#mark yaeger

[pisspope]

rei and zeke bday hcs cause like,,, why not (but also bc its what the ppl voted for)

tw: implied sex, references to canon typical violence

zeke

- its not that his parents didn��t celebrate his birthday at all its just,,, it was usually a small affair with influential PTA members and their kids. in other words, no one zeke got along with. very much a “seen not heard” while the grown ups sip mimosas type deal

- and of course zeke does everything in service of disappointing his parents so!!! its party time

- honestly u could try to throw a surprise party but good fucking luck this man is snoopy as all hell. every time ur out just a little too long with pieck or porco (they’re bickering over how early to buy balloons) he’s got u on the horn like “i know ur planning something”. would never accuse u of cheating bc he fully believes his own hype and knows u wouldnt DARE cheat on Adonis Himself (Narcissus more like but w/e)

- so yeah he’s probably at least a little involved in the planning of it all, wants to backseat drive because hes “not a loser who plans his own birthday party”. sending u screenshots from his notes app with his favorite colors, songs, what cake he wants, etc. lowkey insufferable

- day comes and you’ve rented out the kid’s bday party section of a bowling alley/arcade and filled it with every friend you can think of that isn’t vaguely shitty or hasn’t been burned by zeke in some way. so like… maybe 10 people, gabi and the kids included so they have a believable cover story if the staff asks who the party’s for. not that they’d care but zeke loves to play like he’s so sNeAkY and sHiFty by telling everyone it’s a party for udo or something.

- that man can BOWL and he’s an ass about it. the sorest winner in the world. in every universe he will knock down 10 or more little dudes with a rock and cheer and whoop and holler like an idiot. jeering at porco when he gets a gutter ball and you see reiner pull him aside like “just let him have it today. its his big day.” as if it is not ALSO reiner’s big day

- played with the idea of him getting a devil’s food cake and reiner getting an angel’s food cake for the lolz but he’s not sharing a party on his life so. coffee cake 100%, both because he likes it and because the kids don’t, which means more to take home. schemer that he is

- does ask for gifts but is pretty insistent about it being under 20 dollars (so he can see who overspent and ACTUALLY loves him. male manipulator). falco gets him an officially licensed sock monkey and he cries (pussy). whispering to u after that if his parents ever die horribly he’ll adopt him

- heading to the connected arcade after and, second verse same as the first, he kills at skee ball. breaks the record on each machine one after the other just to show off, gets all smirky holding the wad of tickets, talking about how he “does it all for uuuuu” and gives u the wettest sloppiest kiss on the cheek just to embarrass u

- does actually give u all his winnings tho. the high score, the posterity, the want to be remembered,,, the ego boost is enough, u can have the 2100 ticket pikachu plush <3 (u will never hear the end of this. i pity u)

- def gets home with his leftover dessert in hand and gifts in bags on his wrist, smile more genuine than usual. opening the door and letting u in, gifts and food quickly forgotten in lieu of giving you a proper thank you for helping put all this together

- 100% squeezing ur ass and asking if there’s any leftover cake for him, knowing it’ll make u roll your eyes but that you’ll relent bc the cheese is part of the charm (and boy when he gets that treat he asked for? he EATS)

reiner

- something something something same birthday complete opposite ends of the spectrum in terms of how they celebrate it

- wants his bday to be a nice quiet affair with the people he loves most, his little found family and maybe karina if hes feeling generous that year

- if u plan a party in any capacity hes gotta be part of the action! wants to hang streamers, balloons, any little things you decide on to spruce up your place for the event (please don’t call it an event he can’t handle the pressure)

- also u can’t have a cookout bday bc he will insist on working the grill the whole time. shark coded, will drown if he isn’t doing something 

- the party itself is extremely laidback, feels more like a big hangout. ordering 3 of his favorite type of pizza, bringing out beanbags and comfy chairs from other parts of the house so everyone can sit in the living room together. gabi and falco take the tv hostage to play video games and colt and bertholdt somehow get roped into it. it’s raucous, but comfortable.

- u and gabi collab on a homemade cake, but reiner is the baker in the family and gabi just likes the excuse to make a mess. end up making some easy cookies and buying a walmart sheet cake, and its a good thing, too, because just the sight of his name is enough to make him tear up. “you didn’t have to do all this” what, make a phone call to get ur name on a cake? the bar is on the floor unfortunately

- no presents because he can’t handle the pressure, but there’s a couple cards and his lip trembles over each one. zeke gets him a card that’s obviously for kids with stickers inside but he tears up at that one too because “it even comes with a little gift… so thoughtful…”

- rest of the party is spent doing more of the same, a couple beers are thrown back, maybe tosses a football around or something. very classic suburban white picket fence dream party. it brings reiner a quiet joy, one that he keeps close to his chest, a memory that he’ll look back on over and over.

- the guests start to filter out one by one until its just u and him, picking up paper plates, putting away leftovers. its all very domestic, it might actually be reiner’s favorite part. to just be with u in companionable silence, scooting around and putting the house in order. domesticity is something sacred that he never thought he’d have, and its a joy to share it with u.

- he INSISTS on sitting on the couch with u after, gives u those big eyes that he only gets when he wants u to pet his hair, falls asleep to one of his favorite comfort films with your hands on his head, totally content

- wakes up in the wee hours and carries u to bed like the big bear of a man that he is, not expecting anything of you, just wanting u to be comfortable. tucks u in and gives u a kiss like it’s your birthday or something

- and it’s not a gift bc reiner specifically requested no gifts, but if he wakes up to u wearing something special the next morning, something that leaves nothing to the imagination, i mean… maybe the party doesn’t have to be over quite yet

[ninibeingdelulu]

— headcanons ft. eren yaeger, armin arlet, jean kirstein, levi ackerman, sae itoshi, meguru bachira, oliver aiku, michael kaiser

How the aot and bllk boys (man for levi duh) react when they’re jealous. (Separated)

armin & meguru :

Armin's all gentle smiles and soothing words, even when jealousy eats at him inside. But that boyish gaze goes all moony and distant if he thinks someone's getting too flirty around his girl.

Meguru wears his heart on his sleeve in the most adorable way. Can't hide the wounded puppy vibes and dejected pouts whenever another guy checks you out - retreating into insecure mumbles until you shower him in reassurance and cuddles.

Both prefer dealing with jealousy through quiet clinginess. Armin starts finding every excuse to sidle up beside you, sneaking little hand-squeezes and playing footsie under tables until you're the sole target of those puppy-dog blues again.

As for Meguru, just try prying his koala-hugs off you once the green-eyed monster rears up. Trailing you room-to-room with those massive bambi eyes begging for constant little pecks and whispered affirmations that all's well.

Honestly, their reactions are so damn wholesome - making you melt into puddles over how lucky you are. Because Armin and Meguru have zero bones about baring those insecurities and need for constant validation when jealous, appealing to your nurturing instincts.

jean & oliver :

Jean's the definition of saltiness incarnate when worked up over some douchecanoe making moves. One second snapping sarcastic remarks in true wiseass style, only to deflate into petulant, brooding silences while scowling absolute daggers at the source of his ire.

Oliver radiates this aura of sneering superiority like the cocky asshole he is - until you bring another guy around the mix, that is. Then it's like watching his ego shrivel up in real-time as those cutting snide comments get more frantic and eager to impress.

Neither outright admits feeling jealous, naturally. Jean's too much of a prickly tsundere to open up like that, venting through increasingly aggressive banter and machismo overcompensation instead.

Oliver on the other hand masks his emotions behind bravado and nonchalance - until he's outright sulking like a petty bitch. Little comments about how he's "surrounded by delusional fuckboys" whenever your eyes linger too long.

But strip away those salty layers? A surprisingly clingy neediness to their flare-ups - making grabby moves and crowding in close until your full attention's back on worshipping their prowess. Jean snaking his arms around your waist or Oliver literally tugging you into his lap with smug satisfaction.

levi & michael :

Living embodiments of the 'ice cold stoicism' stereotype when jealous - seemingly nonplussed while internally simmering. But those sharp gunmetal gazes take on this menacing bite, silently peeling challengers apart with lethal intensity.

You'd never know it bugged Levi much, aside from that imperceptible twitching tic in his jaw. Not until he corners you alone in some secluded nook to silently tower over you with molten pewter embers, finally unleashing that restrained possessiveness.

As for Michael, his suave composure never slips - unless you really look for the micro warning signs. Those broad shoulders squaring up a fraction, faintly challenging pheromones wafting off his form at random passersby catching your gaze in a silent warning: 'She's mine.'

Neither demands verbal reassurances or constant affection when jealous (like they'd ever be so weak). But they crave physical reminders of ownership - whether Levi outright hoisting you against the nearest wall for frenzied, filthy claims...or Michael wordlessly seizing your collar before devouring your mouth into searing, desperate plunders of dominion.

They'll punish you later for inciting such unbecoming loss of control, of course. But for those volcanic instants, you've never felt more secure as their coveted prize to be marked and possessed at their impulse.

eren & sae :

Imagine a pair of possessive, volatile firebrands who wear jealousy like a hair-trigger aggression when set off. Because god help any poor sap who so much as breathes in your direction the wrong way when Eren or Sae's on the warpath.

Eren makes zero effort masking those raging, emerald-hot glowers whenever he's pissed over someone angling for your attention. Never one to pull punches - he'll barge over and start snapping, chest-puffing intimidation tactics like the alpha hardcase he is.

Sae, as for him, is this cool, cocky swagger on the surface over intruders. But piss him off enough, and that's when the foul-mouthed tirades rain from his laidback charisma...openly sneering about "handling the competition" while issuing blatant possessive displays.

