#mj's lexicon

[lieblinqs]

retrouvaille. (n.) the joy of being reunited with someone again after a long time apart.

simon 'ghost' riley x civilian!reader

after getting heavily injured on a mission, simon gets a warm welcome from his beloved - but he needs them to promise him one thing.

//wounds, basic angst, very fluffy at the end! f!reader but only bcs “lass” is used once

word count: 2,134

You never really notice how small your apartment feels when there's no one but you - how comforting it is to finally feel his presence back after weeks and months of an empty house - you couldn't even call it a home until then. Because your home was standing tall in your doorframe, hunched just the slightest bit, dressed in gear and was reaching for your body. "I can't make it if you don't promise me to be okay."

"I don't want to be okay without you."

You've never been so on point with keeping track of time until you've had to wait for Simon to come back from deployment. When the final day arrives, you haven't slept for not a minute. You couldn't imagine not being there for him when he finally arrives — so when you hear the familiar heavy steps and keys rustling from behind your apartment door, your heart completely stops for a second. You've never been up this fast, making your way to your small entryway in a heartbeat - probably hitting your foot against a few tables of yours while running too, making sure everything that you've planned is intact for the moment. But that plan gets thrown off immediately by pure impulse and instinct.

He reached out for your body and you jumped in, like a natural body reaction; your bodies fitting together like a puzzle meant to be, the familiar musky scent of him that you swear you hate, (but, if we're being honest, you truly missed and love) all of it taking over your senses. He held you so tight to himself as if you'd disappear if he let go – like a man starved of human contact.

During all this time of knowing Simon, you've already figured that his actions speak more than words – even with you, he responds in short answers. He's more of a listener, anyways. So that hold told more than any of your words could ever explain, not even those you scripted and waited to tell him. Without words, you both exchanged everything you needed to say. "...Simon." you finally managed to murmur against his vest, yet all you could make out was his name; hands gripping onto whatever piece of cloth you could find on him.

"In the flesh." hearing his voice again is like a nostalgic hit in the stomach. Like listening to an old song you used to cry to before. "Missed me?" His exhausted smug face was wiped off by your lips crashing against each other; It was his voice that took you out of the shocked state and made you pull his Balaclava off completely – kissing him like it was truly the last time you could. Simon laid his one hand into your hair and pulled you closer to him, the other holding at your waist. Both your eyes were screwed shut, just enjoying the euphoric relief of tension

You didn't even know how long you two have been stuck like this, but you could stay like that forever. That is if you weren't mortals, who need air to breathe.

"How many weeks has it been..fuckin’ hell, months even. –"

"67 days."

"...You counted it?"

You decide burying your head deeper into his chest was enough of an answer. You did count it – and his heartstrings were pulled as guilt flows through them. He didn't deserve to come back to this. Ghost didn't deserve to be loved like this, he believes.

Leave wasn't always comforting like this for Simon.

Well, comforting, sure. Depends on who views it. He found comfort — but in the bottom of a bottle instead of your embrace. His apartment was empty; and not just empty in the physical sense. It was empty of life, just dim light coming from the halfway opened windows, unopened mail and boxes scattered around, only indicators that there even was someone living here.

But now he, out of all people, had the priceless privilege of coming back to you. To a warm home with someone who's waiting for him, who's waiting for Ghost to leave and Simon to come back.

"Every single day that you were gone." You never really noticed how small your apartment feels when there's no one but you - how comforting it is to finally feel his presence back after weeks and months of an empty house - you couldn't even call it a home until then.

Because your home was standing tall in your doorframe, hunched just the slightest bit, dressed in gear and was reaching for your body.

"Don't just stay at the door like some jehovah's witness, Please." You give an awkward snort and make your way to close the door behind him. "...How was it?"

"Harsh."

You knew better than to ask about details of his job. You knew where he was, what he was doing, and (about) when he comes back. It was enough for him, because if there's one thing he never wants to happen it's to bring you into the operations. You didn't need to know more.

You were curious, sure, and he would tell you about the Taskforce once or twice - both of you laughing at some dumb thing that happened to a rookie or that one time he absolutely obliterated Soap in training — for the record, he is very proud of that. (Please tell him you are too.) He'd tell you about the impressive shots he did, and some ego-boosting updates on his strength that you're sick of hearing, but that's about it. You were okay with that to some extent, too.

While helping out Simon get out of his uniform and lay off his gear aside, you had to glance back at it twice before realizing what you saw on the side of his stomach.

"Jesus fucking-... You told me you'd be more careful this time!" You hiss out at the sight of his wounds painted with dark, dried blood, practically left unattended except for the basic stitches and what looks like some worn-out bandages. "Not quite easy when you've got targets in yer back love." simply huffing at his remark, you shake your head with annoyance at his lack of care.

