Books of The Times: A Big New Biography Treats Frederick Douglass as Man, Not Myth

David W. Blight’s “Frederick Douglass: Prophet of Freedom” is an ambitious and empathetic biography of a major American life.
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Books of The Times: A Portrait of Weegee That Captures the Man and the Myth in Full

“Flash: The Making of Weegee the Famous,” by Christopher Bonanos, is the biography Weegee deserves: sympathetic and comprehensive, a scrupulous account with just the right touch of irreverence.
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Grey’s Anatomy Topples Its Patriarchy by Dismantling the Harper Avery Myth for Good

Grey's Anatomy, Jesse WilliamsThe walls were closing in on Grey Sloan Memorial after last week’s stunning (and timely) reveal that the legendary Harper Avery was nothing more than an abusive predator.
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How Dragon Quest Spawned an Urban Myth

I’ve been told the story more than once, and always in the same way. Every time a Dragon Quest game is released, thousands of children will be caught playing truant, and as many grown workers will take a sick day, leading to a measurable drop in productivity across Japan. Don’t forget, there’s no such thing as mandated sick pay in Japan – people were losing money to pay money for a game, just to play it on launch day.

The story continues that this phenomenon became so predictable that the government was forced to step in. The “Dragon Quest Law” was passed – Enix’s games now had to avoid a weekday release and arrive on a Saturday instead. It’s a perfect encapsulation of how popular this series had become – a simple RPG turned legitimate cultural phenomenon.

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Critic’s Notebook: How the Myth of the Artistic Genius Excuses the Abuse of Women

To some, assessing an artist’s work in light of his biography is blasphemous. But it’s time to do away with the idea that they’re separate.
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‘That Myth Is Dead’: MAD Magazine Questions Trump’s America

Arts
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‘That Myth Is Dead’: MAD Magazine Questions Trump’s America

Arts
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Stunning Photos Debunk The Myth That Queerness Is ‘Un-African’

As a kid, Nigerian-born photographer Mikael Chukwuma Owunna knew of no other LGBTQ Africans personally, and he saw none represented in popular culture or mainstream media. His family and community hardly spoke of people being queer, and when they did, the tone was nearly always one of disdain. 

“Growing up being queer and Nigerian, I felt like I could not exist,” Owunna told HuffPost.

The artist was 15 years old, living in the United States, when he was outed as gay to his family, who blamed America and Western culture for his sexual identity. They proposed he return to Nigeria twice a year, hoping the culture would “cure” Owunna of his desire.

“They thought that since being gay was ‘un-African,’ re-exposing me to my culture would drive the gay out of me,” he said. 

Three and a half years ago, Owunna decided to respond to this injurious claim ― that queerness and African-ness can not and do not overlap ― by capturing portraits of individuals who are proudly both African and queer, gay or transgender. “I’ve been fighting to reclaim these two parts of my identity for myself,” he explained. “To create a queer African home for myself and others where we can be LGBTQ, African and whole.”

The series, called “Limit(less),” is part– anthropological study and part– street style shoot, aiming to capture, as Owunna put it, what LGBTQ African immigrants look like when they feel free. It features 34 portraits, mostly taken in North America, each accompanied by an interview that probes deeply into the life and personal style of the subject. 

In part, the work is inspired by a photo series by South African photographer Zanele Muholi called “Faces & Phases,” which Owunna saw at the Carnegie Museum of Art in Pittsburgh. The images depict black lesbians based in South Africa, their faces boldly featured against plain walls or patterned backdrops. “Seeing that work, I was so incredibly moved,” Owunna said. “Especially coming from my own experience of feeling completely invisible and erased as a queer African person.”

With “Limit(less),” Owunna attempts to challenge the binary understanding that sets queerness at odds with the African identity. Yet it was important to him that the project not cast homophobia as something innately African. The ignorance and hatred many young, queer Africans now face, Owunna explained, stems from the legacy of European colonialism, which, he said, “has brainwashed us to believe that being LGBTQ is somehow against our indigenous cultural identities.” 

Owunna cited Queen Anna Nzinga ― a 17th-century African leader who insisted that the male harem who served her dress in women’s clothing ― as an example of Africa’s early openness in regard to gender expression. 

Since Owunna had only met two other LGBTQ Africans in his entire life, he located the majority of his subjects on social media. When a potential subject expressed interest, Owunna reached out for a phone or Skype conversation, during which he would explain the concept of his work in full.

