Quantcast
Channel: Culture & Arts
Viewing all 18505 articles
Browse latest View live

In Honor Of 'Chef,' Here's Our Supercut Of The Best Food Porn In Movies

$
0
0
Jon Favreau's new culinary delight "Chef" is 115 minutes of food porn. The comedy opens in limited release on May 9 and will expand wider in the weeks to come. Starring Favreau as a lauded Los Angeles chef who goes bonkers when a critic gives his latest creations a scathing review, "Chef" premiered to mostly positive reviews at South by Southwest in March. It co-stars Sofia Vergara, Scarlett Johansson, John Leguizamo, Bobby Cannavale, Dustin Hoffman, Robert Downey Jr. and, most important, a parade of delectable grub. Naturally, a movie about a cook who ventures to food meccas like New Orleans and Austin, Texas, offers the latest big-screen victuals to whet our appetites, much like "Chocolat," "Julie & Julia" and "Jiro Dreams of Sushi" did previously. Enjoy your lunch with our supercut featuring some of the most mouth-watering movies about food.



0:03-0:05 "Willy Wonka and the Chocolate Factory"
0:06-0:14 "Chef"
0:15-0:20 "Julie & Julia"
0:21-0:32 "Babette's Feast"
0:33-0:39 "Eat Drink Man Woman"
0:40-0:55 "Big Night"
0:56-1:04 "Eat Pray Love"
1:05-1:12 "Mystic Pizza"
1:13-1:25 "Eat Drink Man Woman"
1:26-1:36 "Willy Wonka and the Chocolate Factory"
1:37-2:00 "Chocolat" / "Willy Wonka and the Chocolate Factory"
2:01-2:05 "Charlie and the Chocolate Factory"
2:06-2:19 "Julie & Julia"
2:20-2:22 "Chef"
2:23-2:27 "Jiro Dreams of Sushi"
2:28-2:31 "Julia & Julia"
2:32-3:06 "Ratatouille" / "Julie & Julia"
3:07-3:16 "Good Burger"
3:17-3:58 "Fried Green Tomatoes"

Jill Peters' 'Third Gender' Photography Series Explores India's Hijras

$
0
0
When photographer Jill Peters first traveled to India in 2007, she was intrigued by what she at first believed to be male cross-dressers making their way through the marketplace.

She would come to realize that these individuals are hijras, a form of third gender present within Indian culture. According to Peters, hijras identify as neither male nor female, and the term envelops a wide spectrum of gender expression. The individuals featured in this photo series titled "Third Gender" fall somewhere in the middle of the spectrum and are eunuchs. In fact, India recently provided legal recognition for a third gender category outside of the male/female binary, according to The Guardian.

hijra

"Dating back as far as the Kama Sutra by some estimations, hijras were both revered and feared as powerful entities who lived between the sexes," Peters notes. "They were believed to bestow good fortune and fertility by dancing at weddings and the births of children. Over the course of history their status and usefulness in society survived centuries of historical evolution. Within the last 150 years, as western prejudices have encroached upon Indian codes of sexual morality, the hijras have fallen precipitously from grace."

hijra

"My intention was simply to portray them as the subjects of beauty and grace they so desperately strive to be, as if their path to nirvana had not been impeded by a century and a half of prejudice and intolerance," Peters continued. "I am pleased to congratulate the third gender community on their recent victory of offical recognition by the government of India. They have a long way to go before they achieve equality in the eyes of the culture, but this is an epic step in the right direction."

Check out a slideshow of other images from "Third Gender" below or head here to see more of Peters' work.

Sia's 'Chandelier' Music Video Is Hauntingly Beautiful

$
0
0
As if Sia's poignant party anthem "Chandelier" weren't beautiful enough by itself, the Australian singer-songwriter went and paired it with a bewitching video. Stunning in its simplicity yet chock-full of talent, the official video, released May 6, features "Dance Moms" star Maddie Ziegler, 11.

A gifted young performer, Ziegler executes Ryan Heffington's mesmerizing choreography, reports Slate, wearing a platinum wig that resembles Sia's own signature 'do.

"I usually think, 'Oh this would work for Rihanna,' or 'this would be a good one for [Britney] or Katy,'" Sia said of "Chandelier" in March. "But this time I was like, 'Uh oh, I think I just wrote a full-blown pop song for myself by accident!'"

This Is What Happens When An All-Female Band Tries To Sing While Orgasming (NSFW)

$
0
0
Talk about good vibrations!

All-female Dutch electronic dance music trio ADAM debuted a new music video on May 7 for their track “Go to Go.” Their minimalistic music is known for its momentous climaxes, and to reflect the gradual build-up intrinsic to their sound, the bandmates decided to film themselves similarly working their way up to the "big O" using vibrators (which aren’t shown on camera).

If you listen closely, you can hear a soft buzzing noise in the background emanating from the vibrators.

The sexy video, which had garnered 725,000 views by Friday afternoon, is reminiscent of the Hysterical Literature series, in which women read excerpts from their favorite novels, while someone out of view pleasures them with a vibrator until they orgasm. Just another good reminder of how much fun reading can be!

Watch ADAM's new video, below. We dare you not to crack a smile.

WARNING: Video is not safe for work.

'Good People' Trailer Features Kate Hudson And James Franco Being Very, Very Bad

$
0
0
James Franco plays what seems to be another terrible person in the new thriller "Good People." Based on Marcus Sakey's novel by the same name, "Good People" stars Franco and Kate Hudson as Tom and Anna, a couple in debt and about to lose their house. When they find their neighbor dead with a duffel bag full of cash hidden in his home, they steal it, thinking their money troubles are gone for good. Little do Tom and Anna know, their problems are just beginning. Tom Wilkinson and Omar Sy also star, and Danish director Henrick Genz makes his English-language film debut. "Good People" hits theaters later this year.

Dawn Voting, Landslide Survivors And A Feast In Kosovo: Week In Photos, May 4 - 11

$
0
0
Nothing quite compares to the power of a photograph to communicate the goings on in the world. Ranging from the serious to the silly, these photos offer peeks into what happened around the globe this week.

