another angle. It doesn't get any less trippy. 






Don't fear! The feline is fine -- it's just our depth perception playing tricks on us. The spots on the cat, which match the color of the surrounding sand, are to blame for the deceptive image.


So rest easy, knowing that the kitty's OK and just has some funky fur. 


H/T MyModernMet

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These Hypnotic 'Paintings' Of The Animal Kingdom Are Made From Medicine

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Mercurochrome, charcoal tablets, Friar’s Balsam, iodine tincture, potassium permanganate, Med-Lemon, Gastropect and copper sulphate.


These medicinal remedies double as artistic media in Cape Town-based artist Jo Voysey's unorthodox practice. Voysey began using medicine as material during her time as an undergraduate student. "At the time I was working with ideas of hurt, loss and healing that related to my experience of the sudden and traumatic deaths of my three uncles, who died in quick succession over a very short period of time," the artist explained to The Huffington Post. 



Grappling with themes of life, illness and death, Voysey deemed medications the perfect vehicle for expression. "I wanted a medium that could function symbolically and formally and that could evoke the human bodies that I did not want to depict naturalistically," she said. "Medicine offered the perfect medium and continues to function analogically with loss and healing in my work."


For her current exhibition, titled "Animal," Voysey returns to medicine to depict the relationship between human beings and the animal kingdom. The works resemble the artistic love child of a prehistoric cave painting and a laboratory petri dish, resulting in chemical-infused abstract renderings of vaguely recognizable animals.



Because of the unpredictable nature of her materials, Voysey starts each new work strategizing which medicine will be used and where, trying to envision the final image. However, she's the first to admit she can rarely predict the final outcome of her paintings, given the erratic nature of the pharmaceutical paints.


"The unpredictable nature of the medicine's chemical makeup makes it incredibly difficult to know what is going to happen on the surface," she said.



Most of the medicines Voysey uses to paint are in liquid form to begin with; some, however, come as granules or tablets she must dissolve in boiling water. To create her images, she spreads canvas on the floor and begins what she describes as an incredibly fast and feverish painting process, completed in a single sitting.


"It feels like a frenzied moment of creating where I dash around the canvas pushing and pulling the liquid in different directions until I am happy and then have to wait and see how it turns out," Voysey explained. "That's the fun part. It always looks so different the next day. Sometimes it works and sometimes it doesn't."



Voysey's subject matter currently revolves around animals, namely the way they are mistreated by humans. Inspired by news stories and anecdotes regarding human ignorance and neglect of the wildlife around us, the artist makes emotive and instinctual portraits that simultaneously stem from and beg for a cure.


"My hope is to expose the violence and mistreatment of animals by humans through various visual means," Voysey said. "In doing so I aim to draw attention to the ignorance and disregard for life in general." 


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'Absolutely Fabulous' Star: Patsy Is Transgender

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Fans of "Absolutely Fabulous" could be in for a big surprise when the hotly-anticipated movie adaptation of the British comedy series hits theaters this summer. If Joanna Lumley is to be taken seriously, her iconic character, Patsy Stone, is transgender. 


The AbFab star, 70, made what could be a major revelation while discussing the show's immense popularity among the lesbian, gay, bisexual and transgender (LGBT) community with V Magazine.


"You go back and pick through it, the amount of gay references and ease with which it’s been put into the story, without it being dragged along like a great log of plot," she said. "It's really normal that one of [Edina's] ex-husbands now lives with his young boyfriend. It's completely normal that [Edina] wants Saffy [Edina's long-suffering daughter] to be a lesbian or that Serge [Edina's long long son] is gay and living in New York."


She then added, "It's completely normal that Patsy is transgender." 


Although it's unclear whether or not Lumley is being serious or if Patsy's gender identity will be discussed in the upcoming film, as Gay Star News pointed out, the character has presented numerous gender expressions over a number of episodes in the series. One episode featured a flashback sequence in which Patsy appeared as a member of the Beatles. 


Lumley also noted in the V interview that although the show featured a number of wildly offensive jokes, "[gay people] refused to be offended."


"I admire them for that," she said. 


Just how Patsy's story will play out remains to be seen, but based on what we know so far, "Absolutely Fabulous: The Movie" will offer plenty of queer appeal. The movie, which hits theaters on July 22, will feature out "Glee" star Chris Colfer as a "hairdresser-slash-social media consultant," and cameos by Joan Collins and Kim Kardashian


Cheers, sweetie darlings! 

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Lin-Manuel Miranda Is Probably Leaving 'Hamilton,' And The World Is Reacting Accordingly

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Get ready for an onslaught of crying emojis, because Lin-Manuel Miranda is leaving "Hamilton."


Cue the hordes of middle schoolers (the only theater demographic that's actually seen Miranda's masterpiece IRL) fighting their emotions by ripping up every history textbook, vowing never to tolerate another constitutional lesson lest Miranda deliver it himself. Same, guys, same.


According to The Hollywood Reporter, Miranda told "confidants" that he will leave the show on July 9 to work on other projects. Which, OK, is fair, because he's doing this, and this, and this, and this and probably one trillion other things. But still. What's a #Ham4Ham diehard to do other than lament the departure of one of Broadway's most innovative minds, even if it is only for a hot second?


"He has seeds of an idea for a new musical, he has told friends," THR reports. "It's unclear if Miranda would perform in the show periodically (rather than the eight shows a week he currently does), and producers declined to comment on his status."



Another Miranda-penned musical? Fans should be happy with that, right? Well, THR's sources also note that the rest of the "Hamilton" cast members are reportedly seeking raises, as many of their contracts run out on July 9 too. If they don't get them, they "are prepared to walk."



Meanwhile, other key players' future with the show, which last week grossed a whopping $1.9 million, remain in flux, as they are seeking big pay raises (on top of a profit-sharing deal the original cast secured from producers in April) and are prepared to walk if they don't get them, according to sources.



As a result, ticket prices might be going up.


Breathe, everyone, breathe. If you've secured tickets for a show in the near future, 1) How did you do that? Please, tell me. 2) Know that the production is not obligated to tell you about any cast members departing. So you might not see Miranda on stage, but you're -- you know -- still seeing "Hamilton." 


Miranda has yet to comment on the news on Twitter, but he did post a photo of a dog.






It doesn't seem to be helping, though, because here's just a sampling of the responses to rumors Miranda is leaving:






















Please place your bets on who will replace Miranda in the comments. Our money's on the obvious, and incredibly talented, Javier Muñoz, Miranda's understudy.

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Dramatic Photos Show Impact Of Paris Flooding

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Paris' Seine river has risen a whopping 5 meters -- about 16 feet -- above its normal level due to torrential rain and flooding that have ravaged the French capital and other parts of Europe this week. 


Photos show statues and lampposts almost submerged in water. Rafts were used to evacuate thousands of residents in certain parts of the city.


