Lady Gaga has gone nude for the cover of her new album, Artpop. The pop superstar commissioned celebrated artist Jeff Koons to create a sculpture of herself for the project's artwork, and the finished product was unveiled on Monday (07Oct13).
The cover features a blonde-wigged Gaga sitting with her legs spread open around a large, mirror-polished blue ball as she covers her breasts with her hands.
Sharing the image on her Twitter.com page, the singer writes, "FULL ARTPOP ALBUM COVER.'One second I'm a Koons, then suddenly the Koons is me!'".
The sculpture itself is set to be displayed as part of a special art show celebrating the November (13) release of ARTPOP.
The Applause hitmaker is no stranger to stripping off - she's previously disrobed for numerous fashion photoshoots and went completely naked for a promo video for performance artist Marina Abramovic this summer (13).
Warning: The following article contains Minor spoilers about the 2013 film Dark Touch.
Thanks to Hollywood, the word "horror" has taken on a connotation that's a far leap from its dictionary definition. When you speak of a horror movie, you speak of roller coaster thrills and sadistic pleasures — the genre might not be lauded critically, but it reigns supreme in the film industry's output of fun. As such, you're not really finding true horror in any of these romps through the valleys of schadenfreude. Real horror exists only in rare movies, one of which being Dark Touch.
The Marina de Van picture, which premiered at the 2013 Tribeca Film Festival, is genuinely horrific in theme alone. We meet a panicking young girl, Niamh, desperate to flee the confines of her ostensibly haunted home; we learn quickly into the story that it is her parents of which Niamh is really afraid. In a concept that will ring familiar to Stephen King fans, preteen Niamh provokes objects to move, fly, crash, and shatter when she is emotionally rattled. And the source of her dismay: her physically and sexually abusive mother and father.
While Carrie manages quite a deal of psychologial weight thanks to the title character's struggles with her belittling schoolmates and hostile and delusional mother, nothing in the Brian de Palma classic holds a candle to the severity of Dark Touch. Carrie, even at its darkest, is watchable, fun, removed — a classic fitting snugly in the margins of the genre. Tribeca's child abuse horror veers from these motifs, providing not the standard entertaining escape, but instead a plaguing, probing inspection of the apocalyptic damages of the crimes exhibited therein.
Dark Touch doesn't use child abuse to tell a horror story. Films like the Evil Dead remake, last year's Chronicle, and Carrie itself employ the likes of addiction, abuse, and social anxiety to instill their fantastical concepts with substantial meat. But de Van's goal is the utilization of otherworldly elements as a vehicle for delivering a real, grounded, important subject with as powerful a bite as possible.
Throughout, we only get closer to the injustices imparted upon (and within) Naimh. After she causes the deaths of her parents and baby brother early on in the movie, a pair of well-meaning but misguided family friends take her in, striving to connect with the distant young girl. The relationship grows increasingly contentious as the couple loses grip on their ability to understand and handle Niamh, the victimized girl eventually turning the "villain" when she apprehends control of her telekinetic and pyrokinetic abilities and uses them to avenge her younger years. Eventually, in a metaphor for the ceaseless cycle of abuse, Niamh uses her powers to transform her adult targets into helpless children, forcing them through all of the physical and sexual tortures and traumas she experienced at the hands of her parents... but not before bringing the lot of her judgmental classmates to their demise.
There is never a moment in Dark Touch free of tension, never a release from the pangs felt by the tragic heroine. This is because, as the film strives to prove, there is never a moment of escape for the children who suffer abuse. They see pain and suffering in everything, they derive fear from every observation. Niamh is petrified by her adoptive parents' well-meaning hugs, her peers' moreover innocent doll parties, her kind school counselor's persistent quest to solve her problems. The darkness brewing inside Niamh, her unwanted psychic powers, is forever with her — she can't hide from this curse, can't turn it off. So, as victims of abuse are so tragically wont to do, she succumbs to it. She becomes it. She let's it take her over entirely, to the point where she ultimately transforms into the very evil that rained down upon her throughout her childhood.
Dark Touch isn't out to scare its audience with any fantastical ghouls — the film's demons are very real, only portayed via supernatural elements to enhance and sharpen their potency onscreen. You can call this movie a member of the horror genre, certainly. But where this community is filled with easy access fun and macabre thrills, Dark Touch offers so much more than your standard axe-wielder or cabin-set ghost story. The Tribeca movie, uniquely, is stocked only with authentic, disturbing, grounded and serious horror.
