The New Season of Broad City Is Loaded with Iconic Guest Stars

Plus one Trump-vibrator joke.

Lifestyle – Esquire

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‘Broad City’ Season 4 Trailer Is Here With A ‘F**k You, Trump’ Moment

Abbi Jacobson and Ilana Glazer are back for season 4 of “Broad City,” and things are looking as outrageous as ever. 

Fans can look forward to seeing some major cameos (Ru Paul, Wanda Sykes and Steve Buscemi to name a few), lots of pot, choice words for the president, an encounter with plastic surgery, a trip to Florida, and of course, a strap-on.

In an interview with The Daily Beast, Glazer described the newest season as “dark as fuck.” She added, “It is as dark as the world is today.” 

Season 4 takes place in the winter, Jacobson told Vanity Fair last January, which is a departure from past episodes. The duo wrote the fourth season thinking that Hillary Clinton would win the election so they had to change the script before shooting in February. Clinton appeared on the show in March.

“Broad City” returns to Comedy Central on August 23.

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Comedy – The Huffington Post
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YAS QUEEN: Ilana Glazer Of ‘Broad City’ Reportedly Got Married

It looks like congratulations are in order.

“Broad City” creator and star Ilana Glazer wed her longtime boyfriend, according to a few Instagram posts shared by her close friends. Actor, comedian and well-known podcaster Phoebe Robinson shared a photo on Monday of Glazer, with a note congratulating her.

Two weeks earlier, writer and director Chioke Nassor shared the same photo with a similar message.

What can I say? I love love! Happy matrimony to two of my favorite people.

A post shared by chiokenassor (@chiokenassor) on

Glazer has not shared news of her nuptials on her social media accounts, and her reps did not respond to The Huffington Post’s request for comment. 

— 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.

Weddings – The Huffington Post
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Abbi and Ilana of Broad City Barely Survived Trump’s Inauguration

They released a profanity-laced video for the occasion.

Lifestyle – Esquire

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Is The Broad a Great Public Collection or “The Largest Vanity Project of Our Lifetime”?

The Broad museum on Grand Avenue in downtown Los Angeles. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Iwan Baan.


Eli and Edye’s Gift to Los Angeles: The Broad Museum

“I have always worked on a public collection,” said Joanne Heyler, Chief Curator of The Broad Art Foundation and Founding Director of The Broad, to an assembly of international, national, and local media gathered in front of the much-anticipated new contemporary art museum and permanent home of the art collection of Eli and Edythe Broad a few days before its opening. Heyler has been with the Broads since almost the beginning, working with them for over 20 years to develop the collection and their philanthropic projects, culminating with the establishment of the impressive Broad museum. Heyler’s emphasis of the word “public,” however, might seem curious, considering that the collection belongs to just two people. But, as Heyler explained, the idea of “the public” is crucial to the museum’s mission of reaching the widest possible audience for its collection of contemporary art, and to that end, The Broad, situated in the heart of Downtown Los Angeles, offers free admission. “This is Eli and Edye’s gift to Los Angeles,” Heyler stated proudly.

The Broad’s “cool storage” room showing a work by Paul Pfeiffer. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Iwan Baan.

The practical matters of opening the collection to the widest possible audience, however, extend beyond the borders of Los Angeles. The Broad Art Foundation, which was founded in 1984, was established as a lending program, making the collection’s works available to museums and galleries worldwide. Over 8,000 loans have gone out to more than 500 museums and galleries over that period of 30 years. Now that the Broads’ collection has coalesced under the roof of the new museum, this dedication to lending will continue as a primary function of the museum, and has even been built into the building’s design.

The Broad museum’s lobby with interior veil. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Iwan Baan.

The building, designed by Diller Scofidio + Renfro, is predicated on the concept of “the veil and the vault”: the vault being The Broad’s large storage area for the collection, taking up most of the museum’s second floor; the veil, a porous exterior structure forming a diaphanous cover over the interior vault, allows a diffuse natural light to penetrate the 50,000 square feet of exhibition spaces, located on the first and third floors. Approaching the museum from the street, the visitor is essentially invited under the veil, into a cavernous space with the grey mass of the vault hovering overhead. A pod-like elevator, stairway, and long ascending escalator pierce the vault’s interior, allowing the visitor to pass through it, and, from windows in the stairwell, offering an unprecedented glimpse into the inner workings of the museum. As lead architect Elizabeth Diller pointed out, the design “turned a liability into an asset,” transforming the usually hidden storage area into a main attraction.