Neither boy wastes effort on subtext or 'hints.' If jealous, they become wildly handsy and overt in staking aggressive marks - yanking your bodies flush together before ravaging any visible piece of flesh into lurid lovebites and hickies as clear 'backoff' signage.

Expect Eren and Sae busting out their filthiest dirty talk, too. Vulgar obscenities about how much their woman fucking craves every growled inch of their exclusive claim on you. How their prowess leaves zero need for any other paltry admirers in your orbit...right as they crowd you deeper into some poor sap's periphery. Absolute savagery.

[justanothernini-blog]

Collecting Anime Figures

I feel that If you like anime, it comes as a given that you have at least a small collection of your favourite characters.

So I thought I would take some pictures of my collection and share it with you guys.

These are my bulbasaurs, my favourite pokemon after Pikachu, and the one I chose to be my partner on pokemon Go; I've never changed him since day one.

These are my Naruto Gashapon collection. I have a love hate relation with them because they're very fragile and often times they fall from my shelve, the only ones that behave are Shikamaru and Menma.

Then we have simple but cute Funkos'. Boruto, Shoto and Shinji. I mean, look at' em, so cute :3.

I had to take a picture specially for My Hero Academia with mini All Might, I got him as a prize at an anime convention. And the candys' are the same that got very famous with the tomb of the fireflies movie, but they are ofc a MHA edition.

These are my biggest figures and the only ones that I wouldn't categorize as cute; meet my two husbands Eren Yaeger and Satoru Gojo.

I said it before, I am basic and Pikachu is my fave. Crazy to think the most dynamic of these pikachus is actualy a McDonald's Collectible.

Last but not least, The duo that marked my childhood. The most iconic anime from my early days. Taichi and Yamato with Gabumon and Agumon. Ugh, just cuteness overload.

Do you guys also collect figures? I would love to see your collections!

Which are your favourite brands of collectibles and where do you recommend buying them? Please let me know :D

[kreuzaderny]

NASA’s Webb Confirms Its First Exoplanet

Researchers confirmed an exoplanet, a planet that orbits another star, using NASA’s James Webb Space Telescope for the first time. Formally classified as LHS 475 b, the planet is almost exactly the same size as our own, clocking in at 99% of Earth’s diameter. The research team is led by Kevin Stevenson and Jacob Lustig-Yaeger, both of the Johns Hopkins University Applied Physics Laboratory in Laurel, Maryland.

The team chose to observe this target with Webb after carefully reviewing targets of interest from NASA’s Transiting Exoplanet Survey Satellite (TESS), which hinted at the planet’s existence. Webb’s Near-Infrared Spectrograph (NIRSpec) captured the planet easily and clearly with only two transit observations. “There is no question that the planet is there. Webb’s pristine data validate it,” said Lustig-Yaeger. “The fact that it is also a small, rocky planet is impressive for the observatory,” Stevenson added.

“These first observational results from an Earth-size, rocky planet open the door to many future possibilities for studying rocky planet atmospheres with Webb,” agreed Mark Clampin, Astrophysics Division director at NASA Headquarters in Washington. “Webb is bringing us closer and closer to a new understanding of Earth-like worlds outside our solar system, and the mission is only just getting started.”

[sunaleisocial]

Finding some stability in adaptable brains

New Post has been published on https://sunalei.org/news/finding-some-stability-in-adaptable-brains/

Finding some stability in adaptable brains

One of the brain’s most celebrated qualities is its adaptability. Changes to neural circuits, whose connections are continually adjusted as we experience and interact with the world, are key to how we learn. But to keep knowledge and memories intact, some parts of the circuitry must be resistant to this constant change.

“Brains have figured out how to navigate this landscape of balancing between stability and flexibility, so that you can have new learning and you can have lifelong memory,” says neuroscientist Mark Harnett, an investigator at MIT’s McGovern Institute for Brain Research. In the Aug. 27 issue of the journal Cell Reports, Harnett and his team show how individual neurons can contribute to both parts of this vital duality. By studying the synapses through which pyramidal neurons in the brain’s sensory cortex communicate, they have learned how the cells preserve their understanding of some of the world’s most fundamental features, while also maintaining the flexibility they need to adapt to a changing world.

Visual connections

Pyramidal neurons receive input from other neurons via thousands of connection points. Early in life, these synapses are extremely malleable; their strength can shift as a young animal takes in visual information and learns to interpret it. Most remain adaptable into adulthood, but Harnett’s team discovered that some of the cells’ synapses lose their flexibility when the animals are less than a month old. Having both stable and flexible synapses means these neurons can combine input from different sources to use visual information in flexible ways.

Postdoc Courtney Yaeger took a close look at these unusually stable synapses, which cluster together along a narrow region of the elaborately branched pyramidal cells. She was interested in the connections through which the cells receive primary visual information, so she traced their connections with neurons in a vision-processing center of the brain’s thalamus called the dorsal lateral geniculate nucleus (dLGN).

The long extensions through which a neuron receives signals from other cells are called dendrites, and they branch of from the main body of the cell into a tree-like structure. Spiny protrusions along the dendrites form the synapses that connect pyramidal neurons to other cells. Yaeger’s experiments showed that connections from the dLGN all led to a defined region of the pyramidal cells — a tight band within what she describes as the trunk of the dendritic tree.

Yaeger found several ways in which synapses in this region — formally known as the apical oblique dendrite domain — differ from other synapses on the same cells. “They’re not actually that far away from each other, but they have completely different properties,” she says.

Stable synapses

In one set of experiments, Yaeger activated synapses on the pyramidal neurons and measured the effect on the cells’ electrical potential. Changes to a neuron’s electrical potential generate the impulses the cells use to communicate with one another. It is common for a synapse’s electrical effects to amplify when synapses nearby are also activated. But when signals were delivered to the apical oblique dendrite domain, each one had the same effect, no matter how many synapses were stimulated. Synapses there don’t interact with one another at all, Harnett says. “They just do what they do. No matter what their neighbors are doing, they all just do kind of the same thing.”

The team was also able to visualize the molecular contents of individual synapses. This revealed a surprising lack of a certain kind of neurotransmitter receptor, called NMDA receptors, in the apical oblique dendrites. That was notable because of NMDA receptors’ role in mediating changes in the brain. “Generally when we think about any kind of learning and memory and plasticity, it’s NMDA receptors that do it,” Harnett says. “That is the by far most common substrate of learning and memory in all brains.”

When Yaeger stimulated the apical oblique synapses with electricity, generating patterns of activity that would strengthen most synapses, the team discovered a consequence of the limited presence of NMDA receptors. The synapses’ strength did not change. “There’s no activity-dependent plasticity going on there, as far as we have tested,” Yaeger says.

That makes sense, the researchers say, because the cells’ connections from the thalamus relay primary visual information detected by the eyes. It is through these connections that the brain learns to recognize basic visual features like shapes and lines.

“These synapses are basically a robust, high-fidelity readout of this visual information,” Harnett explains. “That’s what they’re conveying, and it’s not context-sensitive. So it doesn’t matter how many other synapses are active, they just do exactly what they’re going to do, and you can’t modify them up and down based on activity. So they’re very, very stable.”

“You actually don’t want those to be plastic,” adds Yaeger. “Can you imagine going to sleep and then forgetting what a vertical line looks like? That would be disastrous.” 

By conducting the same experiments in mice of different ages, the researchers determined that the synapses that connect pyramidal neurons to the thalamus become stable a few weeks after young mice first open their eyes. By that point, Harnett says, they have learned everything they need to learn. On the other hand, if mice spend the first weeks of their lives in the dark, the synapses never stabilize — further evidence that the transition depends on visual experience.

The team’s findings not only help explain how the brain balances flexibility and stability; they could help researchers teach artificial intelligence how to do the same thing. Harnett says artificial neural networks are notoriously bad at this: when an artificial neural network that does something well is trained to do something new, it almost always experiences “catastrophic forgetting” and can no longer perform its original task. Harnett’s team is exploring how they can use what they’ve learned about real brains to overcome this problem in artificial networks.

[jcmarchi]

Finding some stability in adaptable brains

New Post has been published on https://thedigitalinsider.com/finding-some-stability-in-adaptable-brains/

Finding some stability in adaptable brains

One of the brain’s most celebrated qualities is its adaptability. Changes to neural circuits, whose connections are continually adjusted as we experience and interact with the world, are key to how we learn. But to keep knowledge and memories intact, some parts of the circuitry must be resistant to this constant change.

“Brains have figured out how to navigate this landscape of balancing between stability and flexibility, so that you can have new learning and you can have lifelong memory,” says neuroscientist Mark Harnett, an investigator at MIT’s McGovern Institute for Brain Research. In the Aug. 27 issue of the journal Cell Reports, Harnett and his team show how individual neurons can contribute to both parts of this vital duality. By studying the synapses through which pyramidal neurons in the brain’s sensory cortex communicate, they have learned how the cells preserve their understanding of some of the world’s most fundamental features, while also maintaining the flexibility they need to adapt to a changing world.

Visual connections

Pyramidal neurons receive input from other neurons via thousands of connection points. Early in life, these synapses are extremely malleable; their strength can shift as a young animal takes in visual information and learns to interpret it. Most remain adaptable into adulthood, but Harnett’s team discovered that some of the cells’ synapses lose their flexibility when the animals are less than a month old. Having both stable and flexible synapses means these neurons can combine input from different sources to use visual information in flexible ways.

Postdoc Courtney Yaeger took a close look at these unusually stable synapses, which cluster together along a narrow region of the elaborately branched pyramidal cells. She was interested in the connections through which the cells receive primary visual information, so she traced their connections with neurons in a vision-processing center of the brain’s thalamus called the dorsal lateral geniculate nucleus (dLGN).

