#Forgings Today Magazine

[magazinesubs33]

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1. Forgings Today Magazine

Forgings Today Magazine — The publication exists as one of the most prominent resources within the forging industry that investigates active market developments as well as forging technological progress. Professionals in manufacturing and engineering fields obtain materials research together with process analysis and machine insights while receiving market data from this publication. Follow the newsletter to access updates on market trends of the forging industry and new technological advances together with expert analysis and industrial news.

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[weekendlusting]

A TALE OF FAME

pairing ꪆৎ charles leclerc x ahaana patel ᥫ᭡. f1 driver x bollywood actress au

chapter ꪆৎ 1

summary ꪆৎ she's everything, and he just drives.

note ꪆৎ no hate to any characters used in the story, none of what i write reflects on how they actually are. all my love, happy reading.

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Ahaana Patel was an enigma wrapped in stardom. She’d emerged onto the Bollywood scene with a debut that was nothing short of explosive, pro shaking up the industry and catapulting herself into the hearts of millions. She featured in a movie of one of the most celebrated Indian directors, Karan Johar, alongside her costars Varun Dhawan and Sidharth Malhotra, and hasn't looked back since. It was a journey no one, least of all her academically fixated parents in Ahmedabad, could have foreseen. From their meticulously structured plans of engineering degrees and Ivy League aspirations to the glitzy chaos of movie premieres and magazine covers, her story was the epitome of unpredictability.

Now, twelve years later, Ahaana strode confidently through the paddock of the Chinese Formula One Grand Prix. Her steps were light, but her presence was impossible to ignore. The roar of engines, the sharp tang of gasoline, and the relentless buzz of the crowd enveloped her in a world she had come to know well over the years.

Dressed in attire that matched the casual coolness of the paddock air, a fitted white top and denim skirt. Her hair, perfectly styled despite the chaos of travel, swayed gently as she moved, her signature smile lighting up the faces of everyone she passed.

The first race of the 2024 season was underway, and the paddock was a symphony of excitement. Engineers tinkered with machines that cost more than most people earned in a lifetime, journalists scrambled for the perfect soundbite, and VIP guests mingled in their designer ensembles, trying to look like they belonged. Ahaana, however, didn’t need to try—she was a natural here.

“Ahi!”

The familiar Dutch accent cut through the cacophony, and Ahaana turned, her eyes narrowing playfully as Max Verstappen approached. Helmet in hand, the reigning world champion exuded confidence. His movements were deliberate, his gaze sharp, but the moment he saw Ahaana, his expression softened ever so slightly.

“Max,” she greeted, her voice laced with mock seriousness. “Are you ready to win, or should I start drafting my consolation speech now?”

Max rolled his eyes, a smirk tugging at his lips. “Your faith in me is touching. Truly inspiring. Maybe you should stick to Bollywood instead of doubting world champions.”

“And miss this circus?” Ahaana gestured grandly at the bustling paddock around them. “Not a chance.”

Their bond was one of playful banter and unspoken trust, forged in the early days of her association with Red Bull. At first, their interactions had been fraught with the awkwardness of two young professionals forced into photoshoots and promotional events. But as time passed, they found common ground in their shared struggles—both carried the weight of their fathers’ expectations and both were determined to carve their own paths. What began as reluctant camaraderie soon blossomed into a sibling-like relationship. Max truly saw Ahaana as a little sister, and always would.

“Where’s Kelly?” Ahaana asked, scanning the crowd for Max’s girlfriend.

“She’s around,” Max replied, shrugging. “Probably hunting you down.”

As if on cue, Kelly Piquet appeared, her presence as radiant as ever. Spotting Ahaana, she broke into a wide grin and pulled her into a warm hug. “Ahaana! I didn’t know you were coming today. Otherwise, I’d have brought P—she misses you.”

Ahaana beamed. “I miss her too. We’re calling her as soon as these boys start driving their toy cars.”

“Toy cars?” Max echoed, feigning offense.

Before Ahaana could retort, another familiar voice joined the fray.

“Well, well, well, if it isn’t Red Bull’s golden girl.”

Ahaana turned to see Lando Norris, the ever-charming McLaren driver, strolling toward them. His grin was as cheeky as ever, his orange, oh sorry papaya, jacket standing out starkly against the sea of Red Bull merch.

“Lando,” Ahaana greeted with mock disdain. “Lost your way from all the oranges. Here let me show you, its that garage with a mark that looks like a disfigured comma.”

“It’s papaya and you know it. You’re obsessed with me , aren’t you?” Lando shot back, slinging an arm around her shoulders. “Admit it—you came all the way here just to see me.”

“Oh, absolutely,” Ahaana replied, her tone dripping with sarcasm. “Couldn’t resist the charm of McLaren’s poster boy.”

Max chuckled, shaking his head. “I can’t deal with both of you.”

The banter continued until race preparations called for Max and Lando’s attention. Kelly and Ahaana waved them off, heading toward the lounge.

The race was a spectacle, with Max clinching victory and Lando following closely behind in P2. The podium celebrations were a blur of champagne showers and roaring applause, but the real festivities began that evening.

The group—Max, Kelly, Lando, Carlos Sainz, Rebecca, Carlos’s girlfriend, and Ahaana—found themselves in a luxurious nightclub, the VIP section buzzing with energy. Neon lights danced across the room, the bass of the music reverberating through their bodies.

“Did you hear?” Rebecca leaned closer to Kelly and Ahaana, her voice conspiratorial. “Apparently, Alex cheated on Charles.”

Kelly’s jaw dropped. “You’re joking!”

Ahaana raised an eyebrow, intrigued. “How do you know?”

Rebecca shrugged. “Word travels fast in the paddock. Apparently, Charles tried to break up with her, but she keeps avoiding the conversation.”

“Classic denial,” Ahaana remarked, sipping her drink.

Kelly shook her head. “Why doesn’t he just cut her off?”

“He wants a clean break,” Rebecca explained. “But Alex is… persistent.”

The conversation shifted to lighter topics as the night wore on. Lando, ever the photographer, took candid shots of the group, earning playful protests from his friends.

By 3 A.M., the nightclub was still alive with energy, but Ahaana needed a breather. She stepped out onto a balcony, the cool night air a welcome contrast to the heat inside. The city lights stretched out before her, their glow reflected in the glass of the towering buildings.

She wasn’t alone for long.

“Hey, Ferrari,” she said, spotting Charles Leclerc leaning against the railing, a glass of whiskey in hand.

Charles glanced at her, his expression a mix of surprise and curiosity. “Do I know you?”

“Not yet,” Ahaana replied, a playful smile tugging at her lips. “But you looked like you could use some company.”

Charles chuckled softly, though the melancholy in his eyes remained. “Maybe I do.”

Ahaana joined him at the railing, their gazes fixed on the cityscape. For a moment, neither spoke, the silence between them comfortable.

“Rough night?” Ahaana asked eventually.

Charles hesitated before nodding. “Something like that.”

Ahaana studied him, her expression thoughtful. “You know, brooding doesn’t suit you. You should try smiling—it might just solve all your problems.”

Charles couldn’t help but smile, albeit faintly. “Is that so?”

“Absolutely,” Ahaana replied, her tone light. “But if you’re not ready to smile yet, I’ll settle for a drink.”

Charles handed her his glass without a word. She accepted it, taking a small sip before handing it back.

“Not bad,” she remarked, her eyes twinkling with mischief.

Charles looked at her, truly looked at her for the first time. The neon lights from the club painted her features in hues of pink and blue, her hair catching the faint breeze. There was something about her—an effortless charm, a warmth that drew people in.

“What’s your name?” he asked, his voice softer now.

“Ahaana,” she replied, extending a hand.

Charles took it, his grip firm but gentle. “Charles.”

“I know,” Ahaana said with a grin. “You ready to party now, Red?”