1. South Africans queue to vote at a polling station in Bekkersdal, May 7, 2014.
south africa
(AP Photo/Ben Curtis)

2. Soldiers parade during Vietnam's celebration of the 60th anniversary of their victory over French colonial forces, May 7, 2014.
vietnam
(HOANG DINH NAM/AFP/Getty Images)

3. A man lays flowers inside the burnt trade union building in Odessa, Ukraine, May 4, 2014.
odessa
(AP Photo/Sergei Poliakov)

4. Survivors sit by their tents near the site of the landslide that buried Abi-Barik village in Badakhshan province, Afghanistan, May 6, 2014.
afghanistan landslide
(AP Photo/Massoud Hossaini)

5. A woman peers outside as sheep are slaughtered for the Saint George's Day feast in Babaj i Bokes village, western Kosovo, May 6, 2014.
babaj bokes
(AP Photo/Visar Kryeziu)

6. Revelers dance during the annual Gay Pride Parade in Sao Paulo, Brazil, May 4, 2014.
sao paulo
(AP Photo/Andre Penner)

7. A Kenyan policeman stands in front of the wreckage of a bus that was bombed in Nairobi, May 4, 2014.
kenya
(CARL DE SOUZA/AFP/Getty Images)

8. Ukrainian National Guard recruits take part in military drills in Novy-Petrivtsi, May 8, 2014.
ukrainian national guard
(SERGEI SUPINSKY/AFP/Getty Images)

9. A girl reads messages written on paper ships for the victims of the sunken ferry Sewol in Seoul, South Korea, May 5, 2014.
south korea
(AP Photo/Ahn Young-joon)

10. Syrian government forces erect a flag in the old city of Homs following the negotiated withdrawal of rebel fighters from the city center, May 8, 2014.
homs
(YOUSSEF KARWASHAN/AFP/Getty Images)

Justin Peck And Sufjan Stevens Will Convince You That Ballet Can Be Hip

$
0
0
Two young men are pacing between rows of seats at the David H. Koch theatre in New York City's Lincoln Center. The lights are down and an orchestra is playing Sufjan Stevens' latest masterpiece, music commissioned by the New York City Ballet's 26-year-old rising star Justin Peck.

It's just one day before their latest collaboration, a ballet entitled "Everywhere We Go," will make its debut, and Peck and Stevens are hashing out the final details during the orchestra rehearsal while treading on the theater's storied red carpet. As the musicians soldier through Stevens' ambitious composition, you can see how the two collaborators are a natural fit for one another. Stevens' movements are smaller, and he shakes his clenched fists in time with the music, his knees slightly rocking when he pauses. Peck has the presence of a dancer, with each step he takes commanding attention. But when they cross paths, they stop to exchange ideas and laugh. They clearly share creative energy, and their rapport is undeniable.

justin
Justin Peck instructs dancers during the dress rehearsal for "Everywhere We Go" (Photo credit: Raydene Salinas)


"We have a pretty close working relationship, so he has a good understanding of my taste and my movement style and what I like in ballet," Peck told The Huffington Post about Stevens. "When we started this, it really came from the music."

"Everywhere We Go" is the duo's second collaboration. Their first ballet together, "Year of the Rabbit," debuted in 2012 to rave reviews. Peck had met Stevens, 38, through a mutual friend and approached him about using Stevens' 2001 album "Enjoy Your Rabbit" for one of his first ventures into choreography with the New York City Ballet (he was "just" a soloist beforehand). Stevens obliged and proceeded to allow Peck to educate him in ballet, an art form that was foreign to the indie singer at the time. Luckily, they managed to bridge the gap quite quickly.

"Ballet is like proof of the existence of God, whereas my art is proof of the existence of me," Stevens recently told The New York Times. "It made me understand how selfish and boring it can be to make art that is all about yourself."

sufjan
Sufjan Stevens paces during the dress rehearsal for "Everywhere We Go" (Photo credit: Raydene Salinas)


Their latest production is very much a team effort. After the success of "Rabbit," Peck asked Stevens to compose music from scratch for "Everywhere We Go." Stevens would send samples of music to Peck and the two would have long discussions before Peck would begin choreographing in response to the samples Stevens sent -- a process that's in stark contrast from the usual music commission, where composers simply write the entire piece and hand it over to the choreographer. Peck and Stevens ended up working together to whittle down Stevens' hour-long composition to the approximately 40-minute show they're in the midst of perfecting.

Once the orchestra rehearsal is through, the 25 dancers shuffle in for the dress rehearsal. Peck pops backstage to make sure that everyone's in costume and ready ("Girls, I've got to see the tights in the shoes"), while Janie Taylor, a recently retired ballet dancer who designed the costumes for the show (and played an important role dancing in "Rabbit"), inspects the dancers' buns. She's requiring that the ladies style their hair into a pomp as an added way to let the audience know that this isn't your average, stuffy ballet.

dancers and justin
Dancers watch Justin Peck's demonstration during the dress rehearsal for "Everywhere We Go" (Photo credit: Raydene Salinas)


As the lights dim again and the dress rehearsal begins, Peck and Stevens resume their pacing. The ballet itself is just what you'd expect from the two: It contains the playful, yet elegant, spirit of Peck's dancing style as well as Stevens' signature dreamy sense of musical grandeur (thanks, in part, to conductor Michael Atkinson, who orchestrated the music Stevens composed). Dancers fall on the floor with the crescendos; a dancer's hop signals the orchestra to start up after a pause.

Peck, recently hailed as "the next great ballet choreographer," gives the kind of stage directions one wouldn't necessarily expect from a classically trained, auspicious choreographer-slash-soloist at NYCB. When the dancers fall to the floor, he tells them not to bother with how "pretty" their movements are. "I don't care if it looks a little abrasive," he says. When a dancer's leap is too precious, he clarifies, "It's not a jump -- it's a jolt of electricity."

jump
A dancer leaps during the dress rehearsal for "Everywhere We Go" (Photo credit: Raydene Salinas)


fall
Dancers during the dress rehearsal for "Everywhere We Go" (Photo credit: Raydene Salinas)


The momentum Peck and Stevens are gaining themselves is just as palpable. With a full orchestra and such a large cast of dancers, the scale of this production is quite a leap, so to speak, from "Rabbit." Design aficionados will even notice the active, structural backdrop of the show, which was dreamed up by Brooklyn-based architect Karl Jensen. Naturally, all of this creative cross-pollination is drawing new, younger audiences to ballet, a coup that Peck didn't seek out but certainly appreciates.