The long extensions through which a neuron receives signals from other cells are called dendrites, and they branch of from the main body of the cell into a tree-like structure. Spiny protrusions along the dendrites form the synapses that connect pyramidal neurons to other cells. Yaeger’s experiments showed that connections from the dLGN all led to a defined region of the pyramidal cells — a tight band within what she describes as the trunk of the dendritic tree.

Yaeger found several ways in which synapses in this region — formally known as the apical oblique dendrite domain — differ from other synapses on the same cells. “They’re not actually that far away from each other, but they have completely different properties,” she says.

Stable synapses

In one set of experiments, Yaeger activated synapses on the pyramidal neurons and measured the effect on the cells’ electrical potential. Changes to a neuron’s electrical potential generate the impulses the cells use to communicate with one another. It is common for a synapse’s electrical effects to amplify when synapses nearby are also activated. But when signals were delivered to the apical oblique dendrite domain, each one had the same effect, no matter how many synapses were stimulated. Synapses there don’t interact with one another at all, Harnett says. “They just do what they do. No matter what their neighbors are doing, they all just do kind of the same thing.”

The team was also able to visualize the molecular contents of individual synapses. This revealed a surprising lack of a certain kind of neurotransmitter receptor, called NMDA receptors, in the apical oblique dendrites. That was notable because of NMDA receptors’ role in mediating changes in the brain. “Generally when we think about any kind of learning and memory and plasticity, it’s NMDA receptors that do it,” Harnett says. “That is the by far most common substrate of learning and memory in all brains.”

When Yaeger stimulated the apical oblique synapses with electricity, generating patterns of activity that would strengthen most synapses, the team discovered a consequence of the limited presence of NMDA receptors. The synapses’ strength did not change. “There’s no activity-dependent plasticity going on there, as far as we have tested,” Yaeger says.

That makes sense, the researchers say, because the cells’ connections from the thalamus relay primary visual information detected by the eyes. It is through these connections that the brain learns to recognize basic visual features like shapes and lines.

“These synapses are basically a robust, high-fidelity readout of this visual information,” Harnett explains. “That’s what they’re conveying, and it’s not context-sensitive. So it doesn’t matter how many other synapses are active, they just do exactly what they’re going to do, and you can’t modify them up and down based on activity. So they’re very, very stable.”

“You actually don’t want those to be plastic,” adds Yaeger. “Can you imagine going to sleep and then forgetting what a vertical line looks like? That would be disastrous.” 

By conducting the same experiments in mice of different ages, the researchers determined that the synapses that connect pyramidal neurons to the thalamus become stable a few weeks after young mice first open their eyes. By that point, Harnett says, they have learned everything they need to learn. On the other hand, if mice spend the first weeks of their lives in the dark, the synapses never stabilize — further evidence that the transition depends on visual experience.

The team’s findings not only help explain how the brain balances flexibility and stability; they could help researchers teach artificial intelligence how to do the same thing. Harnett says artificial neural networks are notoriously bad at this: when an artificial neural network that does something well is trained to do something new, it almost always experiences “catastrophic forgetting” and can no longer perform its original task. Harnett’s team is exploring how they can use what they’ve learned about real brains to overcome this problem in artificial networks.

[ccandd96]

This brand-new book is the perfect thing to pick up to cap off summer! Scars Publications just released the Down in the Dirt‘s May-August 2024 issue collection book “A Library of Collaboration”! This 422-page volume is a great way to stock up on issues if you didn’t buy all of the issues making this a GREAT deal! A listing of all the contributors and titles is available at Scars online, and authors are also listed in the description now online through Amazon throughout the U.S. and Canada. They can also be ordered in the U.K., all of Europe, and even Japan and Australia!

https://www.amazon.com/dp/B0DBDBH1HK

https://scars.tv/2024May-August-issue-collection-book/A_Library_of_Collaboration.htm

The contributors to this book (of writing and art) include A.R. Williams, Alan Ford, Alexandra Dark, Angela Carrozza, Anthony Thomas Voglino, April Fikstad, April Goodwin, Bill Tope, Binod Dawadi, Brenda Mox, Brian Beatty, Brian Connelly, Cailey Tin, Cameron D. Alexander, Camille Akers, Chitralekha Hore, Christopher Strople, Ciara M. Blecka, Clarence Allan Ebert, Clive Aaron Gill, Corey Smith, Corey Villas, Daniel de Culla, David J Tate, David Sapp, David Sowards, Debra Wilson Frank, Devin Sparkman, Dick Yaeger, Donald Reed Greenwood, Dorthy LaVern McCarthy, Doug Hawley, Douglas Young, Dr. Adyasha Acharya, Drew Marshall, DS Maolalai, Duane Anderson, Edward Michael O’Durr Supranowicz, Eleanor Leonne Bennett, Elena Botts, Eric Brown, Erik Priedkalns, George Beckerman, Gil Hoy, Greg Beckman, Hannah Ferris, Hasan Chaudhry, Helen Bird, Holly Day, Isabel G. de Diego, J. Ray Paradiso, Jackie Bayless, Jake C. Elliott, James Bates, James Nelli, Janet Kuypers, Jerry Guarino, Joan Mach, John F. McMullen, John Farquhar Young, John Grey, John Riebow, John Zedolik, Joy Myers, June Wolfman, Justine Fleming, Kassan Jahmal Kassim, Katarina Pavicic-Ivelja, Ken Weiss, Kris Green, Kyle Hemmings, Kyle Trenka, L. Sydney Abel, Latoya Kidd, Laura Bota, Lee Hammerschmidt, Madelyne Timmons, Mark Pearce, Mark Wolters, Marvin Reif, Matthew McAyeal, Megan Mealor, Michael Gigandet, Mike Rader, Mykyta Ryzhykh, Norm Hudson, Oleksandr Gorpynich, Olivia G. Benson, Olivier Schopfer, Paul Stansbury, R.T. Castleberry, Raha.M, ReLand, Richard K. Williams, Ronald Hernandez, Roseann Bauer, Rowan Tate, Roy N. Mason, Rykard Plaque, Salvatore Folisi, Sandip Saha, Sarah Das Gupta, Scott Taylor, Sean Meggeson, Shawn McMichael, Shontay Luna, Simon Kaeppeli, Steevie Karnes, Sterling Warner, Steven Grogan, Susie Gharib, Terry Sanville, Tom Ball, Toney Dimos, Tony Covatta, Vern Fein, and Westley Heine.

https://www.facebook.com/janetkuypers/posts/pfbid02X79WiLxMhVQRAjyUJdASt2iJ2LHeLrvTuYK2i1RmvSVzDMBcK7cPwCQbxzY67dkwl

[wqbytop100]

WQBY (the world of Q)

Top 150 for the week ending January 28, 2024

Never Be Friends --Jost, Mingue -3 [H] .6sec

Heart Still Beating ---Nathan Dawe, Bebe Rexha -2 [EDM] .4sec

It's Love (If We Get It Right)--Anthony Russo -4 [P] .9sec

You're Hired, NEIKED, Ayra Starr -1 (starts w/vocals)

One On One ---The Knocks, Sofi Tukker -5 [H] [EDM] .12sec

Feels Like Us ---GT_OFICE, ALWZ SNNY, Robbie Rosen -6 [EDM] .7sec

Anyone --Morgan Page -22 [EDM] (starts w/vocals)

She's On My Mind ---Romy -9 [P] .15sec

All Fckd Up---Kapuzen -14 [H] [EDM] (starts vocals w/half a sec)

Good In Goodbye---Frank Walker, Trivecta -12 .10sec

Kill Anyone --Two Feet, Ari Abdul -13 [M][SD] .10sec

Both---Tiesto, 21 Savage, BIA -10 .06sec

Diamond Therapy ---Diplo, Walker & Royce, Channel Tres -8 [EDM] (Starts vocals)

Dark Skies --A R I Z O N A -7 .11sec

***Jet Plane --R3HAB, VIZE, JP Cooper -(new) [House, Pop, EDM, Dance] .1sec

Other Boys --Marshmello, Dove Cameron -15 (starts vocals)

You---Svidden, Seeb -11 .7sec

Bad Blood--Theresa Rex -25 [P] .5sec

***Weak -Vintage Culture --Vintage Culture, Maverick Sabre, Tom Breu -(new) [N,H] [EDM] .9sec

***Close Your Eyes -Lucas Estrada, Tribbs, Stephen Puth -(new) [H] [EDM] .7sec

I Don't Wanna Worry -NEEDTOBREATHE -27 (starts vocals)

U Miss Me--Vicetone -16 [EDM] .7sec

***Dirty Desire---Vicetone -(new) [H] .21sec

Next Year's Light ---Elliot Moss -21 [M] .6sec

Flex---Tony Dark Eyes -20 [N,H] .3sec

Graveyard--- A R I Z O N A -19 .6sec

***Rhythm Machine ---Westend, Max Styler -(new) [N,H] .12sec

Lift Off ---Dombresky -18 [N,H] [EDM] .03sec

Spend The Night ---BJ the Chicago Kid, Coco Jones -29 [M] .10sec

Dizzy--Sick Individuals, LOUI LANE -32 [H] [EDM] .03ec

I'll Be There--Robin Schulz, Rita Ora, Tiago PZK -17

More Baby ---Chris Lake, Luna -26 [N]

Go Off --Mike Candys -23 [N,EDM]

Jaguar ---Yaeger -31

Easy--3LAU, XIRA -24

Mirrors ---Caravan Palace -57 [EDM]

Save My Love --Destiny Rogers -34[M,SD]

Lullaby --Britti -33 [M] [SD]

Good Morning--Timmy Trumpet, Alle Farben, YOU -30

Strangers--Kenya Grace -28 [M]

Cutting Loose --Disco Lines, J. Worra, Anabel Englund -126 [H] [EDM]

