#Women's Physique World 1995

[savage-kult-of-gorthaur]

30 YEARS AGO THIS MONTH IN WOMEN'S PHYSIQUE.

PIC INFO: Resolution at 1201x1620 -- Spotlight on cover page to "Women's Physique World" magazine, published January/February 1995, with American professional female bodybuilder Debbie Muggli (b. 1964) on the cover:

EXTRA INFO: "Features the NPC-USA Championships, NPC Jr. Nationals, 1994 NABBA Worlds as well as articles and photos of Betty Pariso, Andrea Hurwitz and Melody Bennett."

-- WOMEN'S PHYSIQUE WORLD, c. winter 1995

Source: https://wpw-magazine.myshopify.com/collections/magazine-downloads/products/wpw-january-february-1995-magazine-issue-download.

[artisteenvogue]

Miu Miu avait pour but de mettre en lumière un vestiaire pour tous les âges, portés sur le podium par des femmes comme Gigi Hadid, 28 ans, Kristin Scott Thomas, 63 ans, la chanteuse et musicienne Ethel Cain, 25 ans, Qin Huilan, 70 ans, ou encore Ángela Molina, 68 ans (cette dernière apparaissait déjà dans le 24ème film de la série Women's Tales, en 2022). je n'ai pas eu le temps de faire ma lessive, car j'ai été si occupée et… préparez-vous : c'est le costume de Guslagie Malanda dans le film. Mais dans mon film, au lieu d'avoir une femme qui confronte une autre femme, c'est une femme qui confronte sa mémoire. Il y a un vrai pouvoir dans l'affirmation suivante : “Nos émotions sont réelles, c'est une chose à laquelle nous devons faire face”. To revisit this article, visit My Profile, then View saved storiesTo revisit this article, visit My Profile, then View saved storiesQui est Cécile B. Evans, l'artiste derrière le dernier défilé Miu Miu ? Et quand je regarde cette photo, je vois comment les vêtements ont pu me faire sentir le jour où cette photo a été prise. Elle me faisait beaucoup de retours tout au long du développement du film, à la manière dont un commissaire pourrait le faire. Pas depuis très longtemps, mais je savais que je voulais travailler l’idée d'une femme confrontée à sa mémoire qui lui échappe. Je crois que cela vient du fait que Mme. Prada dirige la Fondation Prada pour l’art contemporain, à Milan, depuis longtemps [la fondation voit le jour en 1995, ndlr]. Elle comprend les artistes, leurs idées et manières de travailler. Qu'est-ce qui vous vient en premier, dans la préparation d'un film : l'image, ou le texte ? Qu'est-ce qui vous vient en premier, dans la préparation d'un film : l'image, ou le texte ? On entend ma voix dans le film que j'ai réalisé pour Miu Miu, et j'incarne le temps dans Amos’ World. court-métrage d’1 minute 30, dans lequel on découvre l’actrice Guslagie Malanda (Saint Omer, La Bête), qui incarne la dernière traductrice sur Terre, aux prises avec sa propre mémoire, qui lui échappe. Evans reprend le flambeau, chargé·e par Miuccia Prada d’imaginer le décor du défilé de la collection automne-hiver 2024-2025 de la maison Miu Miu. Il y a une phrase dans le court-métrage, alors que le personnage incarné par Guslagie reçoit la mémoire d'une autre femme. C'était très facile pour moi d'accepter car je connais très bien l'artiste qui s'est occupée de la scénographie du précédent défilé. Dans mon précédent film, c'était : comment la réalité est-elle construite, et comment pouvons-nous nous libérer de cette construction, une fois qu'on la perçoit ? Jessica ScemamaPlus de culture sur Vogue.fr : À la Bourse de Commerce, Arca repousse les limites de la musique8 expositions à voir absolument en mars à Paris (et ailleurs en France)Le sacre de Mati Diop à la Berlinale 2024, symbole du rayonnement mondial d'un nouveau cinéma françaisPlus de culture sur Vogue.fr :Plus de Vogue France en vidéo :Plus de Vogue France en vidéo : En fait, je suis les collaborations de la maison Miu Miu avec le monde de l'art depuis un moment : je suis familière des travaux de Meriem Bennani ou même des films de Janicza Bravo, qui a participé aux Women's Tales, une série de courts-métrages initiée par la maison. Dans Saint Omer, son deuxième film en tant qu'actrice, on voit transparaître la question de lignée, et de la transmission d'une génération à une autre. Pour vous donner une idée, en tant qu'artiste je travaille ordinairement sur un projet pendant deux ans. C'est en lien avec une grande partie de mon travail d'artiste, qui traite la technologie et les données comme des éléments physiques. , installé·e à La Plaine Saint Denis, Cécile B. Evans réfléchit, depuis ses débuts, la matérialité des éléments qui nous entourent, et qui font partie de nous, de la technologie aux émotions qui nous parcourent. Une sorte de thriller contemporain, qui a servi de point de départ pour une collection qui mêlait les archétypes vestimentaires de tous les âges, de l'enfance à l'âge adulte.

[breakingthedisneyspell]

So, anything on the coding within the general aesthetic of cartoon design? The article on Aladdin mentioned how him and Jasmine had more eurocentric features but I'm sure there are far more examples with the Disney style.

Thank you for sending this in!

I am slightly confused about what you are asking. Is it about racial coding in Disney (which is too wide a topic)? About specific characters like Jasmine? About specific character types like heroines & villains? So do not hesitate to get back to me.

I stuck with the characters I was most familiar with.

In general, the heroes & heroines of color are more conventionally attractive with Eurocentric features whereas the rest of their communities, including the villain, are racialised through their appearance (darker skin tones, exaggerated features, facial hair etc) and accents. 

                                                             xxxx

“It is painfully obvious that the protagonists – Jasmine, Aladdin, and the Genie – are not. Their features are decidedly white/ European. The others have large noses, sinister eyes, and violence on the mind. Aladdin and Jasmine have none of these. They are dark-haired Ken and Barbie”

Staninger, Christiane. “Chapter 5: Disney’s Magic Carpet Ride: Aladdin and Women in Islam.” The emperor’s old groove: decolonizing Disney’s MagicKingdom. Ed. Brenda Ayres. New York: Peter Lang Pub Incorporated, 2003. pp. 65-77.

Aladdin modeled after Tom Cruise and M.C Hammer: By sexualizing the Aladdin character and transferring the despicable qualities of the magician to the villain Jafar, the stage was set for a plot which offered something for everyone: a sexy hero with a love interest and a Machiavellian miscreant who combined the worst straits of two real-life Arabs: the Ayatollah Khomeini and Saddam Hussein 

Although Disney went so far as to tinge the skin tones of Aladdin and Jasmine with a lighter ocher, it deepened the shade of Jafar’s skin. Likewise, it distinguished between the “good” characters and the “bad” by giving the former American accents and the latter clipped British or vaguely foreign intonations.

All the bad guys have beards and large, bulbous noses, sinister eyes and heavy accents, and they’re wielding swords constantly. Aladdin doesn’t have a big nose; he has a small nose. He doesn’t have a beard or a turban. He doesn’t have an accent. What makes him nice is they’ve given him this American character. They’ve done everything but put him into a suit and a tie (Washington post, 10/01/93, Yousef Salem) 

Jafar, like Hussein, is mustachioed, dark skinned, turbaned and robed silhouette from the Khomeini and “the fictional villain is a devious plotter and untrustworthy ally who pretends loyalty to his benevolent master while scheming to seize his possessions. It was this personification of Hussein-the-betrayer that was beamed from satellite dishes around the world in 1990-91 

Macleod, Dianne Sachko. “Chapter 13: The Politics of Vision: Disney, Aladdin, and the Gulf War.” The emperor’s old groove: decolonizing Disney’s Magic Kingdom. Ed. Brenda Ayres. New York: Peter Lang Pub Incorporated, 2003. pp.179-192. 

The Arab woman is often represented as light-skinned and in various states of undress while men are dark-skinned and viciously violent in works such as The Death of Sardanapalus by Delacroix and The Turkish Bath by Ingres. 

Jafar is coded as “Arabic” with darker skin, a crooked nose and slimy mannerisms while Jasmine is more Americanized while still clearly remaining Agrabian (Booker 55). She has an American accent and yearns for true love and freedom from an oppressive regime while being disconnected from her faith: she is made palatable and relatable to Western audiences (Nadel 191). Jasmine belongs to and is disengaged from a land overrun by polygamy, harem girls and belly dancers.

Yours truly, The sexualization of women of color in WaltDisney’s Aladdin, Pocahontas and The Hunchback of Notre-Dame

Another example is Pocahontas, who stands out from her community with her looks and sexualisation.

film’s supervising animator Glen Keane was told “to make [Pocahontas] the finest creature the human race has to offer” (Kim 24). 

All her features, including her arresting physique, are derived from Keane “concoct[ing] a heroine that John Smith, or any man, animated or otherwise, might love” (“The Making of Pocahontas”). Her body is an amalgamation of features cherry-picked from different ethnic groups to form the ultimate human being. Keane drew inspiration from “Irene Bedard, the American Indian actor who provides Pocahontas’s voice, American Indian consultant to the film Shirley “Little Dove” Custalow McGowan, Filipino model Dyna Taylor, black supermodel Naomi Campbell, and white supermodels Kate Moss and Christy Turlington” (Edgerton & Jackson 95). 