Authorities installed emergency flood barriers along the river on Thursday, and French Prime Minister Manuel Valls declared a state of emergency in the parts of the country most affected.


The storm is expected to reach its peak around midday Friday.


The Louvre Museum shut its doors earlier than usual on Thursday and plans to stay closed on Friday in order to evacuate works that risk being damaged by the rain, several outlets reported. The Musée d'Orsay will also close Friday.


Here's a look at the City of Light this week:


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Here's Judy Garland As You've Never Seen Her Before

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Artists Michael Wertz and Jody Morlock are among those to put their creative spin on Judy Garland for "Night of a Thousand Judys," the annual LGBT Pride Month benefit concert for New York's Ali Forney Center


The Huffington Post got an exclusive sneak peek at some of the many pieces, which capture Garland in "Meet Me in St. Louis" and other iconic moments in her esteemed career, that are set to be auctioned off at the June 6 event. 


Now in its sixth year, "Night of a Thousand Judys" will feature Garland-inspired performances by Lillias White, Annie Golden, Alice Ripley and Nathan Lee Graham, among other Broadway, cabaret and television stars.  


Proceeds from the event, which is hosted by writer-performer Justin Sayre, will benefit the Ali Forney Center, a New York advocacy group dedicated to homeless lesbian, gay, bisexual and transgender (LGBT) youth. 


“Night of A Thousand Judys” plays New York’s Kaufman Music Center on June 6. Head here for more information. 


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Gorgeous Photos Capture The Unseen Lives Of Female Soldiers In Israel

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Photographer Mayan Toledano was born and raised in Haifa, Israel. As a young girl, she threw herself into dance and art, relishing the freedom such creativity afforded her. She had hopes of making art into adulthood, maybe even traveling the world. But, even as a kid, she knew that when she turned 18, she'd put her plans on hold, and join the army.


Israel is one of only a few countries that conscripts women into the army, placing them in various roles in the Israel Defense Forces for a duration of two years. Israeli women are allowed in combat roles, though many, as Toledano explained in an interview with The Huffington Post, take on non-combat roles across various divisions. 


But, it's not the combat-related issues that sparked Toledano's interest in covering female conscription years after her service. The photographer, who lived in Tel Aviv while she was in the army and moved to New York City six years ago, wanted to capture the young women grappling with identity in a milieu of conformity. "Part of the reason it was important for me to go back to this subject and find a way to vocalize what’s behind the uniforms is because when I served I felt unseen," she said.


Toledano explains the motivations behind her series, and why she feels mainstream media skewers public perception of war, below:



Can you tell me a little bit about your life in Israel before you entered into service and moved to NYC? 


I grew up dancing and was always expressing myself through art. My parents have supported my creative pursuits from a young age, so freedom was almost obvious before I had to join the army for two years.


How did you feel about mandatory service before you joined the army? Were you nervous, afraid, resentful, excited?


I wasn't excited at all. More resentful [of] the time I had to voluntarily give while I wanted to be in school, make art, travel, be free like most 18 year olds. I remember the fear of the uniform as identity loss, suddenly stripped of all cultural "feminine" symbols. Part of the reason it was important for me to go back to this subject and find a way to vocalize what’s behind the uniforms is because when I served I felt unseen.



How would you describe your experience in the army?


I mostly remember the frustration and my personal refusal to adapt. Having two years of my life dedicated to an institute I never wished to support felt invasive. Looking back, it just seems surreal. I was placed in an educational program, part of the Academy of Flight in the Air force. I struggled a lot with the system and was never really able to fit in. The one comfort was the sense of community with all the other girls.



What made you want to capture the experience of women soldiers in photographs?


Photographing female soldiers was a way to mend my personal experience by creating a more hopeful image. It wasn't about taking sides or supporting the army in any way. I think the reality of teenagers going into mandatory service, regardless of their views and opinions, is worth documenting even without the political context.


On a political note, I oppose the occupation of Palestine but, through my service, I haven't dealt with Palestinians at all -- there's a very small percentage of female soldiers that do. The professional jobs for girls in the army vary but the girls I shot all have creative jobs: one journalist working in the culture department at the main Israeli radio station, one is a teacher doing community work with youth, and two are filmmakers.


The individual experience is what I find really intriguing and that's what I chose to focus on. It was a way for me to tell their stories, as who they are and not by what the uniforms are meant to represent.



You mention, in statements made to Ignant, that mainstream media treats soldiers as "faceless" and that there is a prevailing perception of the military as violent or attached to war. How would you describe the women you met and worked alongside in the army?


Similar to my subjects, the girls I served with were all super creative and motivated. The army was this break we had to take, like your life is put on hold for two years, so we kind of helped each other get through.


If there is one thing I remember being positive in my service was the ability to relate to girls of very different backgrounds, from all across the country. There is something really special about the way females in the army find personal space and support each other in a male-dominated structure. 



Though the poses and faces vary in your photos, they seem to share a lot of distinct qualities: a soft or even hazy appearance, colorful accents, a sense of intimacy between you and your subjects. For you, what was the most important behavior or characteristic you were trying to capture with your camera?


I wanted it to be as relaxed as possible, similar to how I treat other subjects. My hope was to capture the girls in a way that will somehow resist the violent idea of the military, looking at their glowing singularity and disrupted youth as a refusal to the system.


My decision was to document it, not to glorify or suggest morals to the military. It was an opportunity to shine a light on their reality, in my own gaze -- personal and intimate, hopeful and glowing. Separate from the way it is viewed in the media, solely through the lens of war. 


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You’re Supposed To Fall Asleep At This 8-Hour Concert

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If you’ve managed to snag a ticket to one of Robert Rich’s Sleep Concerts -- they only happen about once a year and sell out quickly -- come prepared. 


You’ll want a pillow, comfy attire, a sleeping bag and an air mattress. The concert runs for about eight hours, and the point is to sleep through it.


“It’s really about a different kind of listening, in a partially asleep, partially awake state of mind,” Rich told The Huffington Post. “I encourage [concertgoers] to relax because the concert goes all night long.” 



Rich described his music as electronic ambient music, and extremely slow. The Sleep Concerts feature shifting layers of processed environmental sound, he said. Think of the sound of a mockingbird slowed down to half speed and homemade acoustic recordings. 


“The decisions are improvised and it’s different every time,” he said.


The sound from the concerts are so quiet, Rich said, that recording it would be intrusive to the audience. So he recorded "Somnium" in 2001 as a studio interpretation of his Sleep Concerts. 





Rich gave his first Sleep Concert in 1982 while he was a freshman at Stanford University. He was experimenting with long-form concerts and wanted to find a way to create an environment that encouraged people to explore deeper emotions, he said.


After about a dozen Sleep Concert performances in the mid-'80s, he stopped. “It’s just exhausting,” he said. Rich revived the performance in 1996 and now averages about one a year.



