#Salon Magazine

[eros-thanatos89]

How am I just coming across this think piece about Lalo?

It’s a very well written piece and reflection on his ability to be a “chameleon” and blend in wherever he needs to.

And one of the only pieces of writing about Lalo I’ve ever seen (hit me up if you know of any more!) that recognizes his light-skinned privilege and ability to “pass” as non-Latino. Tony Dalton is a güerito, which gives Lalo a unique ability among the more morenito Salamancas and cartel members to pass in majority White spaces. It’s not something that’s terribly relevant to the plot of Better Call Saul, but does add another interesting layer of privilege to his character. And contributes to his chameleon nature and his ability to be confident and charming in almost any setting.

[sweetdreamsjeff]

Jeff Buckley For my sweetheart, the drunk

By DAVID BOWMAN

PUBLISHED MAY 28, 1998 4:13PM (EDT)

The young icon was just 30 years old when his wrecked body was pulled from the water. He drowned wearing his boots. He was a young god to those who loved him, but they no longer recognized his ravaged face. He was identified by his fancy nankeen pants from Malta. He was Percy Bysshe Shelley, and he died in the Ligurian Sea off the coast of Italy on July 8, 1822.

Many years later, on May 29, 1997, another young icon perishes the same way. This one is a scant year older than Shelly was when he died. This one also drowns in his boots. He isn't identified by his exotic Maltese trousers, however. Instead it is his navel ring that identifies him as Jeff Buckley, raised as Scott Moorhead, drowned on the banks of the Wolf River outside of Memphis, Tenn.

Besides their age and death, the personal similarity between Buckley and Shelley is they were both guys who loved high jinks. The mythic connection is that Shelley was too ethereal to be anything other than a poet, while Buckley was too ethereal to be a mere "rock star." Not with that voice. This was the voice of a seraph. This was a voice to make a doubter believe in God again.

This voice would never win something as mundane as a Grammy. No. This was a male chanteuse whose first album would win a "Grand Prix International du Disque" -- an award previously bestowed on Edith Piaf. And this young man died having no idea how to live possessing such angelic pipes. As much as he hated being the son of Tim Buckley -- singer, junkie, nonexistent father -- Jeff also raged against being a girlie-man, an "Edith Piaf with a penis." Jeff wanted to be Jimmy Page. He even allegedly died singing "Whole Lotta Love" as he swam out into the brown water. This Led Zep obsession wasn't necessarily a good thing. Buckley's first studio album, "Grace," was a ponderous redoing of "Houses of the Holy." Buckley's songs didn't even have melodies. They were just moody Led Zep posturing.

A million young women disagree. Buckley was a rock star for young women too sophisticated to care about rock stars. Just these past months, more than one journalist has been able to lure young strangers up to his bachelor pad with a promise of hearing a prerelease tape of Jeff Buckley's posthumous album, "Sketches for My Sweetheart, the Drunk."

Now, the record these young women will hear is not the same record that a man hears. Men hear a record that is mostly ... magnificent. Young women will either agree or feel betrayed that Buckley has revealed himself to be nothing more than a cad. More about this cad factor later -- but first, let's assume there is magnificence in the album. The good cuts were all produced by legendary guitarist Tom Verlaine, in sessions conducted in New York and Memphis. These songs transform Buckley's Led Zeppelin fixation into healthy influence instead of making him sound like Freddie Mercury. Even more important, Buckley's new songs possess melodies. A listener might even be walking down the street and find him or herself humming a catchy song like "Yard of Blonde Girls." Indeed, "Yard of Blonde Girls" could be a hit single. But Buckley was dissatisfied with the Verlaine-produced tracks. He had summoned his band down to Memphis to rerecord them with "Grace's" producer Andy Wallace. They were to arrive the day after the death.

What didn't Buckley dig about these songs? No one associated with the record is talking -- at least not officially. This winter, publicists were claiming that "Everyone is too broken up about Buckley's death to talk about the record." But why? After Shelley was cremated, the poet's very heart remained intact, sitting within the smoking cinders of bone. Buckley left only this album, but surely it is as valuable as an aorta. Why wouldn't his fellow workers want to honor his final statement? No one was talking. I tried to track down Tom Verlaine. No luck through official channels. Then one day I was passing the Strand Bookstore on East 12th Street in New York City and Tom Verlaine was browsing the outdoor stalls.

"Tom?" I said.

He turned. Know that Verlaine is very tall. I identified myself, but the very tall man said he didn't want to be interviewed. "Everybody is so broken up," he said. He said that he didn't do anything special at the sessions -- he just turned on the tape player. He admitted that Buckley wanted to rerecord the songs. Then Verlaine didn't want to talk anymore. He'd been burned before "because of how the piece is edited."