WDC’s Pocahontas was thus given high cheekbones, full lips, feline eyes, a sensuous gait and an erotic body. Her body did not go unnoticed: she was described as a “babe” ” by John Smith’s voice actor Mel Gibson (Sardar17), “lusciously sexual” (Rudnick 67) and an “animated Playboy playmate”(Sharkey 1). Pocahontas needed to be otherworldly to logically captivate the audience and John Smith. Her extreme beautification arguably counterbalances her ethnicity (Buscombe 35). The latter seems to be considered a visual drawback that has to be compensated with increased sex appeal.

Me, The sexualization of women of color in Walt Disney’s Aladdin, Pocahontas and The Hunchback of Notre-Dame

Pocahontas is “an anachronistic image composed of “aesthetically-pleasing” body parts drawn from American Indian, African American, Asian American, and Caucasian models”

Jeffrey Katzenberg charged Keane with creating a Pocahontas that would be “the finest creature the human race has to offer” (qtd. in Kim 23)”. Disney’s Pocahontas is not American Indian; she is a member of the more universal “human race.”Her long, angular facial structure, pert nose, almond-shaped eyes, and flowing waist-length hair – which constantly billows around her and is parted on one side with an artful supermodel flip – differentiate her from the other American Indian women in the film, who are pictured with larger eyes and noses, more rounded faces, their hair either in bangs or long and parted in the middle.

Indeed, in making what has been trumpeted as their first multiethnic heroine, Disney, as I will argue in the final section of this essay, collapses all non-white ethnicities onto her body in order to make her a spokesmodel for a reductive version of multiculturalism, one in which the visual marker of brownness stands in for cultural diversity.

Strikingly, in addition to screening footage of supermodels, Keane went to books on classical Western beauty so that he could “concoct a heroine that John Smith, or any man, animated or otherwise, might love” (qtd. in Making). This comment suggests, from the point of view of the Anglicized male gaze, that Pocahontas’s beauty must overcome her race – her status as a “savage,” as a racial Other.

Pocahontas’s first scene of its heroine is a highly eroticized one. As shematerializes through the mist of the waterfall, the film’s action halts as the camera gazes, simulating what Mary Louise Pratt has theorized as the imperialor pale male gaze. With her long black hair swirling behind her, her Indianprincess costume cut high in the thigh, hanging from one shoulder, and hervoluptuous figure, Pocahontas stands as a icon of Western standards ofexoticized female beauty. As Gertrude Custalow, a member of the Powhatan tribe, noted in a 1995 interview about the film, “The real Pocahontas was achild, not a voluptuous woman. And one thing’s for sure – she didn’t own anuplift bra” (qtd. in Tillotson C8). Her body signifies as a racialized sexualobject on the screen, a “brown-skinned Barbie doll,” a multiethnic, to use Mel Gibson’s term, “babe” (qtd. in Tillotson C8).

Edwards, Leigh H.“The United Colors of ‘Pocahontas’: Synthetic Miscegenation and Disney’sMulticulturalism.” Narrative, vol. 7, no. 2, 1999, pp. 147–168. JSTOR.

The film eroticizes and fetishizes Pocahontas. She is an exotic creature capable of jumping off three hundred foot waterfalls, of conjuring up magical winds thatgive humans the ability to fly, and of painting “will all the colors of the wind.” Disney constructs Pocahontas as a mystical, mist-shrouded object of desire for the heterosexual white colonizer Smith. The film endows her female body with the largest chest, the smallest feet and waist, the biggest almond-shaped eyes, and the longest hair of any character in the movie. Colonial narrative logic dictates that colonizers must protect women from barbaric men; thus, the discourse objectifies women in the name of genocide.

Buescher, Derek T., and Kent A. Ono. “Civilized colonialism: Pocahontas as neocolonial rhetoric.” Women’s Studies in Communication, vol.19, no. 2, 1996, pp.  127-153. 

Esmeralda, where she is dark-skinned but again is exponentially more attractive than her community. 

The Disney film shows a sexually appealing Esmeralda as well, despite its family-friendly target audience. Others have noted the increased sexualization and exoticization of Disney heroines, particularly of ethnic female characters, and culmination with Esmeralda. Her dress in the Disney cartoon has been called “the epitome of the exotic/sexual” and suggestive of her ethnicity. Her flirty dancing concludes with spinning around a pole, a daring move for Disney and a most explicit sexual reprtation. The heroine is also a clear object of the male gaze (Frollo’s, Phoebus’, Quasimodo’s) as suggested by intentional shots and acting techniques.

Schneeweis, Adina. “The bohemian Gypsy, another body to sell: Deciphering Esmeralda in popular culture.” Heroines of Comic Books and Literature: Portrayals in popular culture. Eds. Maja Bajac-Carter, Norma Jones & Bob Batchelor. Lanham: Rowman & Littlefield, 2014.

The costuming in The Hunchback of Notre Dame offers what may be the epitome of the exotic/sexual. Esmeralda, the gypsy dancer, is also attired in dresses that reflect a stereotype of her ethnic background. These costumes, like those of her two predecessors, bare her shoulders. Hers, however, also offers a plunging bust line that emphasizes the cleavage. Additionally, her dance costume is drawn with a skin-tight look that reveals the “cut” of her abdomen and her tiny waist.

Lacroix, Celeste. “Images of animated others: The orientalization of Disney’s cartoon heroines from The Little Mermaid to The Hunchback of Notre Dame.” Popular Communication 2.4 (2004). pp. 213-229.

WDC’s Esmeralda is modeled after the romantic Bohemian. She is the only Romani inhabited by beauty, grace and sex appeal as the rest of her community are caricatured as “lazy, belligerent, vulgar, unwashed, and criminal” (Oprea 15). All the other Romani characters, including women, are unattractive with beaky noses, beady eyes, and unkempt bodies.

Me, The sexualization of women of color in Walt Disney’s Aladdin, Pocahontas and The Hunchback of Notre-Dame

[queermediastudies]

Photo Essay: Queerness in Disney Villains

The focus of these images is on how Disney villains are incidentally queer, and how this representation reflects a negative image for queer people. Generally, villains are conquered by heteronormative characters, whether that be through a failed plan or death. This is harmful because it paints queer people in a villainous way and as being defeated by hetero-norms rather than accepted.  Disney should move away from only having queer representation in the form of a villain and instead, have queerness portrayed across all types of characters (protagonist, side characters, etc). This will give more positive representation for those in the LGBTQ community, making Disney a more inclusive fantasy world.  This approach is more effective in embracing queer identity. The characters we will be focusing on will be grouped into three categories: ambiguous relationships, mannerisms and gender roles, and breaking notions of normativity. 

Ambiguous Relationships:

These images portray different characters that have relationships the audience may deem ambiguous. These relationships are not heterosexual ones either, making them appear queer. Though none of the texts outright say there is a relationship between these characters, there are moments that feel outside of heteronormative traditions.

(Gaston and Lefou, “Beauty and the Beast”, Disney, 1991)

This image is from the song sequence in Beauty and the Beast (1991) where Gaston basically brags about how manly he is. However, though the song focuses on his “manliness” there is a moment in which Gaston and his goofy henchman, Lefou, dance intimately for a moment. This moment is similar to the W.K.L Dickson short film of 1895 that depicted two men dancing intimately together. Benshoff and Griffin (2004) say, “Without a narrative context, the meaning of ‘two men dancing together is left open to interpretation. One thing is certain however-- the dancing pair is queer: they are not the usual expected heterosexual couple” (p. 6). Different from the “dancing pair” video, Gaston and Lefou do have a narrative that may challenge their queer image (since Gaston is actively chasing after Belle). However, as the text states this moment does not have a heterosexual pairing and features two men, making them queer.

(Captain Hook and Mr. Smee, “Peter Pan”, Disney, 1953)

There has been much speculation from Disney fans that Captain Hook could be gay due to his flamboyant mannerisms, but when one takes a closer look at his relationship with his first mate, Mr. Smee, it is clear that they are extremely close (Benedict, 2017). What is queer about their relationship is the way Smee dotes on Hook, something that is characteristic of the gender roles of a woman. Seen here, Smee is taking Hook’s temperature while Hook is feeling unwell. The purpose of Smee’s character is to be the person that cares for Hook, the way a woman stereotypically cares for a man in a heterosexual relationship. Hook, on the other hand, is the leader and provider of the crew (what could be seen as a family). Having them be two male characters that embody the heteronormative traditions of a man and woman is what makes their relationship queer and ultimately relates to the historical use of queer gender-bending as a technique to gain laughs as well as to signify evil (Benshoff & Griffin, 2004, p. 7).

(Ratcliffe and Wiggins, “Pocahontas”, Disney, 1995)

Ratcliffe and Wiggins are both queer characters due to their mannerisms. Ratcliffe portrays a flamboyant image that is not of traditional masculine stereotypes due to the way he dresses and enjoys “finer things”. He does not follow the rugged, hard working stereotype that heteronormativity often gives. Wiggins also has a queerness about the way he acts, but it is different from Ratcliffe. Rather, Wiggins likes things that are stereotypical of gay men/of being “girly”. Here, he is offering that Ratcliffe and Wiggins give gift baskets. He also is seen making a unicorn shaped bush, bathing a dog and talking cutsey with it, and getting teary-eyed when Ratcliffe is taken away. These interests deviate from stereotypical masculine interests, making Wiggins queer. Together, Ratcliffe and Wiggins create a queer duo, with Ratcliffe being the snobby,arrogant stereotypical gay man and Wiggins being the flowery, girly stereotypical gay man. They are not openly gay, but connotation is a tactic often used in film to deal with onscreen homosexuality, that makes the characters more queer than openly gay (Benshoff & Griffin, 2004, p. 7).