Charles chuckled, a genuine laugh this time, and downed the rest of his drink. “Lead the way.”

And just like that, the night took on a new energy, two strangers finding unexpected companionship amidst the chaos of flashing lights and thundering music.

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ᝰ.ᐟ first part! i know this isn't much, but i plan on writing more and this is just the start. i hope you aren't freaked out by the rather rustic writing and keep reading the chapters to come!

next

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tags @seonghwaexile @bookishprophecy @justadesirebel @peterholland04 @bakingpiastries @ricciardosheart @mikefaistgf @ho3smadd

comment to be added to taglist

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© weekendlusting

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[felassan]

Game Informer:

"Cover Reveal – Dragon Age: The Veilguard by Wesley LeBlanc on Jun 09, 2024 at 02:00 PM This month, Dragon Age: The Veilguard (you read that right – Dreadwolf is no more) graces the cover of Game Informer. After years developing Baldur's Gate and its sequel early in its history, BioWare struck out to create its own fantasy RPG. That series began with Dragon Age: Origins in 2009. It was followed up with Dragon Age II in 2011, and then Dragon Age: Inquisition in 2014. While the Dragon Age series' history has its ups and downs, fans have been patiently waiting for BioWare to return to the franchise, and 2024 is finally the year.  We visited BioWare's Edmonton, Canada, office for an exclusive look at Dragon Age: The Veilguard, including a look at its character creator, its prologue and opening missions, and more. We also spoke to many of the game's leads about the name change, the series' shift to real-time action combat, the various companions (and the relationships you can forge with them), and The Veilguard's hub location. You can learn about the titular Veilguard, Solas' role in the game, and so much more in our 12-page cover story for Dragon Age: The Veilguard."

"But there are plenty of other excellent reads within this issue of Game Informer! Some of us flew to Los Angeles, California, to attend Summer Game Fest and the not-E3 weekend's various other events to check out new games, interview developers, and more. Our previews section is jam-packed with new details about upcoming releases we can't wait for.  Brian Shea flew to Warsaw, Poland, to check out two upcoming releases – Frostpunk 2 and The Alters – and he came away excited about both. Jon Woodey went hands-on with Final Fantasy XIV's upcoming Dawntrail expansion (and spoke to director Naoki Yoshida, too), and as someone with 8,000 hours in the game, his words are the ones you'll want to read.  On the freelance front, Charlie Wacholz writes about how last year's Dave The Diver is one of the best game representations of the rewards and struggles of working in the food and beverage industry, and Grant Stoner spoke with Sony and Microsoft about the development of process and history of the companies' Adaptive and Access controllers. And for a lil' terror this summer, Ashley Bardhan spoke to several horror game developers about why the alluring town known as Silent Hill is a crucial location to Konami's horror masterpiece.  As always, you'll find an editor's note from editor-in-chief Matt Miller, reviews from various freelancers and staff editors, a Top 5 list (hint hint: dragons), and more. Here's a closer look at the cover:"

"Not a print subscriber yet but want this issue? Well, you're in luck! Subscribing today – or within the next few days – will net you a print copy of this issue! You can join the ranks of the Game Informer print subscribers through our new standalone print subscription! Just head here to sign up for either one or two years at a fraction of the cost of buying the issues individually! You can even gift a print subscription to your favorite gamer! SUBSCRIBE TO THE PRINT MAGAZINE You can also try to nab a Game Informer Gold version of the issue. Limited to a numbered print run per issue, this premium version of Game Informer isn't available for sale. To learn about places where you might be able to get a copy, check out our official Twitter, Facebook, TikTok, Instagram, BlueSky, and Threads accounts and stay tuned for more details in the coming weeks. Click here to read more about Game Informer Gold. Print subscribers can expect their issues to arrive in the coming weeks. The digital edition launches June 18 for PC/Mac, iOS, and Google Play. Individual print copies will be available for purchase in the coming weeks at GameStop."

[source] <- they explain at the link how to read this issue.

aaah they have had a look at the character creator!!! I can't wait for this coverage.

[longreads]

A Year in Reading: A Shift in Perspective

Our annual "Best of" package—now in its 13th year!—kicks off today. Each day this week, we'll publish  a Year in Reading reflection from each of the Longreads editors. Today, Krista Stevens shares stories that sparked awe and shifted her perspective in 2024.

Several stories revealed my fascination with the fascinated—those people deeply passionate about their craft, those for whom mastery is merely the starting point. Chicago Magazine published two incredible profiles that set my reading year off right. In “A Knife Forged in Fire,” Laurence Gonzales introduces us to former chef Sam Goldbroch, who was “swallowed up into the mysteries of metal and fire and force” in a never-ending quest to learn what makes a good knife. You must also read “The Ramen Lord” by Kevin Pang. It’s an immersive, savory portrait of Mike Satinover, a man with a single obsession: creating the perfect bowl of ramen. 

Read the full essay.

[robsheridan]

From the pages of SPECTAGORIA magazine issue 6, 1974. Spectagoria was a renowned underground fashion photography magazine surrounded by rumor and mystery. Founded by iconoclastic photographer/filmmaker Sera Clairmont initially as a showcase of her own work, the publication drew controversy for its dark themes and morbid imagery, which often used beauty, sexuality, and fashion as a means to, in Clairmont’s words, “let speak the darkness that surrounds us from other worlds.”

Christian groups in the United States called for a ban of the magazine, with Jerry Falwell accusing Clairmont of being “a witch and a pornographer in league with the devil himself.” Clairmont dismissed the accusations as “just more blatant examples of the sexism and double-standards that led me to forge my own path in a male-dominated industry.” But the boycott drew scrutiny to the magazine’s photographs, which at times contained images that seemed impossible, even supernatural, in nature. Some wondered if Sera Clairmont was related to Seraphina Clairmont, the famous Manhattan mystic who “spoke to demons” and lived at the mysterious Zorovic Building at the turn of the 20th century, and was rumored to have been buried alive in the building’s 1913 destruction.

Sera Clairmont went into hiding in 1976, but continued to publish Spectagoria until the early 80s, growing stranger and darker with each issue, fueling even more speculation that otherworldly powers were behind it before its abrupt end. No one knew where it was being published from, nor where - or *how* - its photos were taken. Very few copies of each issue of Spectagoria were printed, and today only a handful of scattered pages have been located and scanned. I will continue to share more pages as I find them...

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NOTE: This is a work of fiction created by me. This alternate reality horror story is part of my NightmAIres narrative art series (visit that link for a lot more). NightmAIres are windows into other worlds and interconnected alternate histories, conceived/written by me and visualized with synthography and Photoshop.

If you enjoy my work, consider supporting me on Patreon for frequent exclusive hi-res wallpaper packs, behind-the-scenes features, downloads, events, contests, and an awesome fan community. Direct fan support is what keeps me going as an independent creator, and it means the world to me.

[slavghoul]

Interview from Upset Magazine 6/2023

Words: Steven Loftin

Like an apparition manifesting within a dense fog, it was through radio static that Swedish rockers Ghost were formed. In the kindergarten he attended as a young boy, Tobias Forge found himself enamoured with the music crackling through the little toy speakers. From this point forward, he began picking apart the notes and melodies - his journey toward the lore and canon coming into focus as he sat, trying to figure out how this black magic could be summoned.

While it would be many years before he would don his garb as Papa Emeritus, the essence of what his future would sound like was being set through his exposure to a wide variety of music. If any proof were needed, just look to the impressive list of covers Ghost have put their ghastly mark upon, including 2016's 'Popestar' EP, which included the band's takes on Echo & The Bunnymen ('Nocturnal Me') and Simian Mobile Disco ('I Believe').