Without a word or further complaint, you drag him into your bedroom and sat down with him on the shared queen-sized bed.

Taking a closer look on what you were being left with, you began by cleaning off his scarred skin;

" Fuckin' hell—"

"...Might sting?" A quiet chuckle, that you just couldn't hold in, escapes your lips as well as a soft smile that creeps upon them.

"But whose fault is that now.." The look in those deep, brown eyes that you fell in love with a long time ago, now signal you that familiar sign to what this is going to lead into. Your own face scrunches at the thought of it; so, so close to breaking down at the already overwhelming situation. "Can't always come out without a scratch." "That is not a scratch." "I'm jus' saying. You know what I do and what comes with it. Right? Listen."

"Simon." The first time, it's a warning to him - to remind you avoid this conversation like the plague for a reason.

"You'll live a long time without me —"

"Don't." The second, it's a plea. A begging whine brought in a shaky voice and accompanied by eyes swollen with tears, interrupting what other painful daggers of truth he was about to give you - he always did this in the worst moments.

It's so easy to pretend that it couldn't happen.

"I need to know you'll be fine on your own without me." And there it was. His voice was grating and raised, — if you didn't know him you'd think he was mad. But he isn't. He's frustrated and this is the only way he can deal with it - He's frustrated because It's killing him to talk about it too, tearing at his heartstrings, knowing that he might not come back to you after one goodbye. That after one unlucky mission, one unlucky shot, one unlucky ‘scratch’... he won't come back to your embrace where war and blood find no home. His dark eyes that indicate death and a cold-hearted killer on the battlefield are now yearning for support and understatement in yours. You could've sworn you even saw them beginning to look glossy. His voice now begins to hitch and breaks itself - the grip he had on you now trembling and weakening, eyebrows furrowing; a vulnerable sight that Simon swore to never let anyone see again. Yet here he is, kneeling in front of his love on their shared bed, begging for a single promise. "I wanted that to be the first thing we do when i come back, in case.." He drifts off as he gives you a stern look into your eyes, his hands gripping your arms in a tight hold. "In case there won't be another chance."

"I can't make it if you don't promise me to be okay." "I don't want to be okay without you."

He doesn't know what to say; he wishes he never had to even hear that. But this is what comes with loving Simon.

"And you won't have to. But if something happens —" A quiet, cried-out whisper interrupts him once again. "Don't say that." In return, he can't bring himself to respond with anything else other than an exaggerated exhale and a head tilted to look down. "...If something happens, you promise to live out your life, alright? None of that 'mournin’ for me' crap, yeah?" Simon wasn't one to comfort others, even though he tried his best for you. But god, he does know how to make you cry.

"Tell me you'll stay strong for me." "I don't take orders" a weak smile creeps onto your face as you jokingly scoff, but still linked with that sad expression.

"..."

When silence falls between the both of you and no sign of that hazy and mean playfulness in the dark orbs of his that usually lingers, letting you know he means it when he tells you to confirm. Who are you to disobey the L.T.’s orders?

"I'll try." After a few moments run by, you manage to say something in return with a shaky voice – basically forcing yourself to accept that pill that's so hard to swallow.

"I'll try to Simon. But I don't know how long I can try for." Averting your gaze from his, you finish touching up his stitches and lay off the med kit into some random bedside table drawer.

"I want to know that you're always somewhere out there, that that smile of yours' still goes around." he took your jaw into his hands and his dreary eyes were taking you in, your head immediately melting into the familiar hold of his as the calloused thumbs begin to wipe your tears off your pretty face.

"Come on lass, traveled back to you n' all that, and ya won't even give me a smile? Get me a refund." Losing to fight back a smile, you hit your one hand against his chest lightly and hide your smiling face into the crook of his neck - a heavy weight lifted off your shoulders, and where there were sobs, there are now those warm giggles of yours that Simon dreams of when he's gone.

"I'm tired."

"What's stopping ya?"

"Your need to shower."

"Oi, piss off." He grunts a chuckle under his breath as he throws you over his shoulder and heads to the bathroom; placing a kiss onto the hips that he was carrying. "Barely home for an hour and ya already have an attitude. Gonna have to get rid of that."

"Bet you do."

The water droplets grazing both your nude bodies as he leans his head atop of yours, your hands working their way to his face and gently rubbing it's paint off. — An vulnerably intimate and loving scenario between you two. You have to admit, it took an ungodly amount of time to build that amount of trust between you. But you'd wait for him over, and over, and over again if it meant to be together like this. When you two finally get out, he insists of carrying you into your bed.