Run Free (Countdown) --Tiesto, R3HAB -54

Body Moving ---Eliza Rose, Calvin Harris -56 [EDM]

See You Again --Vicetone, Anna Clendenning -35 [EDM]

***No Reason--- The Chemical Brothers, Chris Lake remix -(new) [H] [EDM]

AEIOU--PNAU, Empire of the Sun -37

Sorry Now ---A R I Z O N A -36 [M] [SD]

Dreamteam --Galantis, Neon Trees -42 [EDM]

Nevada --Vicetone, Cuzi Zuehisdorff -39 [EDM]

Run --ATB, Nu Aspect, Orem -64 [H] [EDM]

Stop The Time --Zombic -41 [EDM]

Rebel --TVXQ -77

***ADHD --Mae Stephens -(new) [P]

Yard Sale --Alex Warren -70

Stress You ---Lucas Estrada, SUPER Hi -38

OhLA LA --Idris Elba, Sasha GiGi -40 [N]

Pull You Closer --Sistek, Sadie Rose Van -43

Drums---James Hype, Kim Petras -51 [EDM]

Years ---Just_Us -58

Who I Am --Alan Walker, Putri Ariani, Peder Elias -60 [M]

Killing Me --Conan Gray -58

She Got It Bad --Martin Jensen, MATTN -44

Dreaming ---Marshmello, Pink Sting -46

***I Got Time --Brittney Spencer - (new)

Mas Que Nada --Oliver Heldens, Ian Asher, Sergio Mendez -127 [H] [EDM]

Summertime Friends---The Chainsmokers -45

Jungle ---Alok, The Chainsmokers, Mae Stephens -47

Saving Up -Dom Dolla -48 [H]

Hungry Heart --Declan J. Donavan -49

The Tower --Future Island -50

The Greatest Thing Alive --Mark Knight, Green Velvet, James Hurr -52

Lil Boo Thing--Paul Russell (Galantis remix) -53 [H] [EDM]

Tension --Kylie Minogue -55

Proud --Victoria Nadine -78 [M]

Rusty ---Layto -84

I Can't Be The Only One --SIRA, YouNotUs -92 [H]

You Can Have It --Kungs, Victor Flash -62 [H]

Living In A Haze---Milky Chance -61

Stay The Night --Just Kiddin, Camden Cox -98

***Sorry Ain't Enough --Michael Gerow -(new) [SD]

Untouchable --ITZY -130

Waking Up --Felix Jaehn, Leony -131 [H] [EDM]

***Lie To Me --Jubel, KIDDO -(new)

***Dance Is The Answer --Dubdogs, RUBACK, Ticon f/Raja Ram -(new) [N] [House] [EDM]

What Are We Waiting For -- for King & Country -97

***Biggest Regret---Gorgon City, Bbyafricka -(new) [H] [EDM]

***Do You Feel It --VAMERO, Cyril M. Mougleta -(new) [EDM]

Hangin' On --A R I Z O N A -63

All My Life --Tiesto, FAST BOY -102

Maybe In The Summere--Foinix, Chris Ruo, Geoff Duncan -94 [EDM]

***One By One---Robin Schulz, Topic, Oaks -(new) [H] [EDM]

***No Strings ---X Ambassadors -(new)

***Me ---Steve Angello -(new) [EDM]

***Missing You --Frank Walker, Nate Smith -(new) [H] [EDM]

***I Don't Remember --Walker & Royce, VNSSA -(new)[N] [H] [EDM]

One Last Dance --Imanbek, Ali Gatie -65

Running In A Dream --Nils Hoffmann, Kasbo, Vancouver Sleep Clinic -66

Hall Of Forever --Henrik -108 [SD]

***Face To Face ---Kenzie -(new) [P]

Holding Pattern --Nihil Young, Artiflex Mundi, Adam Nazar -104 [H] [EDM]

Head Down ---Lost Frequencies, Bastille -101 [H] [EDM]

<>Us ---Steve Aoki f/ ERNEST -[last on @#137 12.10.23]

Wanna Dance --Alle Farben, James Carter, VARGEN -87 [EDM]

Losing You --Gabry Pointe, bshp, Joe Cleere -67 [H]

Twisted --Laura Davidson -68

Wanna ---Paul Dally -70

Daydream --Will Swinton -71

Jealous --Pascal Letoublon, IZKO, Jordan Rys -72

Get Dirty ---Return Of The Jaded, Tommie Sunshine -73

Waiting --LP Giobbi, Redfield, DJ Rae, -74

At Your Worst --Calum Scott -75 [M]

Tears On The Dancefloor --Icona Pop -76 [EDM]

Fire --Alan Walker, YUQI, JVKE, (G)I-DLE -79

Bite Marks --Ari Abdul -80

Heat Rising --Pete Tong, Jem Cooke, Jules Buckley -81

Disco En Egypte --Bon Entendeur -82

On My Way --Kaskade -83 >>>

Boyfriend ---USHER -85

Champagne Shit ---Janelle Monae, Latto, Quavo -86

Phone --MEDUZA, Em Beihold, Sam Thompkins (Lil Chan Remix) -88

DJ Play A Christmas Song ---CHER, (Robin Schulz remix) -89 [S]

Superhero ---AUDIEN -90 [EDM]

The Way ---Miller Blue -91 [M]

Blur ---KREAM, Marlo Rex -93

(Trust Me Now) I'm Fine --ROZES -95

Young & Foolish ---Loud Luxury, Charlieonafriday -96 [H]

Lights On Noboby's Home --Graham Barham -99

Coulda Been Love --Randal King -100

How Do I Say Goodbye--Adventure Club, Delaney Jane -124 [H]

Behind --Myles Smith -110

J Christ --Lil Nas -128

<>Give It To Me --Lucky Luke -(re-entry)

I'm Only Here For The Beat --Madelline (Evil Mix) -114 ]H]

Mean Girls --Caleigh -113

Funny Bunny -Elliot Lee -115 [N]

***Lighthouse ---Calum Scott -(new)

Memory ---Bonnie & Clyde, SUM SUN -117

<>Overdrive --Ofenbach, Norma Jean Martine -(re-entry) [last on 12.10.23 @#101]

<>I'm In Love With You --Fred Falke, Zen Freeman, Ampersounds -(re-entry) [H]

<>Rush --Troye Sivan -(re-entry)

***Alibi --Ella Henderson, Rudimental -(new)

Let Go --Connor Price, Nic D -133 [M]

Kiss Like This ---FETISH -132

i'm Just Ken --Ryan Gosling, Mark Ronson, Purple Disco Machine -105 [N,H] [EDM]

Holding Me Back---Nils Hoffmann, The Kite String Tangle -107 [H]

Walk It Like I Talk It --Saucy Santana -112

Front To Back --Deorro, Electric Polar Bears -116 [H] [EDM]

Thank You (Not So Bad) --Dimitri Vegas, Like Mike, Tiesto, Dido -118

Hungover --John Summit, Mathame, Camden Cox -120 [H] [EDM]

Falling Behind -Sultan + Shepard, Panana -122 [H]

[N] =Novelty Song [S]= Christmas (Seasonal) [H=House] [P=Pop] [I =Indie] [C=Country] [SD=SlowDance] [HH=HipHop] [D=Dance] [R=Rock] [P=Spirtual] [E=Emotional] [M=Smooth] [EDM=Electronic Dance Music] [SP=Synthpop]

[biglisbonnews]

Nordstrom Hosts Dinner Celebrating Simone Rocha's Center Stage Pop-Up On Thursday, Nordstrom welcomed Simone Rocha to its NYC flagship to celebrate her Center Stage pop-up installation inside the store. The London-based designer hosted an intimate dinner alongside Nordstrom’s Olivia Kim to fête the launch. The dinner party was held at the elegant Les Trois Chevaux in West Village. Guests enjoyed an evening of fine dining with cocktails and a French-inspired menu. The pop-up in Manhattan’s 57th street store also marks the introduction of Simone Rocha menswear at the retailer. Guests included Jian DeLeon, Michelle Zauner of Japanese Breakfast, Antwaun Sargent, Miles Greenberg, Precious Okoyomon, Lynn Yaeger, Blake Abbie, Tess McMillan, Joey Laurenti and Daphne Seybold, among others. The Simone Rocha Center Stage pop-up and installation will run from March 17 – April 10. See more photos from the evening in the gallery, below.Photos via BFA https://www.papermag.com/nordstrom-simone-rocha-2659653182.html

[astroimages]

HISTÓRICO!!! JAMES WEBB DESCOBRE O SEU PRIMEIRO EXOPLANETA!!!