"[Sufjan] has a relatively sophisticated crowd of young followers, so they're the right type of people to come in and see his works and potentially develop an interest in this art form," Peck said. "It's not unlike getting to know how to taste wine, in a way. There's a lot of variety in what people like. People develop their palate by seeing more and more work. Hopefully, his draw will help bring people into that."

circle
Dancers during the dress rehearsal for "Everywhere We Go" (Photo credit: Raydene Salinas)


two
Dancers during the dress rehearsal for "Everywhere We Go" (Photo credit: Raydene Salinas)


Perhaps the most fortunate byproduct of this ballet/indie music collaboration is the renewed attention on the former, less accessible art form. If any two people are going to make ballet hip and engage the under-thirty set with innovative, compelling -- and fun -- works of performance art, it's Peck and Stevens. And while they're both prolific on their own, it seems they can accomplish much loftier goals together in this respect.

After three hours of rehearsal, the curtains close and the dancers walk off stage. There's just one day until those curtains will open again for the premiere of "Everywhere We Go," but Peck is already confident enough to start dreaming of his next project with Stevens.

"I know Sufjan and I will probably start talking about the next one a few days after this ballet finishes," Peck said. "We want to continue to create new works and ideally here for the New York City Ballet -- it just seems fitting."

Clearly, the two of them still have a lot more territory to cover.

"Everywhere We Go" premiered at the New York City Ballet on May 8, but it's running through the month and again in October at Lincoln Center. More details here.

Guerrilla Chalk Artists Transform Inspirational Quotes Into Random Works Of Art

$
0
0
If you're of the mind that chalk -- those tiny writing instruments made of calcium carbonate -- are a tool only kindergarten teachers and their pupils treasure, we'd like to introduce you to a guerrilla art collective that will change your mind.

Meet Dangerdust, an anonymous group of typography-loving students hailing from Ohio's Columbus College of Art & Design who prove chalkboards are as worthy a canvas as anything else.



We came across the works of Dangerdust earlier this year. This much we know of the design-savvy "vandals": They are two Advertising & Graphic Design students who opted to channel their frustration with school into a bit of extracurricular chalking... on any chalkboard they can get their hands on. "We are dangerous. Every week we take over CCAD's chalkboard. It's the best form of vandalism," they write on their Instagram.

“When you’re working on long extended projects for graphic design classes it’s easy to… lose motivation,” one member explained in a previous interview. “I think we’re tired of the computer, and [chalking] gives us motivation.”

Feast your eyes on Dangerdust's chalkboard masterpieces below and head over to their Instagram for more.




























'And So It Goes' Trailer: Michael Douglas And Diane Keaton Are This Summer's Rom-Com Duo

$
0
0
The comedies Rob Reiner has directed over the past 15 years haven't fared especially well with critics, and we aren't convinced "And So It Goes" will reroute that trajectory. Still, it stars Michael Douglas and Diane Keaton, so we're willing to give it a shot. Douglas plays an arrogant real-estate agent who's shocked to learn his estranged son has a granddaughter he never knew about. He's left to take care of said granddaughter with the help of his generous neighbor (Keaton), who, despite much hesitation, emerges as an obvious love interest.

Mark Andrus ("As Good As It Gets," "Divine Secrets of the Ya-Ya Sisterhood") wrote the script. Frances Sternhagen and Frankie Valli (as in Frankie Valli and The Four Seasons) have supporting roles. "And So It Goes" (no connection to the Kurt Vonnegut adage, as far as we can tell) opens July 22. Watch the first trailer below.

'The Mindy Project' Is Far Smarter Than You Give It Credit For

$
0
0
Last Tuesday night at 10 p.m., I was having a lot of feelings. I had just finished watching the final episode of Season 2 of "The Mindy Project," and I couldn't get over how brilliant it was. I laughed, I cried, and I eventually had to write about it. As my friend Liat and I fired texts back and forth full of exclamation points and declarations of Mindy's brilliance, I started thinking about the general reputation of "The Mindy Project."

It's often dismissed as a goofy comedy with too many rom-com references and underdeveloped backup characters. But two seasons in, I can confidently say that "Mindy" is one of the smartest comedies on TV. So why, after proving itself time and time again, does it get such a bad rap?

It's not on NBC. Historically, NBC has been the home of the smart comedy. "Seinfeld" was an NBC show, after all, and more recently the network has boasted comedies like "The Office," "30 Rock" and "Parks And Rec." Even the notoriously low-rated "Community" (R.I.P.!) was considered brilliant.

Although "The Mindy Project" got off to a rocky start -- I'm the first to admit that I was considering giving up halfway through Season 1 -- it really hit its stride in Season 2, as have many of the best comedies.

At this point, not a single episode of "The Mindy Project" lets me down. Every character has become lovable -- who can resist Morgan and Tamra's unexpected-but-it-totally-works romance? -- and the pacing, dialogue and jokes are on point. But other than to those paying very close attention, "Mindy" is just another Fox comedy that may as well be "Dads" (good riddance!).

There's not enough star power behind it. No Amy Poehler, no problem? Not exactly. These days, "Saturday Night Live" players and alums are often the force behind TV's "smart" comedies. It certainly isn't a coincidence that "SNL" favorites Poehler ("Parks And Rec") and Tina Fey's ("30 Rock") shows took off the way they did.

Although "Mindy" has seen a slew of impressive guest appearances from funny guys Bill Hader, Seth Meyers, Seth Rogen, James Franco and more, they never stick around long enough to make any real impact. And sadly, Kaling herself has yet to be considered one of the great comedians of her time. Even though anyone keeping an eye on her Twitter feed or watching "Office" reruns -- she wrote some of those episodes, by the way! -- can tell you that she absolutely is.

Even more overlooked is the genius of Chris Messina, who has been in basically every movie ever and still flies under the radar despite his amazing dance skills and shining performance as the grumpy-but-lovable Doctor Castellano on "Mindy."