He’s performed in Krakow, Tokyo, Copenhagen and, recently, in Durham, North Carolina for Moogfest 2016. The concerts are all indoor and carpeted rooms work better, since they’re more comfortable for audience members to fall asleep on.


Audiences have ranged in size from a few dozen people to about 220. Rich explained you can only fit about a fifth of the people a venue would normally hold when you account for space for sleeping bags and mattresses.


In a phone interview, Rich explained more about what to expect at a concert you’re meant to sleep through and how he prepares for the all-night performance.


How would you describe the Sleep Concert?


It’s a concert that goes eight hours, from midnight until 8 in the morning. And I encourage people to bring pads, a sleeping bag and a pillow, and to just relax and not expect great fireworks to happen.


It’s not really intended to help people sleep better. The idea is to give people permission to explore their own inner consciousness -- to use the music kind of like [how] a cave explorer might unravel a string to find their way back out through the cave. It’s a thread that creates a sense of continuity through the different states of consciousness.


So are listeners supposed to be awake or asleep to do this?


Usually, people are very still and quiet. They’re sleeping or in a light state of sleep. It’s very very quiet. It’s definitely a different kind of environment -- not your typical kind of performance by any means.


The intention is to create a sort of hyper-focused auditory awareness. It’s a very fragile space with a beautiful type of silence. People are sensitive to the smallest sound.



How does being asleep or partially asleep allow listeners to explore other states of consciousness?


It’s more oriented toward stage-1 sleep, when you’re still aware of your environment, but your mind is going into a non-linear state. Sometimes your thoughts will suddenly form images -- hypnogogic and hypnopompic imagery -- or that’s when people sometimes get that strange dropping sensation.


When people are sort of gliding in and out of very light sleep, that’s when the music is most interesting.


What’s your advice to someone planning to attend the concert?


“I actually start [each concert] with a 10-minute discussion about what to look for. I explain that, in our culture, we don’t really have anything that fills the role of a public ritual of trance or internal journey.



I encourage [the audience] to use sound as a sort of thread to trace themselves through lines of shifting consciousness. ... I give them permission to explore their minds.
Robert Rich, Sleep Concert creator


I encourage [the audience] to use sound as a sort of thread to trace themselves through lines of shifting consciousness, which happens to us everyday -- the idea that in sleep, the human mind enters different states of consciousness and offers chances to explore our world-building capabilities. This is an opportunity to explore those states of consciousness and use the environment as a stimulant.


I discuss the environmental differences between what they’re doing in the concert environment versus what they would be doing at home -- how we become more activated when we’re with other people. As soon as we step into a room with another person our heart rate goes up, our breath becomes faster and our sympathetic nervous system increases. We’ll sleep less deeply, purely from a logical point of view, with other people around. We’ll also sleep less deeply because there are environmental distractions -- there are usually one or two people snoring.


Basically I give them permission to explore their minds.



How do you prepare to perform for eight hours?


You probably know if you’re writing about sleep a lot, but the partially breaking out of one’s circadian rhythm is very difficult on the system. [Editor's Note: Absolutely correct. Shifting your sleep away from your usual sleep patterns causes all of the un-pleasantries that come with jet lag and can have severe health consequences over time.]



For the concert I recently did in Durham, I spent about two or three weeks slowly shifting my schedule later and later so that by the time I was ready for the concert I was going to bed around 3 a.m. and waking up around 11 a.m.
Robert Rich


I try to shift myself slowly. For the concert I recently did in Durham, I spent about two or three weeks slowly shifting my schedule later and later so that by the time I was ready for the concert I was going to bed around 3 a.m. and waking up around 11 a.m. -- and, in a time zone three hours different from my own (I’m from California), I was able to use the jet lag to my advantage.


When I’m abroad, for example in Japan, there’s a nine-hour time difference and that’s perfect. When I arrive in the location, I’ll try to maintain my California sleep schedule. I’ll take an eye mask and try to sleep during the daytime and wake up at 6 p.m. [local time]. So that’s one way to take advantage of jet lag.


And musically, it’s very natural. This kind of sound is something I’ve been making for so long, there’s not really usually a lot of musical rehearsal. It’s mainly technical preparation, making sure everything’s working, and then getting myself into this mindset.


Do you take breaks?


It’s very slow-motion. In fact, it’s a lot of creating loops and using processed sounds that I study in advance. So, there is a lot of time where I’m just basically mixing these drones, natural recordings and environmental sounds. And so certainly -- I need to go to the bathroom, or sometimes I’ll grab a cup of coffee in the back (I ask the organizers to provide some good source of caffeine and a few snacks!) or I step away from time to time just to take a little stretch.


Do you have trouble staying awake for the eight hours of the concert?


I have a pretty good ability to focus through my intentions -- and I keep the intention. But it is exhausting.


What is the one thing you hope listeners take away from the experience?


The idea of community, embodiment and understanding our physicality -- and the importance of the place we’re in and the body we’re in.


These days, in our culture, there’s an increasing tendency to virtualize our experience. You see people walking around all the time with a smartphone in front of their face. The virtual experience -- it’s pulling people increasingly into a solitary state, into a state lacking of community, basically becoming socially isolated.


The sleep concert is a method to try to remind people of their physicality, so that when you bring people into a room and do something very unusual, like sleeping with strangers -- one of the natural outcomes is to remind us of community.


Sarah DiGiulio is The Huffington Post’s sleep reporter. You can contact her at sarah.digiulio@huffingtonpost.com.

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These Unforgettable Images Expose The Horror Of The Tulsa Race Riots

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The Tulsa race riots has been inscribed in world history as one of the worst and most violent demonstrations to ever take place. 


On June 1, 1921, chaos erupted in the Greenwood district of downtown Tulsa, Oklahoma, a segregated area at the time which was widely known as the "Black Wall Street." Anger ensued among the city's white residents after rumors began to spread of an encounter a young black man, Dick Rowland, had with a white woman, Sarah Page, just two days prior. Details on the exact moments that led up to the riot vary, however, an archived article in The Chicago Tribune recounts one retelling:  



On May 30, 1921, a 19-year-old black shoeshine man named Dick Rowland entered the Drexel building downtown to use the segregated restroom. While approaching the elevator, which apparently hadn't stopped evenly with the floor, Rowland tripped and fell on the operator, a 17-year-old white girl named Sarah Page. The girl screamed, drawing the attention of onlookers who yelled "rape."



Rowland was subsequently arrested the same day, and an egregious article in the town's newspaper called for his lynching. This then led to an armed standoff at the courthouse between a white mob, that came to kill Rowland, and an outnumbered group of black residents, who arrived to help protect him but were eventually forced to retreat. 


Chaos continued over the next 12 hours or so, according to reports, and flames engulfed many parts of the black-occupied areas of Greenwood. White rioters ransacked the town as they went on a shooting and looting rampage attacking its black residents. The violence later prompted the state's governor to declare martial law and bring in the National Guard. The riot ceased within 24 hours and left the city in ruins. Initial reports say over 800 people were injured and around 35 people died, although a more recent investigation into the case by the Tulsa Race Riot Commission claims close to 300 people were killed. 