Installation of works by Christopher Wool and Jeff Koons in The Broad’s third-floor galleries. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Bruce Damonte.

In the expansive space of the third floor galleries, the viewer is initially greeted by a large open space, full of diffuse filtered natural light, surrounded by massive works by Jeff Koons, Christopher Wool, Mark Bradford, Marlene Dumas, Julie Mehretu, and El Anatsui. For The Broad’s first hang, Heyler took a “straightforward, wide-lens, chronological approach,” beginning with a room devoted to Warhol, whose Pop-Art presence is felt throughout the collection. Standouts of the inaugural exhibition include an eye-popping enclave of Ellsworth Kelly works; Anselm Kiefer‘s historic epic Deutschlands Geisteshelden (1973), whose evocations of receding woodgrain are echoed in a Mike Kelley piece (Infinite Expansion, 1983) on the opposite end of the museum; and alternately, life-like and imposing human figures by John Ahearn and Charles Ray. Areas of darker subject matter contrast with the Pop influences–animal bones in glass cases and a dead sheep suspended in formaldehyde by Damien Hirst share a room with a photograph of the Hong Kong Stock Exchange by Andreas Gursky, evoking themes of death and despair, interrupted by the obligatory inclusion of one of Hirst’s spot paintings. Works by certain artists, particularly John Baldessari, Cy Twombly, and Jeff Koons, recur to a great extent throughout the museum.

Installation of works by Neo Rauch, Robert Longo and Mark Bradford in The Broad’s first-floor galleries. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Bruce Damonte.

What emerges from the Broad collection is largely a paean to painting and sculpture, a majority, unavoidably it seems, devoted to male artists. This tendency is somewhat disrupted by the inclusion of some major installations on the first floor: a wool tapestry by Polish artist Goshka Macuga, complemented by two performers clad in the artist’s digital-printed Lycra designs; a powerful and elegiac musical video installation by Ragnar Kjartansson (The Visitors, 2012); Takashi Murakami‘s epic mural-sized painting In the Land of the Dead, Stepping on the Tail of a Rainbow (2014); and the experiential and existential Yayoi Kusama Infinity Mirrored Room – The Souls of Millions of Light Years Away (2013), which purports to plunge the viewer to an endless space of reflection among a quiet riot of blinking LED lights.

Yayoi Kusama, Infinity Mirrored Room – The Souls of Millions of Light Years Away, 2013. © Yayoi Kusama, Courtesy of David Zwirner, N.Y..

Waiting for my minute alone with the infinity of Kusama’s installation, I overheard an outspoken journalist denouncing The Broad as “the largest vanity project of our lifetime,” a sentiment that, given the rise of private museums and foundations established by prominent art collectors in recent memory, is not an unusual one to hold. While the Broad’s collection is by no means a complete, unbiased view of the developments of contemporary art (and who can rightfully claim that, regardless of their private or public affiliations?), this sanctimonious attitude willfully ignores The Broad’s potential outreach to the widest possible public, and the benefits that can be derived from it. The Broad’s location, as a new jewel in a downtown revitalization project that Eli Broad has helped orchestrate, is not entirely without self-serving attributes, but it also makes the museum accessible to a much larger proportion of Los Angeles residents, particularly those from lower income, inner city areas. The other notable free admission museums in Los Angeles–the Getty and the Hammer Museum–are located a metaphorical stone’s throw from each other in the exclusive neighborhoods of Westwood and Brentwood on the west side of Los Angeles. The Broad, on the other hand, is right in the heart of the city, easily accessed by public transportation coming in from all across the Southern California region.

Installation of works by Jean-Michel Basquiat, John Ahearn and Robert Therrien in The Broad’s third-floor galleries. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Bruce Damonte.