It's lumped in with "New Girl." As much as it pains me to admit it, I'm no longer a "New Girl" fan. I was on board the first two seasons, but at this point there's no denying that it's lost its magic. Because "New Girl" and "Mindy" air back-to-back and both Zooey Deschanel ("New Girl's" leading lady) and Kaling had some hand in creating their shows, they're often thought to be comedies of the same caliber.

Perhaps once upon a time they were, but at this point the genius of "Mindy" has surpassed "New Girl" in a big way.

It has that whole rom-com feel to it. The whole premise of "The Mindy Project" is that its main character, Mindy Lahiri, is obsessed with romantic comedies and is searching for love in an unrealistic way. Because rom-coms are pushed aside as guilty pleasures with no real smarts behind them, "Mindy" inevitably fell into the same category on day one.

What people don't realize, however, is that Kaling is often slyly poking fun at some of the best rom-coms of all time. In fact, the Season 2 finale combined bits from "When Harry Met Sally," "You've Got Mail" and "Sleepless In Seattle" in the span of half-an-hour. If that isn't impressive, I don't know what is.

For those of you who have yet to embark on your "Mindy" journey, please do so before Season 3 premieres in September. And for those of you have, I'm sorry. But there's always Kaling's Twitter feed.

tv show gifs

10 Wildly Detailed Drawings Of Fictional Cityscapes That Will Make Your Head Spin

$
0
0
What if a single drawing could somehow contain within it all the movement, energy and endless twists and turns in the entire world. Well, that's the rather ambitious goal of artist Benjamin Sack, who, with the help of his 0.05 Staedtler pigment liner pen, crafts dizzying fictional cityscapes that throb and pulse with the energy of an actual universe, or even a living organism.

drawing



Sack's inkscapes can take anywhere from a single day to 9 months to complete, with canvases stretching up to over 12-feet long. His meticulous depictions, combining architectural elements from eras stretching from antiquity to a sci-fi future, resemble a cartographic mashup of New York City and "Game of Thrones."

For Sack, architecture isn't just his subject matter, it's his medium. "Architecture is my paint," he explains in his statement, "and like paint it must be flexible. My intention with the use of architectural forms is to draw along the line of realism and abstraction. When given bits of information we are able to string them into a pattern and thus something recognizable and meaningful. What happens when the information you are given is as dense as a city? What happens to you?"

single


With incredible endurance and attention to detail, Sack renders urban jungles that shrink and grow before your eyes. Stare at one for long enough and it will become an optical illusion of sorts, as certain details move in and out of focus. Think M.C. Escher with a cartography degree. "Simply, my style is a bunch of lines and dots made out of wet, black ink," Sack told The Huffington Post. "Since two years of age I’ve been drawing, polishing my draughtsmanship. This time has yielded a patience that allows me to compose my dots and dashes into complex and imaginative forms that best suits my vision." He also added "I guess you could say... my style is sober patience."

When it comes to artistic inspiration, Sack's influences vary in style and period as fiercely as his artworks do. He references artists including Michelangelo, Da Vinci, Canaletto, Picasso, Kandinsky, Chagall, Matthew Ritchie and Julie Mehretu as influences. Yet beyond the fine arts, classical music plays a crucial role in Sack's process. "Perhaps my greatest inspiration comes from classical music, particularly the works of Gustav Mahler," he explained.

"It's a bit cliché to say but the music gave me completely new eyes. Mahler also has a quote that I’m particularly found of: 'A symphony should be like the world, it must contain everything.' If you’re familiar with his music, the quote will resonate. For me, I replace the word 'symphony' with 'drawing' and what you have there is pretty much my manifesto."

With the detail of a hyperrealist and the originality of a surrealist, Sack shows how painstaking technique and free-flowing imagination can coexist, with hypnotic results. See Sack's visual symphonies below and watch as solid cities give way to the ebb and flow of the viewer's interpretation. Let us know your thoughts on these otherworldly maps in the comments.



h/t Laughing Squid

These Photos Of 1960s Protests Will Stop You In Your Tracks

$
0
0
By David Rosenberg

Siiri Fernandez paints a picture of her husband, the photographer Benedict J. Fernandez, as a man who communicates predominately through his images. “On our very first date he showed up with a slide projector and a tray of slides of the Brooklyn Bridge at nighttime he wanted me to see. I was properly impressed because they were amazing,” she said in a joint interview with her husband.

boy


Siiri and Ben were married in 1957. In the beginning, photography was a hobby for Fernandez, but it soon became his profession after he was laid off from his job at the Brooklyn Navy Yard with a wife and two kids to support. Fernandez credits New York Times photo editor Ursula Mahoney for giving him some assignments and supporting the way in which he looked at the world. From there he received more assignments and began finding his own stories as well, eventually focusing on the protest movement. When he began to teach, he was equally as invested; Siiri recalled many weekends when Fernandez was away with students on trips, helping them discover their own visions.

“He started photographing protest movements before they were protests,” Siiri explained about her husband’s curiosity and tenacity. “He would hear about something and start taking pictures, no matter what side of the movement. … He is a historic chronicler through pictures.”

Fernandez created his most recognized body of work during the civil rights movements of the 1960s. Along the way, Fernandez also became friends with Martin Luther King Jr.; he documented some of King’s private moments with his family. Currently, a selection of Fernandez’s work from the 1960s is on view at the Bronx Documentary Center in an exhibit titled “The ’60s: Decade of Change.”

Fernandez’s love of photography and teaching led him to become the founder of the Photo Film Workshop at the Public Theater, which started with the goal to educate inner-city children about photography. He also established the photography program at Parsons The New School and built a curriculum that viewed the teaching of photography in a more holistic approach, rather than simply one that was technical.

“If you have a purpose in which to make a statement with photography … go out and start doing what your point of view is. The more you see your personal point of view, the better it is,” he said. “We don’t need repetition, we need your point of view. That’s what I try to teach.”

“The ’60s: Decade of Change” is on view at the Bronx Documentary Center in New York City until July 20.


See more images on Slate.

An Ode To Amy Poehler's 'Cool Mom' On Mother's Day

$
0
0
"Mean Girls" appreciation month may have come and gone with the film's 10-year anniversary, but there's one character who was sorely overlooked in the Internet's rehashing: Amy Poehler's Cool Mom.

