Cancer Patients’ Extreme Makeovers Let Them To Forget Their Illness ‘If Only For A Second’

The sea­son of giv­ing can be an unseem­ly time for non­prof­its. As New Year’s approach­es, every char­i­ta­ble insti­tu­tion down in Char­i­ta­ble Insti­tu­tionville must bang its tar-tin­ker and blow its hoo-hoover, in hope of dona­tions.

No doubt they’re all deserv­ing, but the onslaught of requests can leave sup­port­ers feel­ing a bit Grinchy. When that hap­pens, I rec­om­mend the video above, which doc­u­ments a hoax of Borat-like pro­por­tions. The per­pe­tra­tor is the Mimi Foun­da­tion, a Bel­gium-based group that offers psy­cho­log­i­cal coun­sel­ing, beau­ty treat­ments, and hair­style tips to peo­ple with can­cer.

The unsus­pect­ing vic­tims? Twen­ty can­cer patients who took it on good faith that they were being treat­ed to stan­dard makeovers, the sort of pro­fes­sion­al artistry that cre­ates an illu­sion of health, what many think pass­es for nor­mal­cy. All the Mimi Foun­da­tion asked for in return was that the recip­i­ents keep their eyes closed as the mag­ic was being worked.

Mean­while, pho­tog­ra­ph­er Vin­cent Dixon crouched behind a one-way mir­ror, poised to cap­ture each sit­ters’ reac­tion to his or her trans­for­ma­tion.

One does­n’t want to say too much. The end results are not what you think, unless you were think­ing of one of those over-the-top bizarre Amer­i­ca’s Next Top Mod­el pho­to chal­lenges.

Dixon’s images record the shock and invol­un­tary spon­tane­ity. The video, called “If Only for a Sec­ond, shows those ini­tial respons­es blos­som­ing into …well, let’s just say the Mimi Foun­da­tion, assist­ed by a pha­lanx of styl­ists, achieved their goal.

H/T Alan Gold­wass­er

Relat­ed Con­tent:

Come­di­an Tig Notaro’s “Tru­ly Great” Can­cer Stand-up Set Now Avail­able on Louis C.K.’s Web­site

Life in 4,748 Self-Por­traits

Ayun Hal­l­i­day’s heart grew three sizes today. Fol­low her @AyunHallliday

David Rees Presents a Primer on the Artisanal Craft of Pencil Sharpening

How have you been sharp­en­ing your pen­cils? Regard­less of your answer, rest assured that you’re doing it wrong.

Lest there be any doubt that I’m geo­graph­i­cal­ly sit­u­at­ed smack dab in the mid­dle of for­mer car­toon­ist’s David Rees’ tar­get demo­graph­ic, I almost did­n’t click on the link to the pitch per­fect send up above because I believed it was real.

Here in non-Caribbean, non-South­east-Asian, non-Russ­ian, non-Mex­i­can Brooklyn—think Girls, the Jonathans Ames and Letham, brown­stone-dwelling movie stars and the very lat­est in n’est plus ultra strollers—it’s entire­ly plau­si­ble that a humor­less young arti­san might take to the Inter­net to teach us reg­u­lar schlubs How to Sharp­en Pen­cils.

Just wait ’til he brings out his leather strop. (Mis­placed yours? Look in your base­ment, or your grand­fa­ther’s tomb.)

Please note that though the video may be satir­i­cal, Rees makes actu­al mon­ey sharpening—and authen­ti­cat­ing—cus­tomers’ Num­ber Two pen­cils, using the same tech­niques demon­strat­ed in the video. (Sor­ry, hol­i­day shop­pers, as per his web­site, he won’t be tak­ing orders for his live pen­cil sharp­en­ing ser­vices until the New Year, but he does have a book out.)

Like you need any more excuse to whip out your knife, place it in your dom­i­nant hand, and start carv­ing.

To quote a cer­tain clas­sic Broad­way musi­cal, you got­ta have a gim­mick.

Relat­ed Con­tent:

“The Peri­od­ic Table Table” — All The Ele­ments in Hand-Carved Wood

Watch The New Amer­i­ca, a Stop Motion Ani­ma­tion Star­ring 800+ Laser Engraved Wood Blocks

Learn to Draw Butts with Just Five Sim­ple Lines

Ayun Hal­l­i­day can get behind New Ork City pub­lic school teach­ers’ insis­tence on the Ticon­dero­ga brand. Fol­low her @AyunHallliday

Nelson Mandela’s First-Ever TV Interview (1961)

Note: This post was orig­i­nal­ly fea­tured on our site in 2010. In light of the news that Nel­son Man­dela has passed away at age 95, we’re bring­ing this vin­tage clip back to the fore. Here you can see a young Man­dela mak­ing his­to­ry, and with­out per­haps real­iz­ing it, build­ing the remark­able lega­cy that remains with us today.

