#doll comparsion

[izasbjdphoto]

Iza’s Yearly Big BJD Lineup 2023 :: 64 BJDs from 81cm to 12cm (+ pets!)

I finally got around to doing my yearly big BJD lineup in December 2023, für hounding my sister for over a year to give me my two doll bodies back.

This was a 3 day ordeal (2 days of shooting images, and another day of editing, combining, and labeling), but I’m glad I got it done. In total I manually merged 12 photos. 

I excluded 4 dolls, 3 have identical doubles (head and body combos) and 1 was too similar to another (only a different head, but same company head and body combo), so I didn’t feel the need to add them. I also did not add a doll I gifted my wife for Christmas as she hadn’t gotten her yet when I did the lineup. She’ll be included in next year’s lineup though!

If anybody wants specific dolls from above compared (dressed or nude), please let me know and I’ll try to do it in the next week! I can’t do the whole lineup nude as I do not have the energy nor the ambition for that. It was intensive enough to just do them dressed, because I do this without help…

Anyway, I hope this is helpful to at least one person out there!

I’m not gonna tag all the doll sculpts in the lineup, that would just take too long, but I will add a couple of companies in the tags at least.

[mx-rabbit]

I have the urge to talk about the latest version of the raggedy ann doll so im gonna. I only have the raggedy ann not andy so its just her for now.

This is her with a playskool raggedy ann for comparsion (the playskool one is the closest one to before her that i have there might be newer versions than the playskool one i have).

Lil edit because someone shared that there are newer dolls than the playskool one i have so the comparisons of the dolls arent side by side.

I wanna start with what i like about her because i dont wanna complain too much because she is a cute doll. I LOVE the details on her apron especially the bows, the previous factory made aprons are pretty plain outside of the little fabric square in the pocket. Theres little kind of lace at at the top and bottom which is really nice i hope at least thats kept if theres future dolls made. It feels like a nice compromise since homeade raggedy anns have ric rac on their aprons which might be too tedious to have on mass produced dolls. For the embroidery face im not really sure how to feel, it might be because im not used to that kind of embroidery on raggedy anns so i dont wanna say i dont like it since i can see myself warming up to it. The embroidery will also likley hold up better to time/use than printed on faces. I dont like the eyebrows tho they are too small compared to the eyes.

No onto the things im not a fan of, she looks kind of uncanny. I think its her head being slightly too long. She also just doesnt feel like a raggedy ann in a sense, im probably just biased towards the older ones. You can usally tell the different eras of each doll but they often have the same kind of feel. I think a good jump in styles is the storybook raggedy ann.

Granted they are based on the books and arent just redesigns but i think its a good shift in style while keeping the feeling of the other dolls.

Honestly i think im just sad at the fact that nothing else is being done with her. I understand shes old and isnt a popular doll with kids anymore but she does still have a audience they just arent kids. I wish hasbro would take into consideration the audience of the dolls. She feels like she is a modern redesign for kids except there isnt really a effort on trying to advertise to kids. Id love to be wrong but it seems like they were just released in stores without even a short story for the doll. Her whole thing was she had a story with her, which i think is a missed opportunity when she has a new look but not a new story.

To end on a light note i looked at auroras website and a image of her was squished which i think was funny

[jasmineiros]

Taylor Swift is being way to much overhyped that's the problem. They show her down on everyone's throat. She's not legendary just because she is popular and she has many fans.

Seriously, I can imagine NFL fans being tired of seing her face. I for the love of god can't imagine Football fans being fans of her music. She doesn't appeal to every generation and her music doesn't have long lasting impact. No matter how hard they try. It just isn't working.

The damn comparsions like Beatles, Madonna, Michael Jackson. Mostly Michael Jackson. And it's not even fans ( sometimes I wonder if they are her haters who set her up like this). It's also these trashy tabloids. " Oh she's like Michael Jackson." And then they fucking lie to make it seem like she broke one of his records to make it seem impressive. Like once they claimed that she broke the record of the highest crossing concert tour film. Which was previous hold by Michael with This is it. This is it wasn't even a concert tour. He died before he could do any show it was just a documentary. Or that she broke his record of selling the most in the 21 century in a year. This isn't impressive. He didn't even live like 9 years in this century. And he has only released one album during that time while he was still alive. How is that even? I swear...

And of course if you do comparsions like that. People have Standards. And when they see that she can't dance and is a mediocre performer they start dragging her. Well then of course these Swifties come in and say: " Well she is a singer not a dancer. " " She doesn't need to know how to dance. She's just having fun." Well newsflash if Michael Jackson (sometimes for no reason) is constantly being brought up to her name. Of course people are going to expect someone who can perform. As he literally was said to be the greatest entertainer of all time.

"She doesn't appeal to every generation and her music doesn't have long lasting impact. No matter how hard they try. It just isn't working."

This is absolutely true, anon, you are a pinnacle of wisdom.

I might not be the greatest fan of all of these artists you mentioned but they were/are legendary performers. It's almost blasphemous to compare Michael Jackson with her, because if you remove the numbers of tickets sold, people in concerts and the hype of the moment, what do you actually have?

A pop performer who can't perform because as you said, she can't dance and all instruments she holds just seem like adornments. She is basically supposed to be a doll on stage and she actually is, because the impact she causes on me is basically the same as an inanimate object.

Everyone is expecting a pop singer to be not only a singer, but a dancer, an actual entertainer. You can see even Blue Ivy, Beyoncé's daughter, puts a great effort in her dancing and her improvement is actually pretty visible. I find it insane that someone that has that amount of money can't do the bare minimum to actually perform her job decently.

"No, but she has been through stuff"

My sister in Christ, Michael Jackson had to deal with the fact he had to deal with traumas he would never get rid of due to his abusive father and being a black minority in a deeply racist country. Having to deal with break ups is not "being through stuff", it's just what a very average person has to deal with.