"I'm not like a regular mom, I'm a cool mom" may be the best line of the whole film (bold claim, we know), but every time we turn on "Mean Girls" and see Amy Poehler playing Regina George's mom, our hearts grow 10 times larger. She rocks that pink Juicy tracksuit and pours the girls some "hump day" treats while her dog chews on her fake boobs. It's comedy genius.

Mrs. George isn't a good mom. Good moms are overrated on television and in movies (just ask Lucille Bluth). But as a cool mom, she can live vicariously through Cady, Regina and the girls' "Jingle Bell Rock" routine. She can urge them to drink (responsibly and at home). She's the mom who wants to be your best friend and, in the process, is just so, so terrible. Think Danielle on "Real Housewives of New Jersey."

So, this Mother's Day, let's all take a moment thank Tina Fey for bringing us the Cool Mom, and then thank our own moms for just being regular moms.

Harvey Fierstein Discusses 'Casa Valentina,' Russia's Anti-Gay Laws And Johnny Weir

$
0
0
“The biggest thing I learned is that there’s no such thing as normal,” proclaimed Harvey Fierstein, talking about his new hit play “Casa Valentina,” based on the true story of a group of heterosexual-identified, married, mostly white collar men in the early ‘60s who gathered on weekends at a resort in the Catskill Mountains in New York, where they would dress as women among themselves. “You call yourself 'heterosexual' but that doesn’t mean you’re normal. These gentleman, they called themselves fempersonators, and sometimes transvestites.”

One of the characters in the play, Charlotte, is based on Virginia Prince, who campaigned for rights on behalf of cross-dressers and who, in 1960, began a magazine, Transvestia, devoted to the cause and culture.

“Her belief was that no decent society would ever accept homosexuals,” Fierstein explained. “[What she said was,] ‘What "we" do, of cross-dressing and expressing our feminine side, is not a threat to anyone.’ [She believed homosexuality was] absolutely immoral. And so, she said, ‘We will ban homosexuals [from Casa Valentina], otherwise we are [considered] homosexuals.’ What she said is, ‘Our marriages fall apart because our wives think we’re up here having sex with one another.’ She and the character Valentina [who runs the resort, with the help of his accepting wife, Rita] were both very, very insistent that you had to be a man and you had to be a woman — that you couldn’t live full time as women because you then lost the duel personality that made them so special. And yet, both of them spent lives as women, and eventually stopped dressing as men.”

“Most of what they said, they went against eventually,” Fierstein continued. “There were so many contradictions in everything I found. What I came away with is that these people are human, trying hard to be true to who they are.”

Asked to discuss other issues he’s been speaking out on, Fierstein laughed and quipped, “Anything but Johnny Weir. Leave me alone with that faggot. Anything but Johnny Weir and his divorce.”

Harvey Fierstein Comments On Russia's Anti-Gay Laws by SiriusXM News & Issues



On the more serious issue of Russia’s anti-gay laws and brutality against gays, on which Fierstein sounded the alarm in a New York Times op-ed last, Fierstein made the connection back to Vladimir Putin’s push into Ukraine and annexation of Crimea.

“We now understand, if you’re taking a look at what’s going on in Russia and Ukraine,” he said. “It doesn’t have anything to do with us. And now you see. He needed to pull together his people. He needed the right-wing people to line up. And what lines people up better than anti-gay? It’s the same as Hitler did with the Jews. Just demonize someone — ‘We all hate homos! Yeah, we all hate homos!’ And they line up behind him and then you find out that while you’re lined up behind him, he’s taking a country. It had nothing to do with antigay laws. It had to do with calling anything from the West ‘evil’ and repatriating Ukraine. Not a pretty picture. But it’s how the world works.”

The Black Keys Looked Really Bored Performing On 'SNL'

$
0
0
The Black Keys performed on "Saturday Night Live" yesterday, May 10, their third appearance on the show, and easily their most boring one. Performing the songs "Fever" and "Bullet in the Brain" from their upcoming album "Turn Blue," the band hit all the notes, but lacked all the fiery spirit that usually accompanies their sets, Dan Auerbach in particular. Let's just hope they were having an off night, and that their upcoming world tour is as crazy as it should be. Watch the "SNL" performances below and give the full album a listen.


[HD] The Black Keys - Fever - SNL 5-10-14 by IdolxMuzic


[HD] The Black Keys - Bullet in the Brain - SNL... by IdolxMuzic

This Is What Erotica Looked Like In The 19th Century (NSFW)

$
0
0
When we think of 19th century artwork, a particular type of image hops to mind, often involving beards, Christian allusions, lots of sad people and a smoky palette. Kind of like this 1847 work by Mihály Zichy, entitled "Lifeboat."

life


But if you think all the 1800s had to offer in the ways of art was morose, elderly ship riders, think again. Behind all the religious symbolism and overly poofy collars, artists were depicting the more everyday aspects of life, even those that occurred behind closed doors.

Yes, we're talking about erotica of the vintage variety, that perfect mix of Victorian manners and animal instincts that only gets more amusing (and titillating) over time. As evidence, see a work below, also by Mr. Zichy, this time with a bit less clothing involved.

cunniign


Zichy, a Hungarian-born artist who we spotted on Juxtapoz, worked as an art teacher before being elevated to the position of court artist for Czar Alexander II. According to the Encyclopedia of the Romantic Era, French poet Théophile Gautier called him a "monster of a genius." Though he primarily worked in watercolor, Zichy rendered his more mature drawings in black and white, crafting sensual depictions of illicit acts including masturbation, cunnilingus and what appears to be the reverse cowgirl.

The merits of Zichy's NSFW artworks extend beyond their initial transgressions -- although, the combination of Victorian prudishness and human desire is endlessly enjoyable. Beyond this, Zichy's drawings are surprisingly realistic, incorporating subjects of a variety of ages and classes, engaging in acts both consistent with and diverging from sexual "normalcy." Although not pictured above, Zichy also depicted sex between partners of the same gender as well as sex with oneself, showing a remarkable open-mindedness for his day.

Although the dirty drawings weren't elevated to the status of art in their day, today their remarkable skill and bold subject matter clearly raises to the level of the masters. See Zichy's vintage erotica below and let us know your thoughts in the comments.