In 1962, Nel­son Man­dela was arrest­ed on alle­ga­tions of sab­o­tage and oth­er charges and sen­tenced to life in prison, where he spent 27 years before becom­ing South Africa’s first pres­i­dent elect­ed in a ful­ly demo­c­ra­t­ic elec­tion. His sto­ry, among mod­ern his­to­ry’s most pro­found­ly inspi­ra­tional, is beau­ti­ful­ly and poet­i­cal­ly cap­tured in Clint East­wood’s 2009 gem, Invic­tus. But what East­wood’s account leaves out are the events that pre­ced­ed and led to Man­de­la’s arrest.

In May of 1961, a 42-year-old Man­dela gave his first-ever inter­view to ITN reporter Bri­an Wid­lake as part of a longer ITN Rov­ing Report pro­gram about Apartheid. At that point, the police are already hunt­ing for Man­dela, but Wid­lake pulls some strings and arranges to meet him in his hide­out. When the reporter asks Man­dela what Africans want, he prompt­ly responds:

“The Africans require, want the fran­chise, the basis of One Man One Vote – they want polit­i­cal inde­pen­dence.”

But per­haps more inter­est­ing is the dia­logue towards the end of the inter­view, where Man­dela explores the com­plex rela­tion­ship between peace and vio­lence as protest and nego­ti­a­tion tac­tics. We’re left won­der­ing whether his seem­ing­ly sud­den shift from a com­plete­ly peace­ful cam­paign strat­e­gy up to that point towards con­sid­er­ing vio­lence as a pos­si­bil­i­ty may be the prod­uct of South African police going after him with full force that week. Vio­lence, it seems, does breed vio­lence even in the best and noblest of us.

Relat­ed Con­tent:

Nel­son Man­dela Archive Goes Online (With Help From Google)

The Nel­son Man­dela Dig­i­tal Archive Goes Online

U2 Releas­es a Nel­son Man­dela-Inspired Song, “Ordi­nary Love”

Maria Popo­va is the founder and edi­tor in chief of Brain Pick­ings, a curat­ed inven­to­ry of eclec­tic inter­est­ing­ness and indis­crim­i­nate curios­i­ty. She writes for Wired UKGOOD Mag­a­zineBig­Think and Huff­in­g­ton Post, and spends a dis­turb­ing amount of time curat­ing inter­est­ing­ness on Twit­ter.

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In Touching Video, Artist Marina Abramović & Former Lover Ulay Reunite After 22 Years Apart

In 2010, Ser­bian artist Mari­na Abramović had the hon­or of being the sub­ject of a pop­u­lar ret­ro­spec­tive at New York’s Muse­um of Mod­ern Art. Through­out the show, Abramović per­formed a gru­el­ing piece enti­tled “The Artist Is Present,” sit­ting in the museum’s atri­um and invit­ing the swelling crowds of view­ers to sit direct­ly oppo­site her, in silent dia­logue. Abramović was no stranger to chal­leng­ing per­for­mances. By the time that MoMA staged the ret­ro­spec­tive, the then 63-year-old artist had engaged in count­less tax­ing exhi­bi­tions, earn­ing her self-giv­en title, “the grand­moth­er of per­for­mance art.”

In her first per­for­mance at 27, Abramović explored the idea of rit­u­al by play­ing a knife game on cam­era, stab­bing the sur­face between her splayed fin­gers with a knife and occa­sion­al­ly hurt­ing her­self; she would then watch a video record­ing of the vio­lence, and attempt to repli­cate it. Sub­se­quent per­for­mances includ­ed her explo­rations of con­scious­ness through the inges­tion of pills for cata­to­nia and depres­sion; anoth­er com­prised a 1974 incar­na­tion of her MoMA per­for­mance, where Abramović  sat pas­sive­ly before a table lit­tered with objects for six hours, invit­ing the audi­ence to put them to use on her per­son (of this piece, Abramović says, “What I learned was that… if you leave it up to the audi­ence, they can kill you… I felt real­ly vio­lat­ed: they cut up my clothes, stuck rose thorns in my stom­ach…”)