ASSINE JÁ O SPACE TODAY PLUS E TENHA ACESSO A CENTENAS DE CONTEÚDOS INÉDITOS E EM PORTUGUÊS SOBRE ASTRONOMIA E ASTRONÁUTICA POR APENAS R$29,90 POR MÊS!!! https://quero.plus OUÇA O PODCAST HORIZONTE DE EVENTOS: https://www.spreaker.com/show/horizonte-de-eventos Pesquisadores confirmaram a presença de um exoplaneta, um planeta que orbita outra estrela, usando o Telescópio Espacial James Webb da NASA/ESA/CSA pela primeira vez. Formalmente classificado como LHS 475 b, o planeta tem quase exatamente o mesmo tamanho que o nosso, com 99% do diâmetro da Terra. A equipe de pesquisa é liderada por Kevin Stevenson e Jacob Lustig-Yaeger, ambos do Laboratório de Física Aplicada da Universidade Johns Hopkins em Laurel, Maryland. A equipe escolheu observar esse alvo com Webb depois de revisar cuidadosamente os dados do Transiting Exoplanet Survey Satellite (TESS) da NASA, que sugeriam a existência do planeta. O Espectrógrafo de infravermelho próximo (NIRSpec) do Webb capturou o planeta com facilidade e clareza com apenas duas observações de trânsito. “Não há dúvida de que o planeta está lá. Os dados originais do Webb o validam”, disse Lustig-Yaeger. “O fato de ser também um planeta pequeno e rochoso é impressionante para o observatório”, acrescentou Stevenson. “Estes primeiros resultados observacionais de um planeta rochoso do tamanho da Terra abrem as portas para muitas possibilidades futuras para estudar atmosferas de planetas rochosos com Webb”, concordou Mark Clampin, diretor da Divisão de Astrofísica na sede da NASA em Washington. “Webb está nos aproximando cada vez mais de uma nova compreensão de mundos semelhantes à Terra fora do Sistema Solar, e a missão está apenas começando.” Entre todos os telescópios em operação, apenas o Webb é capaz de caracterizar as atmosferas de exoplanetas do tamanho da Terra. A equipe tentou avaliar o que há na atmosfera do planeta analisando seu espectro de transmissão. Embora os dados mostrem que este é um planeta terrestre do tamanho da Terra, eles ainda não sabem se ele possui uma atmosfera. “Os dados do observatório são lindos”, disse Erin May, também do Laboratório de Física Aplicada da Universidade Johns Hopkins. “O telescópio é tão sensível que pode detectar facilmente uma variedade de moléculas, mas ainda não podemos tirar conclusões definitivas sobre a atmosfera do planeta.” Embora a equipe não possa concluir o que está presente, ela pode dizer com certeza o que não está presente. “Existem algumas atmosferas do tipo terrestre que podemos descartar”, explicou Lustig-Yaeger. “Não pode ter uma atmosfera espessa dominada por metano, semelhante à da lua de Saturno, Titã.” A equipe também observa que, embora seja possível que o planeta não tenha atmosfera, existem algumas composições atmosféricas que não foram descartadas, como uma atmosfera de dióxido de carbono puro. “Contra-intuitivamente, uma atmosfera com 100% de dióxido de carbono é muito mais compacta que se torna muito difícil de detectar”, disse Lustig-Yaeger. Medições ainda mais precisas são necessárias para a equipe distinguir uma atmosfera de dióxido de carbono puro de nenhuma atmosfera. Os pesquisadores estão programados para obter espectros adicionais com mais observações neste verão. Webb também revelou que o planeta é algumas centenas de graus mais quente que a Terra, portanto, se forem detectadas nuvens, isso pode levar os pesquisadores a concluir que o planeta é mais parecido com Vênus, que tem uma atmosfera de dióxido de carbono e está perpetuamente envolto em nuvens espessas. “Estamos na vanguarda do estudo de exoplanetas pequenos e rochosos”, disse Lustig-Yaeger. “Nós mal começamos a arranhar a superfície de como suas atmosferas podem ser.” Os pesquisadores também confirmaram que o planeta completa uma órbita em apenas dois dias, informação que foi revelada quase instantaneamente pela curva de luz precisa de Webb. Embora o LHS 475 b esteja mais próximo de sua estrela do que qualquer planeta do Sistema Solar, sua estrela anã vermelha tem menos da metade da temperatura do Sol, então os pesquisadores projetam que ainda poderia suportar uma atmosfera. As descobertas dos pesquisadores abriram a possibilidade de identificar planetas do tamanho da Terra orbitando estrelas anãs vermelhas menores. “Esta confirmação do planeta rochoso destaca a precisão dos instrumentos da missão”, disse Stevenson. “E é apenas a primeira de muitas descobertas que ele fará.” Lustig-Yaeger concordou: “Com este telescópio, os exoplanetas rochosos são a nova fronteira”. LHS 475 b está relativamente próximo, a apenas 41 anos-luz de distância, na constelação de Octans. Os resultados da equipe foram apresentados em uma coletiva de imprensa da American Astronomical Society (AAS) na quarta-feira, 11 de janeiro de 2023. FONTE: https://esawebb.org/news/weic2302/?lang #JAMESWEBB #SPACETELESCOPE #EXOPLANET

[morethanjustmediocremusings]

The Power and Identity Dynamics Displayed In Fashion: Examining the Spring 1993 Perry Ellis Show Through Critical and Feminist Theories

A Senior Project Presented to The Faculty of the Communication Studies Department California Polytechnic State University, San Luis Obispo

In Partial Fulfillment Of the Requirements for the Degree Bachelor of Arts

By Taylor Abouzeid Winter 2021

Every day that you wake up and get dressed, you are engaging with fashion. Every time you shove a pair of glasses further up your nose, you are engaging with fashion. From the shoes that protect your feet to the hat that warms your head, fashion, quite literally, surrounds you. The fictional character of Miranda Priestly said it best “…it’s sort of comical how you think that you’ve made a choice that exempts you from the fashion industry, when, in fact you’re wearing the sweater that was selected for you by the people in this room” (Frankel, 2006, 1:25:27). While it is well worth nothing the pervasive nature of the fashion industry, I desire to dig deeper. 

I yearn to interpret the meaning of a garment beyond its threads. To examine the power a collection of clothing has over society, is to hold a magnifying glass up to a mirror. Fashion is created from society, by society, and for society. 

The Perry Ellis Spring 1993 show exemplifies this deeper meaning of clothes. The grunge boots, deep tones, and fruitful florals rocked the brand’s traditional style with deafening deviancy (Condé Nast Archive, 1992). The radical and everlasting style that graced this runway was not immediately matched with the same awe and appreciation as it is given today. In fact, the Perry Ellis Spring 1993 show marked the final show for the coveted designer Marc Jacobs (Yaeger, 2015). 

It is through critical analysis that we are able to see fashion communicate with the outside world. Marc Jacobs was privy to this concept. He understood the power of fashion and by taking a deeper look, through critical analysis, into his final show for Perry Ellis one can see the hidden concepts of power and identity dynamics. Jacobs was removed from the Perry Ellis show immediately after the launch of his Spring 1993 collection (Yaeger, 2015).  Despite this expulsion from a top fashion house, Jacobs went on to create his own successful brand under his own name, Marc Jacobs (“International,” n.d.). Under new branding, Jacobs was able to create more contemporary and avant-garde designs than he was previously allowed under Perry Ellis.

By way of a critical evaluation, and through a feminist lens, I aim to explore the power and identity dynamics demonstrated in the Perry Ellis Spring 1993 show, designed by Marc Jacobs. Specifically, I seek to uncover the hidden meaning behind this selection of garments and take a closer look at the underlying inspirations behind the looks. 

Throughout this paper we, author and reader, will embark on an amazing journey of discovery. First, we will set the stage with a literature review encompassing fashion communication, Critical Communication Theory, Feminist Theory (and fourth-wave feminism), power dynamics, aspects of identity, Cultural Capital Theory, and trend dynamics. This lengthy section provides us with pertinent knowledge to bring all audience members to the same level of understanding. At the end of this literature review lies my research question, left for your eyes to gaze and your mind to ponder. Then I begin to explore my given unit of analysis, the Perry Ellis Spring 1993 Show designed by Marc Jacobs in the Methodological section of this paper. In the outcomes and evaluations section I begin to answer my own pressing questions and explain why exactly this study has an impact of the given field of Communication Studies. And if that’s not enough, I wrap it all up with a bow in my final summary. Here we go, thanks for joining me on this journey!

Literature Review Critical Communication Theory Critical theory, largely credited to Habermas (1968) is highly influenced by the works of Karl Marx (Fuchs, 2018). Marx mimicked many of Habermas’ ideations, such as language as a gear within capital and power, rather than a sperate function within itself (Fuchs, 2018). In order for Critical Communication Theory to avoid contradiction it must transcend the typical Habermasian approach (Fuchs, 2018). While Critical Theory has withstood the test of time, and continues to develop as of today, it is not outside its bounds to include and credit the work of Marx with the theory.

To review the cyclicality of a trend is to view an artifact as ever changing, malleable as the audience changes throughout time. One must first diagnose the age within its construction, and then apply Critical Theory work unto a given artifact (McLuski, 2007). The theory of critical communication is deeply reflexive, McLuskie (2007) uncovers the discourse surrounding mutual recognition by articulating the same flexible fundamentals as seen in this paper. Critical Theory has moved well beyond its starting position, for decades it has been applied and reapplied to dig deeper into the theory itself (McLuski, 2007). Critical Theory, as explained by McLuski (2007) observes an artifact as a worldly experience, with ties to separate and disconnected theories beyond the communicative realm. After all the explaining of positivism and Marxism, one theory remains at the center of it all: Critical Communication Theory.

Critical Theory was developed with the ability to continuously expand, and it is well within the reach of this paper to move beyond the more common applications of critical communication theory. Marx has long gone without appropriate accreditation for his work on Critical Theory (Fuchs & Mosco, 2012). It is in fact, the building blocks of Marx that communicative social change becomes feasible. The calls for a critique on exploitation, class and capitalism come from the work of Marx (Fuchs & Mosco, 2012) and are often an integral part of defining Critical Theory. By applying Fuchs & Mosco’s work on Marx (2012) one can begin to further expand this important theory. This expansion, exemplified by the current paper, must demonstrate the materialism between communication and culture, highlight the same activity from which information and communication intersect, and draw attention to the social construction of meaning (Fuchs & Mosco, 2012). At this intersection lies the Perry Ellis show, a show that broke boundaries of fashion and spoke to an audience beyond the traditional high fashion community. 

