For Aasif Mandvi, a 20-Year-Old Play Now Feels Like ‘Political Resistance’

“Sakina’s Restaurant,” which put him on the map, has new resonance, which is why he’s summoning the energy to play all its roles all over again.
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How ‘Handmaid’s Tale’ Costumes Became a Symbol of the Resistance

Kari Skogland, Emmy-nominated director of Hulu’s adaptation of the Margaret Atwood book “The Handmaid’s Tale,” perhaps best describes the zeitgeist-y effect of the show when she says, “I think ‘Handmaids’ is absolutely inextricably linked to the #MeToo movement.” So much so that the standard-issue scarlet-red robes and white-winged bonnets of the show’s handmaids — women […]

Variety

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A safer NFL meets resistance: ‘Guys are going to end up broke’

One player’s thoughts: “I don’t know how much you can take away from this game before it stops being football.” It’s not that simple, though.
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Lovebox review – Pharrell and Childish Gambino preach resistance

Pharrell and Childish Gambino urge fans to fight Donald Trump while playing London’s Lovebox festival.
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Growing resistance to antifungal drugs ‘a global issue’

Scientists warn this could lead to more outbreaks of disease and affect people who are already ill.
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Nonfiction: How California Turned Into a ‘State of Resistance’

The sociologist Manuel Pastor explores the rise, fall and rise again of America’s most populous state.
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How Joy Reid of MSNBC Became a Heroine of the Resistance

The daughter of immigrants, she spars fiercely with supporters of President Trump, both on the air and in the Twitter ether.
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The Resistance Has Come to Celebrity Award Shows

Hillary Clinton’s cameo at the Grammys set off a debate about how far glitzy awards shows should go in needling Democrats’ favorite target.
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Persian shallot ‘could help fight TB antibiotic resistance’

Properties in Persian shallots could boost the effects of antibiotic treatment, a study says.
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In Sign of Resistance, Chinese Balk at Using Apps to Snitch on Neighbors

New technology, part of the country’s effort to build a mass surveillance web, rewards citizens for notifying authorities about illegal activity, domestic disputes and other problems. But people are wary of using it.
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What 1970s Counterculture Can Teach Us About Resistance Today

“Dressing yourself for yourself is an activist act,” Fayette Hauser told The Huffington Post. “We felt that we were part of the revolution.”

Hauser was a member of The Cockettes, a San Francisco-based commune and creative collective John Waters once described as “hippy acid freak drag queens.” They were recognizable by their threads, which took inspiration from drug-fueled visions, foreign cultures, bygone eras and personal fantasies, amounting to hallucinatory ensembles that served as embodied rejections of mainstream America.

Hauser’s iconic threads are currently on view at New York’s Museum of Art and Design, part of the exhibition “Counter-Couture: Handmade Fashion in an American Counterculture. The show revisits the mind-warping fashions of the 1960s and 1970s that, in defiance of the consumerism-laced American Dream, opted to dream up alternative ways of dressing, protesting and being.

As curator Barbara Paris Gifford explained to HuffPost: “It was about rejecting materialist culture, not spending a lot of money. You could see something in a thrift store or in the trash and see the possibilities of what it could become, how it could express your values. It was about actively creating your own reality, instead of accepting the one that was handed to you.”

Born and raised on the East Coast, Hauser moved to San Francisco in 1968. One year later, she helped bring The Cockettes into being, an avant-garde experimental theatre troupe who, along with performing on stage, became living, breathing manifestations of their transcendent ideals.

The Cockette clan donned flowing facial hair, exaggerated makeup, glitter, jewels, furs, fishnet tights and feather headdresses, a non-categorizable onslaught of garments from a motley range of eras, locales, genders and styles. “We were in various characters of our own creation and imagination,” Hauser said.

“The mainstream was all caught up in trends,” she continued, “and we thought trends were much too shallow a reason to put something on your body, which was sacred. We were having these visions from using psychedelic drugs, and we wanted to visualize them. There was so much creative energy, everyone had gone deep into themselves through psychedelics.”