Ghost's latest EP is another covers bonanza. A five-piece offering of Tobias's backstory, 'Phantomime' plays out like a Greatest Hits radio playlist - a fitting throwback to Tobias' first dalliances with music. Of course, when a group more aligned to the metal/hard rock community bust out covers, including Genesis and Tina Turner, eyebrows are raised. To this reaction, Tobias scoffs. "In 1991, Genesis was one of the biggest bands on the planet! That was a huge hit. In the mid-80s, when I had an older teenage brother who rented every VHS movie that came out, of course, we saw the fucking Thunderdome, and that was a huge hit, and it's still being played on Swedish radio. It's an evergreen; it's not an eclectic choice at all," he declares. "I grew up listening to Stranglers because my brother liked them. What else do we have, Iron Maiden - I mean, are you kidding? I'm a metalhead!"

Originally conceived during the sessions for their fifth album, last year's 'Impera', there were two folders on his computer's desktop: one named 'Impera', the other simply 'Covers'. As the ideas for 'Impera' grew, Tobias would enter his usual routine of working on a cover or two. "At any point, when you lose a little wind in writing your own things, it's quite nice to say, 'Today let's go in and work on the covers'; you can choose anything you want, you can work on absolutely anything you want. And you don't have to finish it, you don't have to release it, you don't have to do anything, but just continue working."

He likens it to the freedom of being a theatre owner who, instead of trying to pen the next greatest Broadway phenomenon, opts to have a go at something already timeless and perfected.

"Maybe you're like, 'Okay, so this fall we're just going to do a reinterpretation of Hamlet instead, that's going to be fine, and that keeps everyone working, and that keeps a project moving along! And I find a similar thing with working on covers. So as I was writing "Impera', the covers folder was also growing exponentially and at a point. I had this idea that was going to be a full-length album."

With COVID restrictions meaning the original producer for 'Impera' was stuck in the US, Tobias had to source a replacement. It would be Klas Åhlund who stepped up to the plate. But, on one condition. "He was pretty upfront. He was like. Yeah, I only want to make the record; I don't want to work on covers," Tobias remembers "Fine, fine, fine, that's fine." he shrugs. "So, after the 'Impera' recording was done, I felt as if making a completely different, whole record again: I didn't have time for that. I didn't have the energy for that. But once I trimmed down the number of songs to only these five to make a very rocky record, it loosened up the screws a little bit for me in terms of like, "Okay, so now I know what the EP is going to be - it's going to be a full, full-throttle rock one."

Ditching some rumoured softer covers, including U2, Misfits, and Motörhead. 'Phantomime is instead a delectable slice of Ghost doing what Ghost do best: creating theatrically big rock. It's Tobias's mark upon some bonafide classics, including Iron Maiden's 'Phantom of the Opera' which feels as befitting to Ghost as it does seeing Papa Emeritus kick the bucket ready for his next iteration. While the focus was on creating this small dose of Tobias's musical DNA, it also served another purpose; to simply be "not very complicated." The project began with the mindset of "we can make this recording loosely - quick but stress-free - as opposed to making a record which is your hard fifth record that needs to live up to certain standards. So it was just a very inspired, very simple recording, actually."

After the complexities of 'Impera' which wound up requiring two studios simultaneously running in parallel "to be able to work efficiently" - Ghost was morphing into a taxing experience for the band leader, "It was just a bigger thing [and] way more stressful."

Deciding to strip that covers folder down to the five tracks, by all accounts, 'Phantomime was a measured and reserved effort. "It ended up being me, an engineer, and an occasional musician coming in and doing something. It was so much looser, so much more mentally Feng Shui," he smiles, relief glowing in his voice. "And I think that that reflected a little bit on the two different records. They're meant to be related - they are definitely related - they were made roughly in the same time, but they're completely different things."

'Phantomime' plays out like a ghoulish social commentary. Starting with a searing rendition of Televison's 'See No Evil, the journey traverses the scourge of Televangelism (Genesis' Jesus He Knows Me') with a delightfully-fitting NSFW video, the instant gratification humans require to feel (The Stranglers' Hanging Around"); the pull back into cruel reality (Phantom Of The Opera"), and the resulting undying hope from a degraded society (Tina Turner's 'We Don't Need Another Hero"). Each offering is bolstered with Ghost's dramatic, theatric rock licks and Tobias's powerhouse vocals.

With 'Phantomime' in the bag and the European leg of the 'Impera' tour imminent (Tobias is currently holed up in preparation), the idea of reflecting on how he came to go from a young boy listening to the static sounds of pop hits on the radio to orchestrating not only a feverishly adored band and its lore but finding the capacity to embrace his inner music nerd, couldn't be more timely. Tobias's relationship with music has always been one of intrigue. He's a pop songwriter with the ambition and ideas of a stadium rock band, which, in essence, explains perfectly why Ghost can sit in a unique, exponentially growing and expanding space.

"My earliest inclination of wanting to transform into something else was definitely Twisted Sister," he recalls. "You know, "I Want To Rock' and 'We're Not Going To Take It' - that was a huge record in 1984, and in 1984, I was three years old," he says. "My brother was 16, so everything that was going on pop-culturally amongst teenagers was happening in my home."

It was thanks to his brother that much of Tobias's relationship with music was formed. He's introduced him to various giants of the time, like tectonic plates being pushed around, impacting and shaping his musical landscape. Translating for young Tobias the attitude of punk at the time, as well as everything else that was 'in', he remembers, "When I was a kid, and he was supposed to babysit me, as a pacifier he would put me in front of [Sex Pistols mockumentary film] 'The Great Rock 'n' Roll Swindle"," he laughs. "And then when that was over, he would just switch to [X-rated cartoon] Fritz the Cat. And I loved that stuff, of course. That was as much [about] the expression and the attitude. Of course, I loved the songs, but it was also filtered or combined with big songs for me." Those big songs ("Men At Work 'Down Under'," he initially cites, "those sort of songs still have a unique place in my in my writing") would eventually entwine with his darker side that he'd explore as he grew older. "Whilst my whole adolescence was completely in the name of extreme metal, I always had a very soft spot for Top 40 rock and pop radio always," Tobias explains. "And I've listened to that all my life. So it's almost equal portions of Venom as it is anything. that was on the radio."

Also, witnessing shock and glam-rock bands explode intrigued Tobias. He became swept away in the idea that not only could you push a boundary to its absolute limits with convictions and over-the-top grandiosity, but you could do so with songs that quantifiably bop. But, as time has gone onto prove, it wasn't pop music that enamoured Tobias enough that he wanted to become a pop star. It's the mythology and mystery that has become his calling card.

Tobias remained an enigma under the disguise of an evolving form of the iconic Papa Emeritus (now in his fourth incarnation) until 2017, after a lawsuit from a previous iteration of his backing band's rotating cast, the Nameless Ghouls. Visual and video components to releases are often hoovered up by the fandom, stripped apart for meaning and potential. Instagram posts are referred to as a '[Message From The Clergy]" (a phrase later claimed for 2022's Best Of playlist), and lest it is forgotten, the Ghost 'Grucifix' - the prominent crucifix deconstructed into Tobias's gothic 'G' logo - which ties together the vision, religious imagery and satire that would become a core part of the Ghost experience.

His musical ambition and education colliding in the middle of his Venn diagram between dark metal and pop magic is thanks to the likes of the aforementioned Twisted Sister and W.A.S.P., as well as his teen years in the black metal community. "Their first record was also a huge impact in Swedish media," Tobias remembers. "There was this big sort of Satanic panic thing going on at the time in the fall of 1984. Where you had essentially all those things happening. You had Mötley Crüe 'Shout At The Devil', which came out a year earlier, and they were there because they toured with Iron Maiden in 1984, so there was a lot of focus on these shock-rock bands. I saw that as a kid, and I was immediately blown away - it was the coolest thing I've ever seen. And I think that that was the trigger that made me identify as that is how I want to express myself."