Mannerisms:

With the following images, we can see how characters are made inherently queer through their mannerisms. Disney uses stereotypes of queer people such as their behaviors, to reinforce stereotypes of queer people. Cover (2004) discusses how “stereotyping reduces individuality and diversity, into wrongful notions of behavior” (pg. 81). In class, we’ve discussed how queer people are represented: flamboyant, hyper feminine, fashionable, etc. By assigning queer people these stereotypes, and by continuing to portray characters with these stereotypes, we will continue to see these mannerisms and behaviors as negative.

(Scar, “The Lion King”, Disney 1994)

This gif shows Scar from The Lion King. In this scene, Scar is speaking XXX. One way Scar is made incidentally queer is by the placement of his paw. He has the back his paw placed on his forehead, and his eyes are closed. From the gif, it looks like he is speaking dramatically. Queer people, gay men in particular, have been typically portrayed as over the top and dramatic. In this scene with Scar, we can see this stereotype being played out. Because By portraying queer men as “drama queens,” we are reducing their emotions down to say they aren’t valid because showing emotion is only acceptable for women. By doing this, we are also saying that drama is only associated with women. This actions continue to place gender roles on both men and women, and acting out of your gender roles is queer.

(Gaston, “Beauty and the Beast” Disney, 1991)

This GIF shows a scene in Beauty and the Beast where the villain Gaston is upset about Belle’s behavior; she rejected him in public and now he sits in a pub is singing about how great of a man he is. His friend Lefou is joining in on the song and gets other men in the pub to sing about Gaston as well, making the entire scene fairly queer. In this GIF specifically, Gaston is acting queerly from your traditional, heterosexual, masculine, male. While Gaston’s physique is that of a traditionally masculine man, his mannerisms suggest queerness. Gaston sits on the chair, with his leg pointed in a feminine manner. He is also singing about using antlers in all of his decorating. Traditional gender roles assume women do housework, including any decorating. In the GIF, Gaston is breaking gender roles and is inherently queer while doing so.

(Hades, “Hercules”, Disney, 1997)

In this image, the villain Hades from Hercules is inherently queer by the way he dresses, and holds his drink. Hades sits on his “throne” and sips what appears to be a martini. A stereotype of gay men, is that they drink “girly” drinks including martinis. Hades’ drink is pink yet he is portrayed as blue. Historically, blue is associated with boys, and pink is associated with girls. This juxtaposition of color as well as Hades’ mannerisms, questions these roles of gender. Hades’ clothes also questions normative gender roles; Hades’ wears a long garment that resembles a dress. As we know, dresses are “for women.” His neckline is also fairly low-cut and shows off parts of his skin. One stereotype with gay men and queer people is that they can be hypersexual and show off lots of skin. By having Hades break these normative gender roles, he is inherently queer.

Breaking Notions of Normativity:

In these images, we can see how Disney used villains and the concept of villains, to queer their films. By queering films, we are gaining representation for queer folk, and we are also breaking away from historical representations of characters. However, using the representations of queerness for villain's only is not something Disney should continue doing. We can see how much representation matters, and how Disney is creating breakout texts through their representation that is beginning to deviate from exclusively villainous roles.

(Ursula, The Little Mermaid, Disney, 1989, and drag queen Divine)

In the 1989 film The Little Mermaid, the villain Ursula was modeled after drag performer Divine. This depiction is a double edged sword because on one end, basing a character off a queer personality means representation. Making them a prominent character forces a dialogue that couples with the AIDs epidemic at its height. However, this depiction is ultimately harmful because the representation affirms the notion that queerness is a villainess trait. Furthermore, this depiction was strictly visual as Divine was not going to voice the role. This ultimately harmful depiction relates to DeClues notions of visibility, “The violence of erasure, the refusal of visibility, the pain of a contingent inclusion.”.The result is a villain whose inspiration blurs notions of normativity, but only for the sake of harming queerness.

(Te Ka, The central antagonist of Moana is full of fury and rage. Her spirit is eventually quelled when Moana tells her of her true identity)

Moana is a unique in the world of Disney. In many ways, this film queers the very tropes Disney is known for founding. With Pacific Islanders as the central cast, the film breaks the mold of standard western depictions of Disney Royalty. Moana is also unique because her Disney princess status is not correlated with a Disney prince. Furthermore, her final conflict with Te Ka does not involve the classic Disney Fall. The Fall is a trope where in a Disney villain falls to their death. This releases the protagonist from accountability or moral ambiguity. Instead Moana reminds Te Ka with who she really is through the song “Know Who You Are.”

Based off of these unique perspectives and the commercial success (grossing over $640 million), one could argue that Moana serves as a breakthrough text. Cavalcante notes this relevance in Communication Culture and Critique. “...Beyond their content, breakout texts are largely defined by their reception, their use, the sociality they facilitate, and their everyday life context.” This example shows that breaking notions of normativity, can be successful.

(The news anchors in Zootopia, a cheetah (predator) and a moose (prey))

While this example is not a villain, we can see the villainization of predators in Zootopia. The central conflict involves society that villainizes predators and looks to wedge a division between the population; predators vs. prey. In the above image, there is something that can be considered as progressive; we have a predator cheetah, co-hosting the news with a moose (prey). This is inherently queer because it breaks the barriers between predator and prey, similarly to how barriers may be broken between heteronormativity and queerness.

Disney is willing and able to make accommodations. The strength of representation cannot be stressed enough. Each region can find something to relate to. The benefits of this depiction also come in the form of normativity. These anchors do not have an impact on the story. They are neither antagonist or protagonist. Instead they exist on a periphery that enforces diversity is normal, commonplace, and apolitical.

Conclusion:

Although Disney is moving toward more “queer” representation in their animated films, there is still progress to be made. As these images show, Disney has primarily used villains as a way to portray queerness (likely not even intentionally) and that is problematic for the queer community due to the negative connotations villains have. Disney needs to make a move toward including queer characters in protagonist roles so that there may be positive representation for queer audiences to relate to. It need not be made a huge event or publicity stunt, but it could be done tastefully in a way that makes it present without becoming problematic as well as being the forefront and not just background characters

Resources

Benedict, R. (2017, March 3). “13 Classic Disney Characters Who Were Probably Gay”. Retrieved from https://hornet.com/stories/classic-gay-disney-characters-probably/

Benshoff, H.& Griffin, S. (2004). “Queer Cinema, The Film Reader”.

Cavalcante, A. (2017). Breaking Into Transgender Life: Transgender Audiences’ Experiences With “First of Its Kind” Visibility in Popular Media.

Cover, R. (2004). Bodies, movements and desires: lesbian/gay subjectivity and the stereotype, Continuum: Journal of Media and Cultural Studies, 18(1), 81-97, DOI: 10.1080/1030431032000181012

DeClue, J. (2017). To Visualize the Queen Diva! Transgender Studies Quarterly, 4(2).

Goldstone, A. D., Hahn, D., McArthur, S., Schumacher, T., Allers, R., & Minkoff, R. (1994). The Lion King, United States: Walt Disney Pictures.

Goldstone, A. D., Clements, R., & Musker, J. (1997). Hercules, United States: Walt Disney Pictures.

Hanh, D., Trousdale, G., & Wise, K. (1991). Beauty and the Beast, United States: Walt Disney Pictures.

King, B.  (2017, October 9). 10 Fictional Characters Surprisingly Based on Real People | Film Daddy. https://www.filmdaddy.com/all-articles/characters-based-on-real-people

[savage-kult-of-gorthaur]

THIS MONTH IN THE WINTERTIME PUBLISHING HISTORY OF "WOMEN'S PHYSIQUE WORLD."

PIC INFO: Spotlight on Canadian professional female bodybuilder, Cathy LeFrançois (then age 24), on the cover page to "Women's Physique World" magazine, published January/February 1996.

EXTRA INFO: Features photo/bios on Cathy Lefrancois, Kat Sartor, Linda Battaglia and Karen Netterstrom. Coverage of the 1995 NPC USA Championships, the 1995 Jan Tana Classic, the 1994 WABBA Worlds & more!

Source: https://wpw-magazine.myshopify.com/products/wpw-january-february-1996-magazine-issue.

[fayewonglibrary]

After the Spring Festival Gala, Faye Wong and her stylist made headlines again (2018)

Faye Wong and her stylist have made headlines again. The last time was at the Spring Festival Gala. This time it was for a fashion show. However,  the heavenly queen was not there to see the show. Instead, she participated in a catwalk for a private collection released by her stylist.  

There was no media invited and no press releases sent out. However, Faye Wong’s makeup artist, Zing, uploaded videos where she was dubbed the guest of the fashion show. The news spread quickly on the strength and ability of the heavenly queen’s power. As the saying goes, “old ginger is hotter than young ginger.”  

