Critic’s Pick: Review: ‘My Brilliant Friend’ Is an Intimate Epic

HBO’s newest series is a faithful rendering of the story by Elena Ferrante and a counterpoint to cable drama’s testosterone-driven past.
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Critic’s Pick: Meet Warhol, Again, in This Brilliant Whitney Show

A sweeping retrospective shows a personal side of the Pop master — his hopes, fears, faith — and reasserts his power for a new generation.
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24 Brilliant Bridesmaid Dresses For Winter Weddings

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‘Crisis Actor’ Alex Jones Gets A Taste Of His Own Medicine In Brilliant Troll

Comedy Central confronts the Infowars host with a stunning accusation.
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Ken Dodd was ‘life-enhancing and brilliant’ – tributes paid to the comedian

Sir Ken Dodd’s wife and his celebrity fans pay tribute to the “inspirational” comedy legend.
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Lowe: Ten things I like and don’t like, including the brilliant Brow

Zach Lowe’s weekly highlights include an emerging MVP candidate, a retro-Laker and Rookie of the Year talk.
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‘Brilliant jerks’ and driver selfies: 10 Uber facts

Uber has tens of thousands of drivers on London streets, but from October, grabbing one in the capital could be a thing of the past.
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‘Tweet’ Is The Brilliant Animated Trump Parody Of Radiohead’s ‘Creep’

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South Korea’s Brilliant Idea: Make Elections Better With ‘Game Of Thrones’

South Koreans voted for a new president on Tuesday. News outlets used a little pop culture inspiration ― and a lot of computer-generated imagery ― to count down the final, ahem, battle. 

Remember that moment in season five of “Game of Thrones” when Drogon, one of the dragons, swoops into the arena and saves Daenerys Targaryen’s life? Seoul Broadcasting System re-created that, replacing the mother of dragons with election winner Moon Jae-in.

Moon and his opponent, Hong Joon-pyo, were also re-imagined as two warriors from that series riding into view in fur capes. A thorough analysis of the choice of capes and horses, plus the background landscape, failed to determine whether the candidates are meant to be Jon Snow and Robb Stark or Theon Greyjoy and Ramsay Bolton. You decide:

Broadcasters also spoofed some of South Korea’s favorite video games ― familiar reference points in a country where, by many accounts, more than half of the citizens play such games. Munhwa Broadcasting Corporation did several renderings of the candidates competing in Mortal Kombat.

Moon himself released custom Starcraft maps that, when one zoomed out, spelled his name, Engadget reported. Starcraft has been popular worldwide since its release in 1998, but it’s especially so in South Korea, where it has sold some 4.5 million copies and launched a professional e-sports league that lasted 14 years.

Seoul Broadcasting System also parodied the movies “Rocky” and “Terminator.”

We would be remiss if we didn’t include this artful dabbing from the candidates themselves.

With or without all the cornball pop-culture pandering, the final voter turnout was expected to hit record numbers at a time of high political tension in South Korea. Some forecasts suggested 80 percent of voters would go to the polls. As of this writing, the National Election Commission of South Korea has reported that early voter turnout was at 60 percent, according to the British newspaper The Independent.

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23 Brilliant Lines From Netflix’s “Dear White People”

“Dear White People,” the new Netflix series based on the film of the same name, has become one of the most talked about new shows this year.

The series, created by Justin Simien, takes a humorous and unflinching look at racial politics by following the lives of several black students at a fictional and predominantly white Ivy League school. 

The show has sparked some interesting conversations about issues like blackface, interracial dating, colorism, and police brutality, to name a few. All of these issues are brought forth through amazingly witty, sharp, and perceptive writing, making for some of the best one-liners on any screen in years. Below, we’ve compiled some of the funniest, most poignant, perceptive and downright brilliant lines from the show’s first season. Check it out (spoiler alert):

1. SAM: Dear white people, here’s a little tip: When you ask someone who looks ethnically different ‘what are you?’ the answer is usually a person about to slap the shit out of you.” (Ep. 1)

2. JOELLE: You’re not Rashida Jones biracial, you’re Tracee Ellis Ross biracial ― people think of you as black! (Ep. 1)

3. NARRATOR: Ah, the racially insensitive party. A mainstay of primarily white institutions since time immemorial. A chance for the white majority to celebrate marginalized communities by reinforcing the very stereotypes that oppress them. (Ep. 2)