Los Angeles Mayor Eric Garcetti also addressed the crowd at the press preview that morning, boldly proclaiming “Los Angeles the contemporary art capital of the world.” Nodding to the mayor, Diller acknowledged that The Broad’s construction in Downtown Los Angeles is part of a “larger urban effort,” and heralds the increasing concentration of cultural attractions in the city center. If one were looking for a popular mandate for the new museum and for Downtown’s greater art presence, The Broad has certainly proved it, booking over 85,000 free tickets in advance of its opening. But if it truly wants to fulfill its mission to serve the public, as one of the most accessible free-entry institutions in Los Angeles, it should recognize this as a unique opportunity to introduce the wide lens of contemporary art, in all its facets, to a public that may not have the opportunity to experience it elsewhere. One can hope that through special exhibitions and new acquisitions (it estimates that it averages one new acquisition a week), The Broad will discover, and embrace, its obligation to the public to truly represent the art of our time.

Aerial photo of The Broad museum in downtown Los Angeles. Courtesy of The Broad and Diller Scofidio + Renfro. Photo: Jeff Duran / Warren Air.

–Natalie Hegert

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Arts – The Huffington Post
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The Broad Surprises

For the many visitors who’ve flooded The Broad Museum at its official opening this past weekend, the experience was full of surprises. Built by prominent architectural firm, Diller Scofidio + Renfro, the museum building grabs ones’ attention from the get-go. Its striking façade is covered with a porous, honeycomb-like veil with a single eye-like window, which stares across the street at its older cousin, MOCA.

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An even bigger surprise greets visitors upon entering the museum lobby, whose warping, dancing walls, with their sinuous lines, give the impression that visitors just entered into a dark, mysterious cave. I had the privilege of visiting The Broad several times during its construction, and every time the romantic architecture of its lobby made me think of an operatic overture, taking place before the curtain goes up. Just think for a minute about the impersonal, bank-like lobby of the Museum of Modern Art in New York… Here in LA, the entrance to our newest museum puts one into a particularly adventurous mood.

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The last few days, I’ve been snapping pictures of The Broad both day and night. It definitely commands attention. With almost 50 years of art collecting, LA philanthropists Eli and Edythe Broad have amassed an impressive collection of 2,000 contemporary artworks, which is housed in their new museum on its three floors. But only 250 works were chosen for the inaugural display in the galleries on the first and third floors. The rest of the collection is stored in a specially designed storage facility occupying the museum’s second floor.

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Knowing the Broads’ particular affection for the art of Jeff Koons, it was somewhat expected that his numerous sculptures would dominate a few rooms. Of course, it’s impossible not to be impressed by his gigantic shining blue Balloon Dog. But wisely, Koons’ rather boring, inept paintings were left to rest in storage.

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There are interesting and unexpected juxtapositions of various artworks, as is the case of larger than life sculpture by Charles Ray of a formally dressed businesswoman, with an unintentional and surprising resemblance to Carly Fiorina. Next to it, there is a monumental lightbox transparency by Jeff Wall, with a staged scene of battle with dead soldiers coming back to life. Don’t ask… You just have to see it.

Every time I encounter Robert Therrien’s huge sculpture — a seemingly banal furniture set consisting of a dining table and chairs — I find myself in awe. And I bet that you, my friends, will feel the same when you find yourselves dwarfed by the gigantic scale of this sculpture — one of my favorites here.

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The inaugural exhibition demonstrates not only the width of the Broads’ collection, but also shows its sustaining focus on the art of several artists particularly appealing to them. Any major museum would be lucky to have such in-depth collections of Cy Twombly and Jean-Michel Basquiat as those assembled by the Broads.

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During my first visit to the museum, I spent almost three hours slowly walking through the numerous galleries, snapping photos and chatting with fellow art aficionados. Some were rather critical of what they deemed rather unadventurous and predictable choices. I told them to take a look at the huge catalog of the Broad collection, and see how many more surprises they find. I dare anyone to go to the room with a curving wall showing the provocative black paper cutouts by Kara Walker and call it unadventurous. And when I stepped into the dark gallery awash with music and holding 9 large screens projecting bizarre, fascinating videos by Icelandic artist Ragnar Kjartansson, I felt as if the mysterious, operatic promise of the museum’s cavernous lobby had been fully fulfilled.

