Sophianotloren

And of course, it was Loomis who almost brought LGM down:

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When I first received this e-mail, I thought it was a joke, or spam. Turns out no; our Google Adsense privileges are on the verge of being revoked because of Loomis’ weird fixation with what may be considered unconventional 19th century sexual practices.

Lawyers, Guns and Money is a family blog, but also a blog that caters to people with sexual fixation and/or unconventional sexual practices. I won’t hazard a guess as to how much of our audience falls into each category, but be assured; we need you all. Accordingly, I have posted a screenshot of the original post here, so that you may study it in all of its glory, and consider whether to employ any of the pictured devices as part of either a normal, loving family-oriented sexual relationship, or as part of some weird, unconventional sexual fetish practice. I have also lightly edited the original post to avoid offending any family-friendly readers.

Shame on Loomis. God bless America.

"You performed oral sex on him the night before. So the thing is this: What motive would he have to put a date rape drug in your drink?"

That's what East Baton Rouge Sheriff's Office Sgt. Jacques Jackson told Lyndsi Lambert. Lambert had asked the police officer why he didn't take a urine sample or do a toxicology test on her blood to determine whether or not she had been drugged the night she said she was raped. The New Orleans Times-Picayune is publishing a series of stories by Diana Samuels about Lambert's case, and it will make you feel skeevy.

That quote up top from Jackson is from a recording Lambert made of her October 15, 2014 interaction with the cop when she was following up to see what he was doing to arrest the man she accused of rape. Unlike other fucked-up things Jackson said while initially interviewing Lambert at Woman's Hospital of Baton Rouge on September 26, this is not Lambert relating what Jackson said. It's Jackson. It's a cop telling a possible rape victim that she couldn't have been raped. You can hear the recording at the newspaper's website.

Lambert angrily tells Jackson that she gave him a motive in their first meeting: "She said she had told the [alleged rapist] after the one time they had sexual intercourse, about a week and a half before the alleged rape, that the sex wasn't good."

On the recording, Jackson argues, "You didn't tell me that." The report that Jackson filed on the case on September 27 reads, "She indicated that a possible motive...was because he was upset that she told him that he was not good in bed."

Let's put aside whether or not the rape took place. Ask yourself: Should Lambert have been treated like this? Should she have been accused, as she was, of lying because she had exchanged sexy texts with the man? Should it have taken five months to test her blood for potential drugs that would have impaired Lambert? And, really, what the fuck is wrong with Louisiana?

As columnist Jarvis DeBerry points out, to say that this was a case of police doing their jobs in the course of an investigation is bullshit at best, insidious at worst: "If police routinely did their jobs, we wouldn't have seen the story last year about five New Orleans police officers who failed to even write reports for 86 percent of the almost 1,300 sexual assault or child-abuse calls they were assigned.

Lambert says that, in the hospital that first day, she broke down crying while talking to Jackson. "Are you done? Can we move on?" she says Jackson asked her. Obviously, that's what the cops around Baton Rouge want to do.

Check out the series so far. Tomorrow, Samuels writes about how arrests for rapes have declined in East Baton Rouge parish. It wouldn't be wrong to wonder if it's because women know how they'll be treated by the cops.

I’m so mean-spirited. I wrote all my mother’s slights down. There were so many of them.

So explains Sally Mann, photographer and author of recent memoir Hold Still, who goes through some old boxes at Book Page, from uncovering family secrets in the attic to a few juicy examples from her “bulging file called ‘Maternal Slights.’”

Related Posts:

• Hold Still by Sally Mann
• The Light of Sally Man
• How Soon Is Too Soon?
• Vivian Gornick Does Not Like Your MFA
• The Ways of Hemingway’s Heart

What would have been a remarkable social science finding turns out to have been based on fraud:

A study claiming that gay people advocating for same-sex marriage can change voters’ minds has been retracted due to fraud.

The study was published last December in Science, and received lots of media attention. It found that a 20-minute, one-on-one conversation with a gay political canvasser could steer voters in favor of same-sex marriage. Not only that, but these changed opinions lasted for at least a year and influenced other people in the voter’s household, the study found.

Donald Green, the lead author on the study, retracted it on Tuesday shortly after learning that his co-author, UCLA graduate student Michael LaCour, had faked the results.