In 1976, Abramović  met Ulay, a West Ger­man artist who would become her lover and col­lab­o­ra­tor for the next twelve years. The duo fell into an imper­son­al abyss, los­ing their self­hoods and attempt­ing to become a sin­gle enti­ty through arrest­ing per­for­mances such as Breath­ing In/Breathing Out, where they locked mouths and breathed each other’s exhaled breath, even­tu­al­ly fill­ing their lungs with car­bon monox­ide and falling uncon­scious. By 1988, their romance had run its course; in typ­i­cal­ly atyp­i­cal fash­ion, the pair decid­ed to part by walk­ing from oppos­ing ends of the Great Wall of Chi­na until they met in the mid­dle, and then said good­bye.

On the open­ing night of Abramović’s ret­ro­spec­tive in 2010, the erst­while lovers were reunit­ed. The video above shows Abramović, sit­ting and steel­ing her­self for her next silent inter­locu­tor. Ulay approach­es, and Abramović, a vet­er­an of such dif­fi­cult per­for­mances, looks up to what may have been the sin­gle most unex­pect­ed sight of the night, jolt­ing her dig­ni­fied com­po­sure. Their reunion is a deeply ten­der scene.

Relat­ed Con­tent:

John Waters: The Point of Con­tem­po­rary Art

Jack­son Pol­lock 51: Short Film Cap­tures the Painter Cre­at­ing Abstract Expres­sion­ist Art

Free: The Guggen­heim Puts 65 Mod­ern Art Books Online

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman.

Rocks Stars Who Died Before They Got Old: What They Would Look Like Today

aged rock stars

Live fast.

Die young.

Spare your­self the grim real­i­ties of the state fair reunion tour cir­cuit.

On the oth­er hand, it’s death­ly hard to con­trol one’s image from beyond the grave. Espe­cial­ly when you’ve got an award-win­ning PR Agency and a pho­to manip­u­la­tion com­pa­ny team­ing up to imag­ine how you might look had you sur­vived!

The twelve unlucky recip­i­ents of these posthu­mous makeovers remain house­hold names (see the gallery here), even though it’s near­ly twen­ty years since the last of their num­ber drew breath. Like Jim Mor­ri­son, Janis Joplin and Jimi Hen­drix, Kurt Cobain was but 27 when he passed, though at the time of his birth, the oth­er three were all old enough to be his mom­my or dad­dy. Fit­ting, then, that he appears to be the baby of the gold­en group.

Music writer Eli­jah Wald and pop­u­lar music schol­ar Reebee Garo­fa­lo offer insights below each por­trait in the gallery about where the sub­jects might now find them­selves in their careers. It’s all con­jec­ture, but their expe­ri­ence ensures that their opin­ions can be tak­en as edu­cat­ed guess­es, at least.

Less con­vinc­ing are the sar­to­r­i­al choic­es on dis­play. Den­nis Wil­son in a Hawai­ian shirt, okay, but were he alive, might not Kei­th Moon fol­low suit with for­mer-band­mates Pete Town­shend and Roger Dal­trey, both of whom have adopt­ed the sleek, mono­chro­mat­ic wardrobe favored by aging rock gods?

And who here thinks the 78-year-old Elvis would traipse around in the sort of short-sleeved poly-blend shirt my late grand­fa­ther wore to his week­ly men’s prayer break­fast?

For pity’s sake, age does not auto­mat­i­cal­ly imply drab­ness!

(Who’s that I see over there? Could it be Yoko Ono, look­ing great at 80, in a top hat and tap pants? Even if she were look­ing less-than-fit, it would still be a bold choice! I doubt she wears that get-up to the gro­cery store, but the pro­gres­sion of time has not robbed her of the abil­i­ty to make a delib­er­ate visu­al impres­sion.)

What is refreshing—though not nec­es­sar­i­ly believable—is how none of the res­ur­rect­ed icons in these por­traits seem to have gone in for plas­tic surgery.

Relat­ed Con­tent: 

Jimi Hendrix’s Final Inter­view on Sep­tem­ber 11, 1970: Lis­ten to the Com­plete Audio

Watch Janis Joplin’s Final Inter­view Reborn as an Ani­mat­ed Car­toon

Ani­mat­ed Video: Kurt Cobain on Teenage Angst, Sex­u­al­i­ty & Find­ing Sal­va­tion in Punk Music

Ayun Hal­l­i­day is the author of sev­en books, most recent­ly Peanut. Fol­low her @AyunHalliday.