To learn about Edward’s Fine Art of Art Collecting Classes, please visit his website. You can also read The New York Times article about his classes here, or an Artillery Magazine article about Edward and his classes here.

___________

Edward Goldman is an art critic and the host of Art Talk, a program on art and culture for NPR affiliate KCRW 89.9 FM. To listen to the complete show and hear Edward’s charming Russian accent, click here.

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Arts – The Huffington Post
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Laura Geller Beauty BB cream all-in-one skin-perfecting beauty balm broad spectrum SPF 21, Fair, 1.33 fl oz

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American Consultants Rx Charity Donation To West Broad Street YMCA By Charles Myrick

ACRX Recognition Gallery: American Consultants Rx
http://www.acrx.org -As millions of Americans strive to deal with the economic downturn,loss of jobs,foreclosures,high cost of gas,and the rising cost of prescription drug cost. Charles Myrick ,the President of American Consultants Rx, announced the re-release of the American Consultants Rx community service project which consist of millions of free discount prescription cards being donated to thousands of not for profits,hospitals,schools,churches,etc. in an effort to assist the uninsured,under insured,and seniors deal with the high cost of prescription drugs.

The American Consultants Rx discount prescription cards are to be given free to anyone in need of help curbing the high cost of prescription drugs.

Due to the rising costs, unstable economics, and the mounting cost of prescriptions, American Consultants Rx Inc. (ACRX) a.k.a (ACIRX) an Atlanta based company was born in 2004. The ACRX discount prescription card program was created and over 25 million discount prescription cards were donated to over 18k organizations across the country to be distributed to those in need of prescription assistance free of charge since 2004.

The ACRX cards will offer discounts of name brand drugs of up to 40% off and up to 60% off of generic drugs. They also possess no eligibility requirements, no forms to fill out, or expiration date as well .One card will take care of a whole family. Also note that the ACRX cards will come to your organization already pre-activated .The cards are good at over 50k stores from Walgreen, Wal mart, Eckerd”s, Kmart, Kroger, Publix, and many more. Any one can use these cards but ACRX is focusing on those who are uninsured, underinsured, or on Medicare. The ACRX cards are now in Spanish as well.

American Consultants Rx made arrangements online for the ACRX card to be available at http://www.acrxcards.com where it can also be downloaded. This arrangement has been made to allow organizations an avenue to continue assisting their clients in the community until they receive their orders of the ACRX cards. ACRX made it possible for cards to be requested from online for individuals and organizations free of charge. Request for the ACRX cards can also be made by mailing a request to : ACRX, P.O.Box 161336,Atlanta,GA 30321, faxing a written request to 404-305-9539,or calling the office at 404-767-1072. Please include name (if organization please include organization and contact name),mailing address,designate Spanish or English,amount of cards requested,and telephone number.

American Consultants Rx is working diligently to assist as many people and organizations as possible. It should be noted that while many other organizations and companies place a cost on their money saving cards, American Consultants Rx does not believe a cost should be applied, just to assist our fellow Americans. American Consultants Rx states that it will continue to strive to assist those in need.

New ‘Broad City’ Trailer Makes This The Best Day Of Our Lives

It’s been far too long since the first season of “Broad City” ended (we know, it’s been tough), but Ilana and Abbi are back with lots of panache.

The first full trailer for Season 2 of the Comedy Central series is loaded with twerking, “white power suits” and “titty chips.” What else can we expect from our favorite female comedy duo? Besides the usual wake and bake, Abbi will get to teach a fitness class, Ilana will do some dressing room grooming, and together they’ll attempt to sell (what appears to be) art on the streets of New York City. Oh, and Seth Rogen and Kimiko Glenn, from “Orange Is the New Black,” will appear for cameos.

Watch the trailer, which will make you feel like Ilana at her grandmother’s shiva, and rejoice at the impending return of Ilana and Abbi!

tv show gifs
Image via Comedy Central/Tumblr

Season 2 of “Broad City” premieres Jan. 14, 2015.
Comedy – The Huffington Post
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