There is a statue of Joffrey in the middle of Auckland, New Zealand??? And if you tweet with #bringdowntheking it will tighten the rope to bring down the statue???!!?!??!?!?
Jamel Shabazz: Street Photographer
As a teenage photographer in early 80s East Flatbush, Brooklyn, Jamel Shabazz set out to document the then nascent movement of hip-hop. Through the iconic style of his MCs, neighborhood kids and gang members, the unequivocal attitude of New York’s youth was recognized as the calling card of the city’s creative renaissance. Published in 2001, Shabazz’ first book Back In The Days was celebrated as an exhilarating snapshot of the times, and his visual flair has been brought to life in a new documentary by the legendary hip-hop historian and director, Charlie Ahearn. “On the cover of Jamel’s book were two young men on 42nd Street. They were captured posing in such strong form as a kind of respectful bulwark against all the chaos that you see around them on ‘The Deuce,’” explains Ahearn, the notable filmmaker also responsible for the classic old-school movie, Wild Style. “I immediately knew that here was an original artist for our time.” 
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In the last two years I have made three essay films – What is This Film Called Love?, A Story of Children and Film, and Here be Dragons. In the next year, I will make two more – I am Belfast and Stockholm My Love.
In making these, and watching many more – by Anand Patwardhan and Agnes Varda, for example – and after reading Philip Lopate’s book on the essay, I started to make a mental list of the elements of, and the principles behind, essay films. This list is a kind of manifesto.
A fiction film is a bubble. An essay film bursts it.
An essay film takes an idea for a walk.
Essay films are visual thinking.
Essay films reverse film production: the images come first, the script, last.
Filming an essay is gathering, like a carpenter gathers wood.
A fiction film is a car, an essay film is a bike; it can nip up an alleyway, you can feel the wind in its hair.
A road movie has outer movement, an essay film has inner movement.
An essay film is the opposite of fly on the wall.
An essay film can go anywhere, and should.
Two essay films should be made every year. Why? Because, after F for Fake, Orson Welles said this to Henry Jaglom during lunch at Ma Maison: “I could have made an essay film – two of ‘em a year, you see. On different subjects. Various variations of that form.”
Commentary is to the essay film, what dance is to the musical.
All essay films would be improved by a clip of Dietrich (see Marcel Ophuls).
An essay film cannot create the atmosphere of Wilder’s Sunset Boulevard;
A fiction film cannot explain that atmosphere.
Even Hollywood makes essay films – look at DW Griffith’s Intolerance.
Essay films are what Astruc dreamt of.
Digital had made Astruc’s dream come true.
People drew maps of body locations where they feel basic emotions (top row) and more complex ones (bottom row). Hot colors show regions that people say are stimulated during the emotion. Cool colors indicate deactivated areas.
Finnish scientists ask people to map where they felt different emotions in the body. The results were surprisingly consistent, even across culture.
Reminiscent of, and fascinating in comparison to, Martin Wattenberg and Fernanda Viegas’s Fleshmap.