Watch Houdini Escape From a Strait Jacket, Then See How He Did It (Circa 1917)

Claus­tro­phobes, take cau­tion, and for pity’s sake, don’t try this at home!

Should such warn­ings leave you unde­terred, PBS has step-by-step instruc­tions for per­form­ing Hou­dini’s strait jack­et escape. Well, almost step-by-step. Derived from the mas­ter’s own 1909 Hand­cuff Secrets, the direc­tions are both vague and hor­ri­fy­ing in their speci­fici­ty, falling some­where between assem­bling an Ikea book­shelf and 127 Hours.

In need of more guid­ance? Have a look below at the how-to Hou­di­ni shared with Ladies Home Jour­nal in 1918. (He also gave advice to gen­teel, post-WWI female read­ers on how to escape rope bondage.)

houdini escape

For a more man­age­able trick, imag­ine your­self a face in the crowd, gaz­ing upward at the strug­gling magi­cian, with­out tex­ting, tweet­ing, or Insta­gram­ming. Sheer open-mouthed amaze­ment is a trick we see pre­cious lit­tle of these days.

Our best guess is that the video above was shot around 1917.

Relat­ed Con­tent:

Har­ry Houdini’s Great Rope Escape

Arthur Conan Doyle Dis­cuss­es Sher­lock Holmes and Psy­chics in a Rare Filmed Inter­view (1927)

Ayun Hal­l­i­day’s lat­est feat is direct­ing 16 home­schooled teens in Yeast Nation, the world’s first bio-his­tor­i­cal musi­cal. See it in New York City this week. Fol­low her @AyunHalliday

Christopher Hitchens, Who Mixed Drinking & Writing, Names the “Best Scotch in the History of the World”

In 2006, a pro­file of Christo­pher Hitchens in The New York­er not­ed how its sub­ject had the ten­den­cy to drink “like a Hem­ing­way char­ac­ter: con­tin­u­al­ly and to no appar­ent effect.” Although Ernest Hem­ing­way’s approach to alco­hol informed the habits of his lit­er­ary per­son­ages, it dif­fered sig­nif­i­cant­ly from that of the late jour­nal­ist. Hem­ing­way, counter to his image, stood firm­ly against mix­ing writ­ing and drink­ing, and when asked about com­bin­ing the two exclaimed:

“Jeezus Christ! Have you ever heard of any­one who drank while he worked? You’re think­ing of Faulkn­er. He does sometimes—and I can tell right in the mid­dle of a page when he’s had his first one. Besides, who in hell would mix more than one mar­ti­ni at a time, any­way?”

Where­as Hemingway’s approach to writ­ing and imbib­ing was often marked by a cau­tious and pro­fes­sion­al wall of sep­a­ra­tion, Hitchens had no such com­punc­tions. The con­trar­i­an will­ing­ly admit­ted to drink­ing a for­ti­fy­ing mix­ture of wine and spir­it through­out the day:

“I work at home, where there is indeed a bar-room, and can suit myself.… At about half past mid­day, a decent slug of Mr. Walk­er’s amber restora­tive, cut with Per­ri­er water (an ide­al deliv­ery sys­tem) and no ice. At lun­cheon, per­haps half a bot­tle of red wine: not always more but nev­er less. Then back to the desk, and ready to repeat the treat­ment at the evening meal. No “after din­ner drinks”—​most espe­cial­ly noth­ing sweet and nev­er, ever any brandy. “Night­caps” depend on how well the day went, but always the mix­ture as before. No mix­ing: no mess­ing around with a gin here and a vod­ka there.”

Despite this hale and hearty rou­tine, Hitchens claimed to be invig­o­rat­ed rather than impaired by his con­sump­tion:

“… on aver­age I pro­duce at least a thou­sand words of print­able copy every day, and some­times more. I have nev­er missed a dead­line. I give a class or a lec­ture or a sem­i­nar per­haps four times a month and have nev­er been late for an engage­ment or shown up the worse for wear. My boy­ish vis­age and my mel­liflu­ous tones are fair­ly reg­u­lar­ly to be seen and heard on TV and radio, and noth­ing will ampli­fy the slight­est slur more than the stu­dio micro­phone.”