Decoding the songs he'd hear also became an integral part of that expression. "That was the only thing I did for years before I started writing my own songs." Recalling his time in kindergarten, they had a piano and guitar, which Tobias became infatuated with. Instead of playing with the other children, he would find himself enraptured, listening to the radio or flipping over whichever cassette happened to be loaded at the time. He would then imitate the sounds he was soaking up. "A lot of those early beginnings of how to learn and how I've learned how to understand music filters through everything I do now," he explains.

The early records he'd find himself trying to unpack included KISS 'Alive' and Pink Floyd's 'Piper At The Gates Of Dawn' - disparate matches, but undoubtedly Ghost fuel with hard rock melodies and psychedelic tendencies. "I had the first and the second Pink Floyd on a double LP that was called 'A Nice Pair'. And that's the shit that I sat and listened to and played guitar to," he says proudly. "That's weird music, that's really weird chord sequences and melodies that sort of went nowhere. And, that coloured me a lot in my vision of this is how you write a pop song. Of course, I knew more conventional writing as well. But I figured that this resonates with me, and I want to write more like that."

Tobias is the first to admit that the influence his musical exposure has had on him isn't the most straightforward. "For all the years that I was in bands, up until Ghost, basically when I was in bands not doing well, I got a lot of, I wouldn't say stick, but it was always like, 'You write weird songs, there's something weird about them, and it will never really become anything because it has that sort of weirdness to it".

As he grew, the songs he'd heard reflected this inherent strangeness he'd constructed. Before the days of mass formulaic pop factories, the music emanating from the radio abided by the strictest rule of needing to at least be approachable, but within these confines, artists of the 70s and 80s would push the envelope as far as they could. Citing Nik Kershaw's 'The Riddle' as one example, "Holy shit, if you would have taken that song and taken it to a chord structure masterclass amongst pop writers now who want to write songs for Miley Cyrus or The Weeknd or any of that sort of level they would say, no, no, no, no, that this will never work. It's too strange. It's too weird. You can't do that; it doesn't have the normal chord progression.

"There are a lot of songs from the 80s that are like that," he reckons, "compared to the now, more informative way of writing, the 80s was braver actually, and it worked well. And those songs are evergreens in a way that a lot of the top radio shit from seven years ago is forgotten, and that's the stuff that I grew up with when I started playing the guitar."

Having made that inner sanctum, he would enter kindergarten a reality, one where he can explore those recesses of his mind shaken by the musical earthquakes he experienced; now, he's matured and deeply entrenched in the reality. "Throughout the modern day of pop writing, I know a few professional pop songwriters, and we continue having these conversations because in pop," he says, "where some of them work prolifically on really high releases, they're like, it's strange how the business wants everything to be so informative. Everybody wants a weird song, but still, all the big songs are usually very, very formatted [and] very, very simple."

While unpacking the songs he'd heard back in the 80s offered Tobias a chance to comprehend what makes a good song, it, more importantly, helped him to set out doing it on his own. When digging into crafting a new Ghost number, Tobias explains that "each new song is a little bit like virgin territory with its own riddle to be solved, and is always a combination of the horror of maybe not solving the puzzle, with the thrill when you do. And it's never easy because each new song needs something new. And so you constantly need to feed your ability with knowledge about how other things are."

Breaking it down into a figurative example, he likens it to being like a detective. "I'm assuming that part of being a great detective is to constantly have an open mind, but also constantly learning about human behaviour and wha people do. If you just had 100 forensic classes, but you know nothing about people and how they live their lives, it's gonna be hard to solve crimes." The same rings true for writers who have to read to improve and further understand language, while comedians pull from real-life experiences - music is no different. Tobias's early days of stripping down songs to their basic parts and then rebuilding them have remained a constant endeavour. "But that's how you write songs as well; you go and absorb new things."

The covers process, as mentioned, is a release for Tobias. When things are stuck when trying to piece together a new chapter for the Ghost bible, a cover offers up a chance for something lighter. "Working on covers can be equally euphoric," he confirms, "because it's fun to understand a song whereas, on the other hand, it can be almost demoralising because you're like, I can't believe that this song is so much better than anything that I've written! And it's so much easier. It's so simple."

"I find myself overcomplicating things often, but you might not hear the complicated detour that I took to end up at the more understandable, straighter version that ended up being the actual recording," he continues. "That's a never-ending struggle because that's how it's supposed to be. It's not like you write the one song. I don't think I know anyone or know of anyone who's content with the idea of having written one huge song. And then you know, okay, that's nirvana for you. You don't write the one song the same way that if you're a comedian, it's not like, 'Oh, I just told the funniest joke. So now I'm done".

While Tobias is one for wanting to keep the ball rolling and on a constant endeavour to continue his musical evolution, he knows there's a limit. Every release of Ghost must have a purpose. Nodding to the 60s method of firing singles out on all fronts, eventually compiling them for a full-length release, Tobias acknowledges his relationship with his fans is based on a more long-term understanding. "That's not how we do things; we make an album, and off of that album, there are singles - it's a 70s/80s thinking. And I don't want to refrain from that - I don't want too many singles to be these autonomous little creatures."

But the world is different now. It's a Wild West where being in the masses' consciousness is key, so things may have to change for him. Admitting that right now, he knows he's post-release of Ghost's last canon entry, 'Impera', which arrived back in 2022, and while 'Phantomime' is a reasonable enough bridge, sooner or later, he's going to have to play the game of ensuring Ghost ramp up. Earlier this year, Ghost collaborated with Def Leppard's Joe Elliott on a re-release of 'Impera' cut 'Spillways' which, while a fantastic addition to their arsenal, adds to the same notion Tobias is fearful of. "I'm slowly preparing for making a new record that's going to come out in 2024, which is way too long for the current contemporary music climate; you need to be ever-present," the last phrase hanging in the air ominously.

That doesn't mean he has to lower his standards, however. No Ghost release will exist just for content's sake. Everything must have its place. He even reckons a 14-track album is "a lot of music", and he still sees an album as being "22 minutes of music per side" - true to form, currently, no standard issue of any Ghost album breaches 12 tracks. He's even ready to aim for the likes of The Rolling Stones and The Beatles by swiftly lobbing a couple of spicy takes out. "Look, man, I don't even think that 'Exile on Main Street' is that good. Not even the fucking White album is that great - break it up! Both of those records would have been better if they were trimmed down to singular records."

That pop mind breaking through; Tobias is someone who knows that music is entertainment. Certainly, a medium which often leads to more bulky connotations, but it must entertain. It's why he doesn't pay any mind to those naysayers that yearn for Ghost to be more metal or to follow a different path. This is Tobias's game; we're just privy to the sermon. These days the floodgates are open and, when compared to previous decades, as Tobias remembers it, "you had to buy your own records. Whatever additional music you got, that wasn't maybe heard on the TV or the radio, when you took something from someone else, was usually a choice, so music styles could in some way be a little bit more insular back then just because you weren't subjected to as much." He mentions his beloved death metal as being a signifier of the changes happening. "Back in the day, when I was starting listening to extreme metal, that was completely embraced by a certain little subculture or group of mostly teenagers and 20-somethings. Whereas in the 2000s, when Vice started doing black metal reporting, all of a sudden you have indie personalities who were fans of Darkthrone, and so, obviously, what ended up that turned into this fusion, which was a positive and very natural thing."

This cultural shift is another reason Ghost's space is widening and its success growing. "Nowadays, people are a little bit more open," he admits. But, with this comes issues. "As time has progressed, metal and hard rock, as well as most genres that have been around for a while, [they've] gone from this youth culture to a conservative institution because so many of the fans are now aged." The passage of time waits for no one. But, more presciently for culture, it also means our understanding of what is 'good' and what should be where is moulded differently to when we were younger. "Unfortunately, that happens to most people regardless of who you were when you were 20," Tobias reckons, "or your ideals when you're like 40/50/60 years old. Your brain starts morphing into a slightly more conservative, slightly more nostalgic... You don't want things to change."