Feminist Theory Although self-titling a paper to include feminist critiques can often lead to assumptions of false intent and outdated intentions (Dare, 2007), Feminist Theory maintains a strict balance of inclusion and artifact criticism. It is throughout Dare’s (2007) article that we can identify the necessity of dismantling the historical separation of active and passive actions, which has often been used to strip away one’s ideology of individual capital. The important shift explored by Dare (2007) follows that one must not question the speaker themselves, but rather the forces that allowed a given speaker the stage presence to have their voice to be heard. Feminist Theory is far from reaching an outdated status update, but as these monumental shifts continue to happen, it is imperative that young scholars track this budding discourse.

While traditional approaches to Feminist Theory can be criticized for falling behind the times, modern fourth-wave feminism strives to move beyond common misconceptions. While the basic intentions behind the different segments of historical feminist movements have largely remained the same, it is more accurate to differentiate the waves by the tools used by modern feminists (Looft, 2017).  For instance, fourth-wave feminism is characterized by the ability to create and maintain online networks of community across national border lines (Looft, 2017). The feminist lens and efforts though which this scene will be evaluated is the same feminist lens that Loof (2017) describes as seeking to understand and revolutionize reproductive rights, freedom of speech, and workplace rights. This fourth wave of feminism was chosen due to the nature of my argument and because fourth-wave feminism remains the most current feminist perspective in 2021.

As seen in Biesecker (1992), Feminist Theory needs to be separated from the status quo. As women begin to be written into recent histories of rhetoric there needs to be a drastic shift in the processes of accepting new literature into the field. Women must be allowed in the public sphere of rhetorical content, in order for the field to continue its compounding exponential growth. It is within Biesecker’s (1992) article that the common criticisms of feminist theory, especially regarding inclusivity of content, are radically exposed.

Through the present application of fourth-wave feminism, and the perspective that Dare (2007) explored, the Spring show can be evaluated as not only an act of defiance, but an outright criticism of the power dynamics evident in the fashion industry. A clash between what is popular and what has always been, led to the capsule that is this collection. Femininity is explored though its contrast: strong women walked in low sole combat boots, stepping on the heads of patriarchy throughout the length of the catwalk. These details are what must be explored, for in the smallest crease of a garment there is the potential for pushing this feminist agenda. 

Power & Identity The negotiation process of social status is highly tied to one’s perception of others, and further, the ways in which all parties interact with one another (Pasztor, 2019). Pasztor (2019) utilized theories and experiences with power dynamics between tattoo shop clients and artists to uncover ritualistic actions that can be taken to assert higher or lower levels of power/dominance in a given interaction. Certain aspects of the “negotiation process” exposed personal motivations such as obtaining a consensus, or a perceived “win” over the countering party (Pasztor, 2019). Power dynamics are further explained to function as a mutual understanding between speaker and listener (Pasztor, 2019), through which rational conversation assumptions are held in play. As long as little listener maintenance is required to follow and interpret the message, power dynamics flow throughout the conversation through verbal and non-verbal paralanguage (Pasztor, 2019).

Identity dynamics hold a wealth of power over one’s own perceptions of an artifact and can be seen to define and characterize a given artifact by creating passages of understanding for audience members. While foundational understanding of identity typically originates within oneself, a crucial aspect of identity dynamics is the role that a single identity plays among others (Fredriksson & Johansson, 2014). There are strong ties from one’s identity to their surrounding experiences, and socially shared knowledge. From this common knowledge an understanding is further implied between author and audience. Identity dynamics can be seen at play in any given artifact. They hold the potential to collect or divide an audience, or in this case, a collection.

When examining external approaches to a given artifact, creating audience identity connections improves audience perceptions of the show. Cooper (2019) examined audience reactions to different female standup comedians to expose that audience members perceive shows to be more widely appealing if they consider themselves to be a part of the target audience. Here we see that identity work places the power in the hands of the audience members, such that they are the ones who decide the authenticity of the performance (Cooper, 2019). It is though the work of Cooper (2019) that we see the foundational elements of identity dynamics on the field of media and communication studies. 

Pertaining to the current analysis, there are two main identities to examine in the Perry Ellis show. First, the assertion of power from the presented new wave of individualistic and grungy fashion over the standardized and subordinate ways of the past. This exemplification of power dynamics places the Perry Ellis show in an interesting position. By putting forth a collection that critiques the industry in which it resides, Marc Jacobs directly challenged not only the participation of his audience members, but also the entire foundation on which elitist fashion originates. Second, it is crucial to examine the identity work of this collection. The presented styles spoke to a younger and more modern audience, one that understood and deeply engaged with the underground music scene. Perhaps unsurprisingly, this collection was the final show Marc Jacobs presented at Perry Ellis (Yaeger, 2015). The attitude of the show was so groundbreaking, that Jacobs became a risky designer – one who was not preoccupied with prioritizing the wants of industry officials, but rather desired to reflect society as it truly was. 

Cultural Capital Theory & Trend Dynamics Cultural Capital Theory is commonly sourced as a fundamental component of fashion trend prediction. Yoganarasimhan (2017) examined and researched trend adoption patterns to prove fashion was a signifier of cultural capital. Alongside Cultural Capital Theory often runs Wealth Signaling Theory, a concept which is disproven in the Yoganarasimhan article (2017). Within Yoganarasimhan’s (2017) conclusion a solidifying statistic substantiates ties between Cultural Capital Theory and predicted trend cyclicity.

Power over a given subject’s cultural capital is maintained by the ruling class. In this case, society’s elite, and those who control fashion investments, are considered to be the “ruling class.”  An examination of the different power structures within Afrikaans arts journalism highlighted the important strength of human agency on already changing structures of power (Cultural Capital and Change, 2012). Indeed, even after monumental shifts in power have occurred, cultural capital is still used by the newly instated class of leaders (Cultural Capital and Change, 2012). Cultural capital is used to self-prescribe and reinforce one’s assumed power and is seen in the transfer of power between human interactions well beyond physical conversations. 

While the cultural capital at the time of the Spring 1993 Perry Ellis show contrasted Jacobs’ runway, it is important to examine the ways in which the underground grunge subculture began to seep into the mainstream, in this instance, through fashion. This trend went against classical rules of Cultural Capital Theory. Models adorned smudged eyeliner and walked with heavy feet, decisions that, at the time, were groundbreaking. However, by bringing this Nirvana-influenced wave of fashion motifs to a “high culture” runway show, Marc Jacobs made the standout decision to change the present structures of power (AnOther, 2015). This show claimed a space in fashion history by unapologetically presenting a new, harsher take on fashion’s cultural capital. 

In sum, the culmination of this research has led me to the following question: “How have the power and identity dynamics evidenced in the Spring 1993 Perry Ellis Ready-to-Wear collection influenced today's social landscape?” I explore this question through looking at the present-day fashion scene. 

Methods Unit of Analysis The unit of analysis for the current paper is the Spring 1993 Perry Ellis fashion show, designed by the well-accredited Marc Jacobs. This show is unique in that it can stand alone as a moment in the past, encompassing all the amazing musical, political, social, and cultural influences that it grew from. While this show held tremendous value in that particular moment, its social worth continues today. This is in part due to the coincidental parallel growth of fashion and technology. For without the amazing documentation of this show, there is no way to guarantee its current social capital. Seventy-one looks have been eternally frozen in the once glossy pages, now the internet, of Conde Nast’s Vogue (Condé Nast Archive, 1992). These images have gone well beyond a singular audience, as the exact images and at-home replicas continue to grace the dashboards of Pinterest, Instagram, Twitter, and Tumblr. 

Looking at these images evokes ideation of timeless design. The variety of presented silhouettes allows for this show, in particular, to evade the confines of a style’s given decade. Arguably, Dr. Marten’s boots have always been in trend, but now, in 2021, we have seen a revival like no other. This particular footwear choice cannot be chalked up to one individual inspiration, but it would be foolish to not admit at least a small portion of Ellis’ contribution to the combat boot renaissance. From cropped cardigans, midi and maxi dresses, sheer tops, and embroidered details, many trends displayed in this show are still easily shoppable in today’s racks of retail storefronts. 

Let it be known, this particular show was not selected on a whim. After looking into the Anna Sui Spring 1993 show, the Jean Paul Gaultier Fall 1995 show, and my selection of choice –the Perry Ellis Spring 1993 show – I was left to my own decisions. I finally made my choice to move forward with the Perry Ellis show as the central focus of my senior project because the available coverage of information regarding the inspiration and the execution of this show is much greater than that of the other shows I explored. Furthermore, my selection was also heavily influenced by a personal desire to better understand the importance of Marc Jacobs as a designer for Perry Ellis.

Critical Analysis To best honor the traditions set forth by Critical (Communication) Theory (Habermas, 1968). I had to first, metaphorically, place my artifact well within a given span of time. While there are obvious and definite boundaries for the literal time frame of the show, the interpretations of the show make the time seem indefinite. Alas, like Critical Theory would suggest, I had to look outside what I should expect. I placed the artifact in the past and allowed the consequential river of reactions to flow forth without restraint. 

By examining the artifact in this manner, I was better able to recognize the power structures at play within the garments. The contrast of flowing fabrics tethered to the runway with a thick soled boot and the loud music paired with graceful models demonstrate ways in which power was created on the runway. By creating these harshly contrasting dynamics, a storyline can be implied through the dramatic threads. The clothing spoke of a rebellion, a lack of guilt, and a desire for control. While these claims may seem distant, it was only through Critical Theory that they became evident.

Analyzing Power and Identity Dynamics In order to apply and examine the power and identity dynamics at hand, I had to deeply engage with the materials surrounding the show. I was able to discover that Marc Jacobs sourced many inspirations from the grunge subculture headed by Nirvana superstar Kurt Cobain, and the likes of Courtney Love and other “reckless” celebrities of the era (AnOther, 2015). Through this analysis on the available inspirations, positions of power became more and more apparent. The models, though their garments, held the power. It was the combination of socially deviant clothes and traditionally accepted beauty that shocked the audience and placed the power in the models’ hands. By giving the audience the unexpected, the show took place at the highest position of power. As for the concepts of identity surrounding this collection, I have previously noted the importance of the grunge subculture on the Perry Ellis show, but further the nature of the show explores concepts of individuality and beauty within the unfinished.