I strongly recommend Kieran Healy’s piece on the subject. In particular, I’d like to emphasize this:

When something like this happens it raises many issues internal to academia, from the relative role of the authors involved, to the importance of available and replicable data, to the often unrecognized importance of simple honesty in science. As a social scientist I worry most about the quality the frauds we don’t spot. Science is often bitterly competitive but it depends on honesty. It is not set up to weed out liars. We simply can’t proceed without a vocational norm of honesty. Imagine what research, or talks, or conferences would be like if you had to routinely question not simply the quality or competence but the actual honesty of speakers. The same goes for supervision. Or consider having to check not just the quality of grad student work, but whether they were lying to you about the data. Much of what we do would become simply impossible.

…Jesse Singal interviews Donald Green.

nethaca:

maverikloki:

deejohnes:

maverikloki:

I hear my mom shrieking downstairs, shouting up to me about “THE CATS! THE CATS!”

I run downstairs, thinking someone has died or something and see THIS:

I FEEL LIKE I NEED TO PUNCH SOMETHING TO GET OVER THE ADORABLENESS

They look like they’re about to break out in a musical number

hence:

This post got better since I re-blogged it earlier.

A parent has come forward with new accusations against the anti-gay pastor who was outed on Grindr, and says the pastor told her suicidal gay son he might as well commit suicide.

royst148:

We exist for a mere blink of an eye in astronomical terms.

sixpenceee:

Skulls by Jim Dine

Jim Dine is one of the most recognizable and prolific of American artists. His work is characterized by the invention, repetition, and reinvention of now-familiar themes, the human skull is among them. (Source) 

The president of the Boy Scouts of America, Robert Gates, said Thursday that the organization's longstanding ban on participation by openly gay adults is no longer sustainable and called for change in order to prevent "the end of us as a national movement."

In early 2014, Vancouver-based graphic artist Joey Camacho set out to learn more about rendering images using Cinema 4D and Octane Render, with the goal of creating a new piece each day. His first attempts were pretty rudimentary, but it wasn’t long before his exploration and experimentation began to pay off with increasinly subtle details inspired by biology, sound, and geometry. Only several months into his ‘Progress Before Perfection‘ project, he started getting requests for prints as his images were shared widely around Tumblr and elsewhere. You can see more of his work on Behance and prints of many pieces are available through his website.

Marvel: You... made a film about female assassins?
Taylor Swift: What, like it's hard?

“There are different kinds of beauty. I suppose the one I am interested in is like a fruit: I am not following a logical analysis, and I am not trying to have some concept. I am rather into contemplation, which implies taking some time.”

The post Julien Salaud Creates Stellar Caves With Glow In The Dark Thread appeared first on Beautiful/Decay Artist & Design.

Cinephiles, if you have some spare time in the coming months and feel like watching, say, over 100 film noir movies from the Turner Classic Movie (TCM) vaults, then you will be delighted with Summer of Darkness, which will devote every Friday, from June through July, to 24 hours of noir classics and rarities. And suppose you’d like a reward, like a certificate that proves you not only watched those movies, but properly studied them? Well TCM has that covered too, offering a free nine-week course in “The Case of Film Noir” to run concurrent with the series. It’s free to sign up, and the course runs June 1 – August 4. Says TCM:

This is the deepest catalog of film noir ever presented by the network (and perhaps any network), and provides an unprecedented opportunity for those interested in learning more to watch over 100 classic movies as they investigate “The Case of Film Noir.”

The course is being taught by Richard L. Edwards, Ph.D. who co-hosts the Out of the Past: Investigating Film Noir podcast and also teaches at Ball State University in Muncie, Indianapolis.

For those who don’t have TCM, or even cable, don’t worry. The network promises to post links to online public domain films. Or, better yet, you could jump right into our collection of 60 Free Noir Films Online, which features public domain classics by Orson Welles, Fritz Lang, John Huston, and many more.

Have a hazy, dangerous summer and watch out for femme fatales!

via Flavorwire

Related Content:

60 Free Film Noir Movies

The 5 Essential Rules of Film Noir

25 Noir Films That Will Stand the Test of Time: A List by “Noirchaelogist” Eddie Muller

Watch Scarlet Street, Fritz Lang’s Censored Noir Film, Starring the Great Edward G. Robinson (1945)

Kansas City Confidential: Did This 1952 Noir Film Inspire Quentin Tarantino’s Reservoir Dogs?