As you can see from the video, it was a private show for select clients.  There was no such thing as a front row. There were people standing, some people sat in chairs, and some simply sat on the floor. There was no T-stage. The models walked from the outdoors into the room. When Faye wore a red robe and walked, she smiled and shouted out “move aside”.  This shows how relaxed the atmosphere was.

In another look, Faye wore a purple cloak and also wrapped a scarf on her head and wore colored sunglasses. With her hands in her pockets,  her temperament and aura can clearly be seen. However, when she uttered the phrase “sidetracked” with a strong northeast accent, the cold atmosphere turned warm in an instant.  

Titi Kwan’s design concept of this season’s 2018 private custom collection named “Heart” was interpreted on his studio’s Weibo as:

Early morning, sky,  gardens, fairies, gardeners, sickles, insects, mushrooms… The scene is vivid, the rising sun rises, daydreams stop, and eventually return to reality. Titi’s daydreams are described in 28 styles, an inner fantasy world full of his own, full of elven gardens.

Faye Wong’s catwalk cannot be regarded as something new. Instead, it should be called a return to her old career. After she came to Hong Kong at the age of 18, her first job was not singing. Instead, she first entered model training courses and then became a model. She only worked as a model for a short period of six months. Since her singing career took off, this past is rarely mentioned.

Although she is not a professional model, she has the long legs, physique, and cool temperament for high fashion. Faye Wong has firmly been on the Mainland and Hong Kong’s most stylish throne for more than 20 years. If Faye Wong herself is an excellent fashion player, then Zing, the queen’s makeup artist and Titi Kwan, the queen’s stylist, helped to cultivate her look behind the scenes. For more than 20 years, almost all of Faye Wong’s classic and stunning looks have come from the golden touch of these two artists.

The most recent collaboration was at this year’s Spring Festival Gala. Faye wore a sleek purple dress that was designed by Titi Kwan. The pair of purple “dishwashing” gloves was Titi Kwan’s exclusive vintage selection from Paris.

Although each mention of Titi Kwan will inevitably link his name with Faye Wong, he is not a storyless stylist. He was one of the first Chinese stylists to develop in the Paris fashion industry. He rarely accepts interviews with the media. From the few interviews that can be found, we can piece together his trajectory of fashion development.

His father is a well-known tailor and was an influence on him. He showed off his talent in fashion design early on. When he was 14 years old, he went to Paris to be an apprentice for women’s clothing. He realized that the differences between Paris and Hong Kong’s fashion culture triggered his incentive to stay in Paris and to delve into the world’s top fashion.

At the age of 18, Titi Kwan went to work in a famous hair salon in Paris. Seeing that his boss received a month’s salary for advertising makeup work, he decided to attend Christian Chauveau, a famous makeup school in Paris. After that, he attended Studio BerCot Fashion School, one of the three major fashion design institutes in Paris. This experience laid an important foundation for him to successfully enter the fashion industry in Paris.

In the 1990s, he returned to Hong Kong and met Faye Wong, who was rising up. He started working with Faye on her 1995 album “The Decadent Sounds of Faye,” and became one of the contributors to the legendary “Faye Wong” image.

When Faye Wong opened her concert tour in 1998, she rose from the ground to the air in a red cloak-style coat. The clothes were from Martine Sitbon –  Martine Sitbon was Titi Kwan’s fellow student at Studio BerCot.

From 2003 to 2004, Faye held a series of “Faye Unusual" concerts. Titi Kwan went to France and other European countries to purchase pieces and fabrics for the concerts six months ahead of schedule. He successfully gained the sponsorship of Vivienne Westwood.  The 10-inch high-heeled shoes were not for sale and Faye was allowed to wear them at her concert.

In 2003, Faye released the MV for “Leave Nothing”, with vintage gothic visuals. The designer of the dress was French designer Madeleine Vionnet. She pioneered the “bias cut” method that still affects generations of fashion designers. Karl Lagerfeld,  Miyake, Jean-Paul Gaultier, John Galliano, Vivienne Westwood and other design masters are her "fans.”

Because of his successful cooperation with Faye Wong, Titi Kwan met a lot of Hong Kong artists and began to transform from stylist to designer. When Josie Ho married in 2003, she asked Titi Kwan to create a wedding dress for her. The value of the wedding dress was more than 2 million Hong Kong dollars. The  embroidery was created by Chanel and made by the artisans of LeSage, the  national treasure embroidery workshop. It took one and a half months of  production to complete.

SOURCE: SOHU // TRANSLATED BY: FAYE WONG FUZAO

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Which designer has such a big reputation, that he even got Faye Wong to make a guest appearance in his fashion show? (2018)

In recent years, the very low-key Faye Wong has rarely made public appearances. Even invitations to mainland variety shows have been rumored to be as high as 100 million yuan. However, yesterday both on Instagram and Weibo, photos and videos spread wildly of Faye representing a brand. Which brand has such a big reputation, that it even got Faye Wong?

In the video uploaded by Faye’s makeup artist Zing, Faye wore a red robe and walked into the house at a brisk pace from the outside garden. The people holding cellphones in front of the house blocked the way and Faye funnily told them to “move aside”. This video spread wildly on the Internet yesterday. Everyone said the heavenly queen had the manner of a fashion model.  

In fact, Faye was a guest model for the new collection by designer Titi Kwan. Those who know Faye well should not be unfamiliar with the name of Titi Kwan. He is the advisor of Faye Wong’s queen image. Titi Kwan is a fashionista who developed in Paris, France. He once attended Studio BerCot, one of the most famous fashion design institutes in Paris. In 1995, because of an opportunity of coincidence, he became Faye’s image designer. Since then, the two have had close cooperation, and in private they are also close friends who understand each other. Although this time, Faye Wong only changed into two sets of clothing, she has already shown her love and trust in Titi Kwan. I do not know if the two will collaborate again. What kind of surprise will they bring us?

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SOURCE: POPBEE // TRANSLATED BY: FAYE WONG FUZAO

[i-am-very-very-tired]

‘What makes me so sad about Lee’s killing himself is that there are so few people with that kind of talent mixed with that fury of originality. Now we have one less of the few who are amazing. Why did he have to go and do that?” wondered Sam Taylor-Wood, the British artist. She was throwing out the big question that has consumed the fashion world since the suicide of her buddy and sometime subject Alexander McQueen, the 40-year-old designer, known to his friends by his given first name, Lee. His body—a physique that he’d worried over and tried to sculpt at the gym—was found at 10:30 a.m., February 11, hanging in his wardrobe, by his housekeeper in the apartment he’d been renting in London’s Mayfair, a far cry (and six or so miles) from the working-class East End neighborhood where he’d grown up. The tragedy was compounded in that it came just a week after the death of his beloved mother, Joyce, who at 75 had succumbed to an undisclosed illness. But even though McQueen’s brutal act of self-annihilation ultimately did not surprise those who knew him best, and were aware of his dark moods and inner agonies, plenty about his death didn’t add up.

After all, he’d been busy preparing for his autumn-winter ready-to-wear show in the days just before the tragedy. He’d been tweeting and texting his nearest and dearest, and apart from his obvious sadness about his mum, there wasn’t anything particularly unusual about his actions or his messages. In retrospect, some of his pals say they see portents in how loving his greetings were, but even they caution that they may be reading too much into this. The photographer Steven Klein, who was close to the designer for years, found him to be in good shape at the lunch they had in London at Christmas. “He was very together, in great form,” says Klein. “We made plans to do several new projects together.”

McQueen had even put in a surprise appearance at a dinner for Tom Ford, given by *Vanity Fair’*s editor, Graydon Carter, at Harry’s Bar in London on February 1. McQueen, who lived nearby, popped in uninvited; he sat at the bar, had a drink, chatted with Ford, and split. Ford had initiated the purchase of a majority stake in McQueen’s label in 2000 when Ford was the guiding force at the Gucci Group, owned by the French luxury-brands company PPR, and thus was McQueen’s old boss. So there was plenty of symbolism in this encounter. But then again, symbolism is everywhere in this story, as it was in the presentations of McQueen’s collections.

At their best, these shows were feats of magic, drama, and the sheer beauty of high fashion. McQueen was a traditionalist and an avant-gardist both. He liked to provoke with his ideas and shock with his ability to create unforgettable, original, sometimes extremist, often breathtaking clothes. He designed for both sexes, and in between, but soared highest with the women. His signatures were strong shoulders, strong tailoring, and a love of the corset. His collections were so specific, so true to himself, and so visceral that they are easy to remember. It helps, too, that they earned nicknames nearly as evocative as the clothes themselves—“the Shipwreck Collection” (spring-summer 2003), “the Chess Collection” (spring-summer 2005), “the Hitchcock Collection” (autumn-winter 2005). Among the most memorable was the now iconic “Highland Rape Collection,” from autumn-winter 1995 (one of his earliest shows, when he was starting out with his then-shoestring label), which mixed flesh-baring see-through material with eruptions of tartan, the clashes and juxtapositions intended as condemnation of England’s historic bullying of Scotland. (The folklore: one model hit the catwalk with a visibly dangling tampon string. To this day McQueen’s intimates aren’t sure whether that was accidental or intentional.) The rawness may have been polished as time went on, but it never went away. “The They Shoot Horses, Don’t They? Collection” (spring-summer 2004) was presented as if in a Depression-era dance-hall, a marathon where the models had to dance till they dropped in dresses that started out as perfect specimens and ended up in tatters. “The Wolves Collection” (autumn-winter 2002) was shown at the Conciergerie, in Paris, where Marie Antoinette had been held before she was sent to the guillotine. The opening model came out in a lavender hooded leather cape, walking a couple of trained wolves on leashes. (I think I only imagined their howling.) McQueen was the king of metaphor.