Over time, the riot became a historical event largely overlooked among Oklahoma's school history books and lessons. Now, some local residents demand that the reality of and repercussions from the riot be better explored in schools across the state, and beyond. Plus, more crucial details from the riot continue to emerge and help to shed more light on the horrific acts of violence that took place on that day. The Smithsonian obtained a newly-discovered 10-page document on May 27, that tells a striking eye-witness account of the massacre. 


“I could see planes circling in mid-air. They grew in number and hummed, darted and dipped low. I could hear something like hail falling upon the top of my office building," wrote Buck Colbert Franklin, a distinguished black attorney who died in 1960 and is the father of prominent historian John Hope Franklin. "Down East Archer, I saw the old Mid-Way hotel on fire, burning from its top, and then another and another and another building began to burn from their top." 


In effort to revisit and resurface this heinous part of history, we've rounded up photos that help to better portray some of the most dreadful acts of violence cast against black lives during the Tulsa race riot less than a century ago. 


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Prince’s Death Reveals How Hard It Is To Escape Opioid Addiction

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When Prince reached out to Dr. Howard Kornfeld, a California-based chronic pain and addiction specialist, Kornfeld wasn't immediately available to go see him. Instead, the doctor put his son Andrew on a plane to Minnesota to deliver the singer's buprenorphine, a drug used to treat opioid addiction.


That was a big mistake, experts say.


"If it's an emergency, call 911, for God's sake," Dr. Mark Willenbring, a former director of treatment research at the National Institute on Alcohol Abuse and Alcoholism, told The Associated Press. "Don't send your pre-med son on a redeye." 


While it's possible the pop icon contacted an out-of-state addiction expert for privacy reasons, Willenbring noted that his own office is a mere 20-minute drive from Paisley Park, and said he's authorized to prescribe buprenorphine, which is a controlled substance in Minnesota.


Prince died in April at age 57, after Kornfeld's son arrived at the singer's home to find him unresponsive in an elevator and subsequently called 911.


Authorities investigating Prince's death found prescription pain medication on Prince's person and in his home, and called in the Drug Enforcement Administration to assist with the case, CNN reports. The singer suffered from hip and knee pain from years of jumping up and down in high heels while performing, singer Sheila E., a longtime friend, told the AP. 


Six days before Prince's death, the pop star's private plane made an emergency landing in Moline, Illinois, just 48 minutes away from where it was supposed to land. Prince's publicist said at the time that he was “fighting the flu,” but in reality, he was being revived with the overdose reversal drug Narcan, the AP reported. The singer was released from the hospital after just a few hours of medical care.  


Prince’s four-hour autopsy was completed in April, and authorities delayed releasing his cause of death until the toxicology report was complete. On Thursday, the Midwest Medical Examiner’s Office tweeted the investigation results, which revealed that the singer died of a self-administered overdose of the opioid fentanyl.






As Prince's death shows, our nation faces a troubling dilemma: We're simultaneously in the midst of a chronic pain epidemic and an opioid epidemic.


Americans spend $300 billion on pain treatment every year, with lost productivity costing an additional $315 billion, says Consumer Reports. Twenty-five million U.S. adults struggle with daily pain, according to a 2015 report published by the National Center for Complementary and Integrative Health.


How Compassionate Doctors Created A Culture Of Addiction


It all started with good intentions. Following reports from doctors in the 1980s that opioids were safe and addiction was a rare side effect, drug companies rushed to advertise them as a solution for chronic pain in the 1990s.


"There is a growing literature showing that these drugs can be used for a long time, with few side effects and that addiction and abuse are not a problem," Dr. Russell Portenoy, then a pain specialist at the Memorial Sloan Kettering Cancer Center, told The New York Times in 1993.


Portenoy would go on to be named the president of the American Pain Society, which in 1996 classified pain as the "fifth vital sign" alongside body temperature, blood pressure, heart rate and breathing rate.


In the early aughts, everything came to a head. More than 20 percent of 20- to 25-year-old were abusing prescription painkillers in 2003, compared to only 7 percent in 1992, according to the Times. There were also reports of physicians being arrested after prescribing large amounts of pain pills that ended up on the black market.  


Doctors and drug companies came under fire -- OxyContin pleaded guilty to making false safety claims and misleading regulators, agreeing to pay more than $600 million in fines in 2007. But the damage was done. 


What Happens To Your Body When You Overdose On Opioids 


It's important for health care providers and family members to carefully watch people who are prescribed opioids, Dr. Nitin Sekhri, the medial director of pain management at Westchester Medical Center, told The Huffington Post.


Not only can patients become addicted, but they often underestimate the effect of drug interactions that can occur even with run-of-the mill medications like antibiotics, which inhibit the enzyme that breaks down some medications and can actually lead to overdose.  


Even a mild infection can have disastrous impact on opioid users. "It lowers someone’s threshold for respiratory depression," Sekhri explained, noting that having a fever is akin to taking a narcotic in some cases, and can impact breathing. 


One of the telltale signs that someone is overdosing on opioids is that he or she becomes lethargic, sometimes to the point of being sleepy and unable to wake up.


"They start to breathe very, very, very slowly, to the point of maybe stopping breathing," Sekhri said.


"When you stop breathing, you build up carbon dioxide and you lose oxygen content in your body. That can put a huge strain on someone’s heart, and they can go into cardiac arrest from having low oxygen," he said. "Obviously, this can be deadly."


From Prescription Pain Treatment To Heroin Addiction 


The risk of taking opioids isn't limited to overdose. There's a well-trod path from opioid use to opioid misuse to heroin addiction. 


“Our health professionals’ well-intentioned approach to treating people’s pain can sometimes lead to unintended consequences and exposing an individual to the risk of addiction or overdose,” Dr. Hillary Kunins, assistant commissioner at the New York City Department of Health and Mental Hygiene, previously told HuffPost.


The research bears this out. Forty percent of injection drug users abused prescription opioids prior to starting heroin, according to a small study published int the journal Substance Abuse and Rehabilitation in 2011. In addition, misusing prescription opioids is the strongest risk factor for trying heroin, according to the Centers for Disease Control and Prevention.


Because heroin is cheaper and produces a greater high than prescription pills, the switch is easy to make, health experts say. "The high of heroin tends to be more intense than the high of prescription pills, so people try it once and they get hooked," Scott Krakower, a psychiatrist at Zucker Hillside Hospital in Glen Oaks, New York, told Live Science in 2014.


For recovering opioid addicts, getting treatment presents its own obstacles. Buprenorphine, which blocks withdrawal effects and craving -- and which Andrew Kornfeld was en route to deliver to Prince -- is one of the best treatments for opioid addiction. Unfortunately, there is a shortage of doctors in the U.S. who are certified to prescribe buprenorphine to patients. 