Most importantly, he ensured the subjects were entirely comfortable participating in such a visible project, given the potential safety concerns that could arise as a result. “Even though we live in diaspora, there are still very real fears and dangers for us as LGBTQ African people both inside and outside of our communities,” he said. 

The photographer then flew to visit each subject and spent the weekend in his, her or their home, spending a day getting to know each other before actually starting the shoot. The participants were also given interview questions beforehand regarding their personal style, their relationship with their families and what they might say to people who think being LGBTQ is “un-African”?

The subjects’ written responses are as compelling and moving as the images themselves. 

Em, a genderqueer Nigerian living in America, responded to the last question above with: “You’re un-African for believing that all Africans are this monolithic group of people, cis and heteronormative. We are dynamic, bold, and beautiful and queer. Our Africanness is only stronger with this identity because every day we breathe, especially for African trans folk, we are resisting and revolutionary. That’s pretty damn African to me.”

While fashion is seen by some as frivolous or superficial, Owunna’s subjects and their thoughtful answers illuminate how clothing can not only express identity but inform it. Netsie, a queer Ethiopian-Namibian woman in America, described how her personal style rejects the roles often foisted upon women of color.

“From a young age, women are taught that they have no choice in who looks at them, and so often, we are held responsible for what other people perceive,” Netsie said. “We are taught to be presentable, not just for business meetings, but potential friends, mates and assaulters. At the same time, we are taught never to look threatening, or look back at the people looking at us. We are denied the verb, and forced into the noun. Fuck that. I’m a hard femme with an hourglass silhouette, a goodwill budget, and a firm grasp of anti-capitalist rhetoric. I wear whatever makes me feel comfortable and powerful and safe.”

Reactions to “Limit(less),” Owunna told HuffPost, have been overwhelmingly positive, especially from LGBTQ African immigrants themselves. “I feel like there is such a hunger for us to see ourselves and people like us,” the artist said. “And to especially see other LGBTQ African people in a space of empowerment, loving ourselves.”

Owunna’s contributions to visualizing a population that has for too long gone unrepresented are staggering, and he is not slowing down anytime soon. The artist is en route to creating the largest digital archive of LGBTQ African immigrant narratives in existence. Having worked primarily in North America so far, he’s headed to Europe ― home to over 6 million African immigrants.

The artist is currently raising funds on Kickstarter to finance his journeys to Belgium, France, Portugal, Sweden and the U.K., gathering more stories and images every stop of the way. To continue the project, he needs $ 10,000 by June 8 ― at time of publication, he has raised just over $ 5,000. 

Owunna looks forward to growing his archive, finally providing visibility for the next generation growing up African and queer. “With each click of my camera,” he said, “I strive to capture my vision of what a free world can look like for black queer and trans people. And to show that this free world already exists inside each and every one of us.”

See more of Owunna’s “Limit(less)” on the project’s website.

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Style – The Huffington Post
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Watch Dr. Willie Parker Destroy The Myth That Abortion Is Dangerous

Abortions, when performed legally, are actually one of the safest procedures a person can have. In a new Lady Parts Justice League video, abortion provider and author Willie Parker explains why. 

In the “Mythbuster” parody, Parker dispels the anti-abortion community’s rhetoric that the procedure is a dangerous one. These myths have been perpetuated by the Trump administration ― in Donald Trump’s third debate with democratic candidate Hillary Clinton, he offered a grisly and factually-inaccurate description of third-trimester abortions.

First, Parker says that medical abortions (or the “abortion pill”) can be performed in the first 10 weeks of pregnancy at home and, as it turns out, are safer than Viagra. 

He also dispels the myth that surgical abortions are unsafe. “There’s no cutting of anything,” he says. “Abortion’s a simple procedure that takes less than five minutes.” 

The last myth that Parker busts is that the aftermath of abortion also comes with its own terrible risks, like depression and infertility.

“There’s no link between abortion and depression or infertility,” he says. 

Check out the rest of 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.

Comedy – The Huffington Post
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Paul Klee Flower Myth Master Kitz Children’s Art Kit

Paul Klee Flower Myth Master Kitz Children’s Art Kit


Learn, create, share! This Paul Klee Flower Myth Master Kitz Children’s Art Kit from Kidzaw lets kids & rsquo inner artist come out and play. This unique art kit introduces young artists to one of the great masters and encourages them to explore their creative potential. This art kit comes with everything kids need to create their very own Flower Myth masterpiece: Sturdy, re-usable art tool box with magnetic closures 4 artist-quality, kid-friendly, custom acrylic paints 2 pre-cut sheets of felt stickers to use as guides Paint roller Custom reusable stamp 2 16 x 20 inch sheets of deluxe art paper Fun, easy-to-understand Klee life and art learning aid Easy-to-follow, step-by-step instructions Ages 4 & amp up.