As with fish­ing and amorous exploits, so with drinking—one should be skep­ti­cal of bold claims. Nev­er­the­less, Gray­don Carter, the long­stand­ing edi­tor of Van­i­ty Fair mag­a­zine, cor­rob­o­rat­ed the robust­ness of Hitchens’ con­sti­tu­tion in a fond and respect­ful obit­u­ary fol­low­ing the journalist’s death in 2011.

“He was a man of insa­tiable appetites—for cig­a­rettes, for scotch, for com­pa­ny, for great writ­ing, and, above all, for con­ver­sa­tion… Pre-lunch can­is­ters of scotch were fol­lowed by a cou­ple of glass­es of wine dur­ing the meal and a sim­i­lar quan­ti­ty of post-meal cognac. That was just his intake. After stum­bling back to the office, we set him up at a rick­ety table and with an old Olivet­ti, and in a sym­pho­ny of clack­ing he pro­duced a 1,000-word col­umn of near per­fec­tion in under half an hour.”

In the clip above, Hitchens makes his well-researched pro­nounce­ments on the world’s best Scotch whisky. Below, the for­mer Asylum.com pro­duc­er Antho­ny Layser sits down with Hitchens for a drink fol­low­ing the release of his mem­oir, Hitch-22. Over Hitchens’ beloved spir­it, the duo dis­cuss­es every­thing from writ­ing, to Brazil­ian wax­es, to water­board­ing. The con­ver­sa­tion, last­ing some 14 min­utes, is part of an Asylum.com series titled Drinks with Writ­ers, which includes Layser’s inter­views with Gary Shteyn­gart, Simon Rich, and Nick Horn­by.

Relat­ed Con­tent:

Christo­pher Hitchens Revis­es the Ten Com­mand­ments

Christo­pher Hitchens Answers Red­dit User Ques­tions

Christo­pher Hitchens Cre­ates a Read­ing List for Eight-Year-Old Girl

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman.

Yoko Ono, Age 80, Still Has Moves, Dances with The Beastie Boys, Ira Glass, Roberta Flack & Friends

Yoko Ono, a Bad Dancer?

Pshaw! As she’s very like­ly aware, there’s not a thing wrong with her danc­ing. If there were, I doubt she’d be sport­ing saucy hot pants in the above video for the first sin­gle off of the Plas­tic Ono Band’s Take Me to the Land of Hell.

Her 80-year-old stems are in fan­tas­tic shape. May­haps this youth­ful vibe is a reflec­tion of the com­pa­ny she keeps. A bunch of nifty pals from Gen­er­a­tions X and Y showed up to shake their tail feath­ers on camera—the sur­viv­ing Beast­ie Boys (who also pro­duced), Reg­gie Watts, Cibo Mat­to’s Yuka Hon­da and Miho Hatori, gen­der-bend­ing per­former Justin Vivian Bond, and pub­lic radio star Ira Glass, to name but a few.

Appar­ent­ly, she’s not quite as tight with all her dance part­ners as the video would imply. Glass describes his involve­ment thus­ly:

She’s gra­cious, has to be remind­ed by a han­dler who in the world I am. Then total­ly acts nice, says some­thing along the lines of “I appre­ci­ate the work you do” which either means she’s heard my work or she hasn’t…. The song is called “Bad Dancer” so I’m the per­fect par­tic­i­pant because—though I love to dance, I have no illu­sions. I’m a spaz. I stand in front of the cam­era and 20 han­dlers and hip­sters and pub­li­cists and crew and Yoko Ono and I think a reporter from Rolling Stone and I tell myself to pre­tend I can do this and I dance.

Per­haps declar­ing her­self a Bad Dancer is Ono’s way of encour­ag­ing self-con­scious wall hug­gers to drop their inhi­bi­tions and join in the fun. It’s an approach to life, and aging, that made a cult clas­sic of Harold and Maude.

Place your bets

Watch your step

I’m a bad dancer

With no regrets

 Relat­ed Con­tent:

Yoko Ono’s Make-Up Tips for Men

Watch John Lennon and Yoko Ono’s Two Appear­ances on The Dick Cavett Show in 1971 and 72

Dis­cov­ered: Con­ver­sa­tion with John Lennon, Yoko Ono, and Tim­o­thy Leary at Mon­tre­al Bed-In (1969)

Ayun Hal­l­i­day still gets a bang out of Yoko Ono’s FLY. Fol­low her @AyunHalliday-

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