The immediate reaction to his death reinforced the notion that his wasn’t just another name on a label. Beyond the front-page stories and worldwide headlines, beyond the reports of his clothes’ selling out in department stores, there were Diana-like tributes. Students, artists, and fans left farewell notes and bunches of flowers outside his boutiques in London, Milan, Los Angeles, and New York, all of which were shuttered after the news broke. (The designer Diane von Furstenberg was spotted adding a bouquet to the ones that had already been dropped off at his shop on 14th Street in New York’s Meatpacking District.) McQueen’s death also coincided with the opening of New York Fashion Week, and there were nods to him in a number of the shows, including the beautifully elegiac opening of the Marc Jacobs presentation. No question: Alexander McQueen had become a name for the ages, the James Dean of fashion.

To call someone an artist in this milieu is tricky, because that can connote pretense, a rarefied air, a certain self-conscious preciousness—all things that were not true of McQueen. But fashion has produced genuine artists, designers with deeply iconoclastic visions such as Charles James and the painter and sculptor Lucio Fontana, who made clothes and jewelry for a short while. Although McQueen was very much a fashion person, working with a fashion vocabulary, his clothes and presentations had a true art streak. He even behaved like an old-fashioned artist, never letting the fact that he worked for giant, powerful fashion corporations—first for LVMH, where he was installed in 1996 as the designer of Givenchy, and then for PPR—curb his creativity or freedom. This wasn’t someone who’d suck up to the bosses or important editors or celebrities. Elton John, who befriended the designer and respected his talent, says, “McQueen was never anybody’s boy. He was never going to bow down and kiss ass to anyone, which made him rare in that world.” He was freakish in terms of his natural abilities too. Mark Lee, the highly respected former president of Gucci and Yves Saint Laurent (also owned by PPR), remembers, “Besides his eccentric vision, he really knew how to make and cut clothes. All the seamstresses, technicians, and product-development people who were around from the Gucci Group would talk about it all the time. He would just take a bolt of fabric and, in front of their eyes, would cut the pattern for his clothes. People said it was like watching Edward Scissorhands. There are not many designers around who can do that.” Similarly, McQueen often displayed a fearless, tour-de-force way with materials. There was nothing too fine or too common for him: neoprene, plastic, crocodile, paper, rose petals, antique lace, lamé … there was no stopping him. The finale of his autumn-winter 2006 collection, a pale-gray organza spiral ruffle dress, worn by Kate Moss, was as dreamy as it gets. That was highbrow McQueen; for lowbrow, look to his witty “bumster” pants from 1993—a feat of anatomical engineering described by one aficionada as “as low as you could go without having your trousers fall right down.”

McQueen used to call himself an East End bloke, which was code for saying he was not born into the world of caviar, champagne, and fine cloth. On a couple of occasions I had what he called “a proper English lunch” with him (I remember picking out the kidney in my steak-and-kidney pie), and each time he wanted to discuss the painter Francis Bacon. The combinations of gruesomeness and beauty, of raw flesh, homoerotic desire, and highly sophisticated execution that Bacon brought to his painting are not so far away from the concerns and approaches of McQueen’s work. There are personal parallels, too. I think of Bacon’s predilection for sex with men who were streetwise and of his finding refuge in the old London gay subculture. I think of the fact that his lover took his own life in 1971, on the eve of the opening of Bacon’s big retrospective in Paris, at the Grand Palais. (Camping it up, Bacon is supposed to have said, “Oh my dear, she’s gone and committed Susan-cide.”) For McQueen, too, a vociferously open gay man, there was an unforgettable combination of tough and fragile that was intrinsic to his emotional makeup. By all accounts, the designer’s childhood, growing up in the 1970s and early 80s, was like something out of Billy Elliot. His dad, Ronald, a taxi driver, reportedly had plans for his youngest child to become an electrician. (The designer had three sisters and two brothers.) McQueen, though, had fashion dreams, and as if that didn’t already make him a misfit in his environment, he had to put up with early torture about his sexuality; in his later life he often spoke about having been taunted with the nickname “McQueer” when he was young. Throughout, his mother was his shield, his advocate, the parent who eventually turned up at his shows, believing in his talent and adoring him unconditionally. Their bond was unbreachable from beginning to end.

McQueen’s formal education and professional rise are now part of fashion lore: the old-school tailoring training on Savile Row, where, as he later admitted and denied in equal measure, he had scrawled a punk-style slur—i am a cunt—inside the lining of a jacket being made for Prince Charles; the graduate fashion-school training at Central Saint Martins College; the meteoric trajectory of his career as a designer, which saw him going from overnight sensation after his last student collection to taking the reins for his bumpy five-year tenure at Givenchy, to finally having a house of his own, as Virginia Woolf might say, and really stretching his wings as a designer, to the sad, sad end.

The search for an answer as to why McQueen decided he’d had enough is really a struggle to find meaning in an act of nihilism. But as an old friend of his said to me, McQueen’s life was like an onion, and you have to peel away the layers to get to the center; it’s a process that can sting and bring tears. There was the loneliness, no doubt made all the more visceral by his mother’s death. Despite the surrogate family that McQueen created with a tiny clutch of fiercely close and protective friends—including Shaun Leane, the jewelry designer; Philip Treacy, the milliner; Daphne Guinness, the heiress, editor, and most daring dresser in fashion; Annabelle Neilson, a sort of sidekick; and Sam Gainsbury, who produced nearly all of McQueen’s shows—he had no long-term Mr. It. People remember how he’d say he was unlucky in love: he’d had a failed marriage to George Forsyth (Kate Moss was a bridesmaid at the 2000 wedding), and in the last years he seems to have had on-and-off liaisons with men, some of whom he met online. (Word is there was at least one porn star, a so-called Mr. Stag. There was also an older East End gangster he had a longer romance with.) Then there was his well-known history with drugs, especially cocaine. He was open about his substance abuse, and I wouldn’t be surprised if the autopsy told the same story when the results are released.

But it is my belief that all these traits were symptoms of something else. McQueen loved and collected art, and it is no coincidence that one of his favorite photographers was Joel-Peter Witkin, whose bleached and scratched images of masked figures, transsexuals, hermaphrodites, and corpses occupy a sometimes grim, sometimes joyous netherworld. The more one talks to those who knew McQueen, on and off the record, the deeper one goes, the clearer it becomes that what friends refer to as his “darkness” is where the truth of his death lies. Virginia Woolf and her struggle with depression is a kind of specter here. Sam Taylor-Wood says, “Lee would just sometimes go into this void, and we’d wait for him to resurface.”

He was not the only one in his circle to have terrible bouts with deep depression. Isabella Blow, his over-the-top, born-to-the-manor-but-without-a-pot-to-piss-in pal, who had an unlimited clothing allowance at his company and was often credited with discovering McQueen when he was in art school, also committed suicide, with weed poison, on her third attempt.

When Blow died, in May 2007, McQueen dedicated his next show to her, but some say he was angry at her for taking her own life. The rub is that he leaves behind a similar sense of frustration. There was a suicide note—what McQueen wrote hasn’t yet been disclosed—but it’s likely no one will ever know his whole story. Some have speculated that he may have felt he was done in fashion, sure of his legacy, and that his suicide was a kind of deliberate statement to that effect. Or was it something more uncontrollable? Sam Gainsbury says, “I appreciate that some people who were close to him think it was purposeful. But I think Lee got to a really dark place and could not get out of it. It was in that instance on that night. On another day maybe he would have gone to sleep and gotten out of it.”

People have commented on how, as the years went on, McQueen would disappear with lightning speed after his shows, rather than sticking around for the ritual backstage congratulations. “It always made me think of J. D. Salinger,” says Kerry Youmans, one of McQueen’s publicists. His suicide is perhaps the ultimate version of that impulse to withdraw. But PPR has announced that the McQueen business will continue. Fashion insiders have raised their carefully shaped eyebrows at the notion of replacing someone with so strong and individual a voice. McQueen’s friends remember his infectious laugh, and I wonder, could he be out there somewhere laughing now—maybe at the prospect of what will surely be a hard, hard search to fill his shoes? Or maybe in happiness that the line will go on?

I’m reminded of a show that McQueen did for autumn-winter 2007. It was known colloquially as “the Witches Collection” and was inspired by the fact that his mother, a genealogist, had discovered a relative who’d been a victim of the Salem witch trials. Like so many of McQueen’s presentations, this one had a high element of performance art to it—and a theme of death. The venue was very dark, people had difficulty finding their seats, the show started very late, it was raining outside, and there was an all-around bad mood in the air. Editors, who normally worshipped at McQueen’s feet, were yelling, “Who the fuck does he think he is? How dare he keep us all waiting like this?” The way people feel today, they’d be happy to wait for a much longer time to see one of his spectacles again, and they’d probably pay almost anything for his clothes.

[netflixia]

New to Netflix US for January 2017

Lots of awesome new Netflix originals to ring in the new year. Also a lot of amazing movies like Caddyshack (greatest movie ever) Boogie Nights (greatest movie ever) E.T. (greatest movie ever) and  Superman IV: The Quest for Peace (OK. This one sucks but it is so bad that it’s good). 