According to the most recent federal data, from 2012, a mere 13 states had enough doctors to prescribe buprenorphine to patients who needed it, and nearly half of U.S. counties had no doctors certified to prescribe the medication at all.  





Chronic Pain And Opioid Addiction By The Numbers


Chronic pain isn't just physically and financially debilitating. It can be mentally debilitating, too. 


“Approximately one-third to three-quarters of people with chronic pain experience moderate to severe depression,” Michael Clark, a psychiatrist and director of the pain treatment program at Johns Hopkins Hospital told The Washington Post in 2015.


"We’re in a watershed moment in chronic pain management in the United States," Sekhri said. "The jury is out right now on how to move forward, but undoubtedly opioids are a part of chronic pain management."


2014 was the deadliest year on record for opioid overdoses, up 14 percent from the previous year, according to a CDC report in December. Opioids are also responsible for more deaths than any other drug.


The opioid epidemic is devastating American families and communities. To curb these trends and save lives, we must help prevent addiction and provide support and treatment to those who suffer from opioid use disorders,” CDC Director Dr. Tom Frieden said in a statement.


“This report also shows how important it is that law enforcement intensify efforts to reduce the availability of heroin, illegal fentanyl, and other illegal opioids.”


In March, the CDC issued new guidelines for opioid prescription and urged doctors to avoid prescribing pain pills for patients with chronic pain in favor of non-opioid prescriptions or other therapies.  


Helping Loved Ones Struggling With Addiction


If you think your loved one might be abusing legally prescribed opioids, don't be shy. "If a family member feels that someone is misusing [legally prescribed opioids], you have to call the prescriber," Sekhri said. "That is far and away the first and most important thing."


More and more states have databases for controlled substances, and some even have cross-state registries. "I can actually look and see if someone has been prescribed in New York and New Jersey," he said. "We can find out who is quote-unquote 'doctor shopping.'"


Signs to look out for include pinpoint pupils, problems with the law and lethargic behavior, particularly if someone extroverted becomes introverted and starts sleeping a lot, Sekhri added.


If someone is misusing pain pills without a prescription, he or she needs to see a mental health professional who specializes in addiction issues.


"I tell patients who are addicted to opioids that this is a lifelong battle, just like having hypertension or having cancer," he said.


While that might seem like a pessimistic outlook, Sekhri says patients who have been ostracized because of their addiction are relieved to hear that addiction is a medical condition, not a personal failing or a lack of willpower. 


"It’s something where you’re going to have remission and you are going to have relapses, just like multiple sclerosis, just like other problems," he explained. "At times, it’s going to be poorly controlled. You have to fight through through those times. It’s a very difficult, lifelong struggle." 


Do you or some someone you know need help with substance abuse or mental health issues? In the U.S., call 800-662-HELP (4357) for the SAMHSA National Helpline.

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This Crayon Recycling Program Is Enhancing Arts Programs In Schools

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Sheila Michail Morovati, the founder and president of Crayon Collection, saw an opportunity to enhance arts education in public elementary and preschools by recycling crayons left behind at restaurants. In the video above, watch Morovati explain the inspiration for her organization and how donating crayons to schools is enhancing their arts programs.  


 This video was produced by Stephanie Petchers and Choyce Miller.

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You Can Relax Now, Because Netflix Is Streaming Bob Ross

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"His teachings are eternal. His hair is immovable. He is Bob Ross."


Netflix tweeted the tagline earlier this week to announce that the streaming service is bringing Bob Ross (aka the nicest painter ever) and his lesser known show "Beauty is Everywhere" to its platform.






Bob Ross, who died in 1995, hosted the "The Joy of Painting" on PBS from 1983 to 1994. It was technically an instructional program, but let's be real. Ross's pearls of wisdom and gentle voice were what made the show worth watching.







Starting this month, fans can watch his other series, the 1991 "Beauty Is Everywhere," on Netflix. Don't worry, it's very similar to the more famous "Joy of Painting" (which is available to watch on YouTube and Hulu).







Moral of the story: Bob is truly back and he's going to make everything better.

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Are Fans Getting Too Entitled? Nah.

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In the beginning, there were the creators. The creators made movies, TV shows, and even actual comic books and novels. Audiences paid money and silently watched the movies, read the books. A few professional reviews appeared; some ardent fans wrote letters to the directors and authors. The creators rested in the comfortable knowledge that they’d produced a piece of art. And then they began again.


Back then, audiences voted primarily with their dollars. If a movie or a comic book were enough of a disaster, the message -- something went wrong here -- would get through. Art or no, studios and publishers intend to turn a profit by creating entertainment that audiences will happily pay to consume. But frankly, “we didn’t want to pay to see this” is not that much information, not enough to tailor the next attempt around the audience’s previously unmet desires. So the creators (historically, mostly white men of a certain privileged background) would just get another swing to do something similar, maybe with certain tweaks publishers or studio execs thought would appeal to the masses. Heyo, artistic freedom. 


Then, something happened to this Eden. Let’s say the internet was the serpent in the garden, and social media the apple of knowledge of good and evil. We all took an enormous bite, then another, and another, and the creators woke up the next morning to find we’d left a bunch of angry tweets in their mentions and launched innumerable earnest fan Tumblrs shipping Sherlock and Loki.







The internet has broken fandom. Or such is the claim of two articles, from the A.V. Club and Birth Movies Death, recently published on said Internet. 


Both the A.V. Club piece, by Jesse Hasenger, and Devin Faraci's screed at Birth Movies Death arise from and contain nuggets of truth: Fandom's access to social media means that filmmakers and writers are constantly flooded with feedback on their work, and not all of it is calm and reasonable -- some fans lash out with nasty insults, demands and violent threats when they disagree with certain artistic choices.


"In a lot of ways fandom has always been a powder keg just waiting for the right moment to explode, and that moment is the ubiquity of social media," wrote Faraci. "[C]reators are no longer working in a void. Instead they're working in some kind of a chamber of screams, where people can and do voice their immediate and often personal displeasure directly and horribly." Seriously: It's extremely troubling to hear about video game designers being barraged with death threats over the delayed release of a new game or comic book writers facing the same for conjuring up a controversial plot twist in a beloved series. 


It's also a fringe of fan reactions, and a fringe that was bound to surface, not because fans are sick, entitled assholes but because some people are. Both pieces attribute this misbehavior to an overall epidemic of fan entitlement -- a sense of consumerist-driven ownership over the art that they should rightly only enjoy quietly, but harassment isn't a problem unique to superhero comic creators. Women, especially women of color, and other marginalized people have long spoken out about the emotional toll of sustaining hate speech and threats of rape and murder as the cost of having a writing career, a popular Twitter presence, or any other public visibility. The harassment enabled by the internet is a problem, but it's not clear that it's one that is specific to "fandom."