Another groundbreaking aspect of The Cockette’s living theater was their personification of gender fluidity and gender confusion. “People were embracing the male and the female inside themselves, making outfits that had both sexes in them,” said Hauser. The elaborate ensembles were sometimes dubbed “high drag,” in that they transgressed not only the boundaries of gender but also of reality. As Hibiscus, a founding Cockette, once said: “Instead of dressing in drag, I was dressing more as gods. We were all creating mythic figures.”

The oozing visuals induced by acid and mushrooms served as chief inspirations for artists like The Cockettes, along with countless other countercultural fashionistas who saw their bodies as sites of resistance, including Kaisik Wong; Alex + Lee; Birgitta Bjerke, and Mickey McGowan.

The pioneer of wearable art, Wong was known for his cosmic robes, gowns and headdresses whose metallic, mythical power paid tribute to the past while predicting the future. Bjerke, better known as 100% Birgitta, reportedly went nowhere without a bag of wool and crochet hooks, fashioning kaleidoscopic pastorals from the simplest of means. 

These artists also, however, looked longingly to the past for visual stimuli. “We were very much looking at the past as a thing of beauty,” Hauser said. “The mainstream at the time was only looking forward. They were throwing everything away. We were looking at the past like it was great art, especially the old clothes. We had a large palette to choose from. Victoriana, art nouveau, anything vintage. We were dressing up our fantasies.”

Along with mining other time periods for aesthetic gems, many countercultural visionaries of the ‘60s and ‘70s looked to other cultures, from Peruvian handwoven textiles to dashikis, which were closely associated with the black power movement at the time. This is where things get a little complicated, because, as the photographic documentation makes abundantly clear, most people associating with this particular breed of “counter-couture” were white. 

“Certainly what is happening now with identity, it can come off as feeling colonialist,” curator Gifford offered in response. “But that was not the feeling in this particular time period. It was out of respect, coming from a place of empathy. The movement came from a rejection of American mainstream culture, so there was a search for what is real and what is authentic.” 

Gifford also added that much of the interest in other cultures’ clothing stemmed from the handiwork that was central to their construction. “I think the handmade aspect is at the center of it,” she said. Individuals were procuring handmade skills including sewing, embroidery and crochet, both from their own families and cultures abroad.

Sharing, also, was a central concept to hippie culture, which perhaps helps explain why, for people like Hauser, incorporating aesthetics and traditions from other civilizations felt like a gesture of respect, rather than exploitation. Although the cultural appropriation rampant throughout the show can hardly be excused by good intentions, Gifford and Hauser both continued to stress that the motivation to explore other cultures and stylistic traditions was rooted in admiration. 

The “Counter-Couture” exhibition is now on view in New York City, in a time that bares striking similarities to the setting from which these works emerged. Like the 1960s and 1970s, many Americans today are disheartened with the current state of affairs, distrustful of the government’s agenda, and frightened for the fate of the planet. Gifford spoke of millennials and their revived interest in handmade, spiritual and local alternatives to the mainstream.

Specifically, Gifford referenced “pussy hats” ― the pink, knitted caps that swarmed the streets during the Women’s March in January. Handmade, symbolic, defiant, controversial, the hats alluded to something greater than themselves. “It’s a place to start,” she said. “Deciding that you are going to make something that is going to reflect who you are, what your politics are. And you made it yourself; there is a power in that.”

What contemporary youth can learn from their counterculture predecessors, Gifford says, is how to weave elements of resistance into daily life. “There was a lot of protest [in the 1960s and ‘70s], but also a lot of play,” she said. “Maybe we can use that moving forward, so we’re not always dealing with angry passion that burns out on itself. You want to keep people engaged and involved. How do you do that in the long term?”

The next generation of cultural resistance can also learn from the shortcomings of their predecessors, namely, their failure to address the struggles and fantasies of people of color. The imbalance remains relevant today, with January’s Women’s March raising crucial conversations about which bodies the protest empowered and which it left further alienated. The vanguard of millennial resistance, as the 1970s efforts make plain, must work toward forging a future where women-identified people of all backgrounds have the freedom and safety to indulge their imaginations, play make believe, and build revolutions out of sparkles, yarn and velvet. 