Check out the full list

January 1st

Around the World in 80 Days (2004)

After Innocence (2005)

Bee Movie (2007)

Boogie Nights (1997)

Braveheart (1995)

Caddyshack (1980)

Collateral Damage (2002)

Dreamcatcher (2003)

El Dorado (1966)

E.T. the Extra-Terrestrial (1982)

HALO Legends (2009)

Hugo (2011)

Justin Bieber: Never Say Never (2011)

License to Drive (1988)

Nancy Drew (2007)

Ocean's Twelve (2004)

Real Detective: Season 1 (2016)

Superman Returns (2006)

Superman II (1980)

Superman III (1983)

Superman IV: The Quest for Peace (1987)

Superman: The Movie (1978)

The Parent Trap (1961)

The Shining (1980)

The Perfect Physique (2015)

The Rat Race (2012)

To Be A Miss (2016)

Trudell (2005)

V for Vendetta (2005)

Vanilla Sky (2001)

January 3rd

It's Always Sunny In Philadelphia: Season 11 (2016)

Jen Kirkman: Just Keep Livin'? - NETFLIX ORIGINAL

January 6th

Coin Heist – NETFLIX ORIGINAL

Degrassi: Next Class – NETFLIX ORIGINAL

Growing Up Coy (2016)

Mar de Plastico

One Day at a Time – NETFLIX ORIGINAL

Tarzan and Jane - NETFLIX ORIGINAL 

January 7th

Alpha and Omega 7 (2016)

Miss Sharon Jones! (2015)

Under the Shadow (2016)

January 9th

Best and Most Beautiful Things (2016)

Ratchet and Clank (2016)

January 10th

As I Open My Eyes (2015)

Best Friends Whenever (2016)

Happily Married (2015)

Jim Gaffigan: Cinco – NETFLIX ORIGINAL

We're Lalaloopsy – NETFLIX ORIGINAL

January 11th

Disney's Alice Through the Looking Glass (2016)

January 13th

A Series of Unfortunate Events – NETFLIX ORIGINAL

Aquarius (2015)

Casablancas: The Man Who Loved Women

Clinical – NETFLIX ORIGINAL

Historia de un clan: Season 1 – NETFLIX ORIGINAL

It Follows (2014)

The Investigator: A British Crime Story – NETFLIX ORIGINAL

January 14th

Camp X-Ray (2014)

Cardboard Boxer (2016)

Estar O No Estar

January 15th

A Beautiful Now (2015)

Hostage to the Devil (2016)

Señora Acero: Season 3 (2016)

Twisted Trunk, Big Fat Body (2015)

Wartime Portraits: Season 1 (2014)

January 16th

Flash of Genius (2008)

Halloweed (2016)

Rezort (2016)

January 17th

Fatima (2015)

Neal Brennan: 3 Mics – NETFLIX ORIGINAL

Roger Corman's Death Race 2050 (2016)

January 19th

Good Kids (2016)

January 20th

Frontier – NETFLIX ORIGINAL

Papa (2015)

Take the 10 – NETFLIX ORIGINAL

Voltron: Legendary Defender – NETFLIX ORIGINAL

January 21st

Bates Motel: Season 4 (2016)

Grami's Circus Show: Season 2

January 24th

Cristela Alonzo: Lower Classy – NETFLIX ORIGINAL

Gad Gone Wild – NETFLIX ORIGINAL

Hieronymus Bosch: Touched by the Devil (2016)

Kill Command (2016)

Terrace House: Aloha State: Season 1: Part 1 – NETFLIX ORIGINAL

January 25th

Era el cielo

January 27th

Home: Adventures with Tip & Oh: Season 2 – NETFLIX ORIGINAL

iBOY – NETFLIX ORIGINAL

Kazoops!: Season 2 – NETFLIX ORIGINAL

Shadows of Truth (2016)

Sharknado: The 4th Awakens (2016)

January 28th

Ripper Street: Season 4

January 30th

Antibirth (2016)

Swing State (2016)

January 31st

Bill Burr Stand Up Special – NETFLIX ORIGINAL

[innerwinnertidalwave-blog]

All About Chatroulette

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[ggdbonlineshop-blog]

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[takenews-blog1]

CAA Cancels Golden Globes Party, Will Start Legal Defense Fund for #Sex #Harassment Cases (Exclusive)

New Post has been published on https://takenews.net/caa-cancels-golden-globes-party-will-start-legal-defense-fund-for-sex-harassment-cases-exclusive/

CAA Cancels Golden Globes Party, Will Start Legal Defense Fund for #Sex #Harassment Cases (Exclusive)

In lieu of its annual pre-Golden Globes get together, this 12 months CAA is establishing a authorized protection fund for sexual harassment instances, The Hollywood Reporter has discovered.

The monetary assets that usually can be dedicated to the Friday evening bash — which has been held previously at hotspots together with Soho Home and Catch LA — shall be redirected to arrange a authorized protection fund to help victims of office harassment instances from all industries, not simply leisure, a supply tells THR. The intention is to honor the company’s nominated shoppers — which embrace The Publish’s Meryl Streep, Tom Hanks and Steven Spielberg; Molly’s Recreation’s Jessica Chastain and Aaron Sorkin; Large Little Lies’ Nicole Kidman and Reese Witherspoon; I, Tonya’s Margot Robbie; and Woman Chook’s Saoirse Ronan — whereas being aware of the cultural reckoning that has taken place in Hollywood over the previous two months with respect to sexual harassment and different types of abuse, a course of that started with a number of accusations in opposition to Harvey Weinstein printed in The New York Occasions and The New Yorker in early October (Netflix has dropped its conventional Globes afterparty co-host The Weinstein Co.)

CAA itself was named in a Dec. 5 Occasions story about Weinstein’s “complicity machine,” which reported that a number of brokers had been informed concerning the producer’s conduct towards girls over time however continued to rearrange personal conferences with feminine shoppers for him. “We need to clarify to shoppers and colleagues that even one in all our shoppers being harassed over the corporate’s 42 years is one too many,” the company acknowledged in response to the article. “We apologize to any particular person the company let down for not assembly the excessive expectations we place on ourselves, as people and as an organization.”

CAA additionally has joined the “50-50 by 2020” pledge, which commits to reaching gender parity in firm management in three years’ time. “We’re so grateful to our feminine colleagues, shoppers and others throughout the trade for bringing focus to this crucial and overdue objective,” president Richard Lovett wrote in a memo despatched agencywide on Friday. “Lasting change requires new day-to-day habits. We should act in help of our shared reality: Our enterprise and our lives shall be higher and stronger if we deal with one another the way in which we want to be handled.”

The company’s pledge includes its administration committee — which two weeks in the past added Risa Gertner and Sherrie Sage Schwartz to affix committee member Michelle Kydd Lee — the CAA-TPG board and the operations group, the finance and office culture-focused physique that shaped two weeks in the past with a gender-balanced crew of 36 division heads and rising leaders.

ICM Companions introduced its participation within the pledge final week. In the meantime, WME supplied seed funding for Ladies in Movie’s sexual-harassment assist line, which went reside Dec. 1, and UTA hosted a dialog with Anita Hill and the Nationwide Ladies’s Regulation Middle president and CEO Fatima Goss Graves on Friday. In February, UTA canceled its pre-Oscar get together in favor of a rally to learn the American Civil Liberties Union and the Worldwide Rescue Committee.

Learn Lovett’s full memo under.

As we head into our closing weekend earlier than a well-deserved vacation break, I needed to share some further ideas with everybody.

For sure, what follows is a mirrored image of the work of leaders throughout the corporate – men and women.

Right this moment, let’s check out our commitments going ahead, in addition to commitments we made again in 1995, and what we discovered and completed alongside the way in which.

First, going ahead, we’re dedicated to 50/50 management by 2020.

Inside three years, we may have equal participation of men and women in our management and administration.

1.     Our Administration Committee shall be 50/50 by 2020.

2.     The CAA-TPG board shall be 50/50 by 2020.

three.     Our 36-person Operations Group is already 50/50, comprised equally of men and women.

We’re so grateful to our feminine colleagues, shoppers and others throughout the trade for bringing focus to this crucial and overdue objective. We’re decided to make our shoppers proud and be an organization of which all of you’ll proceed to be proud.

We encourage others throughout our trade and past to think about becoming a member of us and the opposite firms who’ve additionally dedicated to 50/50 by 2020.

As everybody is aware of, we’ve got lengthy had many division leaders who’re girls. As well as, many men and women have led with no title, and are among the many finest executives within the trade.

I need to emphasize that the newly-formed Operations Group would be the middle of our forward-looking work and pondering.

Again at our firm retreat in 2013, as we continued our dialog about range, our buddy and visitor speaker Mellody Hobson posed the query: Is everybody on the desk?

We have been all moved and motivated by this easy and profound query that, as a few of chances are you’ll keep in mind, we posted on the partitions of our elevator as a day by day motivator, problem and reminder.

Our Operations Group makes clear that we’re dedicated to having the ability to reply that query: At CAA, everybody IS on the desk.

Lasting change requires new day-to-day habits. We should act in help of our shared reality: our enterprise and our lives shall be higher and stronger if we deal with one another the way in which we want to be handled. All of us need to be handled respectfully. All of us need to be included in energetic and constructive alternatives.