Tobias is the first to hold his hands up and admit the same has happened to him. He yearns for 1984 and even 1990-94. He would even be happy with 1987, back to those days with the crackling radio and a childlike spirit. "That would be so much cooler. I loved that way more than in this day and age. But I can't sit around and mope about that because it's not a problem that it's not 1987."

'Phantomime' is proof nostalgia can be a useful tool. It fuels with passion, and Ghost is Tobias's Neverland. "There's such a debate about what we are and why that is." Ghost are a band that, thanks to Tobias's musical education, transcend time. They exist on their own plain and with the evergreen, timeless sounds of yesteryear echoing around Tobias's head, long may Papa reign with his gloved melodic iron fist.

[synderesis08]

As the 1950s dawned, a new level of sexual openness developed in behavior and dress. In magazines and on beaches, women appeared in revealing two-piece bathing suits called bikinis. Bunny Yeager, model and commercial photographer, forged a unique role in 1952, photographing bikinis and the beautiful women who wore them. This collection of Bunny's work from the 1950s features 169 original photographs and featuring little known models and women she helped launch to fame, such as Betty Page. The bikinis they wore were often of Bunny's own creation, sewn with her own hands. She says, "My ability helped me sell photographs to men's magazines and compete with male photographers. They didn't know how to sew!" Many of her original designs still influence styles today. This collection of photographs, along with Bunny's reflections on her life and career, the models, and the era, make an insightful addition to the literature on this photographic pioneer. via Amazon

[strangelittlestories]

Three weeks into the latest depressive episode A magazine calls - they want me on the cover

I tell them they’ve made a mistake I tell them the only reason I picked up Was for the sticky ‘ew’ feeling Of answering a phone call In this day and age

I tell them I haven’t showered And all I’ve eaten today Is a pack of six bake-at-home cinnamon buns And I feel a bit sick

He tells me I work for ‘Not Okay’ Magazine And we don’t make mistakes

Well, okay, we do Often But most of the time they’re sexy mistakes. We both know he’s lying, But I agree out of exhaustion.

They send a photographer to my flat We agree on a series of tasteful nudes With unwashed laundry And mouldy mugs In all the right places. They ooze attitude They also ooze literal ‘ooze’ Because of the, y’know, mould.

I list my nearest and dearest So they can ask for quotes. The one they print reads: “I wouldn’t really call us friends I haven’t heard from them In years I assumed they were mad at me.”

We chat in my living room Over a single measuring jug filled With expired instant coffee The interviewer breathes in a waft Of bovril-smelling caffeine slurry  And wipes the awe from his eyes Then says:

“A few years ago No-one knew you You were medium sad The human equivalent of a drive-thru restaurant Bad, sure, but everyone knew what they were getting. You were … a C minus.

But now? You’re a landmark A national trust ruin They may as well tattoo ‘This is not a place of honour’ On the small of your back.

My doctor heard I was interviewing you And referred me for therapy  As a precaution. So let me ask the question on everyone’s lips? What’s your secret?”

“What a great question.” I say, wrestling the coffee From his hands Because I deserve it

“It takes a lot of practice. You’ve just got to make time To remap your synapses I try to fit in one life-changingly bad event a year To really forge new wide-ranging roads Through my internal atlas Away from those depots of cloying serotonin I know I don’t deserve. Y’know, something really verve-destroying.

I’ve careened across the map Wheels burning into redundancy town Double-parking at heartbreak hotel (did you know you could fail a break-up?) Getting a ticket on bereavement boulevard A hit-and-run through jury service-ville (leaving my faith in humanity behind)

And of course Pandemic City was a blessing  for all us sad-sacks But an extra spicy affair if you worked in healthcare

Finally, I crashed the metaphor into a river On the coldest night on record But it was pretty shallow And I think the cold probably helped Shock me out of it. Plus, I made it home with my trousers only partially frozen.

We are creatures of habit, Michael Can I call you Michael?”

(He quickly corrects me - Michael is not his name - “I didn’t ask you what your fucking name was I asked if I could call you Michael” He says yes)

“Like I said - creatures of habit If you *practice* If you really dig your feet in If you cut a wide furrow through the mud Some part of you will start to think Of the hole you burrowed in the dirt As home.

Your highest landmarks Are distant skyline and To visit would feel like trespassing.”

At the end of the interview I ask Michael If he’s sure I’m qualified To be a coverperson

After all There are so many people More ‘not okay’ than me Or who have more reason to be Yet remain seemingly functional.

“That’s the beauty of Not Okay magazine,” he says, with a smile like marshmallow “We don’t judge or rank. We ask for one thing: That today you are not okay.

In its own way, every sadness is interesting Even when it feels boring as the road you grew up on Tomorrow you might even be happy That’s okay too. Tomorrow is an impossibility of sunrises. Today - you are seen.”

[witchyfashion]

The Witches' Almanac 2024-2025 Standard Edition Issue 43: Fire: Forging Freedom

The Witches’ Almanac is a sophisticated publication appealing to general readers as well as hard-core Wiccans. At one level, it is a pop reference that will fascinate anyone interested in folklore, mythology and culture, but at another, it is the most sophisticated annual guide available today for the mystic enthusiast.

Founded in 1971 by Elizabeth Pepper, the art director of Gourmet magazine for many years, The Witches’ Almanac is a witty, literate, and sophisticated publication that appeals to general reads as well as hard-core Wiccans. At one level, it is a pop reference that will fascinate anyone interested in folklore, mythology and culture, but at another, it is the most sophisticated and wide-ranging annual guide available today for the mystic enthusiast.

Modeled after the Old Farmers’ Almanac, it includes information related to the annual Moon Calendar (weather, forecasts, and horoscopes), as well as legends, rituals, herbal secrets, mystic incantations, interviews, and many a curious tale of good and evil. Although it is an annual publication, much of the content is both current and timeless—not specific to the date range of each issue.

The theme of Issue 43 (Spring 2024 – Spring 2025) is Fire — Forging Freedom.  Also included are articles on:

Geomancy

The Lunar Nodes

Azorean Folklore

Kitchen Magic - Soul Cakes

The Trickiest Toad

The Orisha Obatala

and much more.

https://amzn.to/47E68pg

[legitalicat]

Get to Know...Aegon Targaryen ii

Cover done by @foxyanon ! This is a companion piece to The Lives of Friends, a collaboration between Foxy, myself, @zaldritzosrose, and @thenameswinter99 (writing blog @thenameswinterfics)

Interviewer: This is Gilbar Cheswright with TIME Magazine. Today I have been granted an exclusive with the once famed party boy turned CEO of Valyrian Holdings, one of the most successful businesses in Westeros, Aegon Targaryen ii. Aegon, thank you for joining me.

Aegon: Thank you for having me, Gilbar. It's such a an honor to be chosen for this piece.

GC: I am just glad we could make it work. Now, I want to get straight into it. You credit your uncle and former CEO of Valyrian Holdings, Maegor Targaryen, for your success today. How exactly did he come into play in your life?

AT: Well, my history with partying is no secret. You know, I didn't really have a strong support system in my parents. My dad was…well Viserys Targaryen has five children and none of us speak to him at this point, let's put it that way. And my mom, she didn't really have a leg to stand in to intervene and stuff. So, I found myself partying and drinking at too young of an age, and I even got into some heavy drugs. It was after my probably fourth or fifth stint in the hospital from an overdose that Uncle Maegor finally came and talked to me. He told me I was worth more than being a party boy and offered to send me to rehab. Up until that point, I can’t remember an adult in my life saying that to me. My siblings did, and of course my cousin Rhaenerys, but something about Uncle Maegor, in his proper business attire and his very professional demeanor, saying it to me really got to me.