Surprising Photos Of Urban Temples And The Shopkeepers Who Guard Them

$
0
0
We wouldn't think to call a store an "urban temple," but come to think of it, the association is strangely fitting.

We're taking a cue from Montreal-based photographer Vladimir Antaki, who travels the world photographing odd shops and the people who spend their days there. His series, entitled "The Guardians," features store owners from New York, Las Vegas, Paris, Vienna, Berlin, London, Amsterdam, Beirut and more, their average days transformed into moments of monumental beauty.

slide


Through Antaki's lens, pawn shops, subway bodegas, thrift stores and vintage boutiques morph into contemporary sites of uncanny beauty. The popping hues of Gatorade bottles, the crystal sheen of shot glasses and the metallic power of metal scraps reveal the many visual treats embedded in the most banal of daily environments, most of which go unnoticed.

"People pay less and less attention to their environment," Antaki explains in his statement. "They are always in a hurry, they don't take the time to spend time with one another. Unfortunately, these places will one day no longer be around. This is one of the reasons that compelled me to want to document these 'guardians.'"

Antaki encounters his subjects by change, getting lost in each new city -- which he likens to a maze -- before ending up in an inspiring and unassuming space. In a single photograph, Antaki attempts to capture the overall feel of a particular person and place, revealing the immense beauty hidden in the most everyday spaces. "I'm interested in the relationship between the environment and the attitude of the Guardians, how they position themselves in space. I become the director of their universe. I show them their day to day life through my eye and my camera."

See the guardians and their vibrant domains below and let us know your thoughts in the comments.

Building A Better Monster: Gareth Edwards' 'Godzilla' Is An Unexpected & Awesome Delight

$
0
0
Gareth Edwards' "Godzilla" is being hailed as an antidote to the common summer blockbuster, all while still being a summer blockbuster. The reboot of the famed monster franchise that started in 1954 is a Trojan Horse of sorts: it's an auteur-driven film wrapped in the draping of modern-day spectacle and bombast. Edwards, whose only other film is 2011's indie "Monsters," spoke to HuffPost Entertainment about what went into building his monster movie.

1. Look To The Past

gareth edwards godzilla

Multiple critics have cited Steven Spielberg when reviewing "Godzilla," and that's no accident. Edwards said he was inspired by what Spielberg did in "Jurassic Park" and "Close Encounters of the Third Kind," as well as Ridley Scott's "Alien," while making "Godzilla."

"Something they all have in common is that slow-burn build, where the audience is drip fed the imagery to get them on tenterhooks," Edwards said. "I thought that style of filmmaking was really effective. It stayed with me the whole time I grew up, and those films stand the test of time."

2. Don't Be Afraid To Hold Something Back

gareth edwards godzilla

About that "slow-burn build": Edwards doesn't actually show Godzilla in all his ferocious glory until roughly an hour into the two-hour film, a conceit that was used to great effect in "Jaws," "Jurassic Park," "Alien" and "King Kong."

"You don't typically see the title creature for nearly an hour in those movies," he said. "They're all the classics. So if you want to make the best film possible, surely it feels like that's a golden rule."

As Edwards noted, withholding the reveal of Godzilla for such a long period of screen time allowed the director to engage in what he refers to as "cinematic foreplay."

"Once you deliver a certain level of spectacle, it's hard to go back and still be in awe of something," he said. "I feel like you just have to be careful in how you progress the movie. You can't trap yourself. I think you can reach that plateau effect. We've all been there. We've all sat in the movies and you just zone out, even if what you're seeing on an individual level is especially stunning, it just doesn't have an impact on you."

3. Be Prepared To Prove Your Movie Is Different

gareth edwards godzilla

Another reason "Godzilla" feels like a relative outlier in the world of summer blockbusters is its cast, an amalgam of future superheroes ("Avengers: Age of Ultron" stars Aaron Taylor-Johnson and Elizabeth Olsen), Oscar nominees (Ken Watanabe, Sally Hawkins, Juliette Binoche and David Strathairn) and Walter White (Bryan Cranston). As Edwards noted, however, getting that kind of talent to star in a movie called "Godzilla" was easier said than done.

"You tell people it's Godzilla and they say, 'No thank you, I'm busy doing a play or whatever it is,'" he joked.

To combat those instant declines, Edwards put together a surfeit of materials for the film, including the Comic-Con teaser that he showed in 2012 and a pre-visualization of the sequence in Hawaii when Godzilla is first revealed.

"They would see that stuff and say, 'Okay, we're in,'" Edwards said. "It was nice seeing that U-turn happen. Everyone we wanted, signed up."

4. Trust People

gareth edwards godzilla

It seems surprising that a studio would be on board with a movie that uses its title character in what could only be described as moderation, but Edwards said Warner Bros. and Legendary Pictures executives were with him from the start.

"What you find in the early meetings is that everyone wants it to be different. They want it to feel unique," Edwards said. "That's kind of what everyone is trying to achieve. In early conversations, you talk about films that you would like to try and emulate, and the caliber of filmmaking. I'm not comparing what we've done to them, but what we were talking about were the films from 20 or 30 years ago. The storytelling that got us into wanting to make movies. There was no pushback in those conversations."

Edwards also praised the job Warner Bros. has done marketing "Godzilla," though he did admit that the on-point campaign only served to give him more stress about the film's release.

"For a long time when I was making the film, I felt so much pressure. When you finish the movie, the pressure goes then to the marketing team," Edwards said. "I joked that I was going to bring [the person who cuts the trailers] my box with the pressure in it. The problem is, right now, that he did a brilliant job, and he gave the box back to me."

5. Coexistence Is Key

gareth edwards godzilla

For Edwards, the most challenging part of "Godzilla" was making sure the humans and monsters existed on the same plane.

"You could easily make a film like this where you have a human story and then you just lay the monster movie on top of it," he said. "It was important to us that whatever the humans were doing in the film, it was somehow affecting and influencing what the monsters were doing, but not in a cheesy way, I hope."

Those interweaved stories come to a head in the film's third act, which Edwards said was the sequence that proved most difficult in post-production.

"It's hard to predict [how they'll connect], especially when you're dealing with low-resolution animation. You can't feel the creatures as much as when they're in high resolution," he said of editing the film's finale. "That was tricky."