Buckley's friends and co-workers are the only ones who can tell us what bugged Buckley about the Verlaine tracks. Whatever it was, Buckley recorded a number of four-track demos just before his death, and five of them are included on "Sketches" as an indication of which direction his artistry was turning. One of these songs is OK, just Buckley strumming a guitar and singing about girls. But the other four songs are nothing short of awful. There's no reason to try to convince you just how awful they are. What is more important is to state how these four awful songs mire an otherwise lovely record. You can go ahead and purchase "Sketches" and just program your CD player to skip cuts 5, 6, 7 and 8 on the second disc, but the inclusion of these songs reveals that Buckley was as screwed up as Bob Dylan with regard to artistic judgment (the latter famous for scrapping wondrous records). Buckley's demos expose that the lad didn't just want to be Led Zeppelin -- he wanted to be Metallica and Sonic Youth as well. He sings as if his voice is the worst curse a man-child could ENDURE. No wonder they're not talking at Columbia. Who on earth believed that anyone would want to bop down the street listening to a horrible, horrible song like the "Murder Suicide Meteor Slave" on their Walkman?

The answer is Buckley's mother, Mary Guibert. She was the one who created this record. One has to have respect for her quandary, if not her judgment: how to honor her son's artistic intentions with finished tracks he didn't believe in? Buckley, who was publicly hounded by myths about his junkie father, has become more-or-less a mama's boy in death. Guibert chose to end her son's album with a song that starts with Buckley lazily noodling on a guitar, then singing the Appalachian chestnut about dying with a "Satisfied Mind." This cut is beautiful, yet pointless. Buckley has no idea what he was singing about so beautifully. He's like a gorgeous girl who wears terrible clothes because she doesn't know her own beauty. Or is at war with it.

Which leaves us with those million young women who loved "Grace" and will now buy "Sketches." Is it sexy when Buckley sings, "Your flesh is so nice?" When he sings about licking and being licked? Or have you heard it all before on bad dates? How does Buckley's oral fixation reconcile with his curious lyric "You're a woman/I'm a calf." Is this absurd? Or does this make you want to mother him? These are honest questions only you can answer. Whether or not you agree that this album has magnificence in it, surely you'll thank God -- the real one or maybe only the God of Poetry -- that Buckley's mom didn't honor her drowned son by releasing only those god-awful demos.

By DAVID BOWMAN

David Bowman is the author of the novel "Bunny Modern" and the nonfiction book "This Must Be the Place: The Adventures of the Talking Heads in the 20th Century."

[krispyweiss]

Basketball Great and Grateful Dead Enthusiast Bill Walton Dies at 71

- “Our hearts are heavy today in the Grateful Dead community,” Dead & Company’s Oteil Burbridge says

NBA Hall of Famer Bill Walton - who was also one of America’s biggest, and largest, Grateful Dead fans - died May 27 at 71 of cancer, the NBA said in a statement.

In addition to his HOF induction, Walton was the NBA’s most valuable player and two-time league champion, making him “one of the most consequential players of his era,” said the Boston Celtics, where Walton finished his playing career.

���He derived great joy from basketball and music and deeply cherished his moments with teammates and friends,” the team said of Walton. “As a Celtic, Bill overcame years of debilitating injuries, regained his zest for the game and helped guide the 1986 Boston Celtics championship with both his play and his spirit. The Boston Celtics celebrate Bill’s wonderful life and legacy and send their deepest sympathies to the Walton family.”

Walton saw more than 850 Grateful Dead concerts and could be seen towering over audiences at concerts by post-Jerry Garcia spin-off bands, as well. He credited the band for his passion on the court in a 2016 interview with Salon, in which he quoted lyrics from “Terrapin Station.”

“I learned from them about how to become a champion,” Walton said. “I became the basketball player that I was because of the Grateful Dead. I am the human being that I am today because of the Grateful Dead. They’re right there at the top of my teachers. Their inspiration moved me brightly.”

“I loved Bill Walton,” Grateful Dead co-founder Bill Kreutzmann said. “As we say in the land of the Dead: ‘May the four winds blow him safely home.’”

Walton’s “favorite thing to do was to inspire people to love life as much as he did,” Dead & Company bassist Oteil Burbridge said.

“He brought out the best in people,” Burbridge said. “If his name ever came up in conversation, everyone broke out into a big smile. … Our hearts are heavy today in the Grateful Dead community. A community that he loved so dearly. He embodied the best spirit the Grateful Dead world has to offer.”

Other musicians who became friends with the six-foot, 11-inch guy down in front - including the Marshall Tucker Band and John Fogerty - also eulogized Walton.

“He was truly a very special and joyful person and his megawatt smile made everyone smile,” Fogerty said. “His enthusiasm for life and all things rock and roll was unstoppable and we miss you Bill.”

Former Sen. Al Franken last saw Walton at a Dead & Company gig. The comedian remembered his friend as “a sweet, giant of a man with a sweet and giant spirit.