4. SAM: I like my men like I like my coffee ― full-bodied and preferably with Kenyan origins. (Ep. 4)

5. COCO: Dear white people, having a black vibrator does not count as an interracial relationship. (Ep. 4)

6. SAM: Equal? You could only vote if you owned land and didn’t have a vagina. (Ep. 5) 

7. JOELLE: Sometimes being carefree and black is an act of revolution. (Ep. 5)

8. REGGIE: I plan on marrying me a dark-skinned sister; have the ashiest black babies possible. (Ep. 5)

9. SAM:  Dear white people, our skin color is not a weapon. You don’t have to be afraid of it.  (Ep. 6)

10. COCO: As soon as you double down on your blackness, they will double down on their bullshit… Who cares if you’re woke or not if you’re dead? (Ep. 6)

11. REGGIE: Gun in my face, your hate misplace, light-skinned, white skin but for me not the right skin. (Ep. 6)

12. REGGIE: Life, liberty and the pursuit of happiness. For some of us maybe. There’s nothing self-evident about it. (Ep. 6)

13. SAM: The whole movement is about pain. That’s why we’re out in these streets. (Ep. 6)  

14. SAM: We’re going to bring together every marginalized group on this campus and demand a protest! (Ep. 7)

15. COCO: I like him black, actually black as hell and unapologetic about it. (Ep. 7)

16. NARRATOR: If only the real world had a block button. (Ep. 8)

17. TROY: So you didn’t have a man around to show you what’s what?

      LIONEL: Yup. Which is why I chose to be gay… kidding. That’s not how it works. (Ep. 8)

18. NEIKA: You’re here to show that not all black students want to burn this place down. You’re props. (Ep. 9)

19. SAM: Troy’s got you drinking his Kool-Aid… or his daddy’s Kool-Aid. But guess what? I ain’t thirsty, girl. (Ep. 9)

20. COCO: I’m smarter than you. I’m more ambitious than you. Thirty years from now when I am the second black female president, all you’ll be able to do is think about me and I won’t remember your name. (Ep. 9) 

21. SAM: Have you been to a Winchester townhall? They’re so regimented even Kim Jung Un’s like ‘guys, chill, let somebody talk.’ (Ep. 10)

22. SAM: So because I call it out, racism is my fault?!

23. KURT: The truth is, you like things to be fucked up so you can have a machine to rage against, Sharpton.

     SAM: None of this is a threat to you because you already have the power,            Kurt. Can’t you see that? (Ep. 10)

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Fiction: A Brilliant, Incendiary Joan of Arc Story for a Ravaged Earth

In Lidia Yuknavitch’s novel “The Book of Joan,” a space colony of survivors orbits a post-apocalyptic Earth.
NYT > Books

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Bonnie And The Brilliant Racial Tension Of ‘Big Little Lies’

“Big Little Lies” is one of the most brilliant TV shows to come out in years. It’s also one of the whitest. 

The murder-mystery-drama, which had its stunning finale on Sunday, focuses on five wealthy, beautiful rich white women with not less than beautiful lives. Aside from a few Asian and black characters who are part of the Monterey community’s “greek chorus,” four out of five of the show’s main players ― Nicole Kidman, Laura Dern, Shaliene Woodley and Reese Witherspoon ― are white women. 

There’s only one black lead, Bonnie, played by Zoe Kravitz in a role that reveals her acting chops despite being so seemingly close to our conception of the real life Kravitz: earthy, edgy and carefree. Bonnie, with tattoos and waist-length braids, is the only black mom amongst a slew of predominantly older, white mothers, and it’s a point that, conspicuously, never really comes up. 

“It’s not mentioned, ever,” Kravitz told a reporter for The Guardian in February. “Her race is just not a thing.”

Perhaps for Kravitz, the fact that her character’s race is never acknowledged is refreshing in an industry where she was once rejected for a role in Batman because the directors weren’t “going urban.” For others, it’s a tedious color-blind approach to diversity. As Refinery29 writer Sesali Bowen expressed it, glossing over Bonnie’s ethnicity merely added “diversity in visibility only,” presenting race “as a mere aesthetic difference between people, not one that affects how they interact with the rest of the world.”

It’s true that the show’s treatment of Bonnie was flawed. We see very little from her point of view, except for in the brilliant final act of the show. Here, on the night of the Elvis and Audrey fundraiser, the camera shifts to Bonnie’s perspective as she watches Celeste being manhandled by her husband ― realizing that something isn’t right.  