But I don't know, maybe we're just all wrong. At this point she can just take a big shit on stage and they will cry their eyes out for being disruptive.

[useless-catalanfacts]

Absolutely agreed with the comment about bullfighting and everything that @korereapers said. There has been a strong push for decades to pretend there is such a thing as a unified Spanish culture, and Andalusian culture has been chosen as the one that must be it. This was very strong during Franco's dictatorship, where Andalusian culture was forced on the rest of us in order to "Spanishify" us and to sell us to tourists, but even after the end of the dictatorship the Spanish nationalists still defend this, and tourists have believed it and come to Catalonia looking for flamenco and bullfighting. Some tourist trap fake flamenco places have popped up so tourists can go see it in Barcelona, but thankfully bullfighting is illegal in Catalonia for being animal torture.

About the doll, the version wearing Catalan clothes is not very well done. I can see where they're coming from, lots of the traditional outfits are based on everyday clothes so they include an apron (often with flower patterns, I myself have one of these for when I dance ball de gitanes) over a skirt (the colour makes sense), and she's wearing a shawl (which we wear, but so do all of Iberia, lots of countries in Latin America and the Philippines) but it's a mix of two kinds of shawls so in the end it looks like neither.

It's not completely bad, I can see what they're trying to do, but they did it quite badly, probably on purpose to make it look more Spanish. The head ornament is the one that stands out the most. It's a peineta comb, they must have copied from Andalusia, Castilla, Madrid and other parts of Spain to give it a "Spanish look" (which it wouldn't have because Catalan culture is distinct and doesn't use peinetas). If we removed the hair ornaments, it would be close enough to pass as a Catalan doll, but not enough to stand out from other European dolls.

I think it's a mix of different clothes from different occasions, if they had stuck to one it would have been recognisable. To me, it looks like a mix of the ball de gitanes clothes from some places (only some, other towns' ball de gitanes looks completely different) and the typical pubilla outfit, mixed and made blander to look more everyday and less festivity.

This is the ball de gitanes clothes that are similar in style:

(Ball de gitanes from Tàrrega).

(Ball de gitanes from Esparreguera)

Though this style is maybe minoritary in balls de gitanes, the festa major dances in general change a lot from town to town, so I don't think this outfit is recognisable for people who live in towns where this dance dresses differently.

The shawl seems like a mix of a handkerchief and the Manila shawl. It's very common for many dances to wear a handkerchief tied around their back, like this:

(Ball de bastons from Sitges)

(Ball de bastons from Sant Pere de Ribes)

(Ball de bastons from Tarragona)

This handkerchief is usually in bright colours and has patterns. In some places, the handkerchief design is part of the outfit so the whole dance wears the same pattern and colour, but in many other places it's free and each person wears a different one. But these are normal handkerchiefs, they don't have fringes like the ones that Barbie is wearing.

The shawls with fringes are the Manila shawl (mantó de Manila). This is part of many traditional outfits in all the Iberian peninsula, many parts of Latin America, and the Philippines. But this shawl would NOT be made of a simple cloth and have a pattern like that. Manila shawls are made of silk and are embroidered in a very recognisable style. The one that Barbie wears is a normal handkerchief (works for the ones I mentioned before), but the fringes I'm sure were inspired by the Manila shawls.

(Four examples of Manila shawls from an exhibition in Vilanova i la Geltrú)

(Comparses and candy war in Vilanova i la Geltrú during the Carnival holidays)

The rest seems loosely based on the stereotypical Catalan clothes which is the pubilla outfit, but they skipped the most characteristic parts which are the fishnet gloves and hairpiece, and other recognisable elements like the chocker. The things they kept right: white stockings under a long skirt in a realistic colour. Summing up, they only used the blandest and less recognisable part, probably in an effort to make it less distinctively Catalan and more "could pass from any place in Spain (or even many places in Europe)".

The pubilles (and the male counterpart: hereus) represent the traditional heirs of a household, and nowadays they are elected to act as representatives of the town or city in cultural events. Their clothes have been considered Catalonia's national clothing for over a century now. Their clothes have some noticeable changes from area to area and of course they changed throughout history, but in the early 1900s they got fixed into this stereotypical ones that are still used nowadays and which have become the most iconic "stereotypically Catalan" look. Here area some photos as examples of what this outfit actually looks like in real life:

The hair net is very iconic, but they sometimes also wear a lace veil.

It's worth mentioning that the pubilla outfit changes quite a lot in the Terres de l'Ebre area (South). Here's what they wear in Tortosa:

That being said, there are many many many other traditional Catalan outfits to choose from as well. The pubilla is very representative of the Central and Northern (Comarques Gironines and High Pyrenees) areas of Catalonia, but in lots of the South (Penedès and Camp de Tarragona) it's less significant than other traditional outfits like the ones worn for festa major dances. But even in those cases, the pubilla outfit is the iconic stereotypical Catalan outfit that is instantly recognisable around the country, so it's usually the one pictured in postcards or everything that wants to portray folklore in one image.

If you are interested in seeing more Catalan traditional clothes, you can check this previous post:

I went a bit off the rails, but I hope it helps answer the question!

Lastly, a question for other Catalans or other people familiar with Catalan culture, even if just the stereotypical parts: would you have recognised that doll as a Barbie with Catalan clothes?

"Spanish" Barbies

I was curious to know how many "Spanish Barbies" were out there.

They're mostly Andalusian Barbies:

(the 3rd one is sooo beautiful!)

There was also a presumend Catalan Barbie (called Spanish Barbie nevertheless). Maybe @useless-catalanfacts can comment if there's something real in the traditional costume or is an inspired-by version.

And the biggest offender:

Wha... what's this?

Bullfighting is not cool, or glamorous. It's inhumane and animal torture and one of the biggest reactionary strongholds in Spain.