Feminist Application For the final part of my analysis, I wanted to include a feminist perspective. To best match the concept of this artifact not only existing on the past but living in our future, I selected a moderate take on fourth-wave feminism. This decision to include feminist perspectives came naturally. This third and final lens gave me the ability to interpret the available dynamics at play in a more applicable manner. Through a feminist perspective the show serves a rebellious purpose, like a pungent fist in the air, or a march through a crowd. The Perry Ellis Spring 1993 show encapsulated feminist acts of defiance. 

In sum, fashion provides one way to interrogate our own reflections, both literally and figuratively. Created by individuals not removed from cultural conversation, fashion allows us to take a step back and reflect on our own lives. Critical Theory applies best to this moment of communication. By utilizing the strengths of the theory, the Perry Ellis Spring 1993 show can be viewed as an artifact within a given cultural moment. It is only through the use of Feminist Theory, however, that we can examine aspects of power and identity within the collection. Feminist thought provides a perspective of dynamicism, one that allows us to view objects, in this case individual garments, as signifiers of value. Cultural Capital Theory describes the process of creating and passing on trends. Within the Perry Ellis show we see prevalent cultural capital though the cyclicality and long-term reign of the presented trends. Having the Perry Ellis show as my unit of analysis allowed for greater exploration and in-depth evaluation of a broader range of topics, and with the application of my given theories the show is able to stand out as not only a moment in history, but a curtail aspect of today’s society. 

Findings Power in Fashion One of the most prevalent social dynamics in fashion is power. Commonly seen through shoulder pads, asymmetrical hems, sharp edges and dark colors, power is quite literally sewn into a large portion of runway garments. These exact design elements were foundational to Jacobs designs for the Spring 1993 show. Fashion, however, is not often limited by boundaries of such elements. Power can be shown through a multitude of other factors that play significant roles in a season’s presentation. In the Perry Ellis show, power is further exhibited through the dark Dr. Marten’s boots, sullen faces of the models, bold red stripes, and tonal patterns that adorned the more feminine garments. 

Contrast is another gigantic signifier of power in fashion. The clash of “high,” avant-garde, fashion and “low,” street, fashion is a more common example of this dynamic. Within Jacobs’ designs one can see this difference in style through his outfitting. Models in shiny, pink silk gowns wore smudged, dark makeup. While the soft colors and flowing fabric exude calamity and beauty, the “heroin chic” makeup speaks to Jacobs’ grunge influences (Condé Nast Archive, 1992). The distinction, yet simultaneous display of the two styles is a unique characteristic embodied by this show. 

Designers often use color pallets to convey messages of power in their projects. I identified this tactic in the Perry Ellis show most specifically in Jacobs’ printed designs. While the garments in soft and neutral tones lacked fabric embellishments, the black, red, purple, and green items were all printed with various beaded textures, plaid or striped prints, and often a mixture of them all (Condé Nast Archive, 1992). Jacobs’ decision to mix these patterns and prints in his runway show gave the presentation an edge that, at the time, was relatively new. 

This evidenced power dynamic has continued to influence audiences even today. Outfitting, both on the runway and off, continues to follow Jacobs’ trend of contrast. Whether through chunky sneakers with dresses, or Dr. Martens with feminine prints, contrast is still highly applicable in modern trends. As for coloration, black has long reigned as a color of power, which even today we see at play. Suits, a typical part of powerful dressing, are most commonly black, a sentiment that is undoubtfully influenced through color selection. Although these aspects of power may have not originated with Jacobs, it is through his final Perry Ellis show that we can see them most clearly featured.

Identity Threads While identity my not seem to be an individual aspect of fashion, the essence of alternative and individualistic societal precepts carries throughout the entirety of the Spring 1993 runway. Individuality of one’s own fashion can come in many forms, in the Perry Ellis show it was best evidenced through the inclusion of grunge aesthetics. By drawing inspiration from the grunge subculture and more specifically the band Nirvana, Marc Jacobs’ collection oozed identity (AnOther, 2015). The formation of subcultures comes from the diversity of society (Ulusoy & Schembri, 2018).  Through the inclusion of the grunge subculture into his work, Marc Jacobs was able to create an identity with his collection.

Creating and maintaining an identity with fashion is more common than you would think. Brands often select the subcultures that most closely align with their target audience to include in their shows. However, in the Spring 1993 Perry Ellis show, Jacobs stunned audiences by giving them what they least expected: grunge. Whereas the fashion market has often been associated with “high culture” contexts, the presented grunge culture forced audience members to engage with what had traditionally been viewed as “low culture.”

We all make decisions regarding fashion; thus, we all have a fashion identity. By adhering to a particular subculture’s aesthetic, blatantly neglecting it, or some middle ground of the two, everyone engages with fashion identities. The adherence to a given subculture has the power to give the clothing a genre, an identity. It is this concept, that was polished by Jacobs, that allows an essence of identity to be seen in the show. 

Cultural Capital of Clothing Cultural capital is that which holds influence in our society (Yoganarasimhan, 2017). However, in the context of fashion this can be most clearly seen through the presented runway shows each season. Quarterly (occasionally more often though), fashion houses create presentations to walk down their runway. The top houses, most outspoken brands, or cutting-edge designers hold the season’s cultural capital. 

This sense of influence/capital is strongly maintained by top brand houses each season and is later mimicked by “lower’ houses in the subsequential shows. While the terms “higher” and “lower” do not necessarily mean better or worse, there is often an implication that those brands who covet newer ideas sooner hold more cultural capital. This is exactly why the Spring 1993 Perry Ellis Ready-to Wear show was so substantially influential. It accomplished what no other brand had done before. 

The Perry Ellis show broke cultural capital norms. I believe that this show in particular was a standout in creating a new wave of fashion’s cultural capital scene. For after Marc Jacobs was fired from Perry Ellis following the debut of his Spring 1993 collection, other brands began to catch on to Jacobs’ genius. No longer did top houses hold the entirety of fashion’s capital. Small brands began to have more influence as they experimented with new concepts and continued to push new designs.

Trend Implications We see individual expression through clothing in many ways, but most pungently through the decision to engage with particular trends. Similar to the decision to adhere to subculture aesthetics, trends are presented by a season’s designers and trickle down through the retail market. While the average person only gathers a general idea of trends from what is sold to them on the racks and major retail outlets, designers and a whole team of trend forecasters are responsible for paving the way. 

This is where that Devil Wears Prada quote chimes in, “…it’s sort of comical how you think that you’ve made a choice that exempts you from the fashion industry, when, in fact you’re wearing the sweater that was selected for you by the people in this room” (Frankel, 2006, 1:25:27). As Miranda Priestly goes on to renounce, even a specific color can be attributed to a singular choice made by designers. From the cut of your jeans, the height of your heel, or the print on your coat, trends are inescapable. 

There is no way to passively engage with fashion trends, every time you mix feminine blouses with hard plaid and call it “grunge” Marc Jacobs is to be thanked. Fashion shows across the decades have been responsible for the cyclicality of trends. It was the consequence of this very show that the presented trends still run rampant today. In reality however, it is quite rare to account a given trend all the way back to its original designs, as through the market chain they change and adapt with their audience.

Discussion Through powerful silhouettes, harsh stripes, and heavy boots, the Perry Ellis Spring1993 show is notable for its statement of power. This show gave fashion the chance to break down and challenge traditional runway presentations. The loud music and desire to reject fashion norms spoke of an identity given to the project. Through this formation of identity, the show itself became a trend. By examining the formation of trends through Cultural Capital Theory, it became obvious that the Perry Ellis show ranked in a position where its power could create an influence. These conclusions have consequences outside of the show’s legacy. This exploration of the Perry Ellis Spring 1993 show, designed by Marc Jacobs, has expanded the limits of Critical Communication Theory and challenged the ideas of feminist thought for power and identity work. 

Implications for Critical Theory It is through the work of Critical Theory that artifacts, such as the Perry Ellis Spring 1993 fashion show, are able to be deeply analyzed on an artifact-specific scale. The work of Critical Theory allowed for Jacobs’ show to be seen as highly influential, and remarkably pertinent. Through the Perry Ellis show, Critical Theory took on new grounds. By applying Critical Theory to such a topic as fashion, the theory as a whole can be seen as more applicable. Further, because Critical Theory was created with the intent to never stop expanding (Habermas, 1968), this paper provides an outlet through which the entire theory itself can be seen as continuing to grow and encompass more, and widely different, terrain. 

The work completed through this analysis of Jacobs’ designs also captured a new intersection of Critical Theory and media artifacts. While the unit of analysis is often a modern-media piece up for critical analysis, by focusing on a fashion show, Critical Theory’s scope of analysis has stretched to encompass an entirely new group of discourse. Given this newfound inclusion, Critical Theory can now be widely applied to projects outside of Communication Studies. As the groundwork for expanding Critical Theory has now be laid, others can easily begin their own expansion of the theory. 

Implications for Feminist Thought The analytical discussion that preceded was grounds for a reclamation of fashion as wholly feminist. By focusing on power and identity dynamics, the conversation centered fashion in an manner that presented its feminist capabilities. In the past, fashion has been seen as superficial and even potentially as a patriarchal crutch. Serving as a scapegoat for sexist behaviors and comments regarding feminine interests, fashion has rarely been engaged in such a way with feminist studies.  However, with a closer examination of the Spring runway, it has become radically clear that the garments were made in defiance of such societal and patriarchal rules and are actual evidence of defiance. 