I often watched the show wondering where the hell in Monterey Bonnie got her hair braided, or if she ever twisted her daughter’s hair at night. Who were her people? And yet, there’s an alternative reading of Bonnie’s apparent racial ambiguity in Monterey. It isn’t pretty. It’s frustrating. And it’s true to life in a way that potentially says more than if we’d gotten a scene that explicitly acknowledged her race.

Because this is how rich, white liberal racism works, right? It’s the racism that dare not speak its name. It’s the racism that deals with race by not dealing with it, by never saying “black” or “white,” by tip-toeing around it even as it manifests itself in petty microaggressions. 

Bonnie’s blackness, her otherness in the eyes of her white counterparts is actually, throughout the series, weirdly at the center of who her character is. She is the exoticized “other,” the beautiful, young, hippie wife who inspires lust in the husbands of Monterey, and jealousy and resentment in the wives.

It’s a jealousy and resentment that hides, just beneath the surface, a racial tension that no one ― not even Bonnie herself, perhaps ― can name, let alone process. No, we never see Madeline complain to any of her friends about Bonnie being a black girl. A woman like Madeline, so dedicated to her ideals of being progressive and open-minded (her obsession with getting “Avenue Q” made for instance), wouldn’t even know how to begin to process how race might feed into her feelings about her husband’s new wife. 

Bonnie’s seeming perfection, her exceeding patience and goodness, works on a different level as well. Throughout the series we get to see these seemingly “perfect” women fuck up repeatedly, we see them have meltdowns, act bitchy, be vulnerable and insecure. We see little of that in Bonnie, a beautiful enigma just there to “make peace.” Though toward the end of the series, we see her peaceful demeanor begin to crack, if only a little, during the well-intentioned peace-making dinner with Madeline and Ed which ends with Madeline literally projectile vomiting on her. In that moment, viewers understood that there must be more to Bonnie, just beneath the surface. 

So much of Bonnie’s existence in Monterey is a demonstration of how black people, black women especially, have to exist in predominantly white spaces. The idea is to not rock the boat. The idea is to placate white fear by being palpable. Bonnie is edgy, but not threatening with her light skin, earthy vibes, and perpetual chillness. Maybe she’s had to be all those things.   

Which makes that final moment, that push, when she exerts a kind of messy, frenzied sort of agency that we haven’t seen throughout the series, all the more powerful. This isn’t to absolve “Big Little Lies,” or any other shows with black characters that choose not to deal with race directly, from “Friends” to “Girls.” It’s quite possible that the show never mentions Bonnie’s race because the writers themselves were unable or unwilling to deal with race, and that’s unfortunate and frustrating. And it’s true: Diversity and inclusion are about more than just about seeing a black face in a white crowd.

And yet there’s something to be said for the context in which black characters exist; the ways in which they navigate the world they exist in and how white characters they exist in that world with navigate them. Sometimes, the silence can be loud. 

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

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Uber vows to end ‘brilliant jerks’ culture

Uber has admitted changes are needed at the scandal-ridden company, but have publicly supported embattled chief executive Travis Kalanick.
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Let These Brilliant Lady Puns Wash Away Your Post-Election Angst

What a time to be an artist, right? If you’re not so sure you’re feeling up to making art out of the impending Donald Trump presidency, a punny video starring Sam Corbin offers a case for this approach.

Corbin, the managing editor of Brokelyn as well as a performer, gives a two-minute pep talk in the form of a stream of 50 puns on the names of famous women, urging artists not to give way to fear.

“Our situation may feel Beyoncé-ving right now,” Corbin calmly tells the camera, but “before we Mary Oliver daughters off to Canadians, let’s try something.” Instead, she says, artists should use the challenges they face in the next four years to create thought-provoking art, adding, “We need to feel Frida Kahlo-t injustice in our work right now.”

This pun-packed video addresses a progressive artistic audience that’s been rocked by recent political events. Not only the “Hamilton” cast and the “Saturday Night Live” cast, but writers, artists and performers around the country have expressed feelings of fear, paralysis, and outrage since the election of Trump to the presidency. A common thread in artists’ responses: the hope that their continued creative work will be a force for good in the coming years. 

As Corbin willingly points out, this might be hard, and might result in some bad art. “I should know,” she adds sardonically. “I’m making puns right now.” Nothing wrong with that approach ― especially if you can turn “Mother Teresa” into “It’s going to be hard as a mother to raise a kid under Trump,” or “Gloria Steinem” into “This presidency is going to be the most glorious time to make some radical fucking art.” 

Wow. That’s pun art.