So big no-no. And yes, even if it's just a dress on a doll. No matter how exotic the costume may be, bullfighting is barbaric.

Thoughts on the dolls?

[mistasangel]

Some Fun With My Monster High OC’s and Orginal Characters

I just learned something interesting about Mr.Komos who I swear if you remove his horns and give him a bow tie you’ll have Jackson Jekyll, lol I write alot of fanfics and one is where the Monster High Ghouls and Mansters are all grown up with children of thier own, my one oc from the story SchoolDaze is a hybrid of a minotaur,werewolf and werecat, he has hooves but wears goth boots with a thick platform heel to help him walk right, he does this to hide his hooves and to appear to have normal feet so maybe that’s what Mr.Komos does, as I seen his feet and he wears shoes, not sure what kind, I wanna say dress shoes but can’t be 100% sure until I see the movie and get a better look as what I’m going off is the trailers seen on tv.  Jayson the son of Jackson Jekyll is very picky about his shoes and will only wear sneakers so yeah its a fight at the shoe store with him,lol he does this because he has big feet,lol I mean his shoe size is bigger then his dad’s which I want to say is about a size 10 maybe 11, so that would make Jayson a size 12-13 in shoes so yeah shoes can be used to mask feet and I have an oc from another story whose a demon but can’t take on a human apperence, he has unique shaped feet even in human form so he wears combat boots to hide that fact and so he can walk and appear like a normal human being. Also I noticed Deuce has bigger feet then Clawd who is taller then him,lol Ok Mattel what is it with you and males and giving them big feet? Deuce’s boots fit my Rainbow High/Shadow High boys where Clawd’s don’t which is why I’m saying Mr.Gorgon has bigger feet then Mr.Wolf and also Neighthan Rot’s shoes fit my Rainbow High/Shadow High boys..so again with the big feet,lol  So Mattel as a bit of big foot obesseion with males,lol well some of them as Ken’s shoes fit the female Rainbow High/Shadow High dolls rather then the boys,lol  And I know Rainbow/Shadow high is made by MGA, I was using them as a comparsion for shoes. Also in another news, got a new member of the family yesterday a Pitbull named Ozzy, my cat Prince does not like him,lol but we are working on getting them to get along.  As long as Ozzy leaves my dolls alone there will be no problem as I am willing to work with him and my kitty to help them get along with eachother.

[hotchocolatefanfics]

Since I made three OC’s that are based on my gorilla figurines, I decided to also post some pictures of the figures themselves.

Lets start with a size comparsion from smallest to biggest.

I have six gorilla figures in total (not counting the plush dolls I also have or my NECA Luca figurine or that gorilla keychain thing I customized into Red).

I started collecting gorillas because I wanted to learn how to draw them (as I was struggling with drawing Luca, Buck, Red and Winter at the time) and wanted to use the figures as refrences. They helped...But I think I’m addicted to gorillas now (if this little collection or my apesona being a gorilla herself didn’t already hint at it).

He’s a BIG BOY (not even kidding, I can literally wrap my whole hand around both of his arms)!!!! I got him...Two weeks agao I think? It was the last week of January when he arrived.

It’s kind of a funny story of how I got him. Somehow, despite Amazon having a detail box below all their items (including height and weight of the item) AND a picture of a child holding the toy it didn’t click in my head that this figurine would be this big (major brainfart). 

Originally, I was going to customize him into Red (and buy another gorilla figure that was the same as this one only with white fur to name Winter) but he’s so big and I’m not sure I have enough paint to do the job (and I definetly can’t use my clear nail polish here). So I abandoned the project for another figurine and another time and decided to just keep him as Boris (I don’t think I’m going to buy the white gorilla either-Boris takes up enough space on his own and I sure don’t need another giant gorilla figure!).

Fun Facts: My mom was a little creeped out by him because of his facial expression and posture. Boris (as a PoTA OC) being a tall and intimidating gorilla is a nod at this and at how big he is as a figurine.

Got this guy awhile back (I think it was over the summer?). 

Why did I name him Fred? Because he looks like a ‘Fred’ to me! And plus, the name Fred is very close to the word ‘Friendly’. And yes I am aware that his name is basically Red’s name but with an F in front of it but we’re going to ignore that!

Drake is kind of my favorite (don’t get me wrong, I LOVE all my gorillas but this one makes me think of a medival Planet of The Apes sort of world OR! a medival Zootopia-like world? IDK, I just love it!).

In case anyone is wondering what kind of figure he is, he’s a Papo Fantacy World Figure Gorilla Mutant. There’s actually a few figurines like this (like a lion, a crocodile, a lion, a dragon a rhino)-I’m actually considering getting more of these just because they’re so cool! 

Also, Drake’s axe and sword (which is on his back) are removable and he can hold them in his hand (and no, PoTA OC Drake will not lose an arm or leg or both (figurine Drake appears to have robotic prothetics)...Well, let’s save that idea for later when Drake’s charcater/story is developed more).

And here’s the first gorila figurine I ever got! I got him the summer of 2016 and named him after Ivan from the book One and Only Ivan (I highly recomend that book!). I didn’t discover Planet of The Apes until November of that year and didn’t realize I’d become so in to it as I am now but Ivan is (offically) the first of my little collection.

I didn’t include Ivan in the last post because I didn’t make him into an OC. I probably will later but I need to get inspired first. Still, you guys can expect Ivan to eventually become a PoTA OC!

The last two figures are both nameless (due to me not knowing what to name them!). This first one I got over the summer (or sometime before that) and is the first and only (next to my NECA Luca figurine) posible gorilla figurine I have ((S)he also looks a little like Fred...Maybe I’ll make them a younger sibling or child to Fred? Who knows, I have figure Fred out first though!)

And here’s the tiniest gorilla I have (this one is so tiny, it can fit on figurine Boris’ foot)!!!! 

I actually got this one at random-I bought a tube full of monkeys and apes in it and this one was of the figures inside (there was also a chimpanzee an an orangutan in there).

Same story as the first one: Currently nameless, no plans (as of now) to turn this figurine into an OC but very likely will happen sometime and will probably be someone’s child or younger sibling.

That’s it for now! 

Buck, Winter, Luca and Red are (c) Planet of The Apes

Fluffy, Fred, Boris, Ivan, Drake and pictues are (c) Me 

[stalkerkyoko]

Height comparsion grown man to chucky doll.

Kick the doll

“Don’t fucking kick the doll

Kick the dolly Punts

[jesterwaves]

lip sync test and comparsion of all of valyth's models (and jester doll just for fun). this is the first showcase where ive actually used real face tracking; usually i stick to live2d's random posing.

full showcase for valyth's newest model

song: cabinet man by lemon demon

[recordsarebetterthanpeople]

PEOPLE ARE BETTER THAN RECORDS : this is the end (pt 23)

David Schmidt, 43 ans, Strasbourg.

Batteur-chanteur des fabuleux BAD JUICE.

A choisi An Evening With Neil Gaiman & Amanda Palmer de NEIL GAIMAN & AMANDA PALMER.

.

C’est à nouveau ce moment de l’année où Flo refile le bébé à des contributeurs extérieurs. Encore une occasion de parler beaucoup de soi et d’un peu de musique. Il y a 5 ans, jour pour jour au moment où j’écris ces lignes, ma fiancée (aujourd’hui ma femme) et moi-même avons passé une semaine à Edimbourg pendant le Fringe Festival : trois semaines délirantes durant lesquelles tout Edimbourg se transforme en cabaret géant, une sorte d’Avignon indie mais avec les pubs en plus et bien évidemment le whisky, divine boisson pour laquelle on ne remerciera jamais assez l’Ecosse ! C’est dans ce cadre agrémenté par une météo étrangement clémente que nous avons assisté à « An Evening with Neil Gaiman and Amanda Palmer », en gros une soirée où les deux tourtereaux font un peu ce qu’ils veulent sur scène : Amanda chante, Neil lit des histoires, Neil et Amanda jouent des morceaux, ils invitent des copains sur scène pour en jouer d’autres, ils racontent des blagues, etc… et ce spectacle au Queen’s Hall d’Edimbourg en ce 12 août 2012 fut mémorable. Ah oui… Amanda Palmer et Neil Gaiman se sont mariés en janvier 2011 et forment un couple un peu improbable.

Neil Gaiman est anglais. C’est un auteur un peu spécialisé dans la littérature fantastique et parmi ses œuvres les plus notables, vous pouvez lire Sandman, ce comicbook incroyable, l’un des plus importants des 30 dernières années, publié sous le label Vertigo chez DC Comics, American Gods, un roman fleuve récemment adapté en série télé de manière plus ou moins heureuse et il y a quelques mois une réinterprétation des mythes nordiques dans la Mythologie Viking. Ajoutez à cela quelques épisodes de Babylon 5 et Doctor Who : Gaiman est l’un des auteurs fantastiques modernes les plus prolifiques et les plus passionnants de ces dernières années.

Amanda Palmer (qui se ferait appeler désormais Amanda Fucking Palmer) est américaine. Elle est la moitié féminine du groupe THE DRESDEN DOLLS qui s’est illustré dans les années 2000 en faisant du « dark cabaret punk ». Elle mène depuis la fin du groupe (qui se réunit toutefois régulièrement) une carrière solo exemplaire rythmée par une alternance de prix et de polémiques, la plus insignifiante ayant trait à sa promotion des aisselles poilues, la moins – et la plus lamentable – au ton enjoué d’un morceau traitant du viol d’une adolescente (Oasis). Autant dire qu’un spectacle réunissant ces deux-là était vraiment prometteur.

Drôle et maline, l’association entre la chanteuse punk et le conteur fonctionne parfaitement et le double album, constitué d’un assemblage des morceaux de quatre représentations (un disque intitulé Aisle 1 / Rangée 1 et l’autre Aisle 2 / Rangée 2) rend parfaitement l’ambiance foutraque de cette chose qui n’est ni un concert, ni du théâtre, ni une lecture mais bien « une soirée avec Neil Gaiman et Amanda Palmer ». Dommage, la version de Coin-Operated Boy des DOLLS jouée seule au piano par Palmer n’apparaît pas sur le disque. Problème de droits, sans doute. En revanche, l’excellent I Google You de Gaiman s’y trouve bien.

And I'm pleased your name is practically unique It's only you and a would-be PhD from Chesapeake Who writes papers on the structure of the sun I've read each one

Tout comme sa version (accompagnée au ukelele par Palmer) de Psycho, la ballade sinistre de Leon Payne popularisée en 1974 par Jack Kittel et reprise un peu plus tard par Elvis Costello. Le génie de Gaiman est de la chanter d’une voix douce, fluette, sur un ton un peu hésitant qui rend l’histoire de ce tueur psychopathe qui parle à sa mère (You think I’m psycho don’t you Mama ?) à la fois épouvantable et hilarante (pour la petite histoire, j’ai été tellement séduit qu’après avoir tenté de la faire reprendre par THE SWAMP, je l’ai faite adopter par Tom, mon frère et comparse dans BAD JUICE; le morceau figure sur notre 45 tours « Le Branleur » en Face B / autopromo terminée). Amanda quant à elle chante sa Dear Old House avec sa voix à la fois puissante et douce…

Oh, oh ! Ok ! Je ne vais pas vous gâcher le spectacle en vous le racontant du début à la fin… Alors pourquoi vous aussi vous ne passeriez pas une soirée avec Neil et Amanda ?

[izasbjdphoto]

I finally did my great big bjd lineup for 2022 back in September. This year there are 56 dolls in the lineup, though I didn't include 3 dolls as they are identical duplicates (same head and body sculpt combos). Most are mine, though a small portion belong to my wife.

I realize now that I should have shoved the Soom boys in the 70cm+ section into the 1/3+ section instead, as they wouldn't be this tall without their fantasy parts.

Taking the pictures was a half day ordeal as I would only setup at most 6 dolls in one go, always making the last of one image the first of the next. Then it took me another couple of hours to select the best images and manually edit and merge them into one long lineup since I unfortunately do not own anything long enough to setup all the dolls into one giant line.

I hope this is hopeful to at least some people, to help them visualize just how big the differences are between the size ranges, and even within!

[oak23]

Okay but, I genuinely wonder if hybriding dolls resulted in a lot of people being a lot more detail oriented and inclined towards colour matching in comparsion to our peers.....

MY FRIEND IS FINDING OUT THAT HES COLORBLIND AND WE’RE ALL HELPING HIM THROUGH IT LMAOOOOOO

[fashioncurrentnews]

8 Video di Madonna che hanno ispirato la moda di Jeremy Scott

Parlare di quante volte i video musicali di Madonna hanno ispirato la moda sarebbe impossibile, per questo abbiamo ristretto la nostra ricerca al lavoro di Jeremy Scott, uno dei designer più amici della cantante che con il suo brand – e con le collezioni disegnate per Moschino dal 2013 – ha omaggiato Madonna con citazioni più o meno letterali.

Partiamo dal 1984, con uno dei look più emblematici della cantante, la sposa sexy e un pò punk di Like a Virgin, riletta da Scott nella collezione Primavera Estate 2011, con tanto di make-up perfettamente riprodotto.

Like A Virgin (1984) – Jeremy Scott Primavera Estate 2011

Citazione delle citazioni, l’abito fucsia indossato da Madonna in Material Girl – ispirato al look con cui Marilyn Monroe cantava Diamonds Are a Girl’s Best Friend – è stato rinnovato nel 2017 con la collezione Paper Dolls di Moschino.

Material Girl (1985) – Moschino Primavera Estate 2017

Il “true blue” dell’86 diventa – dopo trent’anni – un abito azzurro di pvc con il beauty look della modella in passerella (Hanne Gaby) che subito ci riporta in dietro nel tempo a cantare: “True love, oh baby, true love, oh baby…”

True Blue (1986) – Moschino Primavera Estate 2016

L’outfit di latex che fece scalpore nel ’95 – indossato da Madonna nel videoclip di Human Nature – ha fatto discutere anche in passerella da Moschino con l’ultima collezione prefall disegnata da Jeremy Scott.

Human Nature (1995) – Moschino Prefall 2018 2019

Il completo extra small di denim, visto nel video di Ray Of Light, ci ricorda un modello della collezione Autunno Inverno 2016 del designer, tanto quanto il look total white indossato da Gigi Hadid sul catwalk della stagione successiva fa pensare a quello di Madonna in Music.

Ray Of Light (1998) – Jeremy Scott Autunno Inverno 2016 2017

Music (2000) – Jeremy Scott Autunno Inverno 2017 2018

Tra i successi più recenti della star non possiamo non citare l’ispirazione militare di uno dei video più controversi dell’artista, ripresa da Scott nella Prefall 2017 di Moschino, e l’outfit sporty glam di Hung Up riletto dal designer dieci anni dopo con la collezione Barbie.

American Life (2003) – Moschino Prefall 2017 2018

Hung Up (2005) – Moschino Primavera Estate 2015

Nel nostro escursus sarebbe troppo semplice segnalarvi Bitch I’m Madonna del 2015, in cui Jeremy Scott e Moschino sono stati direttamente coinvolti nella realizzazione dei costumi della star e di tutte le comparse del video.

Sfogliate la gallery per riguardare tutte le volte che Jeremy Scott ha preso ispirazione dalle clip musicali di Madonna.

Seguite la pagina Twitter di Vogue Italia per tutte le novità su moda, sfilate e le vostre star preferite.

L'articolo 8 Video di Madonna che hanno ispirato la moda di Jeremy Scott sembra essere il primo su Vogue.it.

from Vogue.it https://ift.tt/2mZV5kw from Blogger https://ift.tt/2M9RLya

[bloglumfia]

Kids Christmas Games That Never Go Out of Fashion

It's wise to purchase toys that will assist show your baby some fundamental IT skills. The MobiGo Touch Learning doll is the right model to offer your child. That intelligent mini-computer is fantastic for supporting your baby to become knowledgeable about technology. Kiddies outdated from three to eight years of age will love the glaringly colored MobiGo Learning System.

The MobiGo Touch Learning System is a durable portable device as possible trust to not break on the initial bump or bounce. The MobiGo Understanding System stands up strongly against conventional products such as the Nintendo DS; and if your son or daughter has bow and arrow sets for kids comparsion nagging with this pc, then a MobiGo Feel Learning System could make a more cost effective alternative.

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[laurent-bigot]

« Rendons hommage à ces messieurs, et en particulier à John Huston, pour leur magnifique travail ! Dès le tout premier plan, dans lequel la caméra suit un voyou en maraude qui se faufile entre les immeubles pour semer une voiture de police dans la grisaille humide de l’aube, ce film laisse entrevoir, sous des dehors aussi implacables et lisses que l’acier, la présence de tout un monde de personnalités déviantes et de criminels Invétères. » Bosley Crowther dans The New York Times

L’histoire : A peine sorti de prison, le docteur Erwin Riedenschneider (Sam Jaffe) prépare un nouveau coup : le cambriolage de la bijouterie Belletier. Il fait part de son projet à Cobby (Marc Lawrence), un bookmaker, qui le met en relation avec un avocat véreux, Alonzo Emmerich (Louis Calhern). Ce dernier, au bord de la ruine, accepte de financer l’opération, les fonds étant en réalité fournis par Cobby. Riedenschneider recrute alors ses hommes : Dix Handley (Sterling Hayden), un tueur, le spécialiste en coffres forts Louis Ciavelli (Anthony Caruso), et Gus Minissi (James Whitmore), qui servira de chauffeur. L’opération se déroule bien jusqu’à l’arrivée d’un gardien. Ciavelli est grièvement blessé. De son côté, Emmerich est décidé à doubler ses partenaires, aidé de Bob Brannom, une petite crapule. Brannom tente de s’emparer de la serviette contenant les bijoux mais Dix Handley, qu’il vient de blesser, l’abat. Ciavelli meurt, Cobby donne à la police Gus Minissi après avoir été durement secoué par le lieutenant Ditrich (Barry Kelley ). Le docteur Riedenschneider tente de fuir, alors qu’Emmerich se suicide, mais il est arrête pour être demeuré trop longtemps dans un bar où dansait une jeune fille au son du jukebox local. Victime de ses blessures. Dix meurt dans un champ, près des chevaux qui lui rappellent son enfance disparue …

THE ASPHALT JUNGLE – John Huston (1950)

Malgré les personnages outrés qui figurent dans ses différentes œuvres, le réalisateur John Huston est connu pour son naturalisme, un qualificatif rarement associé au film noir. Les liens de Huston avec le Noir remontent pourtant au Faucon maltais (The Maltese Falcon, 1941), tourné avant la période communément considérée comme l’âge d’or du genre. Si ce n’est pas à proprement parler le premier film noir de l’histoire, il marque toutefois le début d’un cycle allant de cette adaptation d’un roman de Dashiell Hammett à La Soif du mal (Touch of Evil, 1958) d’Orson Welles. En tant que scénariste, Huston fait son entrée dans le film noir avec une adaptation d’un roman de W.R. Burnett, La Grande Évasion (High Sierra, 1941), réalisée par Raoul Walsh.

Une décennie plus tard, à la fois coscénariste et réalisateur de The Asphalt jungle, Huston explore une jungle urbaine peuplée des mêmes bandits ordinaires que dans High Sierra. Les romans de W.R. Burnett (également scénariste de longue date à la Warner Bros.) Le Petit César (Littte Caesar, 1931) et Fin de parcours (Nobody Lives Forever, 1943) correspondent bien à la vision du monde de Huston. Après le considérable succès critique et commercial du Trésor de la Sierra Madre (The Treasure of the Sierra Madre, 1948),The Asphalt jungle offre à Huston une nouvelle histoire où la cupidité s’allie à la malchance et à la paranoïa, qui se situe cette fois clairement dans le domaine du film noir.

THE ASPHALT JUNGLE – (1950). John Huston et Marilyn Monroe

Huston était très indulgent à l’égard de Marilyn, il lui permettait de faire venir Natasha Lytess (professeur d’art dramatique) sur le plateau, puisqu’elle était son coach. Marilyn pouvait s’amuser devant un appareil photo, séduire le photographe et l’objectif lui-même, mais elle était terrorisée par la caméra, qui pouvait s’emparer non seulement de son image, mais aussi de sa voix. Les réalisateurs étaient naturellement des ennemis parce qu’ils la réduisaient à n’être qu’un membre de toute une équipe, de toute une distribution.

THE ASPHALT JUNGLE – John Huston (1950)

Contrairement aux personnages centraux des films de gangsters des années 1930, les brigands des films noirs sont rarement plus vrais que nature. Riedenschneider, alias « Doc » (Sam Jaffe), le cerveau deThe Asphalt jungle est un comploteur réputé pour son savoir-faire et sa méticulosité. Le choix de l’acteur de genre Sam Jaffe et son interprétation calme et concentrée sont bien loin de l’extravagance d’Edward G. Robinson, alias « Rico », dans le film Little Caesar, de Paul Muni dans Scarface (1932) ou même de James Cagney, alias Tom Powers, dans L’Ennemi public (The Public Enemy, 1931).

Dix Handley (Sterling Hayden), recruté pour sa force musculaire, rêve également du gros coup qui lui permettra de récupérer la ferme familiale dans le Kentucky. L’interprétation de Hayden s’avère tout aussi solide que celle de Bogart dans le rôle de Roy Earle, qu’évoque également sa relation brutale et tendre avec Doll Conovan (Jean Hagen). Dans High Sierra, Earle, traqué par la police, s’endort au flanc d’une montagne sous le regard de Marie (Ida Lupino). Dans The Asphalt jungle, Dix Handley, mortellement blessé, s’effondre dans un pré avec Doll à ses côtés.

THE ASPHALT JUNGLE – John Huston (1950)

Riedenschneider n’est pas non plus coulé dans le même moule que le personnage abattu et vieillissant de Roy Earle, allas – Mad Dog “, campé par Humphrey Bogart dansHigh Sierra. Certes, les deux hommes cherchent le dernier gros coup qui leur assurera une retraite tranquille. Mais alors que Earle a encore la virilité nécessaire pour faire marcher les jeunes voyous à la baguette avec un rictus et un regard menaçants. Riedenschneider est un chef à la voix douce, Qui fume le cigare et tire son autorité de son cerveau, pas de ses biceps. Si Earle et Riedenschneider ont tous deux un faible pour les jeunes filles, Doc a l’intelligence de ne pas mélanger les affaires et le plaisir, de ne pas laisser ses émotions influencer son jugement En réalité, le seul point faible de son plan est qu’il a besoin du soutien financier de l’avocat véreux Alonzo Emmerich (Louis Calhern), dont l’obsession pour sa voluptueuse maîtresse Angela (Marilyn Monroe) est exactement le genre de détail dont Doc sait qu’il peut faire capoter le plan le plus solidement ficelé… ce qu’il ne manquera pas de faire.

Aussi inhabituelles ou sensationnelles que puissent paraître les aventures des bandits qu’ils dépeignent, les romans de Burnett s’inscrivent dans une tradition prolétarienne et réaliste au sein de la littérature américaine. Ainsi, ils s’apparentent aussi bien au roman noir qu’à des auteurs comme Dos Passos et Hemingway lorsqu’ils décrivent l’agitation et la décadence sociales de leur époque. En adaptant l’œuvre de Burnett, Huston et son coscénariste Ben Maddow ont transposé à la fois ses dialogues saccadés et ses descriptions indulgentes des escrocs à la petite semaine. Comme c’est pour le cas pour Earle, le dernier coup de Riedenschneider, Handley et leurs comparses est à la fois un casse à l’ancienne et un rituel de rédemption. Qu’on ait ou non lu le livre de Burnett, on ne s’étonne guère, dans le contexte d’un film noir, que leur plan ne se déroule pas comme prévu. Ce qui distingue The Asphalt jungle du Faucon maltais est précisément l’accent mis sur la mécanique de la malchance – c’est un facteur qui intervient également dans l’adaptation par Huston de Key Largo (1948) -, mais ce film, qui se déroule à huis clos sur une période de quelques jours, fait preuve d’une moins grande complexité narrative. En fin de compte, ce qui confère à The Asphalt jungle la même dimension existentielle qu’à tant d’autres films noirs réside dans son interprétation et son style visuel. Jafe, Hayden et même Calhern dans le rôle du pathétique Emmerich empêtré dans ses mensonges et ses trahisons, apportent un remarquable réalisme aux moindres détails du tableau. Quant à la façon parfaitement détachée et directe dont Huston cadre les acteurs, elle situe les événements dans un cadre totalement quotidien même lorsque les enjeux sont une question de vie et de mort, ce qui est l’essence même du film noir. (Alain Silver)

THE ASPHALT JUNGLE – John Huston (1950)

C’est faute de pouvoir mettre en chantier en temps voulu Quo Vadis dont le tournage était compromis par la maladie oculaire dont souffrait Gregory Peck, que le producteur Arthur Hornblow Jr. et John Huston choisirent de porter à l’écran The Asphalt Jungle, de WR. Burnett dont Dore Schary avait acquis les droits avant même la parution du livre.

« John Huston, reconnut Burnett, demeura fidèle aux personnages, à l’intrigue et à l’atmosphère. Rien ne fut arbitrairement ni inventé, ni modifié. Je n’ai pourtant pas toujours été d’accord avec ce qui a été fait. Nous nous sommes rencontrés à plusieurs reprises chez moi pour des réunions de travail, mais il est très difficile de l’emporter sur Huston. Il est pour moi celui qui a modifié l’intrigue. Je voulais que le film commence comme le roman par les appels radio répercutant dans le bureau du commissaire les nouvelles criminelles de la nuit, la voix de la jungle du trottoir. Au lieu de cela, le film commence comme n’importe quelle autre histoire criminelle ; la nuit, un bas quartier, un homme qui poursuit son chemin… Je n’ai pas non plus été satisfait de la mort de Dix Handley, l’homme de main originaire du Sud, à demi mort et poursuivant des chevaux dans un pré. C’était exagéré. Mais, en dehors de ces deux points j’ai été satisfait de tout le reste.»

THE ASPHALT JUNGLE – John Huston (1950)

The Asphalt Jungle dort décrit un univers corrompu dans lequel – jusqu’au cambriolage de la bijouterie Belletier – tout semble se passer tranquillement selon un rituel immuable. Cobby, le bookmaker qui avoue que « l’argent le fait transpirer », paie le lieutenant Ditrich pour que celui-ci ferme les yeux. Alonzo Emmerich, l’avocat véreux, supporte une femme malade en se distrayant avec une jeune maîtresse (Marilyn Monroe). Dix Handley, souvent soupçonné, réussit toujours à éviter d’être reconnu par des témoins capables de l’identifier. Gus Minissi le sympathique cafetier amateur de chats, cache volontiers l’arme compromettante que lui confie Dix avant l’arrivée de la police. Gangsters et policiers cohabitent dans des mondes voisins et parfois même entremêlés. De temps en temps, le commissaire Hardy se plaint du manque d’efficacité de certains de ses hommes. Ceux-ci intensifient durant quelques heures les rafles, prévenant au passage leurs relations du milieu, puis tout redevient comme avant. L’arrivée du docteur Riedenschneider et l’opération qu’il monte vont contribuer à bouleverser cet équilibre instable, provoquant la mort des uns, l’arrestation des autres, la destitution de certains, le commissaire Hardy continuant inlassablement à faire l’apologie de ses hommes en prouvant à la presse ce qui se passerait si ceux-ci n’existaient pas. Patrick Brion (Le Film Noir) – In The Asphalt Jungle, postface de W.R. Burnett – Entretien avec John Huston de Rui Nageira et Bretrand Tavernier (Positif n°116, mai 1970) – 

The Asphalt Jungle est le sixième film de Marilyn Monroe, où elle pointe en onzième position au générique de fin (elle n’est pas mentionnée en début de film). Il s’agit, avec La Pêche au trésor (Love Happy) des Marx Brothers un an plus tôt, d’un film de premier plan et non plus d’une série B, car réalisé par un metteur en scène renommé, John Huston. C’est son imprésario qui fit tant pour sa carrière, Johnny Hyde, qui lui décroche le rôle.