From this paper, fashion has proven to be a weapon against norms and oppressive culture, and a beacon for all things individual and powerful. Allowing fashion to serve its intended purpose has expanded the previous limits of Feminist Theory. Engaging with fashion, previously used to dumb down, or discredit the interests of women, can now be seen as an intentional, critical, and even political choice. Feminist Theory, now with the addition of fashion, can begin to examine other ways in which clothing is used to empower, and potentially disenfranchise, feminine autonomy. 

Real World Implications Every day, we all wake up and engage with fashion. With, or without, notable intent we select what trends we desire to follow, and we confidently present them to the world. Without our knowledge, the Perry Ellis show has influenced every single individual, for it has continued to influence the entire fashion industry since its original exposition. It’s presented trends have rippled outward and could be seen as undetectable to the untrained eye. However, this analysis has provided the lens though which one can see the designs’ influence.

This show, designed by Marc Jacobs, is remarkable for this influence yet remains unrewarded for its daily application. Although for many, the influence that Marc Jacobs has had on the fashion industry will continue to go unnoticed, this paper has set a prescient to appreciate the center of origin for current and past trends. Similarly, at the hand of this exploration, fashion has become a topic worthy of critical exploration; one that is conducive for further research. 

Limitations and Thoughts for Expansion While this paper was able to completely grasp at the importance of fashion, and more specifically the Spring 1993 Perry Ellis Ready-to-Wear fashion show, designed by the incredible Marc Jacobs, it lacks evidence of other shows continuing this strong wave of influence. Undeniably, fashion has, and continues to be, influenced by a rage of different collections. From designers, to music, to various subcultures, fashion gains inspiration from everywhere. To strengthen the argument that fashion affects everyone, it is very necessary to examine other potential areas of trend inspiration. 

If we, as a society, are to continue to expand our understanding of fashion to include noteworthy moments of inspiration, it is crucial for others to expand my presented topic. Many other shows hold similar relevancy to the Perry Ellis collection, and many other designers deserve similar accreditation. Thusly, for future efforts, I would deem it highly necessary to continue the application of the given theories to a multitude of differing shows. 

Conclusion I wrote this paper with the intention of expanding the limits of Critical Theory, and feminist thought. I wanted to explore the range that power and identity dynamics had within these houses of thought. It is through the Perry Ellis Spring 1993 show that I was able to accomplish such work. Through both a feminist lens and Critical Theory, power and identity dynamics have been emphasized as key aspects of fashion. By drawing attention to the minute details of the designs and approaching the analysis with a concrete understanding of fourth-wave feminism, this paper exemplified my goals. This culmination of thought is now able to show how applicable high-fashion concepts are in every-day life. 

Fashion no longer has to be seen as an abstract office hidden somewhere in New York, fashion is everywhere around us. By taking a closer look at the fashion that surrounds you, it becomes apparent that what once could have been seen as a drab jacket, is actually a statement of power through its broad shoulders, dark colors and sleek fabric. Fashion is more than just the clothes we throw on our bodies, fashion is a deeper reflection of society than many know. With this paper, the Spring 1993 Perry Ellis show, designed by Marc Jacobs, has become eternally influential for all of us who engage with fashion.

References AnOther. (2015, June 4). Marc Jacobs' S/S93 nirvana tribute at Perry Ellis. https://www.anothermag.com/fashion-beauty/7476/marc-jacobs-s-s93-nirvana-tribute-at-perry-ellis Biesecker, B. (1992). Coming to Terms with Recent Attempts to Write Women into the History of Rhetoric. Philosophy & Rhetoric, 25(2), 140-161. http://www.jstor.org/stable/40237715 Condé Nast Archive. (1992). Perry Ellis spring 1993 ready-to-wear [image gallery]. Vogue. https://www.vogue.com/fashion-shows/spring-1993-ready-to-wear/perry-ellis/slideshow/collection Cooper, S. K. (2019). What’s so funny? Audiences of women’s stand-up comedy and layered referential viewing: Exploring identity and power. Communication Review, 22(2), 91-116. https://doi-org.ezproxy.lib.calpoly.edu/10.1080/10714421.2019.1599666 Cultural capital and change: Afrikaans arts journalism and the democratic transformation of South Africa. (2012). Conference Papers – International Communication Association, 1-30. Dare, A. (2007). Shifting tides: Transnationalizing feminist communication theory. Conference Papers – National Communication Association, 1. https://search.ebscohost.com.ezproxy.lib.calpoly.edu/login.aspx?direct=true&db=cms&AN=35506504&site=ehost-live&scope=site Frankel, D. (Director). (2006). The devil wears prada [film]. Fox 2000 Pictures. Fredriksson, M., & Johansson, B. (2014). The dynamics of professional identity. Journalism Practice, 8(5), 585-595. https://doi-org.ezproxy.lib.calpoly.edu/10.1080/17512786.2014.884746 Fuchs, C. (2018). Towards a critical theory of communication with George Lukács and Lucien Goldman. Javnost-The Public, 25(3), 265-281. https://doi-org.ezproxy.lib.calpoly.edu/10.1080/13183222.2018.1463032 Fuchs, C., & Mosco, V. (2012). Intrduction: Marx is back – The importance of Marxist theory and research for critical communication studies today. TripleC (Cognition, Communication, Co-Operation): Open Access Journal for a Global Sustainable Information Society, 10(2), 127-140. https://doi-org.ezproxy.lib.calpoly.edu/10.31269/triplec.v10i2.421 Habermas, J. (1968). Knowledge and human interests. John Wiley & Sons. https://www.wiley.com/en-us/Knowledge+and+Human+Interests-p-9780745694177 International. (n.d.). Marc Jacobs Official Site. https://www.marcjacobs.com/default/aboutmarc/louis-vuitton-1997.html Looft, R. (2017). #girlgaze: Pornography, fourth wave feminism, and social media advocacy. Continuum: Journal of Media & Cultural Studies, 31(6), 892-902. https://doi-org.ezproxy.lib.calpoly.edu/10.1080/10304312.2017.1370539 McLuskie, E. (2007). The “recognition turn” in critical theory as a communication theory for peace. Javnost-The Public, 14(4), 19-36. https://doi-org.ezproxy.lib.calpoly.edu/10.1080/13183222.2007.11008950 Pasztor, S. K. (2019). Parlez in the parlor: Greeting rituals, power dynamics, negotiation, and goal achievement in tattoo artist-client discourse on TLC’s NY Ink. International Journal of Communication & Linguistic Studies, 17(1), 23-41. https://doi-org.ezproxy.lib.calpoly.edu/10.18848/2327-7882/CGP/v17i01/23-41 Yaeger, L. (2015). Slammed then, celebrated now, Marc Jacobs’s Perry Ellis grunge show was a collection before its time. Vogue. https://www.vogue.com/article/marc-jacobs-perry-ellis-grunge-collection-90s-fashion Yoganarasimhan, H. (2017). Identifying the presence and cause of fashion cycles in data. Journal od Marketing Research (JMR), 54(1), 5-26. https://doi-org.ezproxy.lib.calpoly.edu/10.1509/jmr.15.0119 Ulusoy, E., & Schembri, S. (2018). Subculture as learning context: Subcultural music consumption as language, channel and journey. Consumption, Markets & Culture, 21(3), 239–254. https://doi-org.ezproxy.lib.calpoly.edu/10.1080/10253866.2018.1447463

[trix-rp2]

Trix gave the room a cursory glance, the furniture was nice but he preferred the branching marks of his. He made a mental note to add to it as in the coming years he'd have more visitors. Turning his head back towards the royal group he bowed to each in turn. "Your Majesty, Your Grace, Lord Yaeger." Gently he squeezed her hand, assuring her that he wasn't leaving her side. "It's a pleasure to properly meet you all." He smiled warmly, a fang visible in his grin.

"And in a form much more suitable for civilised discussion. I apologize for the bravado I put on when first talking to you. But I saw an opportunity to better show my place and took it. I'm sure each of you would do the same in a similar situation, exercising your power to better make your stand." He clapped his hands together and smiled once more. "I myself am famished, was there a meal planned for tonight? If not that is perfectly alright, I can manage just fine."

Yaeger scoffed and shook his head, even more annoyed at the dragon's actions than he was a moment ago. Glaring daggers at Talora he spoke, his tone of voice like the cold steel of a broadsword; Sharp and deadly. "So this is who you choose instead of me, a showman who only puts on a display to please and soothe those around him. Has he done the same with you I wonder? Whispering promises of gold and power to you in payment for marrying him?"

@talorashadowmourn

He laughed along with her, slowly lifting off the bed and holding her close to his body. He pressed another kiss to her neck before looping an arm under her waist. "Oh I don't think so. I'd say making love is more enjoyable. This was only half as enjoyable I'd say." He sighed happily and lifted her, grabbing ahold of the bedsheets and pulling them off the bed before walking downstairs with her. "Once we make love, I believe you will be ruined for any other form of pleasure, except maybe at my touch."

He carried her all the way to the hot springs, his lips never straying too far from her neck. Stepping in with a sigh, he ran his hands over her torso, wiping it clean. "I also think when we end up making love, we're both going to fall asleep right after and just rest in eachothers arms. Though that doesn't sound all that bad." He leaned back against the edge of the spring, humming softly to himself. "Once we get clean, I think we might have some time to read, and then it's time to meet with your family."

[thelittlestmanband]

Average Man

I got my friends together to re-record and shoot a music video for "Average Man". This was only available on the Japanese Import of "Cheer Up" by Reel Big Fish.

[gscottbarrett]

Mark Yaeger "A Certain Lightness"

@markyaeger teamed up with Gautier Capuçon to created "A Certain Lightness" to celebrate the 50th anniversary of Apollo 11's landing on the moon.