GC: That's some heavy stuff. So, do you feel like you owe your Uncle in some way?

AT: I owe him everything. He paid for my hospital bills, my rehab stint. He paid for me to move into a better neighborhood and also paid for me to go to school so I could learn what I need for my job. He even got me a dog, Sunfyre, when I got out of rehab on the approval of my therapist so that I could have that companion and see the benefit of my life and sobriety is to others.

GC: Did you find it hard to transition into the business, given your history and considering you never had plans on touching it?

AT: I would be a liar if I said it was easy. I still find myself calling Uncle Maegor asking him questions. But like I said, he sent me to school before I took up the CEO position and he made sure I have an amazing support. He and Aunt Elvira are always in my corner, so is his mother my Great Aunt Visenya, my brother Aemond is our CFO, and I am beyond grateful to know my cousin Rhaenerys will always help if her duties at the museum allow it.

GC: You've mentioned your cousin, Rhaenerys, a couple of times. Can you tell me a bit more about her and your relationship? Was she always supportive of you taking over Valyrian Holdings?

AT: Oh, there's so much I can say about her. I would like to remind everyone reading she is Dr. Rhaenerys Targaryen, having earned her PhD in anthropology with a specialization in linguistics just a couple of years ago. I'm very proud of her, even though at first I didn't get why she wouldn't want to just have the company. I think she's always been one of my biggest supporters, and I will remain one of hers for the rest of my life. If she had wanted Valyrian Holdings, it would've been hers, but she wanted to forge her own path and has lifted up everyone around her while doing so. Even if I'm not the best at showing her all the time how much I appreciate her.

GC: It is so amazing that you have such a great support system. I'm sure they will be beaming with pride when they hear how you speak about them.

AT: I just hope they know it's the truth.

GC: So we’ve talked a bit about your past, your family, the business. I want to know, what are your plans for the future.

AT: Well a few months ago I bought myself a farm. It's really the perfect way to unwind after being in the city, but close enough that I don't have to worry about not being able to get somewhere if someone needs me. Ideally, I'll kind of get to grow that a bit more. I've got a horse and my dog currently, a field of crops going to kind of test the waters. And then, if I'm lucky, in a few years I'll be able to bring home my wife and then maybe start a family there, too.

GC: Is there any woman in particular? You haven't been publicly connected to anyone since you would party.

AT: I hope so. It's still pretty new, just about a month or two. If it were up to me, I'd have screamed her name from the rooftops after our first date. But she needs a bit more time, and I can respect that, cause my family is brought into the spotlight a lot more than I think she's ever been used to. So, all I can say is I'm really happy with her and I really can't wait to continue exploring our relationship.

GC: You sound like a man in love.

AT: Hahaha, I am definitely not saying that before I say it to her. But she is definitely very special and important to me.

GC: Haha, can't blame me for trying. Well, Aegon, thank you again for coming in and sitting down with me. Congratulations on being TIME’s Man of the Year, and I for one will be awaiting your future endeavors.

AT: Thank you, it's been a pleasure.

[kolajmag]

COLLAGE ON VIEW

The Brinton Small Works Show

at The Brinton Museum in Big Horn, Wyoming, USA through 23 December 2024. The 2024 Brinton Small Works Show comprises original works of art by artists from throughout the U.S. working in varying artistic styles and media. Its success started the tradition of featuring diverse works by nearly 100 invited artists. The intent is to showcase original art by accomplished artists in a price range that is affordable for museum patrons as well as new collectors. This idea remains in place today with participating artists, some who are longtime friends of The Brinton, and others new to the museum, submitting up to three works each. Among the artists on display is collagist Estelle L. Roberge. Read More

*****************************

Kolaj Magazine, a full color, print magazine, exists to show how the world of collage is rich, layered, and thick with complexity. By remixing history and culture, collage artists forge new thinking. To understand collage is to reshape one's thinking of art history and redefine the canon of visual culture that informs the present.

SUBSCRIBE | CURRENT ISSUE | GET A COPY

SIGN UP TO GET EMAILS

[magazinesubs33]

Minerals and Metals Industry: The Essential Role of Magazine Subscriptions

The mineral and metal industries form the backbone of modern infrastructure and development. For professionals and enthusiasts in these sectors, staying informed about the latest trends, advancements, and market analyses is vital. Publications such as Minerals and Metals Review Weekly Reports, Minerals & Metals Review (Monthly), Iron & Steel Magazine Review, Steel & Metallurgical, Steel Insights, and Forgings Today provide comprehensive insights, making them indispensable resources. This blog explores the significance of these publications, their offerings, and how they empower readers to stay ahead in a competitive landscape.

1. Minerals & Metals Review Weekly Magazine

Minerals & Metals Review Weekly Magazine is a highly regarded publication that focuses on the minerals and metals industry. It provides valuable insights, analysis, and updates for professionals, investors, and stakeholders in the field. As such, metal and mineral industry weekly magazines provide crucial insights and input for both industry professionals and investors. The demand for the metals and minerals industry is in manufacturing, construction, transportation, energy generation, and a variety of other sectors. To keep up with the latest trends and developments in the industry, professionals and businesses in this space rely on specialised reviews in weekly metal and mineral industry magazines for news and analysis. Here are the key points about MMR Weekly Magazine and its subscription options.

2. Minerals & Metals Review (Monthly) Magazine

Minerals & Metals Review (Monthly) Magazine is a leading publication in the field of minerals and metals review. It offers comprehensive coverage of the industry, including analysis, insights, and updates on market trends, technological advancements, policy changes, and more. Stay informed and gain a competitive edge with a monthly subscription to Minerals & Metals Review (MMR) PDF magazine. As the leading publication in the field, MMR offers in-depth analysis, market trends, and exclusive content delivered conveniently to your inbox every month. Join the community of industry professionals and unlock valuable insights to drive your success. With a focus on providing valuable information to professionals and stakeholders, MMR Monthly Magazine is a trusted resource in the minerals and metals sector. Are you passionate about the minerals and metals industry.

3. Iron & Steel Review Magazine

In India, the Iron & Steel Review Magazine industry plays a vital role in the economy, and as a result, there is a strong demand for magazines and publications that cover this sector comprehensively. These magazines provide valuable insights into the latest developments, trends, technologies, policies, and market dynamics that shape the Indian iron and steel industry.

4. Steel & Metallurgical Magazine

Steel & Metallurgical Magazine is your gateway to staying informed about the latest advancements, trends, and challenges in the Minerals and Metals Industry. Our magazine aims to provide a comprehensive understanding of the production of steel, metallurgy, mining, raw material sourcing, and the industry as a whole. We want to provide professionals, businesses, and hobbyists with the knowledge they need to successfully navigate this dynamic terrain by offering complete content and professional points of view.

5. Steel Insights Magazine

Steel Insights Magazine Subscription is the ultimate resource for professionals, businesses, and enthusiasts in the minerals and metals industry, with a specific focus on the dynamic and ever-evolving steel sector. Our magazine is dedicated to providing comprehensive coverage, insightful articles, expert analysis, and the latest trends that shape the industry. By subscribing to Steel Insights Magazine, individuals gain access to a wealth of knowledge, empowering them to stay ahead of the competition, make informed decisions, and thrive in the highly competitive metal industry.

6. Forgings Today

Forgings Today is the definitive magazine for professionals in the forging industry, offering cutting-edge insights into the latest advancements, market trends, and best practices. Each issue covers key topics such as forging technologies, material innovations, machinery updates, and eco-friendly practices. Real-world case studies and application stories showcase the use of forged components across aerospace, automotive, and defense sectors. With expert commentary, industry news, and reports on global and regional markets, Forgings Today is an essential resource for manufacturers, engineers, and industry stakeholders. A subscription ensures you stay informed and competitive in the rapidly evolving world of forging.