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Pogue’s Basics: Money – The light-switch myth demolished

Pogue’s Basics: Money - The light-switch myth demolishedHas someone you know ever said to you: “Stop turning the light off all the time. It uses more energy to turn it off and on all the time than to just leave it on”?



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‘Jackie’: Under the Widow’s Weeds, a Myth Marketer

Natalie Portman is perfect in Pablo Larraín’s multifaceted portrait of the former first lady Jacqueline Kennedy as an embodiment of grief and as an architect of brilliant political theater.
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Karaoke Jungle the Singer’s Almanac: the Ultimate Guide to Music, Myth & Mirth

Karaoke Jungle the Singer’s Almanac: the Ultimate Guide to Music, Myth & Mirth


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Olivier Messiaen and the Tristan Myth

Olivier Messiaen and the Tristan Myth


Following the second World War, Olivier Messiaen, previously known primarily for his religious music, composed three works inspired by the medieval love story of Tristan and Iseult: Harawi, Turangalila-symphonie, and Cinq rechants. The three compositions are tied closely together by theme and musical technique. This new study is the only full-length consideration of this most significant work, applying literary techniques of stylistic analysis and source study as well as musical analysis of Messiaen’s aesthetics and form.

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Why One Biologist Doesn’t Believe The G-Spot Is A Myth

“As far as we know, no form of life that has ever existed experiences the same height and duration of ecstasy in the same way that we do. It’s a gift.”

That’s how biologist Zoe Cormier described the human orgasm to HuffPost Live’s Nancy Redd in a segment on May 7. Cormier, author of the book Sex, Drugs & Rock n Roll: The Science of Hedonism and the Hedonism of Science, discussed whether or not the g-spot exists.

“[The g-spot] remains a subject of scientific controversy,” Cormier told Redd. “I don’t think it’s a myth… I don’t think that all women necessarily have a [g-spot], but it does seem that it’s a sort of cluster of tissues that can grow in size as you age. The more you use it, the more it grows just like a muscle.”

Like any other muscle, Cormier said, you have to exercise it. So ladies, get to it.

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Carter’s Boys ‘The Man, The Myth, The Legend’ Football Short Sleeve T Shirt- Toddler

Carter’s Boys ‘The Man, The Myth, The Legend’ Football Short Sleeve T Shirt- Toddler


Built for rugged fun, Carter’s blue The Legend tee is perfect for pairing with athletic or woven short. 100% Polyester. Imported. Carter’s is the leading brand of children’s clothing in the United States today. Based on the belief that childhood is a celebration, Carter’s brands are all about creating products for children that are distinguished by quality and creative art and color. They are proud to provide trusted products and services. Making solutions for real life and keeping life simple for customers is what really matters. Carter’s is known to provide trusted products that are super comfy, easy care, adorable and don’t break the bank.

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‘Myth and Image’ at El Camino College Art Gallery

Now on view at the El Camino College Art Gallery, Myth and Image is an exhibition that explores the relationship of traditional mythology to contemporary visual imagery. The exhibit was organized by ECC Gallery Director Susanna Meiers, who comments that the show is “aimed at getting the viewer to consider the mythological in terms of connection with the numinous within us all.”

The 24 participating Southern California artists offer their individual interpretations of myths ranging from Classical Greek and Roman to East Indian, Latin American and Iranian. Each visual image is accompanied by a retelling of the myth.

Four of the exhibition’s images, along with the retellings that accompany them are featured below:

2014-09-06-crocus_messenger_small.jpg

Corey Sewelson, Crocus Messenger, Acrylic and oil on wood, 36 x 42 inches

Hermes, the trickster god of transitions and boundaries, and the human, Crocus were friends who often played discus. Hermes killed Crocus by accidentally hitting him in the head with the discus. He was so distraught that he transformed his friend’s body into the Crocus flower we know today.

This is not at all a literal illustration of this story. There is a mix of images from this Crocus story as well as some symbols of Hermes attributes and life. Hermes was the god of travelers, often shuttling back and forth between the two worlds of the gods and mortals. He was on the move so much of the time that I felt the image of the uprooted home helped convey that mobility. He was the messenger of the gods, primarily of Zeus, his father. Zeus often appeared in the form of an eagle, which in my painting shows him watching over Hermes. His typical attributes and symbols are shown- the winged sandals, pouch, cap, and caduceus staff. An abstract image of the crocus flower appears in the lower right.