Ted Mills is a freelance writer on the arts who currently hosts the FunkZone Podcast. You can also follow him on Twitter at @tedmills, read his other arts writing at tedmills.com and/or watch his films here.

breanieswordvomit:

yeoldenews:

Bertha Boronda (from the first San Quentin photo set I posted) was sentenced to five years in prison for “Mayhem” in 1908.

What’s “Mayhem” you ask? Apparently in Bertha’s case, it’s cutting off your cheating husband’s penis with a straight razor, disguising yourself as a man and fleeing by bicycle.

Worth it

Glass Seaweed, 2014, Flameworked borosilicate glass, 20″ x 20″ x 20″

American artist Emily Williams draws inspiration from the sea and other aspects of organic life for the creation of her fragile glass sculptures that mimic seaweed, jellyfish, and coral. Each piece begins with a selection of perfectly straight borosilicate glass rods in various diameters which she carefully melts with a glass torch to form patterns similar to veins and branches.

As a child, Williams’ grandmother was a docent at the Smithsonian leading to many artistic and scientific discoveries at a very young age that would deeply influence her decision to pursue an artistic career. She went on to receive her MFA in sculpture from Washington University in St. Louis and a BFA in sculpture from V.C.U. in Richmond. She is currently working on an impressive glass coral piece shown in the video below (and discussed in this blog post), and you can see more views of her work both on Facebook and in her portfolio.

Glass Seaweed, detail

Glass Coral Skeleton, 2013, Flameworked borosilicate glass, 20″ x 22″ x 10″

Coral Skeleton, detail

Glass Nest, 2013, Flameworked borosilicate glass, 15″ x 20″ x 20″

Glass Jellyfish, 2013, Flameworked borosilicate glass, 15″ x 14″ x 14″

Glass Petal, 2013, Flameworked borosilicate glass, 15″ x 12″ x 4″

Petal, detail

Burst, 2013, Flameworked borosilicate glass, 12″ x 10″ x 10″

“nah, not tonight, that will only make me angry.”

- me, going through my netflix queue. i may have too many angry-hippie docs queued for my own good.

the struggle is real

micdotcom:

J.K. Rowling had the best reaction to Neville Longbottom’s underwear shoot 

In a cover shoot for Attitude magazine, actor Matthew Lewis stripped down to his underwear and revealed impressive pecs and abs, with what looks like a majestic wand to match. This proved too much for Rowling, who responded with the above (hilarious) tweets. But she wasn’t the only Potter person to speak up, even Lucius Malfoy portrayer Jason Isaacs got in on the action.

coyotelips:

I’d enjoy some four person “tennis” in “Antarctica”, if you’ll pardon the doubles on tundra

Man has 8 minutes to convince prostitutes to quit in new reality show

 A&E pulls heavily criticized show ‘8 Minutes,’ which claimed to help sex workers leave the trade

I really really don’t like the he old “Don’t like it? Make it yourself” chestnut. It’s lazy and dumb. Think about this: if a bunch of tall men said to car manufacturers “Your cars are too cramped for us.” No one would say “Make your own cars, freakshows.” No one who designed, say, dishwashers or homes or computers would have that sort of dialogue with consumers. So why are people in the creative arts allowed to say things like that?

I suppose you could argue artists should get special dispensation because artistic vision is sacred, but I think there are two problems with that: 1.) You have to argue that engineers, designers, architects, etc. aren’t artists. But I would argue that a decent amount of artistry goes into designing even something like, say, a refrigerator. 2.) When an artist becomes popular, she’s not creating her art in a vacuum. She’s profiting from it. She is necessarily in a give and take relationship with the people who consume her product.

I understand why people get very sniffy about keeping artistic vision “pure.” People staying absolutely true to their vision sounds right and the idea of our vaunted genius-artists compromising their artistic vision sounds terrible.  But I think that when you become a popular artist, it’s actually quite fair for your fans to make demands as reasonable as “Hey, could you make your make your next episode less rapey?” (Yes, people in the “Princess” thread, I’m looking at you.)

I can afford to stay 100% true to my artistic vision, because I don’t have an audience–no one is reading my erotic slashfic “T-Rex Takes Clippy.” But once I start selling, you’re damn right I’ll listen to my readers. And if they want me to make it clearer that the sex between a dinosaur and computer icon is consensual, I will happily comply, artistic vision be damned, and thank you for your money.