Conclusion

The minerals and metals industries are ever-evolving, driven by technological advancements, policy changes, and market dynamics. Publications like Minerals and Metals Review Weekly Reports, Steel Insights, and Forgings Today serve as vital resources for professionals, offering critical insights and analyses. Subscribing to these magazines is an investment in staying informed, competitive, and prepared for the challenges and opportunities of the future. Whether you’re a seasoned expert or new to the field, these publications ensure you remain at the forefront of the industry.

[secretsocietyofgamejumpers]

R-E-S-P-E-C-T—Pt. 2

Inspired by the Hero’s Duty comic from the Comic Zone magazine.

But the next day’s quarter alerts couldn’t help but draw Markowski out from under the covers. After all, he had a duty. A hero’s duty. 

As he hustled to join the rest of the corps, Markowski could already hear them laughing, and he didn’t need to hear a word to know it was about him.

“You get a load of Markowski last night?” Private Marco guffawed.

“Oh, it was prime time viewing!” Lieutenant Loya replied with a hearty chuckle.

“An all-time classic,” Private Maddox concurred with an eager nod.

Markowski felt his cheeks burn red. After the humiliation of last night, he’d accepted that this would always be his lot in life. But that didn’t mean he had to like it.

As the First Person Shooter rolled through the crowd, Markowski could see the goings-on outside the game. A young boy with huge horn-rims and freckles was about to insert his coins when the gun was ripped from his hands by a big-boned brute of a boy, with a face ridden with acne and stubble. 

“Out of the way, you little snot!” The bully elbowed the bespectacled boy out of the way. “Let the best Hero’s Duty player in the county show you how it’s done!”

The boy brandished the gun with an evil smirk. “I’ll bet you all your candy I can finish this stupid game in just one go.” 

In the background of the screen, Markowski could see the other boy backing away, his eyes downcast with shame as he listened to the boastful bully say all those demeaning things. Markowski’s heart broke. For though he was a skinny twig of a boy and Markowski was a mountain of a marine, the private saw himself in the boy—downtrodden, meek, mistreated. 

But he knew the bully’s bragging would come back to bite him. After all, Hero’s Duty had ninety-nine levels, and most kids never made it past the first.

“Follow me!” The FPS robot charged forward as the bully gave a triumphant yell. Feverishly he shot at cy-bugs, with the marines assisting. 

He passed level one with ease, then level two and three. 

Well, Markowski thought as he made short work of some cy-bug eggs on the third floor of the lab. He thinks he’s better than everyone else just because he can beat two more levels.

But the bully forged on. Ten levels…twenty…fifty…

Markowski’s jaw dropped as the bully handled the game with no difficulty. Clearly, he knew Hero’s Duty inside and out. If this kept up, the bully would win, and the poor boy would lose everything. 

He shot a glance at his commanding officer. Calhoun certainly didn’t look happy to be helping this player. But she wasn’t about to go against the program.

Sure, it was the soldiers’ duty to get the player to the top of the tower so they could win the Medal of Heroes. But wasn’t it also their duty to uphold the ideals of bravery, integrity, grace, and dignity—all of which the bully lacked in spades?

He gazed once more at the robot’s screen, at the sighing face of the bespectacled boy, wishing he could do something—anything—to help him out.

Then an idea hit Markowski faster than Calhoun’s fist after he accidentally splattered her with Cy-Bug egg yolk before her first date with Felix. 

If the bully knew the game this well, the only way to make him lose is if something unexpected happened. And Markowski knew exactly where to find that.

As shots ricocheted around the seventy-fifth floor lab, the private hoped he wouldn’t be noticed amidst the chaos as he bashed a hole in the glass window with the butt of his gun. Once it was big enough, he climbed through the hole and escaped. 

Markowski’s breathing was heavy as he scaled the jagged walls of the tower to the top. There was the lever he’d technically not touched…but today he would touch it, and be proud of it. 

The sounds of laser flares and the horrific metal buzzing of the Cy-Bugs began to fade away. General Hologram was beginning his spiel as he prepared to bestow the Medal of Heroes on the bully. 

With a deep, determined breath, Markowski grasped the lever in his hands and gave it a sharp yank.

Instantly the massive cloud of Cy-Bugs descended. Markowski scrambled down once more, bashing another sizeable hole in the glass window leading to the chamber of the Medal of Heroes. 

All the soldiers turned toward the strange sight, mouths agape. Except, of course, Calhoun, whose mouth was pinched in her usual anger.

“What are you nutcrackers waiting for?” She scowled. “Weapons up!”

The soldiers all brandished their guns—but outside the game, the bully had dropped his in shock.

“What the HECK!?” He shouted. “There’s no final level boss in Hero’s Duty!”

As he scrambled to pick up the plastic weapon, there was a horrific screech as the eyes of the Cy-Bugs turned from a glowing green to a blazing red. As they formed the monstrous image of a giant Cy-Bug, the bully backed away in utter terror, not even bothering to put up a fight as the swarm ignored the other soldiers and lunged straight at him.

GAME OVER.

“Markowski.” Calhoun marched over to the private, her rage making her eyes glow even more fiery than the Cy-Bugs’. “What do you have to say for yourself?” She socked him in the jaw, and Markowski peered timidly out from beneath his visor, prepared for the ridicule he would soon receive.

But there was another emotion on the faces of the soldiers—pure amazement and admiration.

Pure respect.

“Ma’am, I’m so sorry…” Markowski‘s voice wavered. “It’s just…I couldn’t let that boy win…”

“Like fun you couldn’t.” Calhoun bared her teeth. “Private, your off-game privileges are revoked until further notice!”

“Aw, c’mon, Sarge!” Loya protested. “This guy deserves a round after that performance!”

“Yeah! C’mon, ‘Kowski! Root beer’s on me!” Marco whooped. 

“Loya! Marco! Shut your chew holes!” yelled Calhoun. She turned to Markowski once more. “Get back to start position before I rip your head off!”

“Yes, ma’am!” Markowski saluted. And for the first time, he did it with a smile.

As the soldiers scrambled back to start position, Markowski could hear the other soldiers cheering.

He didn’t need to hear a word to know it was for him.

[fashionbooksmilano]

Diana Vreeland The Modern Woman

Edited by Alexander Vreeland

Rizzoli, New York 2015, 304 pages, 24,5x33cm, ISBN 978-0-8478-4608-5

euro 52,00

email if you want to buy booksinprogressmilano@yahoo.it

The first Vreeland book to focus on her three decades at Harper’s Bazaar, where the legendary editor honed her singular take on fashion.  In 1936, Harper’s Bazaar editor in chief Carmel Snow made a decision that changed fashion forever when she invited a stylish London transplant named Diana Vreeland to join her magazine. Vreeland created “Why Don’t You?”—an illustrated column of irreverent advice for chic living. Soon she was named the magazine’s fashion editor—a position that Richard Avedon later famously credited Vreeland with inventing.  The troika of Snow, legendary art director Alexey Brodovitch, and Vreeland formed a creative collaboration that continued Harper’s Bazaar’s dominance as America’s leading fashion magazine. As World War II changed women’s role in society, Vreeland’s love for fashion and endless imagination provided exciting, modern imagery for this new paradigm. This book covers Vreeland’s three-decade tenure at Bazaar, revealing how Vreeland reshaped the role of the fashion editor by introducing styling, creative direction, and visual storytelling. Her innovative perspective and creative working relationships with photographers such as Richard Avedon, Cecil Beaton, Louise Dahl-Wolfe, Lillian Bassman, and Hoyningen-Huene brought the American woman into a modern world. Through more than 300 images from the magazine, this book shows how Vreeland’s work not only influenced her readership, but also forged the path for modern fashion storytelling that endures today.