His embrace feels so comforting, his bicep curled around you, pulling you into his chest – his heartbeat and the dimmed lights lulling you to sleep. It's a perfect way to warm ones heart after one half of it was gone for so long.

"I've missed this Simon."

"It's what I fight for, love." It's so easy to pretend that it can be always like this.

tags: @lovsavangeline2

lmk if u wanna be on my tag list as well ^.^ pls like reblog or comment!! i love seeing ur interactions, ++ my requests are open for anything a/n : also should i keep the small font or write in a normal one??

[ranahan]

More palatalisations & how they could explain the problem of murmured sounds

Okay, so: Mando’a has these spellings ⟨dh⟩ (dha), ⟨gh⟩ (ghett), and ⟨mh⟩ (mhi) where the h seems to suggest aspiration. But the problem is that that is a very weird set of consonants to be aspirated: I know of no language that would only contrast between aspirated and unaspirated voiced stops and not make the same contrast for unvoiced stops as well. (Except for the reconstructed Proto-Indo-European, but there as well this exact issue is a problem that has bugged linguists forever.)

But then, while I was formulating my palatalisation theories, I found out that ⟨mh vh bh nh lh⟩ are spellings that actually have been used by natural languages to spell /mj vj bj nj lj/. And you know what? That spelling makes perfect sense: palatalised voiced stops don’t sound exactly like murmured (i.e. aspirated voiced) sounds… but they also don’t sound exactly unlike them. There’s a bit of a puff of air, more than with the unvoiced consonants. And this could explain why Mando’a has dh but not th, and ty but not dy.

So we have a bit of a mismatched set of spellings:

… but as you see, together they make a complimentary set.

(Okay, this set is a bit incomplete; I’ll have to leave the task of completing it to a later post because it got very long and very rambling.)

So how are dh, gh, mh pronounced then?

On the Republic Commando soundtrack, mhi is pronounced as /mi/ and dha as /da/. On Traviss’s recordings, neither word makes an appearance so we don’t know how she would pronounce them. Her pronunciation guide gives:

dha[dah]

mhi[mee]

It appears that the extra h does not affect pronunciation.

In Romance languages for example, /gj/ became /j/ or /dʒ/ (so that would be ⟨y⟩ or ⟨j⟩ in Mando’a orthography), and /dj/ became /dz/ or /j/. But maybe in Mando’a they did something else: instead of strengthening, they became weaker, first becoming aspirated, and then losing the aspiration too:

/dʲ/ > /dʰ/ > /d/

/ɡʲ/ > /ɡʰ > /g/

/mʲ/ > /mʰ/ > /m/

A range of these gradations might exist along the different dialects. Perhaps the spelling ⟨dh gh mh⟩ became standardised at a time when that was the prevailing pronunciation among whichever dialect was the most prestigious one at the time.

Conclusion

So there you have it: my best damn attempt to make the weirdness of Mando’a orthography make sense.

I can’t know whether this is what the original authors (Jesse Harlin and Karen Traviss) intended. But as always, my primary goal is to make sense of the corpus of Mando’a that exists in a way that is linguistically plausible. Authorial intent is secondary to me, although I do use that as guidance whenever there is an interview or some source to guide me and I can make it fit & make sense.

Out of Harlin’s inspirations, Russian, Hungarian and Romanian exhibit at least some palatalisation, so the words that were already present in the Repcomm soundtrack (e.g. dha, mhi, tracinya, dralshy’a) could have gotten their sounds from there. Neither of the additional inspirational languages (Romani and Nepali) Traviss has mentioned has palatalised consonants, but Nepali does have murmured ones. So the additional sounds (in e.g. entye, gedet’ye) that Traviss added are more likely inspired directly by Harlin’s Mando’a or the same inspirations he used. Ghett comes from The Bounty Hunter Code by different authors—so actually the problem of murmured sounds is not attributable to Traviss.

You’ll have to judge for yourself whether this solution is plausible and satisfactory to you (and if it’s not, I’m always interested in hearing contradictory opinions even if it takes me a year to think through a reply). It’s satisfactory to me in its broad strokes, although I will have to think further on which sound changes make most sense in the light of the etymologies of the existing lexicon, which set of phonemes/pronunciations/spellings works best, etc (but that part got so long and rambly that I axed it until I have wrangled it into neater shape). But generally I feel pretty good about my chances of making something sensible out of these ingredients.

C, cy, yc—why are they pronounced like that?