In the mobile black box of Theatre for One, there is only one audience member for each of the seven rotating plays. The four-by-eight space is sparsely staged, with a built-in red velvet seat on one side and a folding chair for the performer on the other, and a wall that opens and closes between, revealing the viewer and actor to each other.

I’m Not the Stranger You Think I Am, the current cycle of performances in the mobile theater, presented by Arts Brookfield, opened this week at the Winter Garden at Brookfield Place in Battery Park City. Through June 6 the performances are traveling around Manhattan, with a stop at Zuccotti Park and Midtown’s Grace Building Plaza. All of the plays are free, you just have to line up and be prepared for one of the most personal theater experiences of your life.

Theatre for One evolved from an initial prototype created in 2003, the vision of artistic director Christine Jones, better known as a set designer for Broadway shows like Spring Awakening and American Idiot. The current tiny four-by-eight theater built by LOT-EK is a sort of cross between a peep show and a confessional box. Every experience is unique, and you don’t know what you are going to get when you are closed inside the box. It could be comedy, tragedy, a love story, or a self-aware monologue on the awkwardness of such a confined space.

The newly commissioned pieces include some high-profile playwrights like Craig Lucas, nominated for a Tony for his American in Paris libretto, and Lynn Nottage who received a Pulitzer for Drama in 2009 for Ruined. Each play is only about five to seven minutes, and the three I saw varied from comedic to tragic. In Zayd Dohrn’s “Love Song,” directed by Jenny Koons, actor Kevin Mambo looked into my eyes and told the story of a teenage crush that drove his character to learn the guitar, the story accompanied by Mambo’s music, strummed beneath the lights of the red room. The next play, “Lizzy,” directed and written by Josè Rivera, was performed by Marisol Miranda as if I were a friend with her at lunch, the ambient noise of a restaurant filtering through the speakers as she told me about the devastating terminal illness of her mother. Finally Will Eno’s “Late Days in the Era of Good Feelings,” directed by Brian Mertes and performed by Erin Gann, brooded on the awkwardness of our shared situation and riffed a bit on the absurdities New York theater can take with its unexpected spaces, with Gann apologizing: “I thought we were going to be in a bank vault.”

A warning to introverts, all the plays involved intense amounts of eye contact, the lighting giving the actors’ pupils a starry light, although physically neither of us crossed the dividing line between audience and stage. I’ve been to my fair share of offbeat theater experiences, including, um, Sleep No More over 20 times, almost each of those involving some moment with an actor behind a closed door where briefly the performance is exclusively for a sole person. However, Theatre for One gives its power by not immersing us in the world of a narrative: you’re immediately stepping out of chaotic New York into this small space where your attention is only on this person, with no transporting set or fellow audience members to ease your role. It’s intimidating to suddenly be as much in the spotlight as the actor, but rewarding in offering a moment to really engage with a story and a stranger.

Theatre for One: I’m Not the Stranger You Think I Am continues at the Winter Garden at Brookfield Place (230 Vesey Street, Battery Park City, Manhattan) through May 24. It is then at Zuccotti Park (Broadway and Liberty Street, Financial District, Manhattan) May 27 to 31, and Grace Building Plaza (1114 Avenue of the Americas, Midtown, Manhattan). 

Cerca de 300 milhões de pessoas no mundo possuem algum tipo de daltonismo, uma deficiência visual em que o indivíduo não é capaz de reconhecer e diferenciar algumas cores específicas. O daltonismo pode ser classificado como um distúrbio genético ligado ao cromossomo X, onde ocorre um problema com os pigmentos de determinadas cores em células nervosas do olho, chamadas de cones, localizadas na retina. Mesmo que apenas um pigmento esteja faltando, uma pessoa pode apresentar problemas para reconhecer e identificar diversas cores, tonalidades ou brilho. Buscando um modo de trazer as cores de volta à vida e rotina dos daltônicos, duas empresas, a Valspar e a EnChroma, criaram óculos especiais que corrigem a percepção visual. É uma iniciativa revolucionária, que transforma a vida dessas pessoas. O custo já foi reduzido, mas ainda há uma espera para que a produção desses óculos se torne barata o suficiente para a comercialização em larga escala. Hoje, os óculos custam aproximadamente US$ 350.

David Letterman wrapped up a 33-year-long late-night career last night, and brought out one of his favorite bands to do his favorite song to put a capper on the night. Foo Fighters -- who did a week-long residency on the show last year after the release of Sonic Highways -- played "Everlong," which they performed … More »