There's a strain of contempt for fans in these denouncements of modern fandom that runs far deeper than an unquestionably justified repudiation of threats and aggressive demands. Both articles nitpick over far more innocuous and even progressive fan campaigns and critiques, lumping them in with regressive tantrums and death threats under the label "fan entitlement."


In a follow-up article to his original, Faraci clarified that he supports social justice activism that encourages more inclusive entertainment, but still sees entitlement in its execution. "The line is crossed when you go from 'Disney, I would really like to have a queer princess in one of your cartoons' to 'I demand that the writers and directors of "Frozen 2" make Elsa canonically queer," he wrote. "You can -- and should! -- let the higher ups know the kinds of stories you want told. You should not demand that storytellers tell their stories in the ways that you want."


The irony of instructing fans on how they may and may not express their opinions about the entertainment they consume, in the name of protecting artists from ever being told how they should express themselves, is rather amusing.  






Because, well, yes -- fans are entitled to express that they hate the new reboot of their favorite franchise or to sign a petition requesting that their favorite ship be made canon. The expression of those specific opinions and desires is not a privilege. It is a right.


Even Hasenger conceded, "Of course, the things fans are actually entitled to are their own opinions and feelings, even petty or deeply stupid ones," though he doesn't go so far as to say that they're entitled to express them as they choose.






On the whole, the fact that creators can now hear what fans really feel about their work has the potential to make art better, not worse, despite all the hysteria about crowdsourcing fiction and writing by committee. Hasenger tsk tsks fans for not knowing what's good for them, for trying to take over artistic jobs they're simply unable to understand: "Fans don’t need to get what they want, and much of the time, they probably shouldn’t. [...] the more often movies can assert themselves as creative works made by directors and writers and editors and actors and cinematographers, not in service of fans -- the better."


But... why, exactly? Just because fans don't deserve to see what they want happen? Because the things that they ask for, such as Elsa having a lesbian relationship in a possible sequel to "Frozen," are inherently bad for the art? Because the creatives just know better and shouldn't be questioned, just listened to? Yes, eat your carrots, fellow fans; I swear, you'll thank the creator someday. (Maybe one day he'll spontaneously give us cake! But don't count on it.)


It's dismissive and condescending to write fan feedback off as consumerist pressure when criticism has a long-standing role in the artistic ecosystem. Art has never existed in a vacuum. Besides, let's get real: The creators of blockbuster superhero movies aren't unworldly artistes who care not what audiences will pay to watch. Movies are consumer products; that's exactly why a film like the "Ghostbusters" reboot exists. 


Now, fortunately for the fans at large, you don't have to be granted column inches by a predominantly white male media system to poke holes in how a film or TV show is working for you. You dislike that an opportunity for an overt lesbian coming-out narrative was sanitized into something more uncontroversial? That's a valid criticism. The racial stereotypes or whitewashed casting detracted from your enjoyment of the film? It's a critique of the art, not consumerist whining or, as Faraci might put it, "throw[ing] down a social justice bomb," to point that out. (You can also use your platform to argue that the Ghostbusters shouldn't be women, but bigotry does not tend to stand up well against arguments for equality and inclusiveness in the marketplace of ideas.)


The democratization of criticism, in aggregate, has meant pressuring studios to produce more diverse works that don't rely on stereotypes or tokenism, and that's all been to the good as far as quality movies and TV. Turning around and lumping those efforts in with collective tantrums about the incursion of women and people of color into previously white male-dominated entertainment undermines the powerful work being done to help creators make their art more skillfully reflect the realities of the world around them. We can and should pay attention to the content of what fandoms are advocating, not just how passionately they're advocating for it. As Ceilidh at Bibliodaze put it, "I take particular umbrage with the way Faraci draws a line between these concerns over Captain American and the women Ghostbusters because of the implication that bigotry is the same as anti-bigotry. It’s clearly not."






Creators might not want to hear the stream of requests, directives, and critiques -- it's probably exhausting! -- but they don't have a right to demand silence from their audiences. The good news for them is, as Megan Purdy put it on Women Write About Comics, "social media does not give over the means of production to fans." Creators do get to ignore petitions and brush off critiques. No one is actually crowdsourcing the next "Frozen"; the only people who can make that decision are the same people who have always had that power -- the creatives and executives at the studio. Hasenger calls the prospect of the "Frozen 2" lesbian relationship petition succeeding "a little chilling," but given that the fans have no actual power to make this happen, it's unclear why we should fear the possibility of creators being inspired by the feedback of their own fans.


And the amazing news, as far as creators are concerned, is that the explosion of social media might have opened up communication between the artists and their fans, but it's by no means equalized it. Major studios and publishers, and the creators they've chosen to invest in, still have a bigger megaphone than any of their fans on Twitter. They just have less privilege, less complete protection from a dialogue with their audience, than before. Some still find ways to choose not to have that dialogue. That's fine; it's their right.


Not having dialogue, ignoring fan response, and stubbornly sticking to "a vision" isn't necessarily the only true way to create great and pure art, though. Art doesn't have to be conceived of as such an asymmetrical concept, a gift passed from all-knowing creators to receptive and docile audiences. It can be the product of collaboration, symbiosis between different parts of a community, and a healthy dialogue. That doesn't sound like the kind of art we've seen in mainstream America for the past several hundred years, but that doesn't make a more inclusive paradigm for art any less fruitful and thought-provoking. It just means acknowledging the power for creativity and insight in everyone (yes, even the fans), not setting up a divide; being more welcoming than elitist. 


Building walls, if we're being honest, has never made art any more pure and real. It's taking down the walls that lets the light in.

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Broadway Stars Join Forces To Fight North Carolina's Anti-LGBT Law

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Many theater professionals have expressed their disdain for North Carolina's controversial House Bill 2, which prohibits transgender people from using the restroom that corresponds with their gender identity and restricts cities from passing non-discrimination laws.


Days after North Carolina Gov. Pat McCrory signed the bill into law on March 23, "Wicked" composer Stephen Schwartz vowed to deny the production rights to all of his musicals, including "Godspell" and "Pippin," until HB 2 was rescinded. The rights holders of “West Side Story” and the musical adaptation of “Footloose” followed suit shortly afterward. 


Schwartz is slated to join fellow composer Jeanine Tesori, along with a bevy of musical theater talents, at New York's Cutting Room on June 13 as part of a benefit concert aimed at fighting House Bill 2. "Broadway Voices for NC" will feature performances by Tony Award winner Beth Leavel, "Hamilton" singer-actress Ariana Debose, Melvin Tunstall of "Beautiful: The Carole King Musical" and Lindsay Northen from "Wicked." 