Watch Corbin’s full tongue-twisting video:

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Sarah McQuaid Tours and Enchants With Her Brilliant New Album, Walking Into White

Finding treasure feels great, and such is the case with musician Sarah McQuaid. The soulful singer, smart and sensuous songwriter, and scintillating guitarist has been hidden in plain sight with three gorgeous solo albums, and her fourth — the recently-released, critically-acclaimed Walking Into White — reveals a truly magnificent artist primed to enchant the masses. Sarah’s current U.S. tour continues through October before she carries on in the U.K., and listen: I’ve attended hundreds of concerts of all kinds, and her subtle mastery onstage launches her straight into my fave shows ever. One voice, one guitar, and the wondrous reminder of the magic of music. Sarah has the gift.

2015-10-06-1444150911-5350190-IMG_20151006_125559.jpg

Sarah McQuaid

photo by Phil Nicholls

While Mrs. McQuaid and her Jedi-esque manager-engineer Martin Stansbury log thousands of highway miles, it’s my pleasure to join them for terrific Thai cuisine and discuss the storied life and career of this focused yet easygoing chanteuse. We promptly explore Walking Into White:

“It was new territory for me in a number of ways,” reveals Sarah. “I was working with my cousin, Adam Pierce, as producer, whereas the previous three albums were all recorded in Ireland with Gerry O’Beirne producing, and this one was recorded in Cornwall, New York, with Adam producing. Another change is that the previous albums were all made over fairly sizable periods of time — where I would kind of go in, and do a recording session, and then come back out, and then go back in and record some more.”

2015-10-06-1444151112-897571-IMG_20151006_125406.jpg

“With Walking Into White,” the artist continues, “I already was in a really hectic tour schedule when the album was being planned, and over the few years in between The Plum Tree and the Rose and Walking Into White, I was constantly jotting down song ideas — both using audio memos on my phone, jotting down little melodic ideas, and chord progressions and so on — and also writing down bits of lyrics. Because the tour schedule was so hectic, I hadn’t finished a single song by the time we booked the studio time. We really just had 15 days in three weeks to do the whole thing: to record and mix the album. That actually turned out to be a really good way of working, and I’m going to do that again.

“Because the songs were all written in one intensive session, I think they fit together really well, and I think also I was conscious of making them all quite different from each other, in terms of: rhythmically, and what keys they’re in, and what I was doing with the guitar, and what the general feel of the song was. I was thinking, ‘I’m putting a suite of music together, and I want to make sure there’s plenty of variety and contrast.’ And also they all came out of the same kind of creative space, in a way, if that’s not too airy-fairy a way to talk.”

For new songs “Where the Wind Decides to Blow,” “The Tide,” and the title track, Sarah illuminates in her new album a literary inspiration perhaps unfamiliar to American audiences.

“It reflects a moment in time, and what themes are running through my head, and I guess one big theme would be the natural world and how we interact with it: partly because I was reading this series of books to my kids — Swallows and Amazons, which are all written by Arthur Ransome — and thinking about how a lot of situations in the books were kind of wonderful kind of metaphors for life, you know — and metaphors drawn from the natural world.”

Born in Spain, Sarah grew up in Chicago and Washington, D.C., before carrying on through disparate locales such as France, Pennsylvania, and Ireland — eventually settling in England’s west country. Since she impressively cites the decidedly-not-Disneyfied Wind and the Willows chapter, “The Piper at the Gates of Dawn” as an inspiration for “Pipe and Tabor” (from her album Crow Coyote Buffalo, with singer Zoë Pollock, together as duo Mama), I ask if she also grew up with the Swallows and Amazons series.

“My husband had read them as a kid,” she clarifies. “They were written back in the ’20s and ’30s, and they’d been read to my husband by his mum, and at some stage, when the kids were young, my in-laws, his parents, gave us a box set of all 13 books. He was like, ‘Oh, these are great!’ And I had never come across them, because I don’t think they really made it over to this country. They’re very English books — and they’re of their time. There are a few politically incorrect moments in them — which I kind of fudged over when reading them aloud to my kids. (laughs) With asides of, ‘Now, this is the way people used to talk in those days.’ (laughs) ‘We don’t do this anymore.'”