6. Deeper Meanings Are Okay

gareth edward godzilla

Godzilla has always served as an allegorical story, and Edwards managed to update that for modern audiences.

"If nature had a mascot, it would be Godzilla. When you do something wrong or misbehave, that's who they send," Edwards said. "Godzilla represents the whole planet."

In "Godzilla," the title monster winds up fighting a pair of Massive Unidentified Terrestrial Organisms, or MUTOs, which Edwards said are a result of man's abuse of nature. "They are caused by our greed and arrogance."

Indeed, the monsters feast on nuclear power, making superpowers like the United States ground zero for their attacks.

"Something that I found really interesting is that the West polices the world with regard who can have nuclear power and who can't. But if these creatures are attracted to radiation, the tables would be turned and we'd be desperately trying to get ride of this stuff," Edwards said. "That's a layer that even though it's hidden in the film -- you could watch and never know it's there -- you can start to have a deeper meaning beyond just a monster movie."

7. When In Doubt, Reference "Jaws"

gareth edwards godzilla

Beyond the visual and structural callbacks to Steven Spielberg's films, Edwards' "Godzilla" includes an outright reference to Spielberg's original summer blockbuster, "Jaws." The central family in "Godzilla" has the last Brody, which is Roy Schneider's last name in the 1975 classic.

"For a while there was this idea that Bryan Cranston's character had this dilemma about shutting the power plant down, but he had a lot of pressure on him to not do that," Edwards said of a plot strand that would have recalled the pressure Amity Island officials placed on Brody in "Jaws." "Some of that got lost in the development of the screenplay. But we always said he's like Brody in 'Jaws,' so we always referred to him like that. Eventually [writer] Max Borenstein went, 'Aw, fuck it, I'm going to call him Brody.'"

"Godzilla" is out in theaters on May 16.

What It Was Like To Be A Kid In The Middle Of A Shameful Chapter In American History

$
0
0
joyce yuki nakamuraWhen Joyce Nakamura Okazaki was 7 years old, she was taken to a place in the desert surrounded by barbed wire fencing and patrolled by armed guards. She was told not to approach the fence, she said, or else she would be shot. She, her sister and her parents -- all U.S. citizens -- hadn't committed any crime, much less been tried and convicted. But they were held at the Manzanar War Relocation Center for two years.

When photographer Ansel Adams visited the camp in 1943, he took several pictures of Joyce, her sister Louise and their mother. When Adams' book about Manzanar was republished in 2001, a picture of Okazaki was chosen for the cover.

Having her face on the cover, she said, made her feel like she should do something to make sure people know what happened at Manzanar. Okazaki now serves as treasurer for the Manzanar Committee, a nonprofit dedicated to raising awareness about Japanese-American incarceration during World War II.

She spoke to HuffPost about her memories of the camp and what it was like to be photographed by Ansel Adams. (This interview has been edited and condensed.)

joyce nakamura okazaki

How did you find out that your family had to leave home?

I had no idea. I just went with my mother. I don't think they told us, you know, because we were so young. All I know is that we packed up and we went to this area by the railroad tracks close to Union Station in Los Angeles -- we lived in Los Angeles in the Boyle Heights area. We were there and standing and waiting and there were soldiers standing around us with rifles on their shoulders. I asked my mother why we had to stand there but she never replied, never gave me an answer.

We boarded a train that took us to someplace, and we got off, and then we were transported by Army truck to another place, and then we got off and there we were. And later on I found out it was Manzanar, but at the time I didn't know where we were going. It was dark and I was probably a little bit scared because I didn't know where I was. There were ditches all over the place, because they were putting in sewer lines and water lines.

What are some of your most vivid memories of the camp?

One of the first memories was going in and looking at what we had to live in. When we first got there, there was a shortage of barracks -- it was April 2, 1942, and the camp had just opened up a few weeks before, so we got there fairly early but they were bringing in a lot of people. This is all information I got afterward. But I remember the crummy room we had to stay in with these mattresses with straw, and the Army cots that we had to sleep on. There weren't enough cots for all of us. My grandmother and her family were already there, and we had to move in with them.

manzanar

Then shortly after that, during the day, we had to go for inoculation for typhoid, and I hated being given shots. So we were lined up for getting shots, and I decided I didn't want a shot. I convinced my younger sister to run -- we just ran around the barracks, but they caught us.

People always ask what we did to pass the time. Of course, as a child of 7, I had to leave all my toys and dolls at home, back where we lived. It was all packed away for storage and put away. I couldn't bring my two favorite dolls and that was devastating to me. But mostly we played outside in the sand and the dirt. We played marbles, whatever you played outside, hide and seek, that type of thing. And made do with life. School did not start right away, so I had a rather carefree time until school started in the fall.

What was school like there?

We had a really nice teacher there. The interesting thing about school, one of the first things we learned was to be very aware of the barbed wire fencing. We couldn't go near the barbed wire fence because we were told we would be shot if we even went close to it. There were guard towers all around and they were all manned by sentries. We were also told to be on the lookout for snakes and scorpions. I had no idea what a scorpion looked like. We learned what they looked like by having an art lesson -- we drew a rattlesnake and then a scorpion, and that's how we figured out what they looked like.

manzanar

What is it like to visit Manzanar now?

I've been back very often because we have an annual pilgrimage [with the Manzanar Committee]. I've been doing this for eight or nine years now. Manzanar is one of the first camps that was developed by the National Park Service into a historical site, and they have a very nice, wonderful interpretive center. The exhibits are really meaningful, and they've got a wall with all the names of people who were imprisoned in the camps. I just have a very good feeling, that this is here for the long term to educate people on what happened, because many people still do not know what has happened. Even just recently I had a college student who wrote to the Manzanar Committee, and she said she had never heard of this in her history lessons. So it's good that it's there, and it's good that it's national and people from all over the country can go and visit it.

The pilgrimages originally started as a memorial to honor the dead, and ministers of various religions went up there from the time the camp closed, because there are people who are buried at the camp. There's a monument to the dead there -- a large white obelisk.

manzanar

That's part of it; the other part is to have a program to inform people about our current issues. One of the issues we are stressing right now is getting away from using euphemistic terms to describe what actually happened to us, and I'm a very big supporter of that particular cause.