Most of the evening's stars originally hail from North Carolina. The night will include a keynote speech by transgender advocate Vivian Taylor, who is also a Tar Heel State native, and will be hosted by model and activist Geena Rocero


"Broadway Voices for NC" was organized by Broadway performers Laurel Harris and Rob Marnell, both of whom are Raleigh natives. The couple met while performing in a production of "Cinderella" at Raleigh Little Theatre and say they remain close to their North Carolina roots. 



Harris, who has been seen in "Wicked" and the 2012 revival of "Evita," told The Huffington Post that she sees the show as an opportunity to "introduce the world to the North Carolina I know." Her home state, she said, is vastly different from what the media has portrayed in the wake of HB 2. 


"It's easy to feel powerless," she said. "I wanted to create a story about North Carolina that we could actually be proud of, and to get Gov. McCrory's attention in the process. By having Stephen jump on board, along with Jeanine Tesori and other incredible Broadway performers -- most of whom are fellow North Carolinians -- we thought we could send a very powerful message all the way from New York." 


Both Harris and Marnell hope the message of "Broadway Voices for NC" will resound beyond the Big Apple, so they've opted to donate proceeds from the show to Equality North Carolina, a local LGBT advocacy organization, as well as other queer-relevant groups whose members have been affected by HB 2. 


Harris said she "applauds" Schwartz and other show business figures who have scrapped performances in North Carolina since the passage of the bill, but also understands that canceled shows only end up hurting many people who don't support anti-LGBT legislation. 


As to what she'd tell McCrory if she had the chance, she said, "Please stop deciding which individuals have rights and which don’t. I want to be a proud North Carolinian again and as long as this bill is in effect, I am ashamed and embarrassed to call myself one." 


"Broadway Voices for NC" plays New York's Cutting Room on June 13. Head here for more information. 

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Unflinching Nude Portraits Explore The True Spectrum Of Gender

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Warning: This post contains realistic paintings of actual, genuine naked people. If you're not ready, look away now. 



"I’m not exactly sure what I would describe my current style as," artist Aleah Chapin disclosed in an interview with The Huffington Post. "Realism in every sense of the word?"


To encounter a Chapin painting is to confront a human body stripped of shame, censorship, or stigma. The massive canvasses, measuring in around seven-feet high, illustrate the flesh we inherit and inhabit throughout out lives. While most nude representations we encounter today are airbrushed and photoshopped in ways both subtle and glaring, Chapin's paintings privilege the body's most imperfect moments, lingering on every scar, wrinkle, hair and mark as if they're stars in the sky. As such, there's an honesty to Chapin's work, and even more so, a radical acceptance of bodies as they are, not how we've come to think they should be. 


"What compels me about the nude figure is it’s simplicity and complexity and that fact that we all have a body," Chapin explained. "Clothes say so much about a person, so when you take that all away, what is left is raw, honest, vulnerable and universal. I have always been drawn to works that seem to represent a real person who has lived a life, versus the idealized nude that feels more like an idea of a person. I want to feel things when I look at art, and when I can sense their life happening before the painting was created, and moving on afterwords, I’m much more compelled and inspired."



Chapin grew up on an island north of Seattle, where she spent her days "playing in the woods and running along the beach." Her childhood habitat yielded a strong solidarity between its residents, forming connections that would later play a role in her artistic practice. "The fact that it is an island means there are edges, so there is a strong sense of community there," she said. "Islands also seems to attract a specific kind of person, and these people have contributed greatly to the work I do."



Another major influence was Chapin's mother, herself a working artist. From a young age, Chapin recalls wanting to be an artist, and making whatever she could get her hands on. Drawing, painting, sculpting -- in the artist's words: "Anything that involved working with my hands was my absolute favorite thing to do."


Though she dabbled in various media and styles as a youth, Chapin recalls feeling strangely drawn to figurative portraits from the start. "I remember my mom teaching me how to draw a face when I was probably 3 years old, and since then, I’ve pretty much been obsessed with painting or drawing people. I did pass through other phases though, especially in college, but more in medium than in subject. I did video art, installation and sculpture. It was so much fun, but in the end, nothing felt as good as painting."




In her current exhibition, "Body / Being," Chapin explores the spectrum of gender, revealing through fiercely detailed portraits just how outdated binary understandings of gender are. The series was inspired by Chapin's cousin Qwill, who recently came out as gender neutral. The artist painted her cousin just after their breast-removal surgery, at a moment when the subject's physical form and identity were both in a moment of flux. Chapin renders the scars lingering from the surgery, as delicate as strands of red thread. Yet the most striking aspect of the image is Qwill's posture and expression, heroic because of, not in spite of, their vulnerability. 


In another painting, "Paula," Chapin renders Paula, born Paul Angelo, standing eyes closed, suspended in a meditative state. The subject hovers between categories of sleeping and waking, present and absent, masculine and feminine, living in their body while occupying a space beyond it. Yet even in a series ostensibly about sex and gender, the viewer is often drawn to random yet hypnotic physical characteristics -- the hair gracing one's nipple, the cluster of veins bulging through one's hand, the inconsequential specifics that often make us who we are. 



Aging is another subject at the core of "Body / Being," a theme Chapin also explored in her previous series "Aunties." One work, titled "Roger," depicts an 84-year-old man who posed for Chapin while struggling with cancer. In an interview with HuffPost blogger John Seed, Chapin recalled feeling strangely close to Roger the evening she finished his painting, only to find out the following morning that he had passed away. "This experience of creating a body through paint while being so aware that this man, Roger, was leaving his body was the most powerful painting experience I have ever had," she said. "I realized then that this show was about much more than gender. It was about what it really means to be in a body."


Through her portraits, Chapin hopes to convey the "sense that through our differences and imperfections we are all the same." Indeed, through capturing every freckle, mole and patch of body hair, the infinite particularities form a perfectly imperfect universal whole. "What compelled me, and still does, is this need that I can’t understand completely, to put unconscious thoughts and feelings into something solid and visible," Chapin said. "Art is a universal language that bypasses the brain and goes right to the center of who we are. This is the language that feels the most natural to me."


Aleah Chapin's "Body / Being" is on view until June 11, 2016 at Flowers Gallery in New York. 


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Why Porn Is The Perfect Weapon To Fight Hatred, Fear, And Trump

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Warning: This piece contains NSFW content and may be inappropriate for work environments.



Rebecca Towne Nurse was one of 20 people executed by the government of Salem, Mass., in 1692. Her crime, allegedly, was the practice of witchcraft. In reality, Nurse was likely targeted by prosecutors because she had inherited land from her family, making her one of the few women landowners of the time. 


Nurse was in her 70s during the time of the trials, and, as a result, was partially deaf. When questioned about her guilt, Nurse couldn't quite make out the questions being asked of her, preventing her from fully professing her innocence. At the time it was believed that witches possessed extra teats all over their bodies, proving ample nipples for all the devilish animal consorts in the vicinity to suck on. Before her death, Nurse was locked in jail while eight pilgrim men checked her body for extra nipples. They didn't find any, but they hanged Nurse nonetheless. 