2015-10-06-1444151219-1188898-IMG_20151006_125721.jpg

photo by Phil Nicholls

“And songs that aren’t drawn from the Swallows and Amazons series,” Sarah elaborates, “like ‘Yellowstone’ was inspired by a thing my son wrote on a piece of paper. Basically he was lying awake at night and worrying about things, so I said to him — because this had worked for me — I said, ‘Why don’t you try writing down your worries on different pieces of paper, and once they’re written down, they’re on the paper, and they don’t have to be in your head anymore.’ He did that, and that worked for him, but of course I being his mother had to go and look through the bits of paper where he’d written down the things that he was worried about. And one of the things that he was worried about was this underground volcano underneath Yellowstone, and the danger that it would erupt and somehow set off a chain reaction of volcanoes.”

Sarah notes that at the show I attended, a geologist approached and explained to her that her son’s elaborate chain-reaction concerns were unfounded. But still that volcano is potentially problematic. I ask how her son found out about it.

“Well, he’s an inveterate reader of Wikipedia,” she laughs. “So, we don’t have TV at all, but we do have computers, and he’s a mine of information which he gets off Wikipedia. He comes up with the maddest things like: gummy bears came up in conversation one time. I don’t know — somebody mentioned gummy bears. Were you talking about Haribo, Martin?”

“I think we were talking about Haribo,” responds the stalwart Martin. “We’d been in Germany.”

“You want peanut sauce?” knowingly asks the server.

Affirmative on the peanut sauce. Sarah cheerfully continues:

“Somebody was talking about gummy bears, and my son said: ‘Gummy bears were invented by so-and-so in such a year, by somebody in Germany in 1926’ or whatever — and I was like, ‘Really?! Let’s see if he’s right!’ and I got out my phone, and looked it up, and he was right.”

I let slip a flash of sincere wonder.

“He just has the most amazing ability to retain information,” adds Sarah.

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Between tour dates in Toledo and Chicago,
Sarah makes a new friend in South Bend, Indiana

photo by Martin Stansbury

One of the standout songs on Walking Into White is “Jackdaws Rising,” which makes for brilliant and unusual performance material, with Sarah delivering its polyrhythms via stomps and handclaps, plus a round of three simultaneous verses, all looped live by maestro Martin. I ask if she’s dealing in metaphor, but not particularly: these jackdaws really swoop where she lives, and this is a word painting.

“I’m just describing what I see. I guess the kind of metaphorical bit, where I get kind of dreamy about it, is I’m thinking about the whole thing of twilight, and the whole thing about the crossing of worlds, and that this is the time when there’s a window through to the spirit world, and it’s supposed to be the time when all the ghosts are about, as well. It feels kind of spooky, because — you can imagine, this cloud of black birds suddenly all flying up at once into the sky, and making huge amounts of noise, and then they [whooshing sound effect] back into the tree again. It’s an amazing time.”

(“Damn, you’re cool,” silently reflects the journalist. “Why aren’t more people cool like you?”)

In closing, I ask the inspiration for the album’s lovely opener, “Low Winter Sun.”

“‘Low Winter Sun’ — that also is kind of a word picture of a very specific time and place. It’s driving up the hill from my house up to the nearest village — especially in winter, when the sun is low. As you’re driving up the hill, the sun just hits you straight on in the face, and blinds you, and you can’t see anything. And there’s these wonderful kind of stunted hawthorn trees, and the wind has shaped them, so they’re kind of curved over. And when it’s winter, and the branches are really clearly outlined, and the sun is hitting you in the face, you see this branch shape against the light, and it’s just really stark and very intense.

“It’s funny,” smiles Sarah, patient as her Pad Thai cools, “because I try to write songs that are universal in the sense that anybody can listen to them, and feel like it’s about their life in some way, but with imagery, I tend to pick on a particular, very specific piece of imagery. But hopefully my emotional reaction to that very specific image is similar to the emotional reaction another person would have to the same image. So if I describe the image, then maybe the emotion can be universal.

“If that makes any sense!”

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photo by Phil Nicholls

Yes, Sarah McQuaid is a major discovery, her devotion to songcraft impressive, her nuanced delivery grounded yet heavenly. As music magazine The Living Tradition aptly put it, Sarah is world class. And she’s presently touring. Seeking treasure? Here you go.

Images and videos courtesy of Sarah McQuaid.

Sarah McQuaid: Official Website

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Girl Meets World Star Rowan Blanchard Just Wrote a Brilliant Essay on Feminism (and She’s Only 13!)

Up until this point, Rowan Blanchard was best known for portraying Cory and Topanga's daughter Riley on the Disney Channel spin-off Girl Meets World. But now, she's making a name for herself as a powerful…


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Why MoMA Protestors Are Demanding Better Treatment, In 11 Brilliant Posters

New York’s Museum of Modern Art held its annual “Party in the Garden” gala this week, beckoning black-tie-clad VIPs to generously support the institute by purchasing tables for anywhere between $ 25,000 and $ 100,000.