What appealed to me in the Crocus creation story was that Hermes demonstrated such devotion and humanity in wanting to memorialize his friend. He created a beautiful new species of flower so that mortals would enjoy the remembrance, and, since the crocus is a perennial, it will be renewed each year as a perpetual reminder.

– Corey Sewelson

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Roxene Rockwell, Baucis and Philemon, Acrylic on canvas, 40 x 50 inches

In my work I often use trees to symbolize humans. For me trees metaphorically represent all of us, as we stand strong or physically frail, bending resiliently with life changes or succumbing to old age.

I was drawn to the Greek myth about Baucis and Philemon for their great kindness and enduring love, and for how they turned into trees. This couple wished to die together and so doing would stay together forever. Because of their benevolence the Greek god Zeus granted their wish by turning them into trees standing side by side as their lives as humans ended.

– Roxene Rockwell

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Nancy Mozur, Phane, Gouache and oil crayon on paper, 6 5/16 x 7 3/16 inches

I like to wed various myths together with images that emerge from within my mind. The phoenix bird is a tale of regeneration. Its fate is to burn up and through its remains, rises to be born again. That renewal repeats itself symbolically as carbon ashes give way to the diamond as new life. Fire plays an important element in this tale. Heat throughout myths often results in change from destruction to creation. In the Orphic religion, the hot passion between the black-winged Night and the Wind produces the silver egg of Eros. Within the fiery depths of the Egyptian underworld, the serpent Apophis battles against the fist of Amun furthering the soul’s journey towards a renewed Sun God. As my imagination, sputters, inflames and blazes, visions appear, waiting to be transformed.

– Nancy Mozur

2014-09-06-IcarusFalling1994001.jpg

Jim Morphesis, The Fall of Icarus, 1994, Oil on wood panel with wood frame, 42.5 x 28.5 inches

Ovid’s story of Daedalus and Icarus is the tale of a loving father’s loss of his son. It is also the story of youthful exuberance and the first mortal hero to fly god-like over land and sea.

Daedalus was a great craftsman and inventor who had gone to Crete to construct the labyrinth for King Minos. When his task was completed, Daedalus petitioned the king for permission to return home, but Minos, not wanting the only man who knew the secret of the labyrinth to leave, refused the request. Minos possessed the earth and the sea, but not the sky. And so Daedalus planned to make his ill-omened escape by constructing wings of feathers, wax and linen for himself and his son, Icarus.

With ease father and son took flight. Their dual shadows passed over Samos, the fields of Delos, the villages of Paros and out over the sea. The exhilaration of flight, and the experience of seeing the world as no other human had, compelled Icarus to disobey his father and soar higher. When Icarus reached the realm of Apollo and his chariot, the heat of the sun melted the wax, feathers slipped away and Icarus fell.

Greek myths have a way of offering even the most tragic heroes the means for redemption. In my painting, with broken-hearted Daedalus looking down helplessly, foolish and courageous Icarus plummets toward an apocalyptic landscape and a final dive in the sea that will forever bare his name and render Icarus immortal.

– Jim Morphesis

Myth and Image
A multi-cultural look at myths paired with contemporary images
El Camino College Art Gallery
16007 Crenshaw Blvd, Torrance, CA 90506
August 25 – September 18, 2014
Artist’s Event with Lauren M. Kasmer, Tuesday, September 9, 1 p.m.

Participating Artists:

Melinda Smith Altshuler, Catherine Bennaton, Mark Clayton, Raoul De la Sota, Satoe Fukushima, Suvan Geer, Susan Hamidi, Zeal Harris, Brenda Hurst, Lauren M. Kasmer, Filip Kostic, Patricia Krebs, Peter Liashkov, Karena Massengill, Lynne McDaniel, John Montich, Jim Morphesis, Nancy Mozur, Stuart Rapeport, Annemarie Rawlinson, Thea Robertshaw, Roxene Rockwell, Cory Sewelson, Nancy Webber

GALLERY HOURS
Monday and Tuesday 10-4
Wednesday and Thursday 12-8
The ECC Art Gallery is closed Friday, Saturday and Sunday and selected Holidays.
Admission to El Camino College Art Gallery and to all related events is free and open to the public. On campus parking requires visitors to purchase a $ 3.00 permit.
Arts – The Huffington Post
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Is Healthy Obesity a Myth?

Study found even with normal blood pressure, cholesterol and blood sugar levels, the obese had more artery plaque
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