We don't like the words "evacuation" and "relocation" because evacuation means that people are evacuated because of a danger, like fire or flood. Especially in California, there's a lot of evacuation, and people go back to their homes when everything's OK. Relocation is when you have a hazard such as nuclear waste, and you have to move from that area. We prefer the term "forcibly removed," which is what we were -- we were not allowed to stay in our homes at all, and if we did we were subject to imprisonment because of a public law that was passed by Congress to support Executive Order 9066.

The other words are "internee" and "internment." The meaning of internment is a camp for enemy aliens during a time of war, but we were citizens. Japanese nationals who were arrested were put into separate internment camps that were Department of Justice camps in very isolated locations -- in Montana, New Mexico, Colorado.

And just to be clear, some of these people who were so-called aliens had been residents for a long time in the United States, and most of them did not feel like they were aliens. They were very loyal and patriotic, as my grandfather was -- he was patriotic beyond belief. When he was first able to get his citizenship, he was down there right away to get it.

manzanar

What were you doing when Ansel Adams took that famous photo? How did he approach you?

Ansel Adams was a little over 40 at that time and not eligible for the draft, and so he contacted his good friend Ralph Merritt, who was director of Manzanar, and asked what he could do. Ralph Merritt asked him to come to Manzanar and take photographs of people living their everyday lives, but he could not photograph the barbed wire fence or the guard towers. I don't know how our family was so fortunate to be selected, but I am glad to this day that I was selected, because it has brought a lot of exposure and joy for me to be in photo exhibits, in art galleries, in museums. But he came to our barracks and he drove with his wood-paneled station wagon, and he came and set up his camera with a great big tripod and the huge camera they had in those days. You had to slide in the film and take it out, and he had this cloth that covers over your head. He took the pictures that way in natural light against the sun, and of course my complaint was, "The sun is hitting my eyes! I can't see!" But he did not say a word and just kept taking pictures. I was always a bit of a mouthy person.

He took our pictures there, my mother and my sister and myself, and then we went on and took pictures in other areas. He took pictures at Merritt Park, which had just been built by one of the prisoners there, and then we took a picture at the store where they sell dresses. We had to pose for that -- we posed for all the pictures. He told us how to hold our head, what to do with our arms, so we did. That, and another picture at a toy loan center that Manzanar had.

manzanar

What happened to your family after they left the camp?

Since both my parents were college graduates, they were thinking of their future. They wanted to leave camp and they applied for permission to leave. My father was given permission, my mother was denied permission because her father, who was a Japanese national, was arrested and put into a Department of Justice camp. She had to go through additional interrogation and they finally cleared her; she was OK to leave then. Both my parents had to fill out the leave questionnaire -- the other title of this was the "loyalty questionnaire" -- which asks the questions about whether you would serve in the military and forswear allegiance to Japan. My parents answered yes and yes, so they were free to go. My father selected New York, and by the time my mother was given permission to leave, it was already early 1944. My father went to New York and was given $25 and a one-way ticket. He found a job there that took him to Chicago. When school was finished, we moved to Chicago, my mother, my sister and myself, with $25 each and each with a one-way ticket.

manzanar

How did being in the camps affect people's lives once they got out?

Well the most traumatic thing that affected people's lives was the fact that they had to, in the beginning, give up their homes and their property. If they leased farmland, they lost it. They lost the crops, they lost their belongings, their future -- the future, so important to young people, lost. To middle-aged people. The only people that really didn't care were the teenagers and the old people who were taken care of. When the war ended and the camp was to close, these people that lost everything and didn't have anywhere to go back to -- we've talked to many of these people -- they ended up in trailers or in Buddhist temples or wherever they would house people. Manzanar closed in the fall of 1945, and all those people were taken to Los Angeles and housed in makeshift places. Finally the government put up trailer camps. People, when they talk about it, actually cry because it was so devastating. Eventually they found work -- gardening, housemaid or house boy work, cooks and dishwashers in restaurants, they made do with whatever they could find. Jobs were not very plentiful at the time.

In 1945, even after the war ended and America was victorious, the caucasian population in Los Angeles was extremely hateful and prejudiced against us. They did really hateful things -- I came back to visit Los Angeles in 1946 and my grandmother told me, you have to watch what happens when you walk down the street because these ladies will come up and hit you in the head with their elbow. I think I was about 11 years old then, and I said, well, that's not going to bother me. Well, that's what happened to me. Somebody came and hit me in the head with their elbow, and of course I shouted out and cried, but that person just walked on. I guess it was more of a shock to me than anything.

In 1948, you were able to make a claim for property you'd lost, and they paid about 10 cents to the dollar -- a minuscule amount, really. Many people lost, because they lost the leased land and the ability to farm, and that was a big part of your income. Farming for the Japanese in California was very lucrative. Fishermen were really the ones who lost a lot, because they lost their boats, their fishing gear, and some of that was really valuable, but they lost it all.

What do you want everyone to know about the incarceration of Japanese-Americans?

That we don't want any other group to be denied their civil rights solely because of prejudice, racial hatred, war hysteria or poor leadership, which were the reasons why we were put into camp. We want to make sure that no one ever has to suffer what we had to go through. And believe me, as a child, I probably didn't suffer that much, but there are many 20- and 30- and 40-year-olds who suffered greatly. Of course, many of them are no longer here.

Stunning 'Paleoart' Will Beam You Back Into A Ferocious Prehistoric World (IMAGES)

$
0
0
Ever wish you could jump in a time machine and travel back to the age of dinosaurs? What were terrifying prehistoric beasts like megalodon and T. rex really like? And what happened when these creatures battled each other to the death?

While we may not have time machines, a Canadian paleoartist, Julius Csotonyi, provides us with the next best thing. Check out a selection of illustrations from his new book, "The Paleoart of Julius Csotonyi," below.

"I became interested in drawing dinosaurs as a kid, as do many kids. I never grew out of my ‘dinophile’ phase," Csotonyi wrote in an artist's statement on his website. "Dinosaurs are members of a world that is alien to us, and my fascination with the unexplored and unknown led me to both my interest in illustrating dinosaurs and my current career path in science."

Ready to go back in time now? Just scroll down.

Viewing all 18505 articles
Browse latest View live




Latest Images