Alexander Vreeland is the grandson of Diana Vreeland and the president of Diana Vreeland Parfums and the Diana Vreeland Estate. He is the author of Diana Vreeland Memos: The Vogue Years.

09/05/24

[mogai-sunflowers]

MOGAI BHM- Day 11!

happy BHM! today i’m going to be talking about music and literature during the Harlem Renaissance!

Literature During the Harlem Renaissance-

[Image ID: A black-and-white photograph of Langston Hughes, a Black man with short hair. In the photograph, he’s sitting with his arm resting on the back of a chair in front of a table and a bookshelf. He’s smiling widely and wearing a light-colored long-sleeved collared shirt with thin, vertical white stripes. End ID.]

One of the spheres most influenced and prominent during the Harlem Renaissance was that of Black literature. Black writers began to publish works about being Black in America, about Black pride and stories, about forging a racial and cultural identity, and as Black stories began to become more told on stages, they also began to be told more through literature. 

Magazines were a huge part of literature during the Harlem Renaissance- they were opportunities for Black writers to collaborate and reach larger audiences. Some of the most influential magazines of the era include the NAACP-published The Crisis, and Marcus Garvey’s and the UNIA’s N*gro’s World. Publications such as these boldly discussed racial topics and allowed readers to connect with their own racial identities.

The most famous writer of the Harlem Renaissance, indeed one of the most famous and influential American writers ever, is Langston Hughes. Langston was many things- he was a poet, an essayist, a novelist, and an activist. He is most known for his poetry, but all his genres of writing revolved around racial identity. Hughes is known for saying that Black artists rejecting their racial identity stood in the way of them truly creating Black art. 

Langston’s most famous works include The Weary Blues, a poetry collection about Black jazz and blues musicians and Black life in America, famous for incorporating blues and jazz into his writing as well as Black American dialects. He also collaborated with other famous artists like Aaron Douglas and Zora Neale Hurston on the magazine Fire!!, a bold magazine for Black artists focusing on race, sex, intersections, and more. Hughes wrote about and memorialized the Harlem Renaissance in his autobiography The Big Sea.

Zora Neale Hurston was another very famous writer during the Harlem Renaissance. She wasn’t afraid to write in an explicitly Black way- she wrote in Southern Black dialects, about Black pride and autonomy, and didn’t worry about appealing to a white audience, which earned her criticism for being “too black”- a label she wore with pride. She was also known for writing about colorism within Black communities. Zora wrote famous works like “Their Eyes Are Watching God” and “Barracoon”.

The Harlem Renaissance saw the growing popularity of many, many writers. Other famous Harlem Renaissance writers include Countee Cullen, whose poetry chronicled Black lives in America, Claude McKay, whose famous story ‘Home to Harlem’ detailed the life of a Black soldier, James Weldon Johnson, whose famous poem ‘Lift Every Voice And Sing’ has been set to music, and many, many others.

The Harlem Renaissance left a huge legacy on Black literature.

Music During the Harlem Renaissance-

[Image ID: A black-and-white photograph of Louis Armstrong, a Black man with short hair. In the photo, he’s wearing a white, button up, collared undershirt beneath a light-colored suit jacket and a black bowtie, and he’s playing a trumpet. End ID.]

If there’s one aspect of the Harlem Renaissance that has had the most lasting impact on the world, it is music. Two of the world’s most popular, well-known, and influential genres, jazz and blues, were developed by Black musicians around and during the Harlem Renaissance. Developed in New Orleans, jazz music became an international music phenomenon.

Jazz was fast-paced, exciting, and had a focus on musical improvisation, allowing musicians to come up with their own music on the spot. Blues, a post-war musical genre that focused on slowly, passionately expressing deep emotions and difficult truths, became a staple of music in the Harlem musical scene and the Black musical scene across the country. 

One of the staples of the Harlem Renaissance was a vibrant night life- this included many night clubs where Black musicians played music- as time went on, these night clubs became extremely popular, attracting huge crowds every night. They were a beautiful celebration of Black music, culture, and unity, and clubs like this are what led to the rising popularity of many Black musicians during the Harlem Renaissance.

Some of the most famous musicians of the Harlem Renaissance were Louis Armstrong, Bessie Smith, Gladys Bentley, Duke Ellington, Cab Calloway, among many others! Louis Armstrong is famous for songs like ‘What A Wonderful World’, ‘Hey Dolly’, and ‘La Vie En Rose’. Songs like these are still famous today, as are songs by the likes of Bessie Smith and Duke Ellington.

Jazz and blues music were the beating heart of the Harlem Renaissance, and to this day they are some of the hugest genres in the world, cementing the influence of Black people on the world of music.

Summary-

Literature during the Harlem Renaissance heavily focused on Black identity, pride, experiences, and exploring Black life in America

Famous Harlem Renaissance writers include Langston Hughes, Zora Neale Hurston, County Cullen, and Claude McKay

Music during the Harlem Renaissance was largely jazz and blues, two Black music styles

Music performances at night clubs sustained the energy and popularity of the Harlem Renaissance

Famous musicians of the Harlem Renaissance include Duke Ellington, Louis Armstrong, Bessie Smith, Gladys Bentley, and Cab Calloway

tagging @intersexfairy​ @metalheadsforblacklivesmatter​ @neopronouns​ @justlgbtthings​ @genderkoolaid​ @spacelazarwolf​ 

Sources-

https://macaulay.cuny.edu/seminars/henken08/articles/h/a/r/Harlem_Renaissance_and_Literature_fb80.html#:~:text=The%20Harlem%20Renaissance%20brought%20along,to%20signify%20their%20cultural%20identity. 

https://www.biography.com/authors-writers/langston-hughes-harlem-renaissance 

https://www.zoranealehurston.com/

https://www.masterclass.com/articles/harlem-renaissance-literature-guide 

https://www.history.com/news/harlem-renaissance-writers

https://www.biography.com/musicians/louis-armstrong

https://www.biography.com/musicians/bessie-smith

https://www.history.com/topics/roaring-twenties/harlem-renaissance#louis-armstrong 

[valkyrie-rolls]

These are my main 4 OCs! Each of them are described only by a quote each of them would say, along with their D&D-inspired ideals, bonds, and flaws. Long post, so read more below if you're interested!

Character 1: "Now darling, if you're going to fight me, at least put all of your power into it. Unless you believe I'm not worth the effort?"

Ideal: Respect. People deserve to be treated with dignity and respect. (Good)

Bond: I fight for those that cannot fight for themselves.

Flaw: Once I start drinking, it's hard for me to stop.

Character 2: "They're good people, I promise. Some of them are my most trusted friends. They love, laugh, and cry, just the same as you and me. They just took a few more wrong turns than most." - Ideal: People. I help people who help me - that's what keeps us alive. - Bond: I will someday get revenge on the corrupt temple hierarchy that branded me a heretic. - Flaw: I'm a sucker for a pretty face.

Character 3: "Don't you fucking get it? There's no path to 'redemption' for a bastard like me. If you keep hanging around, you'll just get hurt, killed, or worse. Believe me, I wish it was different." - Ideal: Self-Knowledge. If you know yourself, there're nothing left to know. (Any) - Bond: Someone I loved died because of a mistake I made. That will never happen again. - Flaw: My pride will probably lead to my destruction. Character 4: "No, I don't know how to cook. That's fine with me, but if you think that makes me stupid? I'll hack into your email and bank accounts and sign you up to every shitty, monthly, paid magazine subscription I can find. I might not be able to fight you in person, but I can ruin your life in today's world. Fuck around and find out," - Ideal: Freedom. Chains are meant to be broken, as are those who would forge them. (Chaotic) - Bond: Those who fight beside me are those worth dying for. - Flaw: I have trouble keeping my true feelings hidden. My sharp tongue lands me in trouble.