Everybody right here is at our greatest – individually and collectively – once we seize the chance for change and make a directional dedication.

This watershed second is simply such a chance.

We acknowledged an identical alternative in 1995.

As we started our management, CAA had no habits related to neighborhood service, outreach or cause-related work for our shoppers or our firm.

We regarded round and didn’t see many companies that have been examples of what we believed was a defining alternative for a brand new era of leaders.

We needed to outline success as an equation that started, after all, with the very best consumer service. We knew that monetary success would observe consumer service. However we additionally thought high-impact, participatory giving have to be on the middle of our definition of success.

We additionally knew that within the extra aggressive company world and past, different firms would observe our lead, in order to not be left behind. And we welcomed that, as a result of we knew that extra individuals in want can be helped in consequence.

Contemplate the affect and influence of the worldwide firm we’re immediately; our attain throughout leisure, sports activities, media, expertise and a lot extra. It’s clear that our work and management can have an immense constructive influence.

Again in 1995, we couldn’t have predicted the success of our basis and all that might observe.

As we at all times say: every part connects.

We will draw a line from our first rent in 1995, Michelle Kydd Lee, and the forming of the inspiration; to Christy Haubegger’s management of our range efforts, starting in 2005; to the formation of our Social Impression group, led by Judee Ann Williams and Aubree Curtis in 2016; and the creation of CAA AMPLIFY, the first-ever multicultural enterprise summit, held in June 2017.  

Right this moment, we’ve got well-developed habits of high-impact service and giving throughout the corporate. 

And now, shifting ahead, we’re dedicated to creating collectively all the advantages of equally shared alternative and accountability.

—

With all that stated, right here is a few further data for many who will not be totally conscious of the work led by our basis previously 20 years.  Right here is only a sampling of our efforts:

The CAA Basis has supported 1000’s of organizations, offering monetary assets and investing human capital by collaborations with our staff, shoppers, and policymakers, all working collectively to create significant change. 

We’re a crew of speedy responders. 

Twelve years after the devastation of Hurricane Katrina, we proceed to make an influence with our efforts in New Orleans, sending groups of volunteers to help in rebuilding efforts annually. 

We supplied on-site aid in Haiti following the devastating earthquake in 2010.

We have been in Tennessee after the floods in 2010 and twister in Tuscaloosa in 2011; created the Nashville Rising and ‘Bama Rising advantages, which collectively raised $four.four million for these shattered areas; and proceed to coordinate annual volunteer journeys to each areas yearly. 

In partnership with AmeriCares, we despatched a crew to Japan after the Tohoku earthquake and tsunami in 2011. We have been on the bottom in The Rockaways instantly after Hurricane Sandy in 2012 and proceed to deliver help to the world.

Within the final 12 months alone, the CAA Basis has:

·      Coordinated worker participation in girls’s marches globally and hosted the co-chairs of the Ladies’s March for a roundtable dialogue.

·       Sponsored and hosted occasions for greater than 50 non-profit organizations together with GLAAD, MLT, South Central Students, Ladies in Movie, Step Up Ladies’s Community, Nationwide Affiliation of Latino Impartial Producers, American Black Movie Pageant, and Ghetto Movie College, amongst others.

·      Donated vital money and time to essential causes, together with public schooling, the humanities; LGBTQ points, girls’s rights, navy veterans, refugees, and environmental points and extra.

·      Launched Take Motion Day: a day-long, non-partisan summit that welcomed greater than two dozen thought-leaders, organizers and politicians to share insights and concepts on topical points and methods to take social motion.

·      Shaped CAA Civics, a non-partisan employee-led and created group devoted to selling civic engagement and citizenship, our seventh employee-created and -led group.

·      Hosted College Day: A marketing campaign that advantages the dropout prevention group Communities in Colleges which additionally features a day of programming in our workplaces for 200 hundred college students to be taught extra about increased schooling.

·      Organized by the Los Angeles, Nashville, New York, and London chapters of the CAA Job Pressure, our annual profit occasions have collectively raised greater than three million for quite a lot of non-profit organizations.

·      Hosted greater than 300 college students in our constructing by employee-led schooling workshops.

·      Introduced vacation cheer to greater than 150 households in our communities by Undertake-A-Household and different vacation gifting packages.

In per week, we are going to full our 12 months after which get pleasure from trip with household and buddies.

Let’s come again rested and energized to create ground-breaking alternatives for our shoppers, and able to be our greatest in dealing with challenges and alternatives forward.

Dec. 11, three:55 p.m. Edited so as to add additional context.

[meganews77-blog]

Most Shocking WWE Wrestler Body Transformations

10. Michael Cole

9. Mick Foley

8. Roman Reigns

7. Ric Flair During the height of his fame, “The Nature Boy” Ric Flair had one of the best bodies in professional wrestling. With his long blonde hair and bulging biceps, he came across as a slightly more natural, significantly more talented version of Hulk Hogan. As time went on, however, Flair’s incessant partying began to take its toll on his physique. Combined with the general wear and tear veteran wrestlers must deal with, it limited what the 16-time world champion could do in the ring and left him looking tired, sluggish, and flabby.

6. Sunny In the mid-1990s, Tammy Sytch was the first crush of many young wrestling fans. As Sunny, she revolutionized the role of women in what was then known as the World Wrestling Federation. With long blonde hair and even longer legs, she pretty much invented the concept of a wrestling diva. Whether that was a bad thing or a good thing in the long run, is up for a debate, but it did play a hand in helping WWE come out on the winning end of the Monday Night Wars. However, Sytch wasn’t with the company when it defeated WCW and cemented itself as the number one wrestling promotion in the world.

5. Scott Hall When Scott Hall first began appearing in WWE as Razor Ramon, many fans assumed he would become a world champion sooner rather than later. This assumption was not based on any actual in-ring talent Hall possessed, but because of his physique, which was the kind of physique WWE management had favored in the past. Had he not left for WCW in 1995, it is likely Hall would have become the WWE World Champion at some point throughout his career. It is also likely he wouldn’t have destroyed his body quite as much as he did.

4. Bray Wyatt Bray Wyatt has never had the best body in professional wrestling – likely why his first WWE character was named Husky Harris – but that isn’t all that important because his manic cult leader character is just so entertaining. However, having a good body is never a bad idea in WWE and it seems the leader of The Wyatt Family realized that while he was out on injury this past summer.

3. Jake “The Snake” Roberts WWE Hall of Famer Jake “The Snake” Roberts has been through the ringer the past couple of decades. Years upon years of drug and alcohol abuse drove him out of the wrestling business in the 1990s and he pretty much dropped off the radar until he managed to score some indie bookings in the 2000s. However, most of these appearances ended up with him getting too inebriated to wrestle and on at least one occasion involved him exposing himself to the audience. Videos of these appearances were posted on the internet in large numbers and showed the wrestling legend to be several dozen pounds overweight and unable to remain standing.

2. The Undertaker The Undertaker’s career has been one long body transformation. When he first appeared in WWE at Survivor Series 1990, he was thin, bordering on lanky, and almost void of tattoos. As his body grew, however, so did his ink collection and by the end of the Attitude Era, he was the tattooed giant many of us so fondly remember. ‘Taker gained a significant portion of weight at the beginning of the 2000s, which he then lost before getting into the best shape of his life around 2007. However, it is The Undertaker’s body transformation prior to WrestleMania 30 which stands out as his most shocking.

1. Rey Mysterio A common criticism of Rey Mysterio towards the end of his WWE run was that he had let his body slip. The once lean cruiserweight became a pot bellied mid-carder who had long lost whatever it was which made him so special in the eyes of the fans. This late period Rey Mysterio was frequently out of action due to injury and was thoroughly uninteresting and uninterested whenever he did manage to step foot in the ring.

#ShockingWWEWrestlerBodyTransformations #ExtraordinaryBodyTransformations #bestwwewrestlers #wweworkout #wwesteroids #wwebestwrestler #biggestwwewrestler #heaviestwwewrestler #wwe #johncena #transformation #wrestler #wrestling #therock #bodytransformation #brocklesnar #bigshow #tripleh #dwaynejohnson #smackdown #bodybuilding #generationfitnessmotivation #wwesuperstars #beforeandafter #wwf #muscles #batista

https://youtu.be/6z-UnQITV7I

[savage-kult-of-gorthaur]

THE LAST GREAT DECADE FOR WOMEN'S FIGURE/BODY PHOTOGRAPHY? THE '90s, BABY!

PIC INFO: Resolution at 1200x1612 -- Spotlight on American professional female bodybuilder Karen Netterstrom, on the cover to "Women's Physique World" magazine, published for May/June 1996.

EXTRA INFO: Features the 1995 NPC Nationals and 1995 Canadian Nationals, and bios for Renee O'Neill, Deborah Diana, Lisa Jamison, Lucy Wightman and Peggy Schoolcraft.

Source: https://wpw-magazine.myshopify.com/products/wpw-may-june-1996-magazine-issue.

[takenews-blog1]

CAA Cancels Golden Globes Party, Will Start Legal Defense Fund for #Sex #Harassment Cases (Exclusive)

New Post has been published on https://takenews.net/caa-cancels-golden-globes-party-will-start-legal-defense-fund-for-sex-harassment-cases-exclusive/

CAA Cancels Golden Globes Party, Will Start Legal Defense Fund for #Sex #Harassment Cases (Exclusive)

In lieu of its annual pre-Golden Globes get together, this 12 months CAA is establishing a authorized protection fund for sexual harassment instances, The Hollywood Reporter has discovered.