Rebecca Goyette is a contemporary multimedia artist and Rebecca Nurse's great, great, great, great, great, great, great, great granddaughter. Goyette, haunted by the horrific tale of her ancestor's death, has long dreamed of making an artwork in her honor. Her summer exhibition at Freight and Volume marks the realization of said dream. Of course, as those familiar with Goyette's radical feminist practice might have anticipated, this will be no orthodox tribute. Rather, to honor her martyred ancestor, Goyette made a pornography. Two, actually. 





The first video is titled "Ghost Bitch: Arise from the Gallows" and stars Goyette as the Ghost Bitch herself. The piece takes place in modern day Salem, where Goyette plays an aerialist historical reenactor by day, a take-no-prisoners dominatrix by night. "Ghost Bitch" weaves elements of Salem's fabled past with its contemporary paradoxical existence, as both tourist destination and supposed hotbed of occult activity. 


The Salem witch trials, Goyette explained in an interview with The Huffington Post, were fueled, above all else, by an erratic hatred and fear of feminine power. A panic had spread amongst the Puritan pilgrims, who became suspicious of sexuality, empowerment, and the other, leading little white men in tall black hats to accuse over 200 individuals of witchcraft, when their only crime, much of the time, was standing out. 


Though the trials officially ended in 1693, the odious assumptions that permitted them still persist today, manifested in various forms of sexism, xenophobia and racism. "Donald Trump is the perfect pilgrim," Goyette said, "he’s spewing all kinds of hate. He has the freedom to do whatever but he imposes arbitrary rules onto everyone else."


Goyette believed the best way to send a big "fuck you" to pilgrims past and present, who go to wildly unconscionable lengths to silence otherness in all its forms, was to make an irreverent, nasty, hilarious, empowering feminist porno. 


This is not the first time Goyette has used an artistic lens to explore and challenge the conventions of pornography, and push the concept of fantasy to its illogical extremes. In her 2013 "Lobstapussy," Goyette plays Lobsta Girl, a horny crustacean who packs her bags (with dicks) and heads to Greece to get dirty with a bunch of lobster men. A bizarro, under the sea orgy ensues, playfully proving that women's desires are way more vulgar, strange and sexy than male-geared porn ever guessed.



With "Ghost Bitch: Arise from the Gallows," Goyette incorporates darker themes into her work, which somehow only makes the resulting creation more hilarious in its unhinged tenderness. Weaving together Rebecca Nurse's story, Rebecca Goyette's story, and America's story through the trauma that unites them, the artist shows how the bleakest of circumstances can be fought through an assault of playfulness. "Ghost Bitch" tickles viewers despite their repeated admission that they hate being tickled, prompting the kind of uncontrollable laughter one lets out in a moment of sheer pain or discomfort.


In the work, Goyette plays a woman who male Puritans pretend to hang as a witch during a historical reenactment in contemporary Salem. Bros donning Red Sox T-shirts play the tourists lined up to watch the act. After the aerialist is hanged, however, Ghost Bitch ascends from her dead body in a magical rope act, and proceeds to wreak sadomasochistic sexual havoc on the Puritan men and tourists in her midst. 


The piece was inspired, in part, by Goyette's own upbringing in small town New England, where she grew up surrounded by misogyny, alcoholism, and plenty of intolerance. "The piece made me reckon with something within myself," Goyette said, again alluding to the reality that the past is never dead and buried. 


Melding the personal and political, along with the psychosexual, is a daunting and seriously exhausting task, Goyette explained. "Sometimes I feel like I’m some sort of psycho making these things. But then I’ll show someone the piece and they start cracking up, and I know I'm doing something right. I had so much fear going into this and I just put all of that into my character and I think it made everything even freakier. I enacted all of the trauma of America." 



Most of what goes on in Goyette's actual film is improvised, yet most of the artist's work is done before the camera starts rolling. Making costumes, building sets, finding props -- this is the meat of Goyette's process. She prepares the film's ideas and what the characters are supposed to do, but what they say is often left to chance.


"I set up the structure of the scene," Goyette said. "I’m not interested in acting at all. I don't practice what I'm going to do so there is something real going on between us. The chemistry is always different. [The other actors and I] all have a full on sense of play."


Such a spontaneous process doesn't always run seamlessly, especially when the subject matter is rife with history and pain. In the hanging scene, Goyette was attached to a harness so she didn't actually get hurt. A long rope was tightened around her neck and hanged over a pipe which was kept out of the shot. If the rope slipped off the pole for any reason, however, Goyette would have been in serious danger. 


During the shooting of the hanging scene, the energy in the room got weird, and one of the pilgrims suggested Goyette not wear her harness to make the scene more realistic. "All of the sudden there was this masculine surge of violence and yelling and fighting," Goyette said. "It was female energy that saved the day."



If "Ghost Bitch: Arise from the Gallows" takes on the toxic masculinity of the Puritan pilgrims of yore, "Ghost Bitch USA" offers a more present-day take, starring none other than Donald Trump, as played by Brian Whitely, the artist who erected a Trump tombstone in Central Park. 


"I wanted to do a complete domination of Trump, where everything he’s said about women I could throw back at him," Goyette said. She ties him up, squirts breast milk on him, and cuts off his penis with garden shears. She gives herself an abortion and makes Trump lick the baby. A guest ghost hailing from Mexico pays tribute to Trump's heinous Cinco de Mayo tweet, shoving a taco bowl in his face. 


Goyette views this fantastical revenge sequence as a crusade for free speech, an American right Trump has already threatened throughout the election process. For example, Los Angeles-based artist Illma Gore was attacked after her pastel "Make American Great Again," featuring a naked and not-too-well-endowed Donald Trump, went viral. A man reportedly screamed "Trump 2016!" before jumping out of his car and punching Gore in the face. 


For Goyette, these infringements on our freedom of expression are truly frightening. "You can’t even say anything bad about Trump and he’s not even the president yet," she said. "Seeing that woman's black eye put everything together for me. This is why my whole show is rolling through time, from the beginnings of America to what is happening right now."



Through "Ghost Bitch: Arise from the Gallows" and "Ghost Bitch USA," Goyette addresses the seeds of hatred and fear that have prevented America, in her opinion, from becoming truly great. She does so in a feminine language all her own, where trauma and desire are not mutually exclusive, but wound up in the same, messy psychosexual playground. 


Goyette's solo show at Freight and Volume will feature her two new films along with a series of rather NSFW graphite and gauche drawings inspired by the Salem witch trials. Finally, on July 13, 2016, Goyette will be joined by spiritual adviser and modern-day witch Demetrius Lacroix for an interactive ritual performance titled "Protection Spell for America." The spell aims, as Goyette put it, to "oppose hate and create a forcefield of positivity and likemindedness that can spin out energy from its center and put it out into America." 


See some of the drawings from "Ghost Bitch" below.



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-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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Watch the video above.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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