“My heart goes to his family and all who had the privilege of knowing Bill,” Franken said.

Walton also became a “dear friend and supporter” of Dark Star Orchestra, the country’s best-known Grateful Dead cover band.

“The whole DSO organization sends condolences to his family and those closest to him,” the band said. “We always enjoyed every moment around him and share in the community’s collective grief of his loss.”

5/27/24

[clinticalthinkr]

Written by Salon Science Reporter Rae Hodge

- - -

Article Link

[scottguy]

Article: "Traumatized by Trumpism": The toll of outrage fatigue on MAGA

"Traumatized by Trumpism": The toll of outrage fatigue on MAGA

Here's the original article that two sections of were posted previously.

[bodybybane]

"They didn’t think I was pretty enough": Winona Ryder on almost missing out on an iconic role https://www.salon.com/2024/07/12/they-didnt-think-i-was-pretty-enough-winona-ryder-on-almost-missing-out-on-an-iconic-role/

[interieurs-design]

Art et décoration, #45, 1955

[chicinsilk]

L'Art et la mode au Château de Versailles. Décembre 1952

Teresita Montez, under the Arcades of the Salon de la Paix, in a white breitschwanz evening coat pleated in a fan, spreading over a white moire lining starred with crystal tears. By André Sauzaie. Underneath, a black evening dress and jewelry by Jeanne Lafaurie.

Teresita Montez, sous les Arcades du Salon de la Paix, dans un manteau du soir en breitschwanz blanc plissé en éventail, s'écartant sur une doublure de moire banche étoilée de larmes de cristal. Par André Sauzaie. Dessous, une robe du soir noire et des bijoux signés Jeanne Lafaurie.

Photo Georges Saad

[frc-ambaradan]

Topolino #3572 Turin International Book Fair variant cover by Paolo Mottura dedicated the newest Disney parody "Pippo Holmes" (Goofy Holmes 😄).

[ephemeral-lace]

French country style with elegant and modest flower stripe pattern as the main character. Daily introduction of fashionable people who gather at Salon de Chateau!

miel (From Saitama prefecture, living in Japan) 26 years old, 162 cm Today's fashion theme Classical Bonnet ★ Production weather Blouse ★ Victorian maiden Jumper skirt ★ Innocent World necklace ★ marywest☆ Twitter @Royal_rose_

★Check https://twitter.com/SalondeChateau1 for information about Salon de Chateau !  

[eros-thanatos89]

(Ok, this interview is linked in the article about Lalo which I posted earlier, but it’s really good, so I wanted to post it separately, too!)

I love how thoughtful Michael Mando is and how he waxes poetic in all of his interviews ❤️❤️ It’s evident that he’s extremely passionate and puts a ton of heart and soul and thought into his roles!

I really appreciate that here, he highlights the importance of Nacho as more than a one dimensional criminal, and rather, a complex character. And “a brown man who is heroic” through Nacho’s arc of “breaking good” as he first strives to escape from the criminal lifestyle, and then ultimately sacrifices himself to save his father.

Speaking of his father, I also really appreciate that he highlights Manuel Varga as one of the most honest and virtuous characters in the whole BCS/BrBa universe, and a single father who is a brown-skinned first generation immigrant 🤎🤎

Michael is so right! We need more representation of complex, fully human Latino and immigrant characters! ❤️ (That was one of the flaws of the BCS/BrBa franchise. Most of its Latino characters are pretty one dimensionally “bad”. Nacho and his father, along with Steve Gomez and Andrea are the few exceptions.)

Please, someone in TV/movie production, hear my prayers and cast this man in more variety of roles, not just drug dealers and gangsters 🙏

[galrevo]

YU House salon ad feat. 益若 つばさ (Tsubasa Masuwaka) Ranzuki 2007年 08月号

[graphypixllc]

A Nail Salon Brochure Tri-Fold Template is a professionally designed marketing tool that helps nail salons showcase their services, pricing, and promotions in an eye-catching, organized format. With easy-to-edit templates, salon owners can create visually appealing brochures that attract new clients, enhance brand image, and boost business visibility.

[fuckyeahmeikokaji]

Meiko Kaji (梶芽衣子) on the cover of the Fall/Winter 1982 issue of Kimono Salon (きものサロン).

Scanned from the Spring 1983 issue of Kimono Salon (きものサロン).

[lorenzodalessandro]

Corriere della Sera - Design insert cover 1

April 2024, on the occasion of Il Salone del Mobile in Milan, Italy

http://instagram.com/lorenzodalessandro

[thejazzera]

Harper's Bazaar, Dec. 1931

Illustrations by Ben Hur-Baz

"AT THE PARK AVENUE"

Outfits by Jay Thorpe, Peggy Hoyt, Salon Moderne, Bergdorf Goodman, Hattie Carnegie and Hudson Bay