I think I’ve mentioned before that the rule is very nearly regular, so here it is. I’ve reproduced Traviss’s original pronunciation guides here (so you can see whether what I’m saying holds true).

c (without y) is pronounced as /s/ before high front vowels /e i/

cerar [sair-ARR]

ceratir [sair-AH-teer]

ceryc [sair-EESH]

cetar [set-ARR]

cetare [set-ARE-ay]

cin [seen]

cinargaanar [see-NAHR-gah-nahr]

cinarin [see-NAH-reen]

cin'ciri [seen-SEE-ree]

cinyc [SEE-neesh]

ciryc [seer-EESH]

mircin [meer-SEEN]

mircir [meer-SEER]

mirci't [meer-SEET]

racin [ray-SEEN]

tom'urcir [tohm-OOR-seer]

ver'mircit [VAIR-meer-seet]

otherwise as /k/

That is, after other vowels:

ca [kah]

cabuor [kah-BOO- or]

cabur [KAH-boor]

ca'nara [KAH-nah-RAH]

can'gal [CAHN-gahl]

carud [kah-ROOD]

ca'tra[KAH-tra]

cuir [COO-eer]

copaanir [KOH-pan-EER]

copad [KOH-pad]

copikla [koh-PEEK-lah]

copyc [KOH-peesh]

cu'bikad [COO-bee-kahd]

cunak [COO-nahk]

cuun [koon]

cuyan [koo-YAHN]

cuyanir [coo-YAH-neer]

cuyete [coo-YAY-tay]

cuyir [KOO-yeer]

cuyla [COO-ee-lah]

du'car [DOO-kar]

du'caryc [doo-KAR-eesh]

ge'catra [geh-CAT-rah]

jorcu [JOR-koo]

ori'copaad [OH-ree-KOH-pahd]

vencuyanir [ven-COO-yah-neer]

vencuyot [vain-COO-ee-ot]

vercopa [vair-KOH-pa]

vercopaanir [VAIR-koh-PAH-neer]

…and in a word-final position:

balac [bah-LAHK]

bic [beek]

ibac [ee-BAK]

ibic [ee-BIK]

norac [noh-RAK]

tebec [TEH-bek]

yc is always pronounced as /iʃ/

aikiyc [ai-KEESH]

aruetyc [AH-roo-eh-TEESH]

balyc [BAH-leesh]

beskaryc [BES-kar-EESH]

burk'yc [BOOR-keesh]

chakaaryc [chah- KAR-eesh]

copyc [KOH-peesh]

dalyc [DAH-leesh]

daryc [DAR-eesh]

diryc [DEER-eesh]

duumyc [DOO-meesh]

etyc [ETT-eesh]

gaht'yc [GAH-teesh]

gehatyc [geh-HAHT-eesh]

haamyc [HAH-meesh]

haatyc [HAH-teesh]

haryc [HAR-eesh]

hayc [haysh]

hetikleyc [hay-TEEK-laysh]

hettyc [heh-TEESH]

hodayc [HOH-daysh]

hokan'yc [hoh-KAH-neesh]

iviin'yc [ee-VEEN-esh]

jagyc [JAH-geesh]

jaon'yc [jai-OHN-ish]

jari'eyc [JAR-ee-aysh

jatisyc [jah-TEE-seesh]

johayc [JO-haysh]

kotyc [koh-TEESH]

kyr'adyc [keer-AH-deesh]

kyrayc [keer-AYSH]

kyr'yc [KEER-eesh]

laamyc [LAH-meesh]

lararyc [lah-rah-eesh]

majyc [MAH-jeesh]

morut'yc [moh-ROO-teesh]

narseryc [nar-SAIR-eesh]

nayc [naysh]

neduumyc [nay-DOO-meesh]

nehutyc [neh-HOOT-eesh]

nu'amyc [noo-AHM-eesh]

nuhaatyc [noo-HAH-teesh]

ori'beskaryc [OH-ree-bes-KAR-eesh]

ori'jagyc [OH-ree-JAHG-eesh (or OH-ree-YAHG-eesh)]

ori'suumyc [OHR-ee-SOOM-eesh]

oyayc [oy-AYSH]

piryc [PEER-eesh]

ramikadyc [RAH-mee-KAHD-eesh]

ret'yc [RET-eesh]

ruusaanyc [roo-SAHN-eesh]

sapanyc [sah-PAHN-eesh]

shaap'yc [sha-PEESH]

shi'yayc [shee-YAYSH]

shuk'yc [shook-EESH]

shupur'yc [shoo-POOR-esh]

sol'yc [sohl-EESH]

talyc [tahl-EESH]

tomyc [TOH-meesh]

tranyc [TRAH-neesh]

tratyc [TRAH-teesh]

tug'yc [too-GEESH]

ulyc [OO-leesh]

urcir [oor-SEER]

utyc [OO-teesh]

verburyc [vair-BOOR-eesh]

verd'yc [VAIR-deesh]

vutyc [VOOT-eesