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unpopularwiththepopulace · 4 years ago

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A retrospective on some of Broadway’s most important female costume designers across the last century

How much is our memory or perception of a production influenced by the manner in which we visually comprehend the characters for their physical appearance and attire? A lot.

How much attention in memory is often dedicated to celebrating the costume designers who create the visual forms we remember? Comparatively, not much.

Delving through the New York Public Library archives of late, I found I was able to zoom into pictures of productions like Sunday in the Park with George at a magnitude greater than before.

In doing so, I noticed myself marvelling at finer details on the costumes that simply aren’t visible from grainy 1985 proshots, or other lower resolution images.

And marvel I did.

At first, I began to set out to address the contributions made to the show by designer Patricia Zipprodt in collaboration with Ann Hould-Ward. Quickly I fell into a (rather substantial) tangent rabbit hole – concerning over a century’s worth of interconnected designers who are responsible for hundreds of some of the most memorable Broadway shows between them.

It is impossible to look at the work of just one or two of these women without also discussing the others that came before them or were inspired by them.

Journey with me then if you will on this retrospective endeavour to explore the work and legacy that some of these designers have created, and some of the contexts in which they did so.

A set of podcasts featuring Ann Hould-Ward, including Behind the Curtain (Ep. 229) and Broadway Nation (Eps. 17 and 18), invaluably introduce some of the information discussed here and, most crucially, provide a first-hand, verbal link back to this history. The latter show sets out the case for a “succession of dynamic women that goes back to the earliest days of the Broadway musical and continues right up to today”, all of whom “were mentored by one or more of the great [designers] before them, [all] became Tony award-winning [stars] in their own right, and [all] have passed on the [craft] to the next generation.”

A chronological, linear descendancy links these designers across multiple centuries, starting in 1880 with Aline Bernstein, then moving to Irene Sharaff, then to Patricia Zipprodt, then to the present day with Ann Hould-Ward. Other designers branch from or interact with this linear chronology in different ways, such as Florence Klotz and Ann Roth – who, like Patricia Zipprodt, were also mentored by Aline Bernstein – or Theoni V. Aldredge, who stands apart from this connected tree, but whose career closely parallels the chronology of its central portion. There were, of course, many other designers and women also working within this era that provided even further momentous contributions to the world of costume design, but in this piece, the focus will remain primarily on these seven figures.

As the main creditor of the designs for Sunday in the Park with George, let’s start with Patricia (Pat) Zipprodt.

Born in 1925, Pat studied at the Fashion Institute of Technology (FIT) in New York after winning a scholarship there in 1951. Through teaching herself “all of costume history by studying materials at the New York Public Library”, she passed her entrance exam to the United Scenic Artists Union in 1954. This itself was a feat only possible through Aline Bernstein’s pioneering steps in demanding and starting female acceptance into this same union for the first time just under 30 years previously.

Pat made her individual costume design debut a year after assisting Irene Sharaff on Happy Hunting in 1956 – Ethel Merman’s last new Broadway credit. Of the more than 50 shows she subsequently designed, some of Pat’s most significant musicals include: She Loves Me (1963) Fiddler on the Roof (1964) Cabaret (1966) Zorba (1968) 1776 (1969) Pippin (1972) Mack & Mabel (1974) Chicago (1975) Alice in Wonderland (1983) Sunday in the Park with George (1984) Sweet Charity (1986) Into the Woods (1987) - preliminary work

Other notable play credits included: The Little Foxes (1967) The Glass Menagerie (1983) Cat on a Hot Tin Roof (1990)

Yes. One person designed all of those shows. Many of the most beloved pieces in modern musical theatre history. Somewhat baffling.

Her work notably earned her 11 Tony nominations, 3 wins, an induction into the Theatre Hall of Fame in 1992, and the Irene Sharaff award for lifetime achievement in costume design in 1997.

By 1983, Pat was one of the most well-respected designers of her era. When the offer for Sunday in the Park with George came in, she was less than enamoured by being confined to the ill-suited basements at Playwright’s Horizons all day, designing full costumes for a story not even yet in existence. From-the-ground-up workshops are common now, but at the time, Sunday was one of the first of its kind.

Rather than flatly declining, she asked Ann Hould-Ward, previously her assistant and intern who had now been designing for 2-3 years on her own, if she was interested in collaborating. She was. The two divided the designing between them, like Pat creating Bernadette’s opening pink and white dress, and Ann her final red and purple dress.

Which indeed leads to the question of the infamous creation worn in the opening number. No attemptedly comprehensive look at the costumes in Sunday would be complete without addressing it or its masterful mechanics.

To enable Bernadette to spring miraculously and seemingly effortlessly from her outer confines, Ann and Pat enlisted the help of a man with a “Theatre Magics” company in Ohio. Dubbed ‘The Iron Dress’, the gasp-inducing motion required a wire frame embedded into the material, entities called ‘moonwalker legs and feet’, and two garage door openers coming up through the stage to lever the two halves apart. The mechanism – highly impressive in its periods of functionality – wasn’t without its flaws. Ann recalls “there were nights during previews where [Bernadette] couldn’t get out of the dress”. Or worse, a night where “the dress closed up completely. And it wouldn’t open up again!”. As Bernadette finished her number, there was nothing else within her power she could do, so she simply “grabbed it under her arm and carried it off stage.”

What visuals. Evidently, the course of costume design is not always plain sailing.

This sentiment is exhibited in the fact design work is a physical materialisation of other creators’ visions, thus foregrounding the tricky need for collaboration and compromise. This is at once a skill, very much part of the job description, and not always pleasant – in navigating any divides between one’s own ideas and those of other people.

Sunday in the Park with George was no exception in requiring such a moment of compromise and revision. With the show already on Broadway in previews, Stephen Sondheim decreed the little girl Louise’s dress “needs to be white” – not the “turquoisey blue” undertone Pat and Ann had already created it with. White, to better spotlight the painting’s centre.

Requests for alterations are easier to comprehend when they are done with equanimity and have justification. Sondheim said he would pay for the new dress himself, and in Seurat’s original painting, the little girl is very brightly the focal centre point of the piece. On this occasion, all agreed that Sondheim was “absolutely right”. A new dress was made.

Other artistic differences aren’t always as amicable.

In Pat Zipprodt’s first show, Happy Hunting with Ethel Merman in 1956, some creatives and directors were getting in vociferous, progress-stopping arguments over a dress and a scene in which Ethel was to jump over a fence. Then magically, the dress went missing. Pat was working at the time as an assistant to the senior Irene Sharaff, and Pat herself was the one to find the dress the next morning. It was in the basement. Covered in black and wholly unwearable. Sharaff had spray painted the dress black in protest against the “bickering”. Indeed, Sharaff disappeared, not to be seen again until the show arrived on Broadway.

Those that worked with her soon found that Sharaff was one to be listened to and respected – as Hal Prince did during West Side Story. After the show opened in 1957, Hal replaced her 40 pairs of meticulously created and individually dyed, battered, and re-dyed jeans with off-the-rack copies. His reasoning was this: “How foolish to be wasting money when we can make a promotional arrangement with Levi Strauss to supply blue jeans free for program credit?” A year later, he looked at their show, and wondered “What’s happened?”

What had happened was that the production had lost its spark and noticeable portions of its beauty, vibrancy, and subtle individuality. Sharaff’s unique creations quickly returned, and Hal had learned his lesson. By the time Sharaff’s mentee, Pat, had “designed the most expensive rags for the company to wear” with this same idiosyncratic dyeing process for Fiddler on the Roof in 1964, Hal recognised the value of this particularity and the disproportionately large payoff even ostensibly simple garments can bring.

Irene Sharaff is remembered as one of the greatest designers ever. Born in 1910, she was mentored by Aline Bernstein, first assisting her on 1928’s original staging of Hedda Gabler.

Throughout her 56 year career, she designed more than 52 Broadway musicals. Some particularly memorable entities include: The Boys from Syracuse (1938) Lady in the Dark (1943) Candide (1956) Happy Hunting (1956) Sweet Charity (1966) The King and I (1951, 1956) West Side Story (1957, 1961) Funny Girl (1964, 1968)

For the last three productions, she would reprise her work on Broadway in the subsequent and indelibly enduring film adaptations of the same shows.

Her work in the theatre earned her 6 Tony nominations and 1 win, though her work in Hollywood was perhaps even more well rewarded – earning 5 Academy Awards from a total of 15 nominations.

Some of Sharaff’s additional film credits included: Meet Me in St. Louis (1944) Ziegfeld Follies (1946) An American in Paris (1951) Call Me Madam (1953) A Star is Born (1954) – partial Guys and Dolls (1955) Cleopatra (1963) Who’s Afraid of Virginia Woolf? (1966) Hello Dolly! (1969) Mommie Dearest (1981)

It’s a remarkable list. But it is too more than just a list.

Famously, Judy’s red scarlet ballgown in Meet Me in St. Louis was termed the “most sophisticated costume [she’d] yet worn on the screen.”

It has been written that Sharaff’s “last film was probably the only bad one on which she worked,” – the infamous pillar of camp culture, Mommie Dearest, in 1981 – “but its perpetrators knew that to recreate the Hollywood of Joan Crawford, it required an artist who understood the particular glamour of the Crawford era.” And at the time, there were very few – if any – who could fill that requirement better than Irene Sharaff.

The 1963 production of Cleopatra is perhaps an even more infamous endeavour. Notoriously fraught with problems, the film was at that point the most expensive ever made. It nearly bankrupted 20th Century Fox, in light of varying issues like long production delays, a revolving carousel of directors, the beginning of the infamous Burton/Taylor affair and resulting media storm, and bouts of Elizabeth’s ill-health that “nearly killed her”. In that turbulent environment, Sharaff is highlighted as one of the figures instrumental in the film’s eventual completion – “adjusting Elizabeth Taylor’s costumes when her weight fluctuated overnight” so the world finally received the visual spectacle they were all ardently anticipating.

But even beyond that, Sharaff’s work had impacts more significantly and extensively than the immediate products of the shows or films themselves. Within a few years of her “vibrant Thai silk costumes for ‘The King and I’ in 1951, …silk became Thailand’s best-known export.” Her designs changed the entire economic landscape of the country.

It’s little wonder that in that era, Sharaff was known as “one of the most sought-after and highest-paid people in her profession.” With discussions and favourable comparisions alongside none other than Old Hollywood’s most beloved designer, Edith Head, Irene deserves her place in history to be recognised as one of the foremost significant pillars of the design world.

In this respected position, Irene Sharaff was able to pass on her knowledge by mentoring others too as well as Patricia Zipprodt, like Ann Roth and Florence Klotz, who have in turn gone on to further have their own highly commendable successes in the industry.

Florence “Flossie” Klotz, born in 1920, is the only Broadway costume designer to have won six Tony awards. She did so, all of them for musicals, and all of them directed by Hal Prince, in a marker of their long and meaningful collaboration.

Indeed, Flossie’s life partner was Ruth Mitchell – Hal’s long-time assistant, and herself legendary stage manager, associate director and producer of over 43 shows. Together, Flossie and Ruth were dubbed a “power couple of Broadway”.

Flossie’s shows with Hal included: Follies (1971) A Little Night Music (1973) Pacific Overtures (1976) Grind (1985) Kiss of the Spiderwoman (1993) Show Boat (1995)

And additional shows amongst her credits extend to: Side by Side by Sondheim (1977) On the Twentieth Century (1978) The Little Foxes (1981) A Doll’s Life (1982) Jerry’s Girls (1985)

Earlier in her career, she would first find her footing as an assistant designer on some of the Golden Age’s most pivotal shows like: The King and I (1951) Pal Joey (1952) Silk Stockings (1955) Carousel (1957) The Sound of Music (1959)

The original production of Follies marked the first time Florence was seriously recognised for her work. Before this point, she was not yet anywhere close to being considered as having broken into the ranks of Broadway’s “reigning designers” of that era. Follies changed matters, providing both an indication of the talent of her work to come, and creating history in being commended for producing some of the “best costumes to be seen on Broadway” in recent memory – as Clive Barnes wrote in The New York Times. Fuller discussion is merited given that the costumes of Follies are always one of the show’s central points of debate and have been crucial to the reception of the original production as well as every single revival that has followed in the 50 years since.

In this instance, Ted Chapin would record from his book ‘Everything Was Possible: The Birth of the Musical ‘Follies’ how “the costumes were so opulent, they put the show over-budget.” Moreover, that “talking about the show years later, [Florence] said the costumes could not be made today. ‘Not only would they cost upwards of $2 million, but we used fabrics from England that aren’t even made anymore.’” Broadway then does indeed no longer look like Broadway now.

This “surreal tableau” Flossie created, including “three-foot-high ostrich feather headdresses, Marie Antoinette wigs adorned with musical instruments and birdcages, and gowns embellished with translucent butterfly wings”, remains arguably one of the most impressive and jaw-dropping spectacles to have ever graced a Broadway stage even to this day.

As for Ann Roth, born in 1931, she is still to this day making her own history – recently becoming the joint eldest nominee at 89 for an Oscar (her 5th), for her work on 2020′s Ma Rainey’s Black Bottom. Now as of April 26th, Ann has just made history even further by becoming the oldest woman to win a competitive Academy Award ever. She has an impressive array of Hollywood credits to her name in addition to a roster of Broadway design projects, which have earned her 12 Tony nominations.

Some of her work in the theatre includes: The Women (1973) The Best Little Whorehouse in Texas (1978) They're Playing Our Song (1979) Singin' in the Rain (1985) Present Laughter (1996) Hedda Gabler (2009) A Raisin in the Sun (2014) Shuffle Along (2016) The Prom (2018)

Making her way over to Hollywood in the ‘70s, she has left an indelible and lasting visual impact on the arts through films like: Klute (1971) The Goodbye Girl (1977) Hair (1979) 9 to 5 (1980) Silkwood (1983) Postcards from the Edge (1990) The Birdcage (1996) The Hours (2002) Mamma Mia! (2008) Ma Rainey’s Black Bottom (2020)

It’s clear from this branching 'tree' to see how far the impact of just one woman passing on her time and knowledge to others who are starting out can spread.

This art of acting as a conduit for valuable insights was something Irene Sharaff had learned from her own mentor and predecessor, Aline Bernstein. Aline was viewed as “the first woman in the [US] to gain prominence in the male-dominated field of set and costume design,” and was too a strong proponent of passing on the unique knowledge she had acquired as a pioneer and forerunner in the field.

Born in 1880, Bernstein is recognised as “one of the first theatrical designers in New York to make sets and costumes entirely from scratch and craft moving sets” while Broadway was still very much in its infancy of taking shape as the world we know today. This she did for more than one hundred shows over decades of her work in the theatre. These shows included the spectacular Grand Street Follies (1924-27), and original premier productions of plays like some of the following: Ibsen’s Hedda Gabler (1928) J.M Barrie’s Peter Pan (1928) Grand Hotel (1930) Phillip Barry’s Animal Kingdom (1932) Chekov’s The Seagull (1937) Both Lillian Hellman’s The Children’s Hour (1934) and The Little Foxes (1939)

Beyond direct design work, Bernstein founded what was to become the Neighbourhood Playhouse (the notable New York acting school) and was influential in the “Little Theatre movement that sprung up across America in 1910”. These were the “forerunners of the non-profit theatres we see today” and she continued to work in this realm even after moving into commercial theatre.

Bernstein also established the Museum of Costume Art, which later became the Costume Institute of the Met Museum of Art, where she served as president from 1944 to her death in 1955. This is what the Met Gala raises money for every year. So for long as you have the world’s biggest celebrities parading up and down red carpets in high fashion pieces, you have Aline Bernstein to remember – as none of that would be happening without her.

During the last fifteen years of her life, Bernstein taught and served as a consultant in theatre programs at academic institutions including Yale, Harvard, and Vassar – keen to connect the community and facilitate an exchange of wisdom and information to new descendants and the next generation.

Many designers came somewhere out of this linear descendancy. One notable exception, with no American mentor, was Theoni V. Aldredge. Born in 1922 and trained in Greece, Theoni emigrated to the US, met her husband, Tom Aldredge – himself of Into the Woods and theatre notoriety – and went on to design more than 100 Broadway shows. For her work, she earned 3 Tony wins from 11 nominations from projects such as: Anyone Can Whistle (1964) A Chorus Line (1975) Annie (1977) Barnum (1980) 42nd Street (1980) Woman of the Year (1981) Dreamgirls (1981) La Cage aux Folles (1983) The Rink (1984)

One of the main features that typify Theoni’s design style and could be attributed to a certain unique and distinctive “European flair” is her strong use of vibrant colour. This is a sentiment instantly apparent in looking longitudinally at some of her work.

In Ann Hould-Ward’s words, Theoni speaks to the “great generosity” of this profession. Theoni went out of her way to call Ann apropos of nothing early in the morning at some unknown hotel just after Ann won her first Tony for Beauty and the Beast in 1994, purring “Dahhling, I told you so!” These were women that had their disagreements, yes, but ultimately shared their knowledge and congratulated each other for their successes.

Similar anecdotal goodwill can be found in Pat Zipprodt’s call to Ann on the night of the 1987 Tony’s – where Ann was nominated for Into the Woods – with Pat singing “Have wonderful night! You’re not gonna win! …[laugh] but I love you anyway!”

This well-wishing phone call is all the more poignant considering Pat was originally involved with doing the costumes for Into the Woods, in reprise of their previous collaboration on Sunday in the Park with George.

If, for example, Theoni instinctively is remembered for bright colour, one of the features that Pat is first remembered for is her dedicated approach to research for her designs. Indeed, the New York Public Library archives document how the remaining physical evidence of this research she conducted is “particularly thorough” in the section on Into the Woods. Before the show finally hit Broadway in 1987 with Ann Hould-Ward’s designs, records show Pat had done extensive investigation herself into materials, ideas and prospective creations all through 1986.

Both Ann and Pat worked on the show out of town in try-outs at the Old Globe theatre in San Diego. But when it came to negotiating Broadway contracts, the situation became “tricky” and later “untenable” with Pat and the producers. Ann was “allowed to step in and design” the show alone instead.

The lack of harboured resentment on Patricia’s behalf speaks to her character and the pair’s relationship, such that Ann still considered her “my dear and beloved friend” for over 25 years, and was “at [Pat’s] bed when she died”.

Though they parted ways ultimately for Into the Woods, you can very much feel a continuation between their work on Sunday in the Park with George a few years previously, especially considering how tactile the designs appear in both shows. This tactility is something the shows’ book writer and director, James Lapine, was specific about. Lapine would remark in his initial ideas and inspirations that he wanted a graphic quality to the costumes on this occasion, like “so many sketches of the fairy-tales do”.

Ann fed that sentiment through her final creations, with a wide variety of materials and textures being used across the whole show – like “ribbons with ribbons seamed through them”, “all sorts of applique”, “frothy organzas and rembriodered organzas”. A specific example documents how Joanna Gleason’s shawl as the Baker’s Wife was pieced together, cut apart, and put back together again before resembling its final form.

This highly involved principle demonstrates another manner of inventive design that uses a different method but maintains the aim of particularity as discussed previously with Patricia and Irene’s complex dyeing and re-dyeing process. Pushing the confines of what is possible with the materials at hand to create a variety of colours, shades, and textures ultimately produces visual entities that are complex to look at. Confusing the eye like this “holds attention longer”, Ann maintains, which makes viewers look more intricately at individual segments of the production, and enables the costume design to guide specific focus by not immediately ceding attention elsewhere.

Understanding the methods behind the resultant impacts of a show can be as, if not more, important and interesting than the final product of the show itself sometimes. A phone call Ann had last August with James Lapine reminds us this is a notion we may be treated more to in the imminent future, when he called to enquire as to the location of some design sketches for the book he is working on (Putting It Together: How Stephen Sondheim and I Created 'Sunday in the Park with George') to document more thoroughly the genesis of the pair’s landmark and beloved musical.

In continuation of the notion that origin stories contain their own intrinsic value beyond any final product, Ann first became Pat’s intern through a heart-warming and tenacious tale. Ann sent letters to three notable designers when finishing graduate school. Only Patricia Zipprodt replied, with a message to say she “didn’t have anything now but let me think about it and maybe in the future.” It got to the future, and Ann took the encouragement of her previous response to try and contact Pat again. Upon being told she was out of town with a show, Ann proceeded to chase Pat through various phone books and telephone wires across different states and theatres until she finally found her. She was bolstered by the specifics of their call and ran off the phone to write an imploring note – hinging on the premise of a shared connection to Montana. She took an arrow, stabbed it through a cowboy hat, put it in a box with the note that was written on raw hide, and mailed it to New York with bated breath and all of her hopes and wishes.

Pat was knife-edgingly close to missing the box, through a matter of circumstance and timing. Importantly, she didn’t. Ann got a response, and it boded well: “Alright alright alright! You can come to New York!”

Subsequently, Ann’s long career in the design world of the theatre has included notable credits such as: Sunday in the Park with George (1984) Into the Woods (1987, 1997) Falsettos (1992) Beauty and the Beast (1994, 1997) Little Me (1998) Company (2006) Road Show (2008) The People in the Picture (2011) Merrily We Roll Along (1985, 1990, 2012, segment in Six by Sondheim 2013) Passion (2013) The Visit (2015) The Color Purple (2015) The Prince of Egypt (2021)

From early days in the city sleeping on a piece of foam on a friend’s floor, to working collaboratively alongside Pat, to using what she’d learnt from her mentor in designing whole shows herself, and going on to win prestigious awards for her work – the cycle of the theatre and the importance of handing down wisdom from those who possess it is never more evident.

As Ann summarises it meaningfully, “the theatre is a continuing, changing, evolving, emotional ball”. It’s raw, it’s alive, it needs people, it needs stories, it needs documentation of history to remember all that came before.

In periods where there can physically be no new theatre, it’s made ever the more clear for the need not to forget what value there is in the tales to be told from the past.

Through this retrospective, we’ve seen the tour de force influence of a relatively small handful of women shaping a relatively large portion of the visual scape of some of Broadway’s brightest moments.

But it’s significant to consider how disproportionate this female impact was, in contrast with how massively male dominated the rest of the creative theatre industry has been across the last century.

Assessing variations in attitudes and approaches to relationships and families in these women in the context of their professional careers over this time period presents interesting observations. And indeed, manners in which things have changed over the past hundred years.

As Ann Hould-Ward speaks of her experiences, one of her reflections is how much this was a “very male dominated world”. And one that didn’t accommodate for women with families who also wanted careers. As an intern, she didn’t even feel she could tell Patricia Zipprodt about the existence of her own young child until after 6 months of working with her. With all of these male figures around them, it would be often questioned “How are you going to do the work? How are you going to manage [with a family]?”, and that it was “harder to convince people that you were going to be able to do out-of-towns, to be able to go places.” Simply put, the industry “didn't have many designers who were married with children.”

Patricia herself in the previous generation demonstrates this restricting ethos. “In 1993, Zipprodt married a man whose proposal she had refused some 43 years earlier.” She had just newly graduated college and “she declined [his proposal] and instead moved to New York.” Faced with the family or career conundrum, she chose the latter. By the 1950s, it then wasn’t seen as uncommon to have both, it was seen as impossible.

Her husband died just five years after the pair were married in 1998, as did Patricia herself the following year. One has to wonder if alternative decisions would’ve been made and lives lived differently if she’d experienced a different context for working women in her younger life.

But occupying any space in the theatre at all was only possible because of the efforts of and strides made by women in previous generations.

When Aline Bernstein first started designing for Broadway theatre in 1916, women couldn’t even vote. She became the first female member of the United Scenic Artists of America union in 1926, but only because she was sworn in under the false and male moniker of brother Bernstein. In fact, biographies often centralise on her involvement in a “passionate” extramarital love affair with novelist Thomas Wolfe – disproportionately so for all of her remarkable contributions to the theatrical, charitable and academic worlds, and instead having her life defined through her interactions with men.

As such, it is apparent how any significant interactions with men often had direct implications over a woman’s career, especially in this earlier half of the century. Only in their absence was there comparative capacity to flourish professionally.

Irene Sharaff had no notable relationships with men. She did however have a significant partnership with Chinese-American painter and writer Mai-mai Sze from “the mid-1930s until her death”. Though this was not (nor could not be) publicly recognised or documented at the time, later by close acquaintances the pair would be described as a “devoted couple”, “inseparable”, and as holding “love and admiration for one another [that] was apparent to everyone who knew them.” This manner of relationship for Irene in the context of her career can be theorised as having allowed her the capacity to “reach a level of professional success that would have been unthinkable for most straight women of [her] generation”.

Moving forwards in time, Irene and Mai-mai presently rest where their ashes are buried under “two halves of the same rock” at the entrance to the Music and Meditation Pavilion at Lucy Cavendish College in Cambridge, which was “built following a donation by Sharaff and Sze”. I postulate that this site would make for an interesting slice of history and a perhaps more thought-provoking deviation for tourists away from being shepherded up and down past King’s College on King’s Parade as more usually upon a visit to Cambridge.

In this more modern society at the other end of this linear tree of remarkable designers, options for women to be more open and in control of their personal and professional lives have increased somewhat.

Ann Hould-Ward later in her career would no longer “hide that [she] was a mother”, in fear of not being taken seriously. Rather, she “made a concerted effort to talk about [her] child”, saying “because at that point I had a modicum of success. And I thought it was supportive for other women that I could do this.”

If one aspect passed down between these women in history are details of the craft and knowledge accrued along the way, this statement by Ann represents an alternative facet and direction that teaching of the future can take. Namely, that by showing through example, newer generations will be able to comprehend the feasibility of occupying different options and spaces as professional women. Existing not just as designers, or wives, or mothers, or all, or one – but as people, who possess an immense talent and skill. And that it is now not just possible, but common, to be multifaceted and live the way you want to live while working.

This is not to say all of the restrictions and barriers faced by women in previous generations have been removed, but rather that as we build a larger wealth of history of women acting with autonomy and control to refer back to, things can only get easier to build upon for the future.

Who knows what Broadway and theatre in general will look like when it returns – both on the surface with respect to this facet of costume design, and also more deeply as to the inner machinations of how shows are put together and presented. The largely male environment and the need to tick corporate and commercial boxes will not have vanished. One can only hope that this long period of stasis will have foregrounded the need and, most importantly, provided the time to revaluate the ethos in which shows are often staged, and the ways in which minority groups – like women – are able to work and be successful within the theatre in all of the many shows to come.

Notable sources:

Photographs – predominantly from the New York Public Library digital archives. IBDB – the Internet Broadway Database. Broadway Nation Podcast (Eps. #17 and #18), David Armstrong, featuring Ann Hould-Ward, 2020. Behind the Curtain: Broadway’s Living Legends Podcast (Ep. #229), Robert W Schneider and Kevin David Thomas, featuring Ann Hould-Ward, 2020. Sense of Occasion, Harold Prince, 2017. Everything Was Possible: The Birth of the Musical ‘Follies’, Ted Chapin, 2003. Finishing the Hat: Collected Lyrics (1954–1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes, Stephen Sondheim, 2010. The Complete Book of 1970s Broadway Musicals, Dan Deitz, 2015. The Complete Book of 1980s Broadway Musicals, Dan Dietz, 2016. Inventory of the Patricia Zipprodt Papers and Designs at the New York Public Library, 2004 – https://www.nypl.org/sites/default/files/archivalcollections/pdf/thezippr.pdf Extravagant Crowd’s Carl Van Vecten’s Portraits of Women, Aline Bernstein – http://brbl-archive.library.yale.edu/exhibitions/cvvpw/gallery/bernstein.html Jewish Heroes & Heroines of America: 150 True Stories of American Jewish Heroism – Aline Bernstein, Seymour Brody, 1996 – https://www.jewishvirtuallibrary.org/aline-bernstein Ann Hould-Ward Talks Original “Into the Woods” Costume Designs, 2016 – https://www.youtube.com/watch?v=4EPe77c6xzo&ab_channel=Playbill American Theatre Wing’s Working in the Theatre series, The Design Panel, 1993 – https://www.youtube.com/watch?v=9sp-aMQHf-U&t=2167s&ab_channel=AmericanTheatreWing Journal of the History of Ideas Blog, Mai-mai Sze and Irene Sharaff in Public and in Private, Erin McGuirl, 2016 – https://jhiblog.org/2016/05/16/mai-mai-sze-and-irene-sharaff-in-public-and-in-private/ Irene Sharaff’s obituary, The New York Times, Marvine Howe, 1993 – https://www.nytimes.com/1993/08/17/obituaries/irene-sharaff-designer-83-dies-costumes-won-tony-and-oscars.html Obituary: Irene Sharaff, The Independent, David Shipman, 2011 – https://www.independent.co.uk/news/people/obituary-irene-sharaff-1463219.html Broadway Design Exchange – Florence Klotz – https://www.broadwaydesignexchange.com/collections/florence-klotz Obituary: Florence Klotz, The New York Times, 2006 – https://www.nytimes.com/2006/11/03/obituaries/03klotz.html

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tinderboxofsillyideas · 5 years ago

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ARTISTS! COMIC DUBBERS! ATTENTION, PLEASE!

I have a story for y'all and this story is not so bright and beautiful. I thought I would not talk about it in public, but I can't leave the situation like this, because it's important. I just have to do that, because I don't want people get in the same situation.

I will talk about you @undertalecomictv. No offence.

One year ago I get a message from David - owner of "Undertale Comic TV” and "Sans Comic TV" on YouTube. He asked me about promotion and using my videos (animations and memes) on his channels. I had a terrible headache at that day and this offer was a little bit strange to me. I asked to clarify how it supposed to work and for some reasons I said "yes" at the end. That was a dumb decision, because I didn't realize what I'll get and why I even said yes. But I don't have any regrets, because I can say a lot of things now. This how our first dialogue looked like:

I have to mention – we DID NOT talk about comic dubs as well, I just made a suggestion like "It will be cool to see comic dubs from you in the future, but that's just a thoughts". We did not talk about any agreement, I just said it and that's all. After half of the year, I got a message with dub of one of my Kustard comics. I was happy to see it, because this dub was very cool and this was the first time when somebody made a dub for me. I was too happy and did not see what I missed. I just… enjoyed. They leaved a links on me in the description and in the video too, so that was totally fine and I shared this dub with my followers in both communities – foreign and Russian.

All was good, I got a couple of more dubs, and I loved them really much, but in one day I saw something what made me feel like "???". I saw a video on SCTV with a frame from my animation (Bloom meme). It was used as a thumbnail, with erased reply from echo flowers. This video contained comic of my friend @nsfwgarbagedump

The most important – there was a several pages what me and @hakkids has colored. In this video was no credits in description. Only nicknames of Crude and me (Hakki was not even included but we worked together on coloring and we're still making colors for the rest of the pages). I was confused, because frame from animation was cropped out of my video (I did not post this pic anywhere, I remember that). When I gave a permission to use my videos I did not think they will be used in this way. That's just not nice.

I saw a part two and there was my art again, but none of my content in the video. There was rest of b&w pages and I can't understand why my art was used for the thumbnail if there's none of my stuff in the video. They could use one of the pages or frames from comic for a thumbnail, but they used my stuff because it looks good? That's a clickbait, you know?

Crude had a conversation with them and after that they deleted their comic, both of the parts. I was sad about the fact they did not leave the credits on us like LINKS, because some of the people having a problems with searching artists, and that would be better to leave the links, not only nicknames:

I was too disappointed and had a thought about ask them to stop making dubs on my stuff. I messaged them with this offer, even if I loved their dubs before – there was no way out. I got an answer like this:

After that, I was confused a bit more. They made a dub of our modified Kustard before in one of the compilations. I was happy to see that at first, but Hakki told me one thing, which turned all the tables. They messed up with voices and some specific details, includes the fact they DID NOT asked about permission from Hakki about using Ras (modified Red) in the dubs. Yes, those comics was made by me, but Ras belongs to Hakki and I got a permission to use him in my stories, because hell – we are friends, so we allowed to use our boys in our comics.

If somebody giving you a permission to make comic dubs (but they did not get a permission from me on this either if we look at the situation a bit closer) you have to ask again before using Fan-Characters/Original Characters in dubs. They can have some specific differences and it's always better to ask. Much better to send SAMPLES too, because some people can be picky. If you don't want to make all those "difficult" stuff – just do not touch FC's and OC's. And ask ALL the artists if you want to make dubs with two (or more) characters which belongs to different people. The first one can say "yes, sure!" and the second one can be against it. Respect people! Ask them about their characters!

I asked to delete all the videos with our modified Kustard (or at least cut out the fragments with them), and when I told this was not only my desire, I got a message which made me super confused and angry at the same time. I got an excuse like "we worked so hard, give our permission to keep your videos". I was triggered about it, because I'm already told about the reasons why I asked to delete those videos.

I told about that again and said about I worked hard too, because that's true. Artists spend a lot of time when they working on one picture, so that's no need to talk about making comics or animations. So I had to ask to delete the modified Kustard, OR I'll ask to delete ALL my stuff from the channels. If they'll refuse – I'll strike them down. You can see my full answer below:

And who knows what I will get on my simple ask to delete only modifications…

I don't know, maybe I'm cruel piece of garbage or what, but I HATE when people use excuses like family and stuff. That's super lame and I can explain why I think in that way. You know, all of us have families, somebody has children too but people didn't use this fact as an excuse to make shit and break the rules. If you have a sweetheart and babies – how can you use them like this? It looks like you're only worrying about yourself, and did not want to pay attention to feeling of the artists which works you're using in dubs. I can understand all those things, because I have a family too, just like other artists do. I even have some ill people in my family and we have to pay big amounts to help them, plus bills, buying food, etc. BUT! I DID NOT use all this stuff for this kind of situations! I just continue to work and that's all!

That's the same situation like ask the artist to make you an art for free because you're poor little creature and you have no money to pay for your bills, clothes, etc. NOBODY have to work for free and nobody have to break the low to get something what they want! That's an awful shit, don't do that!

About monetization, huh? You know I don't like liars, I disrespect them, but I disrespect the greedy ones liars even more. My videos was monetized on those channels and NOBODY WARNED ME ABOUT THAT. I just got an excuse like "I asked some artists in the past and they was okay with monetization". Well duh? If one person said "yes" that doesn't mean you can just being a sly shit and don't ask people about monetization their content ever again. You HAVE TO ask artists about that! Somebody can be against it! This content is NOT YOURS, so that's terrible to make moneys on works of artists who probably get NOTHING for their works. Nothing but love and appreciation, and sometimes they even doesn't have this too. And that's sad.

I can understand you have to pay dubbers for their voices and work, David, but you had to ask about monetization anyway. That's just not cool. I don't know about people in your crew and I don't know are they even know about that, but I'm really disappointed. I can say thanks to Jordan Woollen for his voice. Btw – he's good in voice acting and I can be grateful to him for those minutes of happiness. I don’t think that is his fault.

If keeping of these channels is too hard for you – maybe you should find something what will fits you more? Something where you will not need to lie to people or making something like this. I dunno, maybe you can be a better person? Or you just like to make people feel bad or thinks about they're cruel with you… Who knows? You told my stuff has been deleted from your channels, but you didn't. Some of the videos are hidden, and I can see that because I have links. So why are you lying to me again? Just delete them, I'll not allow to bring them back. Because I can't trust you now.

Limited is not the same thing as deleted, my friend.

That was heartbreaking. I LOVED those dubs with all my soul and I couldn't even imagine all will end like this. I just disappointed and this story was broke me on a couple of days. But after I recovered myself, I decided to make this post. I just can't hold it in my soul anymore…

If I got a true apology with something like "yes, I understand how hard to be an artist and how much strength you spent to make arts and comics, so I'm sorry. It was my mistake that I did not tell you" maybe I could allow you to continue to make dubs. But you started to feed me with excuses about how hard that was for you. You totally forgot about my feelings. I don't have any hate to you, David. And I don't call people to hate you for what you've done. I just told them my story. Maybe you lied some of them as you done with me, and now they will decide what to do by themselves. But think about it and stop acting like this to people. Please.

Dear voice actors, I begging you – please, ask permissions before making dubs, talk with artists about all the issues. Ask them about monetization, about their characters, credits, etc. Please, respect their feelings and make a good things! I love dubs and I'm always want to support good dubbers, so don't play with feelings of people. We're doing are best to make a cool stories which you could dub. And some of us ready to pay you for this. Because you’re bring some good vibes with your dubs when you making them with love and desire.

Dear artists – be careful with some kind of offers. Talk with dubbers and ask them about everything. Do not be shy to make it, and if you don't like something – tell them about it before it's too late. Don't be such a softie like I was.

Guys, do not be a dicks, respect each other and try to become better on the next year. Artists, comic dubbers – y'all great while you respect the work of each other. We all have hard work, so be good people and don't lie to anybody. Thank you for your attention, Marry Chrysler and happy holidays!

#long post #signal boost #text post

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currentfandomkick · 5 years ago

Text

Miraculous and the Batboys - Week 3

So i am back(ish) and I bring the Update. Editting is for those with patience and time that i lack. ao3 link HERE

A weekend dodging Gina was… eventful. Even moreso when celebrating ‘No More Gabriel Brand’ time was cut short by a barrage of akuma.

All weekend.

Marinette is convinced the man has too much free time.

She would admit (ONLY when no one else was around) that having someone else checking info during battles was nice. Out of the visiting bats, she had come to rank them from least to most irksome: Red Robin (most helpful), Nightwing (helpful), Red Hood (… he was slightly less annoying—he seems to understand she is the leader of the team) then Robin (who can’t get that she knows what she’s doing, AND hurts the minions more than necessary).

Okay, maybe she’s holding a grudge from when they first met (Tikki enjoyed reminding her of that new found habit—grudge holding) but you don’t go around calling a bunch of magic jewelry powered superheroes incompetent before finding out what they’re fighting and how they have to fight!

And yes, this is a hill she will die on.

Chloe and Adrien are in full agreement, well, Queen Bee and Chat Noir are.

“Are you sure we can’t just…” Chat gestured with his eyes to where Robin was perched at the edge, “just a little?”

Marinette didn’t answer him. She turned to Queen Bee. “You need to influence chaton less.”

“Never.”

Tim almost collapsed when he saw Marinette on her own. Why?

Because he was Certain that he saw a, a red thing—creature? Poke something out of her purse.

Red was Ladybug’s color. Yep. She’s. Yep—mini Red Robin hard since he’s pretty sure she’s avoiding someone too.

She was too—he knew for a fact she’s avoiding Gina excellently (either hiding at the hotel with Chloe, the teashop or one Adrien Agreste and his… legal cousin but Tim is certain there is something off about that with the Holy Doopleganger Batman! Vibe he got from checking out the pair’s apartment. He now had a fun thing to look into when he’s bored and tired of Hawkmoth Shenanigans).

She’s also… yep. Dodging a bunch of teens he’s certain are her classmates.

And… Damnit demon spawn!

Marinette managed to disentangle herself from class parkour (miraculous training as civvies) when she got a text from Damian.

Apparently he wanted to ask how she was handling the whole… Thing with Bustier and Lila.

She wonders if he’s dealt with bullying too, and was looking for advice. She was certain hers was crap, but she did say she’d be around so…

She met up with Damian not too far from the park at a café, nothing fancy, and waited for him to start once they’d placed their orders.

“I know it is a personal matter and not my place to ask, however I would like to know how you have managed to endure the repugnant behavior of our teacher and the harlot.”

Marinette forgot she should think before responding.

“Pretty sure whores and sex workers are paid. She’s more con artist for attention than anything else.”

She missed Damian’s response as the waiter put down their drinks and raised an eyebrow at them.

“Remember the girl that framed me a while back and tried to expel me the first Scarlet Moth round?”

“Ah.” The waiter turned to Damian then. “Don’t insult whore by putting them in with that, well, work and I see my boss so I can’t say what I want again, but we both know what she is, and whores are no where near that level. Politicians, most, whores? No.”

Marinette snorted into her drink as they left.

“And to answer your question, well, I don’t really have a choice.”

Damian narrowed his eyes at that.

Marinette could feel his eyes on her, but couldn’t meet their gaze with this topic. (It still hurt, even though it’s a been years since it began.)

“Lila had everyone charmed or uncertain if she was lying until two weeks ago. Bustier said I had to be a good example and class representative putting that above everything else in my life. Even though everyone knows I’ve been helping run three different businesses on top of handling my program and own business and clientele, and help take care of Fu with a few other small business kids. Nothing could come before the class’s harmony—nothing.”

Marinette took a small bite of her pastry.

“So I saw someone who could force her to listen or have to deal with actively and knowingly violating anti-akuma laws—something she’s only managed to narrowly avoid since, well,” Marinette gestured to herself. “I got tired of constant akumas in class and managed to convince the school board as my last act as class rep to require daily and weekly mental health checks and mitigate potential akuma triggers during weekly checks, daily being more ‘answer these questions honestly’ for stress levels. The system flags major changes, and the students affected see one of the counselors immediately to find ways around what’s bothering them.”

Marinette missed Damian staring at her for that, or how his mouth opened ever so slightly.

“When I stepped down, everyone noticed I wasn’t comfortable alone with Bustier, so it became a rule to stop it whenever they could. The other classes are field specialty and ours is the only one for people doing more than one program or close to.”

Marinette looked up at that with a smile. “Fashion is my official program, but since I do so much business outside of school, I kept having to take classes to help out early on. I never enrolled in the program officially like Chloe did, but the school has me credited as able to graduate with both programs, so until they can justify opening another multi-program class, I’m not allowed to transfer out of the class and stay in Dupont.”

Her eyes hardened when she said, “And I’m not letting a liar and a Bustier be the reason I left the only school that’s willing to go as far as they have for me program-wise—especially not when I only have a year left.”

Damian nodded at that, deciding he’d have to sic Drake on the harlot either way… perhaps Todd and Gina too. He was feeling spiteful.

Marinette decided that when she meets Hawkmoth, she is not only punching him in the face, she is going to do, she doesn’t know exactly what (Tikki has a few ideas that Marinette is certain involve torture) but it will hurt.

Why?

Third akuma on a Sunday. THIRD! What is this man not doing that he was before? She wants to know since whoever freed up his time is on her list now.

Robin was being less annoying (re: tracking the akuma and leaving the minions less battered than usual) while Red Robin was helping the police evacuate affected areas with Nightwing. Somehow Red Hood got it in his head to stick with Chat for “on the job training” her team is trained asshole and she is debating how far she should go when they finish off Hawkmoth for good.

Monday was… interesting. The emancipation was approved—Adrien Agreste legally required no legal guardian.

When Gabriel tried to fire Gorilla, well, Adrien pointed out Gorilla had been in Adrien’s employ this whole time as mother hired and paid him from her accounts. Which transferred to Adrien when she was declared dead.

Marinette dreaded the akuma Hawkmoth might cook up using Gabriel. How he wasn’t akumatized again was anyone’s guess.

Class was…

“So last night Damiboo said—“

Marinette put her head on her desk, and decided to raise an eyebrow at a… for some reason ill-looking Damian.

“Is it because you guys share a name?”

Damian blinked.

Adrien turned around then. “Or because someone has commitment issues.”

Marinette squinted at Adrien because… “What?”

Nino sighed. “Adrien is on another MatchMaker spree.”

“ah. Who are the victims?”

“Not touching it dudette, not touching it.”

Marinette snorted. “It’s not like he’s going to match anyone with well,” Marinette gestured at herself.

“Your infamous army.”

“They are not an army.”

“How many ‘relatives’?” Nino used air quotes.

Marinette narrowed her eyes. “Well under a hundred thousand, so not an army.”

“I am counting the fans.”

Marinette scoffed. “They do not count.”

“They do, and I’m pretty sure Adrien’s fan girl army is applicable.”

“Okay, just because they made up titles and help out during akuma evacs does not make them an army—they’d need weapons training, clear chain of command, coded strategies—”

“And the fact you know this only proves my point, you have an army.”

“Who has an army?” Chloe asked as she walked over.

“Marinette.”

“I do not!”

“You do,” Chloe agreed. “Kim!” the boy looked over at that. “Marinette’s ‘family’ is a small army.”

“I, yes?” Kim’s face scrunched up in confusion. “Any one that picked her up had how many knives on them when we were kids?”

Damian turned to her with a suspicious eye.

She blushed. “Nonna’s friends.”

Damian nodded slowly.

Marinette wondered if the earth could just… swallow her up now.

The rest of the week was in a similar vein. Constant attacks, the batboys helping, her class being weirdly fixated on her family (they aren’t violent, just… prepared.)

Her gymnastics classes were a godsend, and her instructor was checking up on her more than usual, but that might be her more or less running her own classes and lessons as she worked out her routine, music choice, and requirements for her teammates and partners for her routines on trapeze.

Tim was around more. He got it in his head that she needed “guidance” (and okay, she does) on how to conduct corruption investigations into the whole company’s practices and staff.

Then there was Damian being… distant? She was busy but they weren’t talking as much as they were at first and fine, whatever, she got it. She’s not someone he wants to be around…. It happens.

It just… hurts a little is all.

At least she had Adrien and less secrets there. He was fixated on Damian having “commitment issues” and she thinks he’s trying to set him up with someone (Chloe maybe? Why else would he be this focused…. It’d be interesting explaining she’s pretty sure Chloe like girls better than boys and that Damian isn’t her type. At a later date—she’s too busy to now).

Then she had chores and was called in for a hearing on Bustier which was… interesting…. (her duties weren’t too bad for class president. she wasn’t making lesson plans or anything. The role model and forgiving everyone for hurting her and being told to let Lila walk all over her for years was not okay at all, but any teacher would have said that, right?)

Oh and Gina was now convinced Marinette needed protection and now semi-stalking her (Jason was weirdly close to Jason now and talking to him a lot). So random Grandma Attacks when she wanted to draw in Peace.

Lord Murder was her best stress buddy, and Gina is now well acquainted her. She was also given Gina’s Seal of Approval to take over her house for the purposes of keeping Lord Murder and staying there once her current tenants were out (no seeing it until then… unfortunately. She did get dimensions for cat things though. she may browse a bit obsessively… only a bit.)

Tim froze when he ran into Jason with Civilian Chat Noir. And a giant man (Gorilla). At their base. Playing videogames.

“Hey Tim, this is Adrien, Adrien, Tim. Adrien is your mini’s buddy and this is the guy that keeps the harpies away, Gorilla—yes he refuses to tell me his real name—and they’re family now. B can suck it.”

Adrien waved at him before turning back to the game. “I have no idea why he keeps saying that.”

Tim took a deep breath. Apparently adopting strays was just another Bat-thing. “So its nurture, not nature.”

Damian came out, sighed when he saw the group still there, and took a drink into his room while saying. “I did not adopt him.”

Adrien looked back at him then. “You have too many commitment issues to. Don’t worry, though, I’m good at destroying pesky problems like that.”

Tim blinked at that.

Damian sighed as they had this conversation too often now. At school and apparently, his home now. “I am not going to—”

“That’s just your fear talking—we both know that.” Adrien spoke like he was talking to a petulant child. “Why don’t you text your friends and see what they think since I already know the answer and you need more convincing.”

Damian narrowed his eyes. “Jon thinks you are annoying.”

“I’m a delight.” Adrien turned back to his game then.

Jason grinned proudly next to him. A bit too much like a proud parent for Tim’s comfort. (He may also be realizing his keep-his-mini-from-Damian-dating may end up in vain thanks to one Adrien Agreste(?))

Dick sent Bruce exactly (1) update: You are a grandpa now—Jason has a blond cat-hero son who can’t dodge.

Bruce may have had a small heart attack as now he has a magic grandson that he never met, apparently controls raw destruction, and is deeply traumatized. (It was the grandpa part that freaked him out—the rest is par for the course as Batman. He’s a Grandpa Alfred—he’s too young for his children to pull a him and adopt tiny traumatized children and train them into (heroes) vigilantes. Alfred stop laughing, he’s being serious!)

-------------

HEY so thanks for patience with the updates as life is Extra Hell now between puppy training when i'm finally home and work being Extra Hell with longer shifts and more to do during.

And before anyone asks about the peacock!marinette thing, look at the two series I have going with Bronywn as those are ongoing as my stress writes.

Any preferences for next update? Open to ideas as my mind is too stressed to do more than work off a prompt of some kind for the time being, and next to none of this story has been planned so far, so ideas are very welcome to keep it moving forward.

@worlds-tiniest-spook-pastry @littleredrobinhoodlum @northernbluetongue @kceedraws @pirats-pizzacanninibles @theatreandcomicfreak @daminett4life @catthhay @weird-pale-blonde-person @amayakans @chocolatecatstheron @tired-butterfly @multplelifes @yin-390 @area51qt @toodaloo-kangaroo @bzz75 @ilovefluffbutsmutisalsogreat @freshbark @soup-served-chilling @daminett4life @smolplantmum @karategirl119 @goblinwhoships @melicmusicmagic @maribat-is-lifeblood @spartanxhunterx @maribat-is-lifeblood @toodaloo-kangaroo

#maribat #daminette idea au #miraculous team and batboys #my writing #my writings #long post #somehow still alive

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comicteaparty · 5 years ago

Text

May 2nd-May 8th, 2020 Creator Babble Archive

The archive for the Creator Babble chat that occurred from May 2nd, 2020 to May 8th, 2020. The chat focused on the following question:

What are some of the weirdest things you've Googled while researching for your story?

Cronaj (Whispers of the Past)

For Whispers of the Past, the weirdest thing I googled was probably: "puncture wounds versus lacerations" and "chance of survival after getting stabbed." Pretty sure I also looked up: "treatment for arsenic poisoning," "lethal dose of arsenic," "arsenic in nature," "broken ribs symptoms and treatments," "pneumothorax," "can a horse kill someone by trampling them?" and "how far can you fall without dying?" Basically, just a bunch of medical questions. For another story, I think the weirdest thing I looked up was, "can you take antidepressants and sleeping pills together?" More medical questions

carcarchu

@ cronaj's answer "i swear i'm an author not a serial killer"

Eilidh (Lady Changeling)

Hmmm.

shadowhood (SunnyxRain)

I think for me was searching up symptoms of PTSD, eating disorders, and also victims of cheating

Eilidh (Lady Changeling)

Probably that time trying to research poisonous substances available in Victorian and earlier households with potentially fatal results if ingested but not immediate, and their symptoms/treatments

The answer, incidentally, is that most of them aren't treatable if you've had a high enough dose to get symptoms.

And non-lethal doses tend to have unpleasant long term effects

Deo101 [Millennium]

I don't remember all the crazy stuff I've looked up. What's popping into my head at the moment, though, is I did almost a month of research into time travel paradoxes for a plot that I ended up not using! So that's fun

Eilidh (Lady Changeling)

Also that Victorians kept arsenic (a white powder) in the same place as sugar (a white powder) in often unmarked containers since literacy was low and labels only work if you can read them

There was far more accidental poisonings from putting arsenic in your tea than I can count

carcarchu

what about having a picture of a skull and cross bones on the arsenic tin

Eilidh (Lady Changeling)

I think it was arsenic. Maybe cynanide...

Ahaha

You'd think so wouldn't you?

That's not even going into the whole thing about green dyes for clothing being made from arsenic as well I think and being uh

Literally fatal to wear?

Well done, Victorians.

Let me grab y'all a source for that one

https://youtu.be/K2McemVuG28

Here you go!

shadowhood (SunnyxRain)

Oh my god what the

Them victorians are so morbid

Did you know that they have a garden of poison

Eilidh (Lady Changeling)

Welcome to writing historical!

Yes I did

I wanna go

But yeah go back a century or two

Literally everything seems to be poisonous

shadowhood (SunnyxRain)

Arsenic, radium......damn they don’t follow WHMIS

carcarchu

wasn't even that long ago when they were putting mercury in everything

Eilidh (Lady Changeling)

Including NORMAL FOOD

shadowhood (SunnyxRain)

And toys

Kids were playing with them

Eilidh (Lady Changeling)

Oh the Bradford Sweets Poisoning was a whole thing!

Hang on

https://en.m.wikipedia.org/wiki/1858_Bradford_sweets_poisoning

This one is uh

Definitely worse

carcarchu

bruh

Eilidh (Lady Changeling)

Yeah

There's so much of this...

It's amazing humanity made it this far

So yeah that's what I've googled

shadowhood (SunnyxRain)

Would that...even fly here nowadays

Eilidh (Lady Changeling)

What the arsenic

Nooope

shadowhood (SunnyxRain)

Hooooo god that is mildly terrifying

Like I make sweets for a living

I don’t even want to think how I’ll feel if I accidentally poisoned 200 people

Eilidh (Lady Changeling)

It did lead to modern food hygiene laws and much better regulations on chemists being responsible for their supplies

But yep

shadowhood (SunnyxRain)

I remember someone telling me “Behind every rule/regulation was someone who got hurt or died”

Eilidh (Lady Changeling)

Yeahhhh

Sometimes also where there aren't rules because hahaha some companies are shit

shadowhood (SunnyxRain)

Yeah it’s sucks and it’s even worse because you KNOW they’re just pushing the limits

Eilidh (Lady Changeling)

Capitalism has always been like that, it's just people can see it a bit more now

shadowhood (SunnyxRain)

Yeah, the age of information has really exposed the nasty side of things huh Hmmm I think I’ve studied something really different for my webcomic. I was looking into the justice system and how it treated minors

And I had to look up burn victims/homicides soooooooooooo

Eilidh (Lady Changeling)

Whoops sorry for the ping, I thought you said mirrors not minors and was gonna ask

shadowhood (SunnyxRain)

Oh god that would be....completely different

Eilidh (Lady Changeling)

I'm writing about vampires, mirrors are more common (concept and word)..

shadowhood (SunnyxRain)

Yes! I think it’s because back in the day silver was used in mirrors and that’s why you can’t see a vampire’s reflection

Tuyetnhi (Only In Your Dreams!)

weirdest thing I searched so far is about er the male modeling industry and how they have to slap cheeks and junks to get the body to fill in clothing

and I wondered "do I need to do a deep dive in this or"

Nutty (Court of Roses)

I tried to look up what damaged vocal cords looked like, so i could show it when Count Bailey got poisoned, but I mostly got body camera shots inside a person's throat, so I had to largely wing it by darkening the veins in his neck lol Other than that, I have to look up Irish slang a lot, as Merlow slips into it more when he gets drunk.

Eilidh (Lady Changeling)

I have a twittee thread somewhere about mirrors and vampires

shadowhood (SunnyxRain)

Okay tuyetnhi I’m a bit more...disturbed yet intrigued by that idea. Nutty yes I noticed that! I liked that small detail actually And Eilidh, i would love to see that twitter thread

Tuyetnhi (Only In Your Dreams!)

Yeah, I ended up making a deep dive and ho boi

it's darker than I expected LOL

Eightfish (Puppeteer)

I tried to look up people getting crushed by cars or falling objects but the videos were very blurry and made me dizzy so I just went fuck it my comic's not realistic anyways I'm winging it

FeatherNotes(Krispy)

Probably an extensive search for all things occult? Its such a wide topic so it was daunting to sift through everything, but also really cool to see so many different cultures have been influenced by such things! Ive read some excerpts about the sixth sense and human capabilities too, very interesting!

Cronaj (Whispers of the Past)

@Tuyetnhi (Only In Your Dreams!) That is the most splendidly weird research I have heard of

Tuyetnhi (Only In Your Dreams!)

I was trying to research for one of my characters and i'm just

the things they do

I scream everyday

Eightfish (Puppeteer)

lol tuyetnhi got me to look it up but all I can find is stuff about sexual assault

Tuyetnhi (Only In Your Dreams!)

that's what I mean

Eightfish (Puppeteer)

shadowhood (SunnyxRain)

Whoa okay

That’s really dark

Like I had to look up abuse relations

DanitheCarutor

Oh geez, I've looked up a lot of stuff. Recently I Googled public bathrooms and backs of toilets because I'm too lazy to get up and look at my own toilet. SAECKs/SAKs, the price with and without insurance, how it works and if men can use them. (Which was kinda sad that I didn't know they could although the resource was surprisingly hard to find, all except one link I found were about women using them.) I've looked up medical stuff like the different stages of certain cancers, their symptoms, treatments and other things involves like their effect on the person's mental health, if things like physical therapy is needed and the effects of the treatment along with the types of treatment needed. Also the cost with and without insurance, as well as cancer treatment facilities for people with low income. Various mental illnesses/disorders, the different types treatment, the effects of the treatment, as well as cost and facilities that offer free/cheaper treatment for people with low income. Lactose intolerance, celiac disease, gaslighting, trauma brought on by abuse. Things like the mental effects of children taking on adult responsibilities early on, growing up with lack of stability and human trafficking. Types of physical abuse that doesn't leave obvious bruising/scarring, psychological abuse (outside of gaslighting). Court stuff, like legal charges for attempted murder, court procedures. Caregiver programs for family members caring for someone with a severe mental illness. What actions are taken when someone files a charge for being drugged against their consent and the steps that need to be taken if your ID and credit cards/debit cards have been stolen, as well as what the police need do in those situations. Gosh, I can go on and on, just go on forever about all the things I've researched.

Most of it is medical and mental health related.

I feel this is fitting for some of the subjects we've Googled.

DanitheCarutor

Wow, I didn't realize how much I looked at the cost of stuff. Like a good chunk of my research has been dedicated to what different insurances cover, how much, the base price without insurance and payment plans for people in the latter category. I guess the upside is I'll have some knowledge on the different insurance companies if I ever get to a point where I can get it, as well as payment plan options if I'm ever hospitalized.

LadyLazuli (Phantomarine)

Googling images of cadaver hands for reference was... not a pleasant experience

mariah (rainy day dreams)

Most recently I was looking for heart dissections. I had to take a break cuz I was making myself feel sick X')

shadowhood (SunnyxRain)

Searching up burn victims was not fun either

shadowhood (SunnyxRain)

also this has made me realize that artists can be a very morbid bunch

Tuyetnhi (Only In Your Dreams!)

yeah like dang ya'll lmao

keii’ii (Heart of Keol)

I know someone who had to look up (a bit gory) "can you strangle/hang someone with your intestines"

Eightfish (Puppeteer)

Chances are the audience is not gonna know either so

dunno how much accuracy matters in this situation :p(edited)

shadowhood (SunnyxRain)

I mean....unfortunately I know what it's like to see a drowned corpse So if it's accurate....I would...strangely appreciate it more?

Like you never know your audience

DanitheCarutor

When I was first starting to dabble in comics I was attempting this dark fantasy/mythology-ish story that would have some gore. I looked up stuff like "skull being crushed", "what does 'x' limb look like when being ripped off", "what does a corpse look like after sitting for 'x' many days". Most of my searched led me to the Best Gore site, which is totally recommended if you need references for your gory horror comic, but is NOT a site for the faint of heart. You will most likely get sick from the content... and the comment section.

Oddly enough, when I used to do the occasional stand alone gore-ish illustration I'd get 1-2 comments with people being grateful for the accuracy. It's... interesting that they would know what would and wouldn't be accurate with stuff like that.

Cronaj (Whispers of the Past)

Oh, I looked up burn victims before.... Yeah, I've looked up a lot of weird stuff.

chalcara [Nyx+Nyssa]

I had to look up fresh and healed burnscar myself for a comic, a character survivived a housefire.

Most of the time I am googling history actually - and mostly tech-levels of a given time and what was contemporary with what - guns and knights for example co-existed for quite a few decades, that kind of stuff.

Deo101 [Millennium]

Y'know I'm thinking about it more, and I'm realizing why I can't recall the weird stuff I've looked up. I usually ask people for information! I know a lot of different kinds of people who are more than happy to talk about their experiences, so I can ask them for first hand experience with a lot of situations where I then don't really need to look up much other than to maybe fill some holes I have. It's a different kind of research

Cap’n Lee (Flowerlark Studios)

Huh, the weirdest thing I’ve googled? Well, there’s the ever-uncomfortable ‘Googling certain body types for reference but probably looking like a creep to anyone who looks at my search history’. I’ve also googled very oddly specific things like ‘What is a 5-cube called?’ (It’s a pentaract). I’ve also watched videos that demonstrate how a bump key works, and to my FBI agent, I swear it was only for my comic. My search history gets pretty eclectic. I look up a lot of religious lore, and do lot of research into medieval times - mostly about the daily life of the average peasant. Also things like quantum physics, customs in other countries, and animal facts.

Cronaj (Whispers of the Past)

Just realizing that I once researched "medieval brewing." That was an interesting train of information.

Erin Ptah (BICP | Leif & Thorn)

For a lot of gruesome or dangerous scenes, I try to aim the search toward movies and TV screencaps. Like, if you need to draw a crashing car, find a series with a dramatic car chase where they slammed a stunt car into a wall in high-def slow-mo.

kayotics

I think the weirdest thing I looked up was trying to figure out the answer to the question “is the gas released by decomposing bodies flammable? And if so how much gas do you need?”

eli [a winged tale]

now I’m curious what’s the answer

kayotics

The answer ended up being that if there was enough gas being created it was probably not enough to be flammable: aka it would not light up the room.

I ended up asking a friend who knows more about decomposition to figure out the answer, but I just wanted to make sure if a character brought a torch into a musty murder basement, it wouldn’t light them up like a Christmas tree

Mostly: it gets smelly and stale

eli [a winged tale]

Good to know!

Joichi [Hybrid Dolls]

Hmm I think the wierd thing I looked up was whether Smile Therapy was a real practice? There are Photos too and I have a feeling it was real. Another thing I look up was; How would a real lady pirate dress in historical times? I did alot of extra research for some little visual hints.(edited)

I feel like Mob psycho nailed the creepiness of Smile Therapy because they were patients forced to pretend to smile, that's what I envision each time. That ep stayed with me(edited)

Tuyetnhi (Only In Your Dreams!)

oh my god

Miranda

What is that picture from?? it's creepy haha(edited)

snuffysam (Super Galaxy Knights)

mob psycho 100

shadowhood (SunnyxRain)

smile therapy is terrifying. Imagine getting punished if you didn't smile

in the end you'll be smiling as a conditioned reaction to fear, not because it's genuine

Joichi [Hybrid Dolls]

Yes exactly, the original one was hard to record so the Google was ambiguous about its existence but there's photo proof that it was a thing

#ctparchive #comics #webcomics #indie comics #comic chat #comic discussion #comic tea party #ctp #creator interview #comic creator interview #creator babble

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tasksweekly · 6 years ago

Photo

[TASK 121: THE POWHATAN CONFEDERACY]

In celebration of November being Native American Heritage Month, here’s a masterlist below compiled of 16 Powhatan faceclaims categorised by gender with their occupation and ethnicity denoted if there was a reliable source. The Powhatan Conederacy refers to numerous tribes from the Virginia, Maryland, New Jersey, and Washington DC area whom once formed a powerful pre-Columbian confederation. If you want an extra challenge use random.org to pick a random number! Of course everything listed below are just suggestions and you can pick whichever face claim or whichever project you desire.

Any questions can be sent here and all tutorials have been linked below the cut for ease of access! REMEMBER to tag your resources with #TASKSWEEKLY and we will reblog them onto the main! This task can be tagged with whatever you want but if you want us to see it please be sure that our tag is the first five tags, @ mention us or send us a messaging linking us to your post!

THE TASK - scroll down for FC’s!

STEP 1: Decide on a FC you wish to create resources for! You can always do more than one but who are you starting with? There are links to masterlists you can use in order to find them and if you want help, just send us a message and we can pick one for you at random!

STEP 2: Pick what you want to create! You can obviously do more than one thing, but what do you want to start off with? Screencaps, RP icons, GIF packs, masterlists, PNG’s, fancasts, alternative FC’s - LITERALLY anything you desire!

STEP 3: Look back on tasks that we have created previously for tutorials on the thing you are creating unless you have whatever it is you are doing mastered - then of course feel free to just get on and do it. :)

STEP 4: Upload and tag with #TASKSWEEKLY! If you didn’t use your own screencaps/images make sure to credit where you got them from as we will not reblog packs which do not credit caps or original gifs from the original maker.

THINGS YOU CAN MAKE FOR THIS TASK - examples are linked!

Stumped for ideas? Maybe make a masterlist or graphic of your favourite faceclaims. A masterlist of names. Plot ideas or screencaps from a music video preformed by an artist. Masterlist of quotes and lyrics that can be used for starters, thread titles or tags. Guides on culture and customs.

Screencaps

RP icons [of all sizes]

Gif Pack [maybe gif icons if you wish]

PNG packs

Manips

Dash Icons

Character Aesthetics

PSD’s

XCF’s

Graphic Templates - can be chara header, promo, border or background PSD’s!

FC Masterlists - underused, with resources, without resources!

FC Help - could be related, family templates, alternatives.

Written Guides.

and whatever else you can think of / make!

MASTERLIST!

Gayle Yiotis (1942) Pamunkey - actress, producer, director, and editor.

Karenne Wood (1960) Monacan - poet, writer, and historian.

Mickie James (1979) Mattaponi, English, Scottish - professional wrestler, singer, actress, and model.

Janelle Olafson (1989) Icelandic, Dutch, English, French, German, Irish, Scots-Irish/Northern Irish, Scottish, Welsh, as well as remote Cornish, Unspecified Powhatan, Swedish, Swiss-French, Filipino - beauty queen and model.

Kiiara (1995) Swedish, German, English, Irish, Scottish, Welsh, remote Nansemond / Irish - singer and songwriter.

Azie Dungey (?) Pamunkey, Mattaponi, African-American, Unspecified White - actress, comedian, and writer.

Monique Mojica (?) Rappahannock, Panamanian [Kuna] - actress, director, and playwright.

Isabelle Kelley (?) Monacan / Unspecified White - WatchCut employee and producer.

Kianga (?) Haliwa-Saponi, Nansemond, Tuscarora, Mi'kmaq - artist, blogger and Instagrammer (mskianga).

Phoebe Farris / Phoebe Farris-Dufrene (?) Pamunkey - author, photographer, artist, curator, editor, academic, and art therapist.

Wayne Newton / Carson Wayne Newton (1942) 1/4 Patawomeck, 1/4 Cherokee, 1/4 Irish, 1/4 German - actor, singer, guitarist, pianist, and percussionist.

Ned Luke (1958) English, German, Scots-Irish/Northern Irish, Scottish, Welsh, Breton, French, Guernsey Channel Islander, Irish, Italian (Venetian), Nansemond, Unspecified Powhatan - actor.

Mike McCready (1966) Finnish, German, Dutch, English, Scots-Irish/Northern Irish, Scottish, Welsh, 1/16th Norwegian, as well as remote Cornish, French, and Unspecified Powhatan - musician.

Yelawolf (1979) English, Irish, Scots-Irish/Northern Irish, Scottish, Welsh, Cherokee, Unspecified Powhatan - recording artist.

Gregório Duvivier (1986) Tupi, Tupiniquim, Brazilian [Portuguese (including Azorean and Madeiran), possibly other], Belgian (Flemish, Walloon), English, French, German, Hungarian, Scottish, as well as distant Dutch, Italian, Unspecified Powhatan, Spanish (Andalusian, Castilian, Extremaduran), and Welsh - actor, comedian and poet.

Dylan Jagger Lee (1997) Greek, Finnish, English, Russian, Irish, French, possibly Nansemond - model.

Problematic:

Megan Fox (1986) English, as well as small amounts of Scottish, German, Scots-Irish/Northern Irish, distant French and Welsh, 1/256th Unspecified Powhatan - actress and model - “I think that I’m so psychotic and so mentally ill that if I could tap into that I could do something really interesting.”, “I would never date a girl who was bisexual, because that means they also sleep with men, and men are so dirty that I’d never want to sleep with a girl who had slept with a man”, and regarding Michael Bay (who was raised Jewish) "He wants to be like Hitler on his sets, and he is.”

Tommy Lee (1962) English, some Irish and French / Greek, possibly Nansemond - musician and founding member of Mötley Crüe - domestic abuse.

#powhatan fc #native fc #poc fc #fc list #rph #task: 121 #task: the powhatan confederacy

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summonhouse · 2 years ago

Text

im going to ramble abt art websites for a bit and its maybe going to be disjointed and potentially mean bc 1. i speak for myself im not here to convince anyone of anything so i dont care about sounding nice? and 2. im feeling a little offkilter lately BUT

these are no more good art websites and its a pain to see a new art website crop up every week and everyones like, thisll be the one guys! bc i dont think in this day and age its possible.

first; websites should not be profittable. ive been thinking abt this w like, twitter and tumblr and deviantart too where the problem is that people want to make more profit- they dont want to break even, theyre not trying to cover the cost of hosting and paying employees, they need an excess. it shouldnt be like this bc thats how we get the lower in quality, thats how we get this trying to appeal to third party money providers and not users and its always bad and more than that its just unnecessary. every art website that people love are the ones that remain stagnant because its reliable, people do not want continual updates to the ui of something they depend upon for posting and money. new experimental features esp on art websites are just.. useless unless theyre asked for and the garbage fed to us isnt what we asked for.

what makes a good art website? something you can post images, gifs, perhaps low quality videos on, have larger text posts for pinning and smaller text posts for status updates. id say an important feature is a gallery and featured page- profile customization is also important, at the very least have icons, text around a username, descriptions, and headers.

can you tell im thinking of deviantart? i think deviantart is the premium art website and i am so sad everyone left at eclipse- honestly not even that sad at eclipse. it was bad, it was broken, deviantart now has a fuck ton of little holes in it where pages just dont load right, ill get on the fucking new notification page and user profile later, but the way that, in the old days, it had huge spanning galleries, and it had “post type” search too! and it was annoying at the time, we hated this, trying to pick what kind of art your posts were, but it helped make searching for specific posts so much easier (now trying to find gifs on my old accs without it is impossible..). thumbs were good easy ways for ppl to spread content meant to be spread while immediately linking to the actual post- it stopped people from reposting art or using html linking the image itself without a hyperlink to take back to the post and credit, because the thumb was immediately easy to use and way easier than working around it. there was so much... community. like ok from 14-16 i was harassed hard fucking core by adults on deviantart because i was an annoying whiny kid that used dA as my support platform, because from 11-14 it really was! everyone was nice to me- my art was hot dog shit, but i dont think i EVER got a comment calling it bad. i got a LOT of comments telling me that it was good, and i really did believe that! being a preteen drawing dogs online and getting genuine support, often from other artists of my ilk but not uncommonly by artists who were immediately visually BETTER than me really really helped me get to where i am now- i never doubted myself because i was surrounded by people who were so happy to draw just like me, and people loved to see everyone elses work and characters- the joy for characters and stories is really what propelled popularity even when my art wasnt good enough to uphold this. i remember seeing a post a long time ago mentioning that like... sites like dA remained bc they werent just for visual artists which is a great point too- it hosted lurkers really well, artists were really friendly to people who commented on their stuff even if they didnt post anything, im p sure it did fairly well for people who wrote a lot of content, i know some people got popular just because they commissioned people a lot, not bc they drew anything but bc their characters and name got popular.

i miss the old dA notification page, it was SO GOOODDD the folders for where you could store old notifications, the way it was so perfectly set up to maintain a bunch of different notifications all categorized by type, the way that they took note to stop posts that were submitted in multiple groups from appearing again and again in your notifs, the birthday warnings, it was just.. so sweet! page customization too- it was just so fun finding cute little things to put on your page, and so versatile and useful too because you could get like, boundary or commission status or language stamps on there! and like, when i was 14 i had recoded my page a few times over myself, it got me interested in html coding! and now its all gone- for what? because the sleek look is modern, and modern things get more money from investors, and the platforms dont appeal to users anymore, they appeal to investors, because they want more money- they need more money. its a hole they dug for themselves, kind of- i feel like people down the line hosting THEM want more money and so it dominos.

i loved points too, ik people thought they were useless and the worth was hard for ppl to get but $1=100 points was SO GOOD like i know buying points w usd incures a fee and so ur not getting 2000 points if you spend $20 but trading between people for a lesser fee was SO FUN i got banned for doing this a few times LMAO but it really brings a community together. it encourages younger ppl without paypal to try and do commission artwork without breaking the law, and it wasnt as if points were WORTHLESS, because i know i traded usd for them!

and like, everyones like.. twitter is better. twitter is chock full of algorithm nonesense, theres ads between every post, video audio doesnt really work right (if you click on a video on mobile it just decides you will hear every video you pass now. which will be in between every normal post in the form of a fucking ad), images get compressed to hell and ive never heard any information as to how to avoid this, gifs turn into bad videos, you still cant post multiple gifs (i think youre supposed to but well it doesnt fucking work!), just fucking try and host pixel art on here, theres on way to say long form things to people easily- “use threads” real talk, as a user, if i see a thread i do not click it, its too much work if not offered to me. i am 1 person and i represent hundreds who see your tweets. if you scroll down onto any featured popular post you will see nsfw or violent bigotry. i used to report every bit of bigotry i saw and got fast reception, near immediate banning- since owner turn over, a post disparagingly saying faggot has not been responded to in the past 48 hours. the community is fucking insane and i cant blame them, its how twitter is built- there is no separation between official posts and casual posts, like on deviantart wher ethere was differences between journals and statuses- everything youd post as a status that would have gone under the radar is a big proper real post, every comment you make is a big real post as well, it forces a lot of passing commentary to the forefront of peoples attention which of course incurs drama. and ofc its an ALGORITHM BASED PLATFORM which means it REWARDS RECEPTION, inlcuding NEGATIVE- any of your posts that you intended to have as private and only for your 5 followers if it gets enough traction gets blown out of proportion and every single other user will see it only as the post itself, as a big number post which means its open for ridicule. i feel like it was host to more psyops than dA ever was? dA had a bunch of trolls but never any govt psyops like that drug minor one

anyways new art platforms dont work out bc they dont have enough people or draw- if you just are allowing people to post images and text posts, even if you have better page customization id just use twitter because despite its cons it has the major pro of, you know, having people using it- if you make a new art platform every week, theres no real point to pursue any of them, id just wait and see which one flourished- and because i dont participate, they dont get clicks, they dont continue to grow, and they ALL die. anyways moderation is impossible in the way people like- i know everyone wants to believe their niche discourse is clean cut and actually go to show deeper oppression but moderators on websites do not care- discourse is ever evolving and so heated that they cannot afford to throw out a guess and likely no one ever explains themselves, just say This ideology is something or other. and we all want it to be so simple that everyone has the Right opinion on pro/antiship, or fetishes, or terfisms, or mogai, but i promise no matter how easy it seems to you there are thousands who violently refuse and will make up their own buzzwords about how their side is right and the other is something or other. like aside from banning slurs or cruelty they really cannot do much and likely would not ban people who have a special word in their description that you and you alone recognize as a dogwhistle for x ideology. this is the problem i know a few art websites had where they had to say clearly what they would and wouldnt allow and NO ONE was happy. also to revisit that point on hosting a lot of people, an art website that is JUST an art website is like.. its not going to get community or that response i mention from other ppl. if i get on a website just to post art, why would i comment on anyone elses?

and like, dA i know it has like front page or new algorithm which spotlights a LOT of fetish content, but honestly like. you just have to accept that theres going to be fetish content, its an art website, if you want new unseen artists spotlighted you have to acccept that in the fallout of that theres going to be fetish content.

so uhmmm theres nowhere to go and nothing to do. get your asses back on dA eclipse was glitchy and sucked and showed dA didnt respect user opinion but it has not been that bad. its functional at the very least and its only ever dysfunctional because YOU all left. i cant get reception not bc dA is broken but because theres no one left to see it

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asexualzoro · 6 years ago

Text

so you want to make a twitter (part 1)

your profile

i’ve seen a few guides on twitter for new twitter users, which is nice, but something about having the posts being things you had to finds on twitter--a new site for the people who needed those guides--seemed unhelpful to me. so, i figured id make a small series of guides of my own here for anyone considering a move (or just making an account) who dont know how

this is a series of posts, since im going to be sort of detailed, so feel free to use just the pieces you need. ill tag them all “lews twitter tutorials” so you can find them on my blog

these are all written in the assumption the reader knows nothing about twitter or any other social media outside of tumblr

ill put it under a cut to save your space, but here’s step one: a profile!

the very first thing to worry about would be your own profile. here’s mine, so i can show you the parts:

your profile includes stuff like your icon, your header, your bio, your handle, you display name, and more. its not as open to customization as a tumblr theme, unfortunately. here’s what all that is

your icon (profile picture, pfp, whatever you wanna call it) is... basically the same as on tumblr. they all have to be circles on twitter though. thats about all there is to this one

your header is the image at the top. mine’s just the words One Piece up there (guess what my favorite show is). i don’t really know the dimensions of this, but i do know its shorter than a tumblr header. unlike tumblr, you cant toggle this off

your handle is the @ for your account. mine’s asexualzoro, so you can see where that is. functions the same as a tumblr url for the most part, but with a different name. only real difference is instead of hyphens - in handles, you can only do underscores _

your display name is something that isnt available on tumblr! mine is Brook Enthusiast in that image. it can be up to 50 characters, can have emojis (mine does) and can be changed whenever you want on your profile. it shows up on every tweet before the actual tweet itself. most people put their names or a bad joke here

your bio is a short piece about you! there is a character limit on these, but i dont know it off the top of my head. i know mine is only like 5 under the limit, so as you can see, it isnt very big. you cant write a huge about, so just get the basics! most people write either basic info (name, pronouns), a quote they like, a brief overview, or a joke. this is where you should credit the artist of your profile picture, if you use someone else’s art. my bio does a few of these things!

theres some other important features of a profile, which include:

- location. mine says “my bed, ideally” so you know where that is. locations do not need to be real places, and are just a little line you fill in. if i remember right, they’re not required, so you dont need to worry about them at all.

- website. this spot allows you to link one site! mine is linked to lew.carrd up there. most people include sites like their tumblr, but some people include stuff like carrd. carrd is a simple website-building site which people (like me) use all over twitter to make longer bios (like an about). tbh, carrd is something you should worry about after establishing your twitter, though

- birthday. your birthday shows up on your profile, but only the month and date (which can be disabled, i believe). the year is only visible to you! you can see mine in this image because its a screenshot i took of my own account

- join date. thats just... when you joined. cant really be turned off, but it doest really do anything

- how many people you are following / are following you is visible to all your followers, and you can click on those numbers to see those lists

there are also four tabs on the profile!

- tweets. everything a person has tweeted or retweeted

- tweets and replies. everything a person has tweeted, retweeted, or said in reply to other people

- media. all the images/videos a person has posted

- likes. all a person’s liked tweets.

you cant disable or hide any of these tabs, so this site is less private than tumblr in that regard.

not in this picture, but important!

- a pinned tweet! this is one tweet which you pin to the top of your profile. many people pin information tweets including their other social media or stuff like that which wouldnt fit in their bio. other people pin jokes or tweets that went viral. some people even pin the top tweet in a thread, if they have a lot to say.

- on twitter, your accounts can be public or private. public accounts can be seen and followed by anyone, and anyone can retweet their posts. private accounts cannot be seen unless they’re followed, and can only be followed if their requests are accepted, and you cant retweet from them. theyre marked with a little lock at the end of their display names. you can switch between public and private at any time! (Settings and privacy > Privacy and safety > Protect your tweets)

this concludes a profile!

#twitter #lews twitter tutorials

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xhxhxhx · 7 years ago

Text

I was searching for survey data on the class background of winter sports. I wasn’t able to find anything, but I did find a March 1978 address by Pierre Bourdieu, translated and reprinted as “Sport and social class,” Social Science Information 17:6 (1978), 819--840, which was better.

There is the familiar account of the practice of aristocratic and haut-bourgeois distinction, but expressed clearly and persuasively:

The constitution of a field of sports practices is linked to the development of a philosophy of sport which is necessarily a political philosophy of sport. The theory of amateurism is in fact one dimension of an aristocratic philosophy of sport as a disinterested practice, a finality without an end, analogous to artistic practice, but even more suitable than art (there is always something residually feminine about art: consider the piano and watercolours of genteel young ladies in the same period) for affirming the manly virtues of future leaders: sport is conceived as a training in courage and manliness, ’forming the character’ and inculcating the ’will to win’ which is the mark of the true leader, but a will to win within the rules. This is ’fair play’, conceived as an aristocratic disposition utterly opposed to the plebeian pursuit of victory at all costs. (And then one would have to explore the link between the sporting virtues and the military virtues: remember the glorification of the deeds of old Etonians or Oxonians on the field of battle or in aerial combat.) This aristocratic ethic, devised by aristocrats (the first Olympic committee included innumerable dukes, counts and lords, and all of ancient stock) and guaranteed by aristocrats, all those who constitute the self-perpetuating oligarchy of international and national organizations, is clearly adapted to the requirements of the times, and, as one sees in the works of Baron Pierre de Coubertin, incorporates the most essential assumptions of the bourgeois ethic of private enterprise, baptized ’self-help’ (English often serves as a euphemism).

What is at stake, it seems to me, in this debate (which goes far beyond sport), is a definition of bourgeois education which contrasts with the petty-bourgeois and academic definition: it is ’energy’, ’courage’, ’willpower’, the virtues of leaders (military or industrial), and perhaps above all personal initiative, (private) ’enterprise’, as opposed to knowledge, erudition, ’scholastic’ submissiveness, symbolized in the great lycée-barracks and its disciplines, etc. In short, it would be a mistake to forget that the modern definition of sport that is often associated with the name of Coubertin is an integral part of a ’moral ideal’, i.e. an ethos which is that of the dominant fractions of the dominant class and is brought to fruition in the major private schools intended primarily for the sons of the heads of private industry, such as the École des Roches, the paradigmatic realization of this ideal. To value education over instruction, character or willpower over intelligence, sport over culture, is to affirm, within the educational universe itself, the existence of a hierarchy irreducible to the strictly scholastic hierarchy which favours the second term in those oppositions. It means, as it were, disqualifying or discrediting the values recognized by other fractions of the dominant class or by other classes (especially the intellectual fractions of the petty-bourgeoisie and the ’sons of schoolteachers’, who are serious challengers to the sons of the bourgeoisie on the terrain of purely scholastic competence); it means putting forward other criteria of ’achievement’ and other principles for legitimating achievement as alternatives to ’academic achievement’.

This is all familiar enough, and it’s the second part of the address, “The logic of demand: sporting practices and entertainments in the unity of life-styles,” which develops Bourdieu’s model for understanding sports-as-they-are, as a site of social difference and distinction within a field shaped by class, rather than sports-as-they were, that I found most interesting.

Bourdieu has a simple and pliable model of athletic demand as something shaped not only by economic and cultural capital, but also by an underlying system of aesthetic and ethical preferences, or “the affinity between the ethical and aesthetic dispositions characteristic of each class or class fraction and the objective potentialities of ethical or aesthetic accomplishment which are or seem to be contained in each sport.”

It’s Bourdieu’s analysis of particular sports that I’m here for, and he doesn’t disappoint.

As regards the profits actually perceived, Jacques Defrance convincingly shows that gymnastics may be asked to produce either a strong body, bearing the outward signs of strength -- this is the working-class demand, which is satisfied by body-building -- or a healthy body -- this is the bourgeois demand, which is satisfied by a gymnastics or other sports whose function is essentially hygienic.’

It is no accident that the ’strong-man’ was for a long time one of the most typically popular entertainments - remember the famous Dédé la Boulange who performed in the Square d’Anvers, alternating feats of strength with a mountebank’s patter - or that weight-lifting, which is supposed to develop the muscles, was for many years, especially in France, the favourite working-class sport; nor is it an accident that the Olympic authorities took so long to grant official recognition to weight-lifting, which, in the eyes of the aristocratic founders of modern sport, symbolized mere strength, brutality and intellectual poverty, in short the working classes.

The most important property of the ’popular sports’ is the fact that they are tacitly associated with youth, which is spontaneously and implicitly credited with a sort of provisional licence expressed, among other ways, in the squandering of an excess of physical (and sexual) energy, and are abandoned very early (usually at the moment of entry into adult life, marked by marriage). By contrast, the ’bourgeois’ sports, mainly practised for their functions of physical maintenance and for the social profit they bring, have in common the fact that their age-limit lies far beyond youth and perhaps comes correspondingly later the more prestigious and exclusive they are (e.g. golf).

Thus, most of the team sports -- basketball, handball, rugby, football -- which are most common among office workers, technicians and shopkeepers, and also no doubt the most typically working-class individual sports, such as boxing or wrestling, combine all the reasons to repel the upper classes. These include the social composition of their public which reinforces the vulgarity implied by their popularization, the values and virtues demanded (strength, endurance, the propensity to violence, the spirit of ’sacrifice’, docility and submission to collective discipline, the absolute antithesis of the ’role distance’ implied in bourgeois roles, etc.), the exaltation of competition and the contest, etc. But in the case of a sport like pétanque [a French sport similar to bocce] it seems that only the logic of distinction can explain the class distribution. This sport, the least distinguished and least distinctive of all, since it requires practically no economic or cultural capital and demands little more than spare time, regularly culminates among the lower middle classes, especially among primary-school teachers and clerical workers in the medical services. Thereafter it declines, particularly sharply in categories where there is the strongest desire to stand apart from the vulgar, as among artists and members of the professions.

In reality, even apart from any search for distinction, it is the relation to one’s own body, a fundamental aspect of the habitus, which distinguishes the working classes from the privileged classes, just as, within the latter, it distinguishes fractions that are separated by the whole universe of a life-style. On one side, there is the instrumental relation to the body which the working classes express in all the practices centred on the body, whether in dieting or beauty care, relation to illness or medication, and which is also manifested in the choice of sports requiring a considerable investment of effort, sometimes of pain and suffering (e.g. boxing) and sometimes a gambling with the body itself (as in motor-cycling, parachute-jumping, all forms of acrobatics, and, to some extent, all sports involving fighting, among which we may include rugby). On the other side, there is the tendency of the privileged classes to treat the body as an end in itself, with variants according to whether the emphasis is placed on the intrinsic functioning of the body as an organism, which leads to the macrobiotic cult of health, or on the appearance of the body as a perceptible configuration, the ’physique’, i.e. the body-for-others. Everything seems to suggest that the concern to cultivate the body appears, in its most elementary form, i.e. as the cult of health, often implying an ascetic exaltation of sobriety and dietetic rigour, among the lower middle classes, i.e. among junior executives, clerical workers in the medical services and especially primary-school teachers, who indulge particularly intensively in gymnastics, the ascetic sport par excellence since it amounts to a sort of training (askesis) for training’s sake.

Bourdieu’s description of the class valence of middle-class sports is amusing because it is true:

Gymnastics or strictly health-oriented sports like walking or jogging, which, unlike ball games, do not offer any competitive satisfaction, are highly rational and rationalized activities. This is firstly because they presuppose a resolute faith in reason and in the deferred and often intangible benefits which reason promises (such as protection against ageing, an abstract and negative advantage which only exists by reference to a thoroughly theoretical referent); secondly, because they generally only have meaning by reference to a thoroughly theoretical, abstract knowledge of the effects of an exercise which is itself often reduced, as in gymnastics, to a series of abstract movements, decomposed and reorganized by reference to a specific and technically-defined end (e.g. ’the abdominals’) and is opposed to the total movements of everyday situations, oriented towards practical goals, just as marching, broken down into elementary movements in the sergeant-major’s handbook, is opposed to ordinary walking. Thus it is understandable that these activities can only be rooted in the ascetic dispositions of upwardly mobile individuals who are prepared to find their satisfaction in effort itself and to accept -- such is the whole meaning of their existence -- the deferred satisfactions which will reward their present sacrifice.

In sports like mountaineering (or, to a lesser extent, walking), which are most common among secondary or university teachers, the purely health-oriented function of maintaining the body is combined with all the symbolic gratifications associated with practising a highly distinctive activity. This gives to the highest degree the sense of mastery of one’s own body as well as the free and exclusive appropriation of scenery inaccessible to the vulgar.

The appeal of sport to the aristocracy and haut bourgeoisie has always seemed somewhat transparent -- it’s not like they’re hiding it -- but the implicit class distinctions of middle-class sports have always been somewhat disguised, so I appreciate the analysis.

#t #clear thinking about the middle classes is always in short supply

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acsversace-news · 7 years ago

Link

We gave it an A-

This week’s episode begins like we’re seeing a bizarro-universe version of last week’s: Versace is in a hospital again, but this time he’s standing, looking at the bodies of two gaunt men in beds, while holding Antonio’s hand. At first glance, a viewer might mistake the sick bodies for theirs.

He’s getting treated for something, but the show is intentionally vague on what that something is. The Versace family has always maintained that Gianni Versace was HIV negative, and suffered from ear cancer in the final ears of his life, but the obvious implication here is AIDS — as a gay man living at the height of the epidemic, Versace would have been at risk, and the doctor’s comments about new possibilities with regards to treatment seems to line up. Artistically, it makes sense: It provides a counterbalance to Cunanan, who will emphatically deny being “sick” to Ronnie later in the episode. But vagueness is the best choice of all, mirroring the conversation and speculation that followed Versace in real life.

Versace returns home from the hospital to lounge on a gilded daybed in the center of a room, looking like Marat in the tub, with his sister sitting over him. “What is Versace without you?” she asks. “It is you,” he replies. The scene dissolves from tableau to familial drama: Donatella blames Antonio for Versace’s illness, or for failing to protect him (again, this subtext works better with the implication of AIDS. How was Antonio supposed to protect him from ear cancer?). Antonio asks for basic respect but Donatella balks. He gave her brother neither children nor safety. “If you had given him anything I would have given you respect, but you have given him nothing,” she says. Versace pleads for all three of them to be a family, but things seem prickly at best.

We are transported to the house after Versace’s death, with Donatella watching people place their offerings at the gate. “He is gone, Antonio. There is no need for us to pretend anymore.”

The mortician begins his work of making Versace look as near to his living photograph as possible. Donatella arrives to see his body, bringing a suit for him. She tenderly tightens his tie in the coffin and fixes his cufflinks. He looks perfect, almost living, and then he is cremated. All of that beautiful effort is turned to ashes, and put in a gold box to go back to Italy on a plane with Donatella.

Meanwhile, it’s 1996 again, and Cunanan drives a red pickup truck to Walmart, where he changes the license plate in the parking lot and smiles at a little girl staring at him before driving away. From the radio, we hear that he’s a suspect for the death of Lee Miglin (who had been Cunanan’s third victim), which confirms what we probably suspected: This is before the assassination of Versace. Cunanan, singing along to ��Gloria” in the car, screaming out the window, dancing in his seat, is gleefully driving to Miami.

Using a fake passport, Cunanan books a room at the Normandy Plaza (where a massive art piece of Marilyn Monroe emphasizes the show’s theme of celebrity and notoriety) and we see another of Cunanan’s easy lies. “Born in Nice. Have you been?” He’s sociopathically smooth, and it’s a credit to Darren Criss that the oil leaks from his words.

Now that he’s made it to Miami, he heads to Versace’s home, only to find the gates locked. And so he’ll wait for his opportunity, buying sunglasses and a hat and a camera from beachside vender, taking dozens of pictures of the houses to set up a creepy serial killer collage back on the hotel wall.

Even before Versace’s death, Cunanan was on the FBI’s top 10 most wanted list, and the FBI came to Miami to inform local police that they’re operating with the assumption that Cunanan is in town or coming soon.

The FBI agents condescendingly rebuff Detective Lori Weider’s (Dascha Polanco) questions. The FBI only has 10 fliers of Cunanan, and they’re not paying attention to the Miami gay scene. “The fliers aren’t a priority for us,” the agent says. (That decision will come back to bite them in the ass when Cunanan uses his real name to pawn a gold coin, and the pawn shop owner will look over at the bulletin board of posters and not see his face.) Weider photocopies a few herself.

Even as a wanted man, Cunanan lives with complete freedom. He talks his way into an oceanfront room with a little practiced speech and befriends the HIV-positive Ronnie (Max Greenfield) who had been hanging around outside. Ronnie’s appeal is clear: Cunanan loves an audience. He talks endlessly about Versace’s fashion and their close friendship, balking only when Ronnie seems skeptical about his obvious lies.

On the beach, Cunanan does what is implied to have become a habit: becoming an escort for wealthy, older men. He finds one and returns to his hotel room, where the man’s suggestion (“I can be submissive”) is all he needs to duct tape around his head, neck, and eyes — and finally, his mouth.

The man begins to struggle. Cunanan turns up the music and flirts with a pair of scissors. “Accept it,” he repeats. “Accept it. Accept it,” chanting it like a mantra, or the chorus of a song. While the man flails for air, Cunanan dances around the room in the show’s most unsettling scene to date.

Finally, Cunanan in his tiny bathing suit straddles the man and raises the pair of scissors above his head. It’s not obvious what he’s going to do. He stabs the man in the face — allowing him to breathe.

The man, alive but still looking very shaken, answers the door for room service in a robe. Cunanan gleefully eats and tells pretty lies about his mother packing his lunch when he was growing up. The man locks the door after Cunanan and puts back on his wedding ring. He calls 911 but hangs up. Cunanan’s greatest ally is the shame men feel about their gay dalliances.

In Versace’s glamorous life, the designer is arguing with Donatella about which models to use for the show. He doesn’t want girls who look too skinny. He prefers girls who look like they enjoy eating, sex, life. What do these models enjoy?

“Front covers,” Donatella answers. She is the business end of the operation, the public face who understands how to stay relevant and get people excited about a brand. Versace designs the beautiful, beautiful clothing — he has a vision. And he executes that vision at the show, ending with a “Versace bride” in a silver mini-dress. Even Donatella gives him a thumbs up from backstage.

His relationship with Antonio is evolving as well. “I don’t want this anymore,” Antonio says about their open, polyamorous lifestyle while Versace is swimming in his pool. “I want you. I want to marry you.”

“You can say it in the morning, but can you say it in the evening?” Versace answers, and swims back to the other end of the pool.

Presumably only a few miles away, Ronnie and Cunanan are cohabiting a room, and Ronnie is beginning to realize how dangerous his new friend really is. While Ronnie talks through the bathroom door about wanting to open a florist kiosk, Cunanan wraps his entire head in duct tape, from the nose up. “Andrew,” Ronnie finally asks. “What did you do?”

“Nothing,” Cunanan says. “I’ve done nothing my whole life.”

Cunanan pawns a gold coin (stolen, I assume, from the man he duct-taped). The pawn shop woman, who knows enough to be suspicious, asks where he got it. “It’s a remarkable story,” Cunanan says, with his usual grease. We don’t even get to hear it, because we don’t need to. Everything is an easy lie. He is the talented Mr. Ripley without the talent at impressions.

While walking past the Versace house, Cunanan sees a woman with long blond hair trying to get in the front gate, pretending to be Donatella. Versace appears on the balcony. “Baby, I can only handle one Donatella, one is enough!” he calls out, trying to get the woman to leave. “Big kiss for you.”

Cunanan sprints home, thinking this is his shot. He grabs his gun and pulls all of the photos down on the wall before charging back down the hallway.

“We were friends, that was real, right?” Ronnie asks when he sees Cunanan leaving. He knows this is the end. “When someone asks if we were friends,” Cunanan says, “you’ll say no.”

But Versace isn’t home anymore — he goes out to the club with Antonio (who repeats his desire to get married, this time at night). And Cunanan gets a sandwich, where the clerk recognizes him from America’s Most Wanted and calls the police. Of course, by the time the police get there, he’s gone, managing to get to the same club where Versace went (again, just missing him). If only the police had staked out the clubs — this is one of the sites the detective mentioned specifically.

Cunanan doesn’t know Versace is gone yet, and so he frantically scans every face. When someone asks who he is, he rattles off every identity. I’m Andy. I’m a serial killer. I’m a banker. I’m a stockbroker, shareholder, set builder, importer. And then the most important identity: “I’m the person least likely to be forgotten.” It’s Cunanan’s desire above all else: to be someone like Versace, someone important, who’s created something incredible. He wants to be remembered, linked to Versace in death if not in life.

Which makes you wonder whom exactly this television show is serving.

#acs versace #entertainment weekly #recap #2.02 #review #article #january 2018

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ask-v3-students-blog · 7 years ago

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FAQ (For those on mobile)

Where did you find the art for your icon(s)? : The fabulous artist can be found on pixiv here and also there!

Who are you? : You can call me Lili or mod lili as you want ! I have another ask blog call @ask-danganron-students.

Is this blog related to your other ask blog? : Yes and no! By that I mean that if you don’t follow my other blog then don’t worry, you won’t miss any big thing. But with yes I mean that those two blogs are happening at the same time in the same universe. So while Shuichi and the others are “trapped” in the Academy with Munakata etc, Hajime and the others are also “trapped” on the island with Makoto etc. You can totally ask the characters here about characters on the other blog and they will answer (with what they know so not much since in this story Makoto took the dr2 cast to an unknown island). Gekkougahara is the one who knows the most about it ;)

Where did you find your sprites? : Gekkougahara’s sprites can be found here, Sakakura’s can be found here, chisa’s were made by @freakysandra1995, nearly all of the others are from here or here !

Can I send ask to “???” : You can send ask to anyone who is awake ! To know who it is just look at my profile pic, the characters that you can see on it are the ones awake ! You can also send ask to the members of the FF who are present, that means Munakata (later), Gekkogahara, Sakakura and Chisa! Maybe there will be more characters later but for now that’s all!

Is Chisa in despair?: Who know? To be honest I haven’t decided yet but if she is you won’t know it…For now haha!

I want to support you what can I do? : I have a ko-fi page so you can help by clicking on the “buy me a coffee” button on the top left of the page or you can use this link! Thanks in advance if you do!!

Can I send you question about yourself or just to talk to you about something? : Of course ! Just don’t be angry if I don’t answer right away as I can have a lot of ask :)

Can I make a fanart/fic/video/… based on your posts? : Of course ! I’m always extremely happy when someone do this, just don’t forget to credit me ! And please, send me the link or tag me so I can see it !

Can I ask you to tag something I’m uncomfortable with? : Yes, please do! I try to tag everything but I’m not very good at tumblr so I might forget some, just tell me about it nicely please ! :)

Can I be a mod? : No sorry ! I’m more of a “working alone” kind of person and I want to be in charge of everything that happens on this blog, sorry about that!

I send you an ask xxx time ago and didn’t get an answer, why? : I’m sorry about that! As I said I have another ask blog so I can be pretty busy and if I have a lot of asks on this blog sometimes you won’t get an answer, not because I don’t like your ask but because I didn’t see it, wasn’t inspired, or I have already answered one a bit like yours (or I just thought “I’ll keep this one for later” but then forgot about it haha). Just send me another one ! If you really wanted to have the answer to your ask, you can send it to me again (not spam me, just one or two times) so I can see that this is an important question for you, don’t do it everytime though ! :)

When will ____ wake up? : I don’t know ! I don’t really plan it, it’s more something I do when I feel the time is right for it to happen.

Is it spoilers free? : Not spoilers free for any of the games and the anime, sorry !

When is it taking place? : after the events of the second game !

What is not canon?: DR3 ! Future arc hasn’t happened! But the all the characters in dr3 exist. The Despair part of the anime more or less happened the same way but not exactly the same. If you want more precision, just ask me (unless it’s part of the plot then I won’t tell you haha).

What is canon?: All the games.

Wait, if V3 is canon then how is it possible that the others are alive?: I have explained it in my first post but here it is once again : at the end of the game, Shuichi said that it was really possible that Tsumugi lied about quite a lot of things. I’m going with that fact and I made up my own theory of what really happened. Because if we go with the fact that Tsumugi wasn’t lying then a lot of things wasn’t possible (creating talents just with false memories, resurecting people, giving people illness, manipulating feelings…). So the only way for all of it to work is…A simulation. Like in the second game. So here is the story :

All the characters were Ultimate but were forced to run away because of the Ultimate Hunt. But the Ultimate Hunt is a bit different from what they remembered during the game; it was in fact remnants of despair who were tracking down Utimates to force them to participate in Killing Games. The Killing Games were broadcasted mostly to the others Remnant of Despair but also to part of the population. They put them into the Neo World and not into “real killing games” because that way it would be harder for the FF to know where they were and come to rescue them (and because they didn’t have enough ressource to do them). Of course at the end of each killing game the ones who died would be killed for real and the ones who had survived would wake up…just to end up facing the remnant of despair (who would either kill them or let them go so they could talk about what happened and spread despair), only one would be kept as the Survivor and would participate into the next Killing Game (this is what happened to Rantaro).

Quite a few killing games happened but not 53, more like 5-6 (I haven’t decided on an exact number for now) (counting the two already known). So what happened in the end was actually them breaking out of the simulation. At the same time FF was coming to the rescue and stopping the remnants of despair present in the real world. I think that explain everything, if there are still things that are unclear just ask me! :)

What ship so far? : I don’t know for all of them but the ones I’m sure I’ll do are Saimatsu and Kaimaki! I also ship Kokichi with Keebo and Rantaro so I don’t know with which ship I will go haha! For the dr3 cast I’m nearly sure I’ll go with Munasaka! :)

I think that’s all for now, I’ll probably add more as time pass! :)

#faq #for those who can't read it through the link #answered ask #mod lili #post

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popgoesthenowcb · 5 years ago

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Theme for final presentation!

Week 1:

Within our session today we brainstormed ideas and came to conclusions of what our final presentation palimpsest could be...

Rough Ideas

Control of consciousness

The link between cellular/molecular basis and consciousness is not well understood, so what if in the future we totally understand how it and the brain as a whole works?

Able to change your consciousness: how you perceive pain, your personality, fix brain damage, download skills (similar to that in the Matrix), inhibit emotions, etc

Policing and laws change: brains of geniuses, criminals, upstanding citizens, and disadvantaged people curated into a large collective conscious that dictates right and wrong for the whole of society → could be a utopia or a dystopia

Tattoos

Currently signify life events, affiliations, and personality, so what if in the future that’s how you’re ID? Ie family crests (economic) , status,

Currently: tattoos for the sake of art, not necessarily for meaning but cause it looks siiiiiiick

Moving ink – reflect vitals and other bodily changes

Fake tattoo market – for those who don’t have status, like faking a resume

Tattoos become so ingrained in society that humans are born with some from their parents, showing a visible representation of not only the individuals history but their families as well

Humans look totally different than current humans

Birthmarks? Scars? (killswitch, achilles heel typa thing)

The ‘Red Carpet’

What is the societal power of the red carpet? Whoever walks it is deemed high-class socially.

Re-invent what it means to “walk the red carpet”

What are the values that we apply to it now and what can we use it for in the future?

It is a commodity which instills feelings of wealth, social power, public image, etc.

Why do we care? It is literally a colored rug.

Disease/Germs

An immersive installation including a visual. texturised impression of pollution,disease and germs.

Segregation of talent into different parts of the world

What is your theme? → Tattoos –

Present on the bottom and build up to future [4 levels] →

Currently: taboo stereotype slowly dwindling, but still seen as unprofessional in most job sectors and frowned upon in some cultures (ie East asian cultures) and encouraged in others (ie Maori, polynesian cultures); seen as art and self expression, doesn’t necessarily have to have meaning behind it

Political: white nationalism/Nazis, mafia, LGBTQA+ (ie rainbow), feminists, vegan tattoos

Social: affiliations ie Navy/military, creative spaces and artists, personal development (ie getting a special tattoo every life event), marriage, stick n pokes from friends

Economic: tattoo businesses are growing among other body modifications ie piercings, deliberate career because tattoos are still lw taboo and possible family repercussions ; tattoo removal industry - growing

Cultural: gang tattoos (tear tattoo), stick n pokes and machines, life events depending on ethnic group, religions mostly against tattoos

20 years: more people have tattoos, taboo is pretty much gone except for older generation depending on geographic location,

Political: political vues - where you stand on voting and political issues eg, labour vs conservative are you left or right wing

Social: tattooed makeup (ie eyebrows, eyeliner), UV tattoos are the rage among the youth especially at clubs n art scenes, using ashes of dead loved ones for tattoos, Memento shit

Economic: credits cards on body catching on, special gloves developed to work against misuse of contactless cards

Cultural: sub cultural tattoos, certain tattoos can be identified as a certain sub ethnic group

200 years:

Political: concept of immortality - someone’s brain is downloaded to a dedicated computer in a sort of bank/safe : for example if they were president of a country/company - their consciousness continues making the “most important decisions” for a country/company; (“they live on the forearm of their eldest child” in a way)

Social: tattooed teeth, drip medicine inked into skin that will treat whatever illness and will also let others know what the person has/had, some black mirror shit,

Economic: credit cards, , kid safe ink, sustainability ink - regulated ink eg plant based, ashes of dead loved ones easier tattoo removal

Cultural: passports in chip-implant form

2,000 years:

Political:

Social: projection tattoos, part cyborg (moving ink); remembering memories by projecting them onto the wall, physical phones will be eradicated ; makeup is permanently tattoed (like drag queen style makeup - every element is responsible for different functions) ; the 12h pill - people can cover their family tattoos this way and falsify information - useful for secret agents

Economic: have

Cultural: chip projects from skin - onto opposing wall - e.g. religious people can have the bible on their forearm and project it onto the back of a plane seat to read it for moments of mindfulness.

How will you incorporate social, economic, cultural, and political elements?

What media or mixed media approach?

Transfer tattoos

Holograms for projected tattoos

Using actors to represent the time-changes: now, 20, 200, 2000

Assign roles and create a schedule

(1) sketching (Annalise, Amelia, Ellis, Suryansh, Belle) - speak to technicians (Tiffany + Chloe)

(2) troubleshooting - finding the room - the fine detail (everyone)

(3) making (members broken up by what thing they’re making)

(4) finishing the fine details (everyone)

Post advice thoughts :

Main idea may be identity as a whole

Tattoos beyond ornamental —what other purpose for tattoos? Superpower like?

Levels don’t have to flow into each other — can think about the conflicts that could arise

Idea: what are we without identity? Could you strip someone of their identity? Besides financial fraud currently, how in the future could you have your ID stolen or changed?

Shifting IDs based on environment/people

In essence for next week I will be illustrating identity ideas :

20 years - basic moving ink showing stats and persons profile

200 years Each human has a barcode or symbol tattooed on their palms - similar to a dog chip which can display all their basic information when scanned in a projection

2000 years - moving ink that displays information like a phone or tablet screen including passport ids bank account - we are ourselves machines need no form of exterior technologies

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weekendwarriorblog · 5 years ago

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WHAT TO WATCH THIS WEEKEND September 6, 2019 - LINDA RONSTADT: THE SOUND OF MY VOICE, SUPER SIZE ME 2: HOLY CHICKEN! and IT: CHAPTER TWO

Lots of COLONS -- there, you happy Edward Havens? :) -- in this week’s featured movies, huh?

Although summer still has a couple weeks left according to a couple of my co-workers, the fall movie season officially starts this weekend, but before we get to the wide releases, I want to talk about the fantastic doc LINDA RONSTADT: THE SOUND OF MY VOICE (Greenwich Entertainment), which opens at New York’s Film Forum on Friday. Directed by Rob Epstein and Jeffrey Friedman, this movie really surprised me, because I never considered myself a fan of Ronstandt, despite listening to a lot of AM Top 40 radio in the ‘70s – yes, I was alive back then. I know I don’t look it, but I’m old.

This movie gave me goosebumps hearing Ronstadt at the beginning of her career, the archival footage of her performances making it blatantly obvious how talented she was and why she became so popular, something that wasn’t nearly as evident hearing songs like “Blue Bayou” on the radio. What’s even more amazing about Ronstadt is that I didn’t hear about much of her work in the ‘80s, as she started doing more unconventional things like honoring the traditional Mexican music of her father. I mean, she was just an amazing artist but she started drifting away as MTV made major stars out of much less-talented singers. And then of course, there’s the Parkinson’s Disease that made it impossible for her to sing and kudos to the filmmakers for actually catching a rare singing moment with her family. This movie honestly got me quite teary-eyed as it went along, because you watch this amazing talent having her greatest asset taken away from her by this horrible illness.

Anyway, this is another music doc that I highly recommend checking out if it plays at a theater near you as it continues a long run of solid music docs we’ve been getting so far this year. (Oddly, David Crosby was supposed to be in this movie, too, but I don’t remember seeing him in it, but saw his credit at the end. Weird.)

Another doc opening in New York, L.A. and Chicago before expanding further on Sept. 13 is Morgan Spurlock’s SUPER SIZE ME 2: HOLY CHICKEN!... and yes, the irony of Spurlock still calling his movie something that includes the words “Me, too” in it is a little more than ironic, since it was the movement that took him down just a few weeks after the movie premiered at the Toronto Film Festival (which is where I first saw it). But honestly, Spurlock took himself out, as he came forward and admitted a few things from his own past, which basically got the movie dropped by YouTube Red, who had just bought it. Two years later and I’m not sure how I feel about the movie, but when I saw it back then, I thought it was a worthy successor to Spurlock’s Oscar-nominated film. This time around, Spurlock wants to set up a healthier fast food option, choosing a chicken sandwich place but also wanting to stick to some of the guidelines by making the chickens organic and free-range, something that he finds is more difficult than he initially thinks.

I generally like Morgan Spurlock’s docs, which generally includes himself as a personality, similar to the work of his peer Michael Moore, but Spurlock doesn’t always make super-serious docs and always keeps him mind on the entertainment aspect of going to the movies, and in that sense Super Size Me 2 is as entertaining as some of his past films.

Super Size Me 2 is opening at the Cinema Village in New York and Laemmle Music Hall in L.A. on Friday.

The only new wide release this weekend is New Line/Warner Bros’ IT: CHAPTER TWO, which I’m sure I’ll be writing about a lot over at The Beat, so go click on those links so that they’ll continue hiring me to write more stuff! You can read my review here and an interview with actor James Ransone over at The Beat.

LIMITED RELEASES

Because it’s early September and there is a big wide release, there isn’t as much to talk about as far as limited releases.

Apparently, Janice Engel’s doc Raise Hell: The Life and Times of Molly Ivins (Magnolia) was released in Texas last weekend, which makes sense since that’s where journalist Molly Ivins is from, but it will open in New York and L.A. this weekend as well. I wasn’t as big a fan of this doc as the ones above just because Molly Ivins just felt like she was trying to do a stand-up comedy routine. In other words, the film lacked the depth I would have hoped from a political figure.

Chelsea Stardust’s Satanic Panic (RLJE Films), written by my good friends Grady Hendrix and Ted Geoghegan, that follows Hayley Griffith’s Sam, a pizza delivery driver whose last stop of the day is to a group of Satanists looking for someone to sacrifice. Yup, that sounds like something Grady and Ted (who wrote Ted’s second movie Mohawk) might come up with. So Sam must fend off witches and demonic creatures before she can end her shift. The film also stars Ruby Modine, Rebecca Romijn, Arden Myrin and Jerry O’Connell. It will be released in select theaters and On Demand Friday after premiering at the Overlook Film Festival and playing Fantasia in Montreal in July.

Two more movies opening at the Cinema Village(and other theaters) is Rowan Athale’s Strange but True (Lionsgate Premiere), a star-studded thriller based on John Searles’ novel, starring Margaret Qualley from Once Upon a Time … in Hollywood as the ex-girlfriend of a dead high schooler who shows up at his family’s house claiming that she’s pregnant with his child (five years after her boyfriend Ronnie’s death). Ronnie’s mother is played by the great Amy Ryan and brother by Nick Robinson, and the movie also stars Greg Kinnear, Brian Cox and Blythe Danner, which makes you wonder why this is being four-walled and most likely getting a typical Lionsgate Premiere VOD release.

Paul Taublieb’s doc Blink of an Eye (1091) is an inside look at the Daytona 500 in 2001, featuring Michael Waltrip and Dale Earnhardt Jr, and that’s about all I know about it. Waltrip is a perennial underdog who broke his 462-race losing streak just before the 2001 racing season, but when his best friend the older Dale Earnhardt crashes in the last lap of the Daytona 500, he steps up to race against Dale’s son, Dale Jr.

Opening at the Roxy Cinema in New York this week is Michael Oblowitz’s surfing doc Heavy Water, which follows surfer Nathan Fletcher, whose brother is credited for introducing punk rock skateboarding techniques to the sport. That’s about all I know about that one.

Since actor/filmmaker Justin Chon (The Twilight Sagaand Gook) will be in Toronto this weekend with Wayne Wang’s new movie (which is premiering there), he probably won’t be doing many opening weekend QnAs for his new movie Ms. Purple (Oscilloscope), which opens in L.A. at the Landmark Nuarton Friday and at the Quad in New York on Sept. 13. This one is a drama about a brother and sister (Teddy Lee and Tiffany Chu) who seemingly are stuck in Koreatown after being abandoned by their mother and raised by their father, who is dying. It sounds like a real hoot.

Opening in New York and L.A. is Simnon Hunter’s Edie (Music Box Films), starring 86-year-old legend Sheila Hancock as a widow about to be forced into retirement home for her last days but wanting to do one last climbing trip before she dies.

The Bollywood film Chhichhore(FIP), directed by Nitesh Tiwari (Dangal), will also open on Friday in top markets, taking place in a hostel filled with interesting and unique characters who go on a journey together.

Coming to theaters for one night only (i.e. Thursday) is Melanie Martinez’s musical K-12 (Abramorama/Atlantic) about a girl named Cry Baby who is sent to a disturbing sleepaway school where she is bullied until she finds a friend who helps her fight against the Principal and his “wicked staff.” I haven’t seen this but having suffered through Slaughterhouse Rulez I’m slightly dubious.

LOCAL FESTIVALS

Not local, but the Toronto International Film Festival (TIFF) starts this week. It’s my favorite film festival on the world (after maybe Oxford) but I can’t afford to go for a second year in a row, so instead of writing about it, I’m just gonna spend the next week and a half sulking and writing about other things. L

REPERTORY

Since it’s September, a new month and a movie season, I’m welcoming a new addition to this section…

ALAMO DRAFTHOUSE BROOKLYN (NYC)

I went to see Hitchcock’s Vertigo in 70mm over the past and saw that they’re starting to do a lot more rep. programs tying to upcoming new releases by directors like Pedro Almodovar and Bong Joon-ho, so I’m going to start including some of their screenings and hoping they won’t disappoint me like the New Bev has the last few months. (And hopefully I can include the brand-new L.A. Drafthouse soon, as well.) The problem is that very often, the rep screenings might sell out before I have a chance to write about them, similar to the New Bev, actually.

Much of the Alamo’s rep programming happens on weekdays at 9:30 PM, but as I mentioned, they have some interesting fall series planned.

This week’s “Weird Wednesday” is Drop Dead Fred (1991), starring Rik Mayall of “Young Ones” fame. Monday’s “Video Vortex” is the 1943 Bollywood horror film Son of Dracula, and next Tuesday’s “Terror Tuesday” is the original found footage horror film The Blair Witch Project from 1999. (There’s a free screening of Jacques Demy’s The Umbrellas of CherbourgWeds night for Alamo Victory members but it’s already sold out.)

METROGRAPH (NYC):

I never thought the Metrograph would bring back its initial charter “A to Z” program with more offerings but sure enough, this week begins Welcome To Metrograph: Redux! On Thursday, it begins with John Carpenter’s Assault on Precinct 13 from 1976 and continues Saturday with Ján Kadár’s The Angel Levinefrom 1970. I have never heard of Paulin Soumanou Vieyra but clearly, the programmers at the Metrograph have as they’re playing two shorts programs as well as his 2019 movie Testimony on Sunday and Monday. Also, the Metrograph will continue showing off its love for Anime with a regular engagement for the late Satoshi Kon’s Millennium Actress (2001) after showing Paprika and Perfect Blue the last couple weeks. (You can still see Perfect Blue and Paprika on Thursday, as well as Roehmer’s Le Rayon Vert and Goddard’s Pierrot Le Fou.) This week’s Late Nites at Metrograph is René Laloux’s animated Fantastic Planet (1973). Kinda esoteric, no? Playtime: Family Matinees is Miyazaki’s Spirited Away (2001), so a little more mainstream for the kiddies. Also, some of the Shaw Sisters movies continues through the weekend, and I can recommend both Puppy Love and Starry is the Night, two of my favorites from the series.

FILM FORUM (NYC):

“Marty and Jay’s Double Features” ends on Thursday, so your last options are William Holden’s The Counterfeit Traitor (1962) and Slightly Scarlet (1956) on Wednesday and Sanjit Ray’s The Music Room (1958) /Il Post (1961) or Voyage to Italy (1954) and Vincento Minnelli’s The Long, Long Trailer (1954), starring Lucille Ball and Desi Arnaz on Thursday. Joseph Losey’s 1976 Holocaust drama Mr. Klein, the filmmaker’s first French film after being blacklisted in Hollywood, will be screened on DCP starting Friday. Also, “Film Forum Jr.” is BACK this weekend with Buster Keaton’s Our Hospitality (1923)on Saturday and Sunday morning with live piano accompaniment.

EGYPTIAN THEATRE (LA):

Egyptian going a bit esoteric this week with “A Short Series about Krzysztof Kieslowski” (which I won’t even try to pronounce), dedicated to the filmmaker behind the famed “Three Colors” trilogy, which will screen (all three chapters!) on Sunday evening. On Thursday, there’s a double feature of A Short Film about Loveand A Short Film about Killing, both from 1988, and they’re both under 90 minutes so no lie in the title. Friday is a double feature of The Double Life of Veronique (1991) and 1981’s Blind Chance.

AERO (LA):

This week begins the French Noir series “The French Had a Name for it 5” with a number of double features. On Thursday, there’s Quai es Orfèvres (1947) and The Sleeping Car Murder (1965), Friday is Maigret and the St. Fiacre Case (1959) and Port du Desire (1955) and Saturday is René Clement’s Purple Noon from 1960 and a double feature of Melodie en Sous-Sol (1962) and The Sicilian Clan (1969). If it isn’t obvious, I haven’t seen any of them, but I have seen John Waters’ Pink Flamingos, which is the Aero’s Friday night midnight movie. Sunday’s French noir double feature is 1946’s Paniqueand 1947’s Non Coupable. “Heptember Matinees” continues on Tuesday with Katherine Hepburn and Spencer Tracy in Adam’s Rib from 1949.

FILM AT LINCOLN CENTER (NYC):

Friday begins a new series called “Sci-Fi Visionary: Piotr Szulkin” showing six of the Polish filmmakers films beginning with 1980’s Golemand 1981’s War of the Worlds: Next Century. They’ll also be showing a new 4k restoration of George Nierenberg’s 1982 music documentary Say Amen, Somebody (Milestone Films) about American gospel music starting Friday with QnAs and choir performances following screenings on Friday and Saturday.

IFC CENTER (NYC)

Beginning Weds, the IFC Center will screen the new 4k restoration of David Lynch’s Blue Velvet (1986), a movie that I feel it’s been showing as part of its midnight series for months… but if I get to this week’s offerings, and there’s the same bullshit I’ve seen every single week, I’m moving this down to the bottom of the rep section. This weekend’s Weekend Classics: Staff Picks Summer 2019 is John Singleton’s 1995 dramas Higher Learning starring Laurence Fishburne, chosen by “Kashif” and “Marilyn,” while Waverly Midnights: Staff Picks Summer 2019 is Scorsese’s 1999 film Bringing out the Dead (chosen by “Luke”), starring Nicolas Cage.Okay, at least this week’s Late Night Favorites: Summer 2019 is Satoshi Kon’s 2006 movie Paprika (2006), which the Metrograph has been playing for weeks, so I’ll spare the IFC Center from punishment … for now.

MUSEUM OF THE MOVING IMAGE (NYC):

On Friday night, the museum is showing Douglas Trumbull’s 1983 sci-fi thriller Brainstorm in 70mm, and then on Saturday and Sunday, its showing It’s a Mad Mad Mad Mad World and Spielberg’s Ready Player One, also in 70mm.

ROXY CINEMA (NYC)

On Thursday, the Roxy is showing Jonathan Demme’s Talking Heads concert film Stop Making Sense, and then on Saturday and Sunday, it’s showing the Apocalypse Now 40thAnniversary Final Cut.

LANDMARK THEATRES NUART (LA):

This week’s Friday midnight is Tommy Wiseau’s The Room… again. YAWN.

THE NEW BEVERLY (L.A.):

Here I was going to give Tarantino the benefit of the doubt that he’d be back to rep programming in Sept. but why do your job as a programmer when you can just play your latest film and make just as much or more money? Sure, it’s playing The Postman Always Rings Twice from 1946 as the Wednesday matinee the original Disney The Parent Trap (1961), starring Hayley Mills, as the weekend KIDDEE MATINEE. And I do love P.T. Anderson’s Punch Drunk Love, which is playing as the Monday matinee. But otherwise, it’s all Once Upon a Time … in Hollywood all the time. (I guess the Saturday midnight movie is Reservoir Dogs at least?) For this infraction, the New Beverly is being moved to the VERY BOTTOM of this section as punishment, yes, even below the Nuart’s midnight screening.

(NOTE: As of now, it doesn’t seem like the Quad Cinema or BAM in Brooklyn have any new repertory screenings this weekend.)

Next week, the wide releases are STX’s Hustlers and Warners’ The Goldfinch, plus I hear Jillian Bell’s Brittany Runs a Marathon will be expanding even wider. I’ll cover most of those over at The Beat, but I’m sure I’ll have stuff to write about here as well.

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