While the venerable guests partied, partially on behalf of banker David Rockefeller’s 100th birthday, a different kind of crowd huddled across the street from the museum, umbrellas and protests signs in hand.

“MoMA, don’t cut our health care,” a large, red banner read. “Modern art, ancient wages!” the crowd chanted.

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Like a scene out of “House of Cards,” around 100 members of Local 2110, the union chapter that represents MoMA’s technical and office workers, organized a timely protest in response to stalled negotiations between union members and the museum management.

“Our union went into negotiations with MoMA management with proposals to improve wages, healthcare, and the opportunity for advancement in certain sectors of the museum,” Emily Hall, an editor in MoMA’s Department of Publications and a Local 2110 member, explained to The Huffington Post. “All but one, I believe, were rejected, and instead we were presented with a proposal that shifts a greater burden of health care costs to employees.”

Negotiations — regarding staff healthcare costs, among other things — began in April; however, the most recent, a five-year collective bargaining agreement between the two parties, expired on May 20, and an extension is set to close on June 20.

According to Hall, and reiterated to HuffPost by Grace Kwon, who works in MoMA’s visitor services department, the museum is now asking staffers to pay a percentage of their health care premiums, including a percentage of surgery and childbirth costs, while increasing copays and instituting significant deductibles.

Proposed wage increases for staffers “barely cover these expenses,” Hall claims. “Many union members are essentially facing a pay cut.”

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The gala protest lasted for two hours on Tuesday night, during which a smattering of red posters could be seen popping out amidst the rained-on masses. “Average MoMA senior staff salary: $ 349,000 / Average MoMA employee salary: $ 49,000,” one read. “MoMA endowment: $ 1,000,000,000 / 2014 was MoMA’s best year ever / Why cut back?” another asked.

Members of MoMA’s graphics department, along with writers and editors on the protester’s action committee, devised the strategy behind the posters. “There’s a long history of stunning social justice posters, which we would have loved to invoke, but we didn’t have much time,” Hall said. “In just a handful of days, the group came up with the posters’ slogans, which use MoMA’s very recognizable typeface. There’s some talk of making more of them.”

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The posters have become all the more relevant since Artnet’s Philip Boroff announced that MoMA Art Director Glenn Lowry was paid a startling $ 2.1 million in salary, bonus, and benefits in 2013. Furthermore, the Daily Beast reported that in MoMA’s fiscal year 2013, 990 return tallies the museum’s total assets and fund balances at a staggering $ 1,086,806,338.

MoMA has issued the the same statement to several media organizations in response to the protests: “The Museum of Modern Art has an outstanding staff. At this time, we are in the process of negotiations with Local 2110, and are optimistic that we will reach a positive outcome for the staff and all concerned.”

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MoMA’s decision to cut staff benefits amidst plans for expansion and a healthy endowment has left more than a few people surprised.

“Salaries for MoMA workers are not high to begin with,” Hall concluded. “The proposed expenses will make it difficult — if not impossible — for many of us to make ends meet … I think we’re hopeful about how strong the response has been [to the protests] among ourselves and in the public. We’re hopeful that it’s something the museum can’t ignore.”

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

Arts – The Huffington Post
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Boys Girls Childrens Tiger Scarf With Tiger Claw Hand Pockets – Brilliant Gift

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The Brilliant Wedding Dress Hack That Will Keep Your Gown From Getting Destroyed

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SmartWool Brilliant Light Crew Hiking Sock – Women’s Size S Color LightGrey

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Brilliant Gym Ad Says What We’re All Thinking About Kimye’s Marriage

New York Sports Club released an ad Wednesday that even Don Draper would be proud of.

Following Kim Kardashian and Kanye West’s over-the-top Italian wedding, the NYC-based gym took out a full page ad in the New York Post that poked fun at Kardashian’s relationship history as a ploy to get people to work out.

It’s no surprise that the ad blew up on the Internet and was picked up and posted by every media outlet known to man. Bravo NYSC.

But just in case you need a follow-up ad for your campaign, we came up with one for you:

Kanye, stay in shape. You’ve got to last at least 41 minutes.

Entertainment – The Huffington Post
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Comedian’s Brilliant Response To Racist Jokes

Comedians Pete Holmes and Kumail Nanjiani have a casual discussion about race jokes that proves there isn’t much you can’t joke about.
Comedy – The Huffington Post
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