Follow Michael Arbeiter on Twitter @MichaelArbeiter
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Imagine only being able to communicate through blinking. Now imagine trying to dictate your memoirs in this grueling and time-consuming fashion. That’s how Jean-Dominique Bauby had to put his life and thoughts down on paper. The editor of French Elle suffered a stroke so severe that it rendered him almost entirely paralyzed for the remainder of his short life. He died less than 18 months later just days after the publication of his 1997 memoirs. Making amends for his laughable adaptation of Love in the Time of Cholera Ronald Hardwood pays homage to Bauby’s remarkable achievement with an eloquent screenplay that examines the power of the mind over the body. The Diving Bell and the Butterfly begins on the day when Bauby (Mathieu Amalric) wakes up from a coma and is alarmed to find himself in a hospital completely paralyzed and unable to speak. But his mind is sharp as it ever was. Flashbacks reveal Bauby to be a man who lived life to the fullest and relished every challenge that came his way. So being stuck in a body that no longer functions as it once did is clearly pure hell for Bauby--until his therapist Henriette (Marie-Josee Croze) teaches Bauby to communicate by blinking his left eye. Bauby suddenly decides to honor a book contract he had signed before his stroke--and in the process he discovers his raison d’être. Like My Left Foot’s Daniel Day-Lewis before him Amalric indelibly proves that the mind can and will thrive even when the body is broken and beyond repair. Amalric though has less to work with than the wild-eyed Day-Lewis who had the luxury of drawing you into his performance by tapping into Irish author Christy Brown’s abrasive personality and larger-than-life presence. It’s mesmerizing to watch the intrepid Amalric at work even though he’s practically motionless for the entire film bar for a few flashbacks. While the rest of his face remains frozen solid Amalric eloquently expresses Bauby’s innermost hopes and fears through the mere blink of his left eye. There’s never a time when you don’t know how Bauby feels. And his narration is laced with gallows humor which helps keep Diving Bell free from drowning in sentimentality. As Bauby’s therapist Croze personifies patience dedication and resourcefulness we all expect and demand from health-care professionals but don’t always receive. Emmanuelle Seigner maintains a brave face as Bauby’s neglected wife Céline. You wait for Céline to crumble especially as Bauby never stops asking about his mistress but Seigner reveals Céline to be caring and forgiving. The most heartbreaking moments come between Amalric and Max von Sydow who plays Bauby’s father who is much trapped inside his apartment as Bauby is inside his body. There’s great sadness and regret to be found in von Sydow’s every word as he comes to the painful realization that he will outlive his rich and successful son which no father wants to do. Yes Diving Bell is the latest in a long line of inspirational fact-based films about physically and/or mentally challenged people mastering their disabilities. But director Julian Schnabel distinguishes himself and the film by shooting the first act solely from Babuy’s perspective. We see everything Bauby sees through his one good eye from the moment he comes out of his coma. What follows is confusing disorienting and taxing. And darkly humorous as evidenced by Bauby’s admiration of his females nurses. Schnabel’s approach though works to dramatic effect because we receive a greater understanding and appreciation of what Bauby’s experiencing. Stay the course and you will be rewarded for your patience. Once Bauby comes to terms with his fate and refuses to spend the rest of his days wallowing in self pity Schnabel finally turns his camera on Bauby to reveal his post-stroke physical appearance. It’s a quiet but ingenious way for us to accept Bauby as he accepts himself. Schnabel then concentrates on Bauby’s Herculean effort to dictate his autobiography which is occasionally interrupted by poignant flights of fantasy (it’s not hard to guess what the diving bell and the butterfly symbolize). Equal amounts of joy and regret are be found in Bauby’s reminiscing but Schnabel never tries to romanticize his subject or ignore to his past transgressions. Diving Bell doesn’t set to turn a flawed man into a hero but Bauby’s will and determination ultimately reinforces the notion that anything’s possible if you set your mind to it.
Former Friends star Matt LeBlanc has apologized to his wife and baby daughter
for drunkenly groping a stripper during a wild night out.
The actor, who now stars in Friends spin-off show Joey, admits he got
"carried away" in a recent visit to a strip club during a 10-day motorbike trip
LeBlanc was with 10 friends who were all eyeing a succession of naked
lovelies when one girl approached the celebrity and suggested they drink some
The stripper, who charges $54 for a private dance, then "lured" LeBlanc
into an adjoining room where she removed her black spandex clothing and sat on
LeBlanc, who has an 18-month-old girl, Marina, with his wife Melissa, tells
British newspaper The Sun, "She was all over me. I was drinking and she was
crossing the line strippers shouldn't normally cross.
"She was in my face, pushing her breasts into me, grabbing my hands to go all
over her body.
"If I had been sober perhaps I'd have acted quicker. I realized I was being
careless and had to get the hell out of there.
"I acted like a fool in allowing myself to be led astray and placed in such a
horrible situation. I feel ashamed."
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