THE ASPHALT JUNGLE – John Huston (1950)

Marilyn y joue le personnage d’Angela Phinlay, jeune maîtresse d’Alonzo Emmerich, un avocat – marié – qui s’avérera véreux et aux abois. Elle ne semble pas avoir d’activités autres que vivre dans une résidence secondaire dudit avocat et l’y attendre. Elle n’a que trois scènes dans ce film, sans jamais rencontrer Sterling Hayden.

Une quatrième scène implique le personnage Marilyn sans qu’on l’aperçoive : prétextant des raisons politiques, l’avocat lui demande au téléphone de dire à la police qu’ils étaient ensemble la nuit précédente, sans qu’elle sache de quoi il retourne. Selon les biographes de la comédienne, ce film attira l’attention du public sur Marilyn, et donc de Hollywood qui commença à faire appel à ses services. Marilyn tournera à nouveau avec John Huston dans Les Désaxés (The Misfits, 1961), son dernier film achevé.

THE ASPHALT JUNGLE – John Huston (1950)

Tournant pour la première fois pour la Metro-Goldwyn-Mayer, Huston trouve la plus belle équipe technique de l’époque. La beauté de The Asphalt Jungle est indissociable du soin apporté par le chef opérateur Harold Rosson, qui signe une photographie à la John Alton, jouant en véritable peintre sur la densité des noirs et des blancs.

Peu favorable à ce type de sujets, Louis B. Mayer reprochera à Dore Schary la noirceur des personnages et la répulsion que ceux-ci provoquaient. « Ma chance doit tourner », disait Dix à sa compagne Doll. C’était sous-estimer le poids de la fatalité qui détruit les uns après les autres les protagonistes du film. Deux scènes prévues dans le scénario original manquent dans le montage définitif : l’interrogatoire de Doll au commissariat et la rencontre entre Emmerich et les représentants de la compagnie d’assurance. Huston a certainement voulu, en les supprimant, renforcer la densité d’une intrigue dont chaque plan et chaque phrase de dialogue semblent indispensables. Le film contribua – on le sait – à la notoriété de Marilyn Monroe. Dore Schary regretta toujours à ce sujet de ne pas avoir mis la jeune actrice sous contrat, ce que fit Darryl F. Zanuck.

THE ASPHALT JUNGLE – John Huston (1950)

« D’une manière ou d’une autre, nous travaillons tous pour nos vices », reconnaît Riedenschneider, alors qu’Emmerich avoue à sa femme : « Le crime n’est après tout qu’une forme dégénérée de l’ambition. » Comme l’or du Trésor de la Sierra Madre ou la statuette du Faucon maltais, le butin du cambriolage de la bijouterie Belletier est un véritable rêve auquel aspirent la plupart des héros du film, l’occasion – souvent ultime – d’échapper à leurs ennuis et à la grisaille de leur vie quotidienne. Emmerich espère ainsi pouvoir se renflouer, Riedenschneider se distraire avec de jeunes beautés, Ciavelli faire soigner son fils, et Dix renouer avec sa jeunesse symbolisée par ce cheval dont le souvenir l’obsède. « Les metteurs en scène, déclarait Huston, font toujours une erreur énorme. Ils donnent une importance primordiale au hold-up, au crime, et oublient les personnages. Dans mon film, le hold-up était secondaire. Les motivations du hold-up étaient beaucoup plus importantes. Beaucoup de gens ont trouvé ce film immoral, parce qu’on était forcé de sympathiser avec les criminels. (…) Évidemment, pour traiter un sujet, un personnage, il faut d’abord le comprendre, et en le comprenant, on s’identifie un peu à ce sujet ou à ce personnage. Ces gens-là avaient peur de ce que le film éveillait en eux. Ils se sentaient criminels de comprendre l’état d’esprit des criminels. »

Au cours de l’avant-dernière scène du film, Hardy annonce aux journalistes réunis : « Eh bien, messieurs. Trois hommes sont en prison. Trois autres sont morts, l’un de sa propre main. Un homme est en fuite et nous avons de bonnes raisons de le croire grièvement blessé. Cela fait six sur sept. Ce n’est pas mal. Et nous aurons également le dernier. Il est, d’une certaine manière, le plus dangereux de tous. Un tueur impitoyable, un voyou, un homme dépourvu de sentiments humains et de pitié.» Cette description de Dix Handley est aussitôt contredite par la scène suivante – la dernière – qui montre les derniers instants d’un homme désespérément humain, blessé, saignant, à l’agonie et réunissant ses dernières forces pour atteindre ce pré mythique où paissent des chevaux semblables à ceux de son enfance. Comme Roy Earle, le héros de High Sierra, autre héros créé par W R. Burnett, Dix ne peut compter que sur sa compagne. Depuis longtemps, la société l’a rejeté, calomnié, condamné sans jugement ni appel. L’attachement que l’on peut éprouver face aux personnages de The Asphalt jungle dort provient, comme le signalait Huston, de la manière exceptionnelle dont ils sont joués. L’interprétation du film est d’ailleurs l’une des plus admirables interprétations collectives que l’on puisse imaginer, et il est impossible d’oublier Gus Minissi, le bossu, Louis Ciavelli, réduit à un nouveau « coup » pour faire vivre sa nombreuse famille. Angela Phinlay, maîtresse d’un homme qui pourrait être son père. Emmerich lui-même, cherchant – comme Dix – à oublier la fuite des années … La vulnérabilité de Jean Hagen, superbe comédienne sous-employée, la composition de Sam Jaffe et la virilité trop sensible de Sterling Hayden forment un ensemble exemplaire. Patrick Brion (Le Film Noir) – In The Asphalt Jungle, postface de W.R. Burnett – Entretien avec John Huston de Rui Nageira et Bretrand Tavernier (Positif n°116, mai 1970)

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THE ASPHALT JUNGLE – John Huston (1950) « Rendons hommage à ces messieurs, et en particulier à John Huston, pour leur magnifique travail !