The monetary assets that usually can be dedicated to the Friday evening bash — which has been held previously at hotspots together with Soho Home and Catch LA — shall be redirected to arrange a authorized protection fund to help victims of office harassment instances from all industries, not simply leisure, a supply tells THR. The intention is to honor the company’s nominated shoppers — which embrace The Publish’s Meryl Streep, Tom Hanks and Steven Spielberg; Molly’s Recreation’s Jessica Chastain and Aaron Sorkin; Large Little Lies’ Nicole Kidman and Reese Witherspoon; I, Tonya’s Margot Robbie; and Woman Chook’s Saoirse Ronan — whereas being aware of the cultural reckoning that has taken place in Hollywood over the previous two months with respect to sexual harassment and different types of abuse, a course of that started with a number of accusations in opposition to Harvey Weinstein printed in The New York Occasions and The New Yorker in early October (Netflix has dropped its conventional Globes afterparty co-host The Weinstein Co.)

CAA itself was named in a Dec. 5 Occasions story about Weinstein’s “complicity machine,” which reported that a number of brokers had been informed concerning the producer’s conduct towards girls over time however continued to rearrange personal conferences with feminine shoppers for him. “We need to clarify to shoppers and colleagues that even one in all our shoppers being harassed over the corporate’s 42 years is one too many,” the company acknowledged in response to the article. “We apologize to any particular person the company let down for not assembly the excessive expectations we place on ourselves, as people and as an organization.”

CAA additionally has joined the “50-50 by 2020” pledge, which commits to reaching gender parity in firm management in three years’ time. “We’re so grateful to our feminine colleagues, shoppers and others throughout the trade for bringing focus to this crucial and overdue objective,” president Richard Lovett wrote in a memo despatched agencywide on Friday. “Lasting change requires new day-to-day habits. We should act in help of our shared reality: Our enterprise and our lives shall be higher and stronger if we deal with one another the way in which we want to be handled.”

The company’s pledge includes its administration committee — which two weeks in the past added Risa Gertner and Sherrie Sage Schwartz to affix committee member Michelle Kydd Lee — the CAA-TPG board and the operations group, the finance and office culture-focused physique that shaped two weeks in the past with a gender-balanced crew of 36 division heads and rising leaders.

ICM Companions introduced its participation within the pledge final week. In the meantime, WME supplied seed funding for Ladies in Movie’s sexual-harassment assist line, which went reside Dec. 1, and UTA hosted a dialog with Anita Hill and the Nationwide Ladies’s Regulation Middle president and CEO Fatima Goss Graves on Friday. In February, UTA canceled its pre-Oscar get together in favor of a rally to learn the American Civil Liberties Union and the Worldwide Rescue Committee.

Learn Lovett’s full memo under.

As we head into our closing weekend earlier than a well-deserved vacation break, I needed to share some further ideas with everybody.

For sure, what follows is a mirrored image of the work of leaders throughout the corporate – men and women.

Right this moment, let’s check out our commitments going ahead, in addition to commitments we made again in 1995, and what we discovered and completed alongside the way in which.

First, going ahead, we’re dedicated to 50/50 management by 2020.

Inside three years, we may have equal participation of men and women in our management and administration.

1.     Our Administration Committee shall be 50/50 by 2020.

2.     The CAA-TPG board shall be 50/50 by 2020.

three.     Our 36-person Operations Group is already 50/50, comprised equally of men and women.

We’re so grateful to our feminine colleagues, shoppers and others throughout the trade for bringing focus to this crucial and overdue objective. We’re decided to make our shoppers proud and be an organization of which all of you’ll proceed to be proud.

We encourage others throughout our trade and past to think about becoming a member of us and the opposite firms who’ve additionally dedicated to 50/50 by 2020.

As everybody is aware of, we’ve got lengthy had many division leaders who’re girls. As well as, many men and women have led with no title, and are among the many finest executives within the trade.

I need to emphasize that the newly-formed Operations Group would be the middle of our forward-looking work and pondering.

Again at our firm retreat in 2013, as we continued our dialog about range, our buddy and visitor speaker Mellody Hobson posed the query: Is everybody on the desk?

We have been all moved and motivated by this easy and profound query that, as a few of chances are you’ll keep in mind, we posted on the partitions of our elevator as a day by day motivator, problem and reminder.

Our Operations Group makes clear that we’re dedicated to having the ability to reply that query: At CAA, everybody IS on the desk.

Lasting change requires new day-to-day habits. We should act in help of our shared reality: our enterprise and our lives shall be higher and stronger if we deal with one another the way in which we want to be handled. All of us need to be handled respectfully. All of us need to be included in energetic and constructive alternatives.

Everybody right here is at our greatest – individually and collectively – once we seize the chance for change and make a directional dedication.

This watershed second is simply such a chance.

We acknowledged an identical alternative in 1995.

As we started our management, CAA had no habits related to neighborhood service, outreach or cause-related work for our shoppers or our firm.

We regarded round and didn’t see many companies that have been examples of what we believed was a defining alternative for a brand new era of leaders.

We needed to outline success as an equation that started, after all, with the very best consumer service. We knew that monetary success would observe consumer service. However we additionally thought high-impact, participatory giving have to be on the middle of our definition of success.

We additionally knew that within the extra aggressive company world and past, different firms would observe our lead, in order to not be left behind. And we welcomed that, as a result of we knew that extra individuals in want can be helped in consequence.

Contemplate the affect and influence of the worldwide firm we’re immediately; our attain throughout leisure, sports activities, media, expertise and a lot extra. It’s clear that our work and management can have an immense constructive influence.

Again in 1995, we couldn’t have predicted the success of our basis and all that might observe.

As we at all times say: every part connects.

We will draw a line from our first rent in 1995, Michelle Kydd Lee, and the forming of the inspiration; to Christy Haubegger’s management of our range efforts, starting in 2005; to the formation of our Social Impression group, led by Judee Ann Williams and Aubree Curtis in 2016; and the creation of CAA AMPLIFY, the first-ever multicultural enterprise summit, held in June 2017.  

Right this moment, we’ve got well-developed habits of high-impact service and giving throughout the corporate. 

And now, shifting ahead, we’re dedicated to creating collectively all the advantages of equally shared alternative and accountability.

—

With all that stated, right here is a few further data for many who will not be totally conscious of the work led by our basis previously 20 years.  Right here is only a sampling of our efforts:

The CAA Basis has supported 1000’s of organizations, offering monetary assets and investing human capital by collaborations with our staff, shoppers, and policymakers, all working collectively to create significant change. 

We’re a crew of speedy responders. 

Twelve years after the devastation of Hurricane Katrina, we proceed to make an influence with our efforts in New Orleans, sending groups of volunteers to help in rebuilding efforts annually. 

We supplied on-site aid in Haiti following the devastating earthquake in 2010.

We have been in Tennessee after the floods in 2010 and twister in Tuscaloosa in 2011; created the Nashville Rising and ‘Bama Rising advantages, which collectively raised $four.four million for these shattered areas; and proceed to coordinate annual volunteer journeys to each areas yearly. 

In partnership with AmeriCares, we despatched a crew to Japan after the Tohoku earthquake and tsunami in 2011. We have been on the bottom in The Rockaways instantly after Hurricane Sandy in 2012 and proceed to deliver help to the world.

Within the final 12 months alone, the CAA Basis has:

·      Coordinated worker participation in girls’s marches globally and hosted the co-chairs of the Ladies’s March for a roundtable dialogue.

·       Sponsored and hosted occasions for greater than 50 non-profit organizations together with GLAAD, MLT, South Central Students, Ladies in Movie, Step Up Ladies’s Community, Nationwide Affiliation of Latino Impartial Producers, American Black Movie Pageant, and Ghetto Movie College, amongst others.

·      Donated vital money and time to essential causes, together with public schooling, the humanities; LGBTQ points, girls’s rights, navy veterans, refugees, and environmental points and extra.

·      Launched Take Motion Day: a day-long, non-partisan summit that welcomed greater than two dozen thought-leaders, organizers and politicians to share insights and concepts on topical points and methods to take social motion.

·      Shaped CAA Civics, a non-partisan employee-led and created group devoted to selling civic engagement and citizenship, our seventh employee-created and -led group.

·      Hosted College Day: A marketing campaign that advantages the dropout prevention group Communities in Colleges which additionally features a day of programming in our workplaces for 200 hundred college students to be taught extra about increased schooling.

·      Organized by the Los Angeles, Nashville, New York, and London chapters of the CAA Job Pressure, our annual profit occasions have collectively raised greater than three million for quite a lot of non-profit organizations.

·      Hosted greater than 300 college students in our constructing by employee-led schooling workshops.

·      Introduced vacation cheer to greater than 150 households in our communities by Undertake-A-Household and different vacation gifting packages.

In per week, we are going to full our 12 months after which get pleasure from trip with household and buddies.

Let’s come again rested and energized to create ground-breaking alternatives for our shoppers, and able to be our greatest in dealing with challenges and alternatives forward.

Dec. 11, three:55 p.m. Edited so as to add additional context.