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☆ 'All That' star Lori Beth Denberg says Nickelodeon's Dan Schneider showed her porn, initiated phone sex, and lashed out on set
▼ + stars: | 2024-05-14 | by ( Kate Taylor | ) www.businessinsider.com time to read: +15 min

Schneider told Denberg that he should have been the one to have that conversation. "I feel like that is the first time he preyed on me," Denberg told Business Insider. "Nobody thinks it is their responsibility" to protect the people working at Nickelodeon, Denberg said. According to Denberg, Schneider would refuse to write her jokes for the segment until the last minute, forcing her to perform live without rehearsing. Denberg said she cheered up Bynes, then told Schneider that he couldn't change "the little girl's lines on the spot."

Persons: Lori Beth Denberg, Dan Schneider, Nickelodeon's, Denberg, Schneider, Drake, Josh, Jenny Kilgen, Lori Beth, it's, she's, Albie Hecht, Brian Robbins, Amanda Bynes, costars, Jeff Kravitz, Farah Alvin, Denberg's, It's, Robbins, Angelique Bates, Bates, Bynes, Dan, gaunt, Alvin, Amanda, Gioncarlo Valentine, Schneider hadn't, Schneider's, Hecht, SpongeBob, Kate Taylor, Mimi Meyer Organizations: Business, Nickelodeon, Schneider, BI, Robbins Productions, Nickelodeon's, Nickelodeon Entertainment, New York Times, Paramount, Paramount Global, Maxine Productions, Sony Pictures Locations: Orlando, Los Angeles, York

Omar Victor Diop History, inheritance and possibility are re-imagined through the lens of the Senegalese photographer, one of the most successful young artists on the continent. Through his bold images, Diop examines the interplay between African and diasporic experiences by knitting together the past and present. Douglass sat for over 160 portraits, including a daguerreotype circa 1855 (bottom), to challenge negative representations of African Americans. Cultural Archive/Alamy In a 2015 self-portrait (top), from Diop’s series “Project Diaspora,” the artist emulates Frederick Douglass, who was the most photographed man of his era. Douglass sat for over 160 portraits, including a daguerreotype circa 1855 (bottom), to challenge negative representations of African Americans.

Persons: Omar Victor Diop, Frederick Douglass, Diop, Selma, ”, ” Omar Victor Diop, Douglass, “, ” Diop, Mama Casset, Malick Sidibé, Samuel Fosso, Martin Luther King Jr Organizations: paisley, West Locations: Senegalese, American, United States, Soweto, South Africa, Africa, “, African American, Dakar, Paris, Nigeria, Senegal, France, Nairobi, Lagos, Mali, America, African

☆ As the Tonys Head Uptown, Step Inside the United Palace ‘Dream World’
▼ + stars: | 2023-06-07 | by ( Darryn King | Gioncarlo Valentine | ) www.nytimes.com time to read: 1 min

Nearly eight miles north of Times Square, the United Palace in Washington Heights is a dazzling remnant of a golden age of cinema. On Sunday, it will provide the backdrop for Broadway’s biggest night. This former Loew’s “Wonder Theater,” at Broadway between 175th and 176th Streets, is beguiling, if mysterious. Its landmark exterior — where pigeons make themselves at home among terra-cotta ziggurats and pilasters — is said to have been influenced by Egyptian, Aztec or Mayan design, or perhaps the architecture of the 16th- to 18th-century Mughal Empire.

Persons: ” Organizations: Times, Broadway, 176th Locations: Washington Heights

☆ How an Artist Is Transforming the Guggenheim Museum—Down to the Freight Elevator Hallway
▼ + stars: | 2023-02-02 | by ( Ted Loos | Photography Gioncarlo Valentine For Wsj. Magazine | ) www.wsj.com time to read: 1 min

It’s telling that artist Sarah Sze’s cellphone ringtone is the famous five-note tune from the 1977 sci-fi classic Close Encounters of the Third Kind, which was used in the movie to communicate with an alien spaceship. “We are so fully immersed in it,” Sze says of technology, one of her great subjects. “We’re in the eye of the storm.”In her Hell’s Kitchen studio in Manhattan this past December, Sze—known for her sprawling multimedia assemblages—works amid what seems like a tornado of artistic materials. But the chaos is carefully controlled.

She can impersonate an elusive chanteuse or an over-the-top Italian designer or make a phrase like “bubble bath” sound luxuriously burlesque. Rudolph as Donatella Versace during an "SNL" skit in 2002.

Maya Rudolph doesn’t need to say anything to make us laugh. Audiences around the world want to watch her perform, and only the slightest twitch of her face begets giggles. She can impersonate an elusive chanteuse or an over-the-top Italian designer or make a phrase like “bubble bath” sound luxuriously burlesque. But years ago, when it came to public-facing parts of her job—interviews, talk shows, red carpets—she would find herself unable to be funny. “It would always feel like someone was stealing my soul,” says Rudolph, 50, sitting comfortably in a velvet armchair on a late September afternoon.

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