What “Counter-Couture” ultimately reveals, though, is how protest can be made more sustainable when coupled with a generous dose of play. As Gifford said: “How do you not burn out? You make it a lifestyle. I think there is a lot to learn from that.”

“Counter-Couture: Handmade Fashion in an American Counterculture” runs until Aug. 20, 2017 at the Museum of Art and Design in New York. 

— 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.

Style – The Huffington Post
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Berlin film fest opens with jazz biopic and Trump ‘resistance’

Nearly 400 movies will be screened during the 11-day Berlinale film festivalA politically-charged Berlin film festival opened Thursday with a biopic about Nazi persecution of Gypsy-jazz great Django Reinhardt and a vow by Hollywood's Maggie Gyllenhaal that Americans were "ready to resist" Donald Trump. A total of 18 movies are vying for the festival's coveted Golden Bear, which will be awarded on February 18 by a jury led by director Paul Verhoeven ("RoboCop", "Elle"). "I hope we will see a lot of movies that are different, hopefully controversial," the Dutch filmmaker said at the opening press conference, adding that he was ready for "heated arguments" with the jury.



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Muslim Comics in a Mordant Act of ‘Resistance’

The jokes at Comic Strip Live’s “Big Brown Comedy Hour” took on a more urgent tone in the countdown to President-elect Donald J. Trump’s inauguration.
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The Zombie Resistance Society: Saved and Ravaged

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The zombie apocalypse is upon us! Sweet, petite Yara wakes up one morning to an unnatural quiet in her usually busy corner of the city. While traveling to work, Yara is attacked by something. gray. and undead. Lucky for Yara she is saved by the handsome, suave Mike, a shotgun-toting zombie killer. Mike and Yara hide out in his apartment as the undead army grows, and the two living humans decide to spend one final night of passion together before death takes them. Yara succumbs to her night of passion and exploration with a strange and well endowed man. but what is in store for her when the zombies finally attack?This first installment of the Zombie Resistance Society erotic series is approx. 8700 words long.

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Germs in Foodborne Illness Gaining Resistance to Antibiotics, CDC Says

Rate more than doubled in two years for one strain of salmonella
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Civil Resistance and Power Politics

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This widely-praised book identified peaceful struggle as a key phenomenon in international politics a year before the revolutions in Tunisia and Egypt confirmed its central argument. Civil resistance – non-violent action against such challenges as dictatorial rule, racial discrimination and foreign military occupation – is a significant but inadequately understood feature of world politics. Especially through the peaceful revolutions of 1989, and the developments in the Arab world since December 2010, it has helped to shape the world we live in. Civil Resistance and Power Politics covers most of the leading cases, including the actions master-minded by Gandhi, the US civil rights struggle in the 1960s, the Islamic revolution in Iran in 1979, the ‘people power’ revolt in the Philippines in the 1980s, the campaigns against apartheid in South Africa, the various movements contributing to the collapse of the Soviet Bloc in 1989-91, and, in this century, the ‘colour revolutions’ in Georgia and Ukraine. The chapters, written by leading experts, are richly descriptive and analytically rigorous. This book addresses the complex interrelationship between civil resistance and other dimensions of power. It explores the question of whether civil resistance should be seen as potentially replacing violence completely, or as a phenomenon that operates in conjunction with, and modification of, power politics. It looks at cases where campaigns were repressed, including China in 1989 and Burma in 2007. It notes that in several instances, including Northern Ireland, Kosovo and, Georgia, civil resistance movements were followed by the outbreak of armed conflict. It also includes a chapter with new material from Russian archives showing how the Soviet leadership responded to civil resistance, and a comprehensive bibliographical essay. Illustrated throughout with a remarkable selection of photographs, this uniquely wide-ranging and path-breaking study is written in an accessible sty …

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Urban Black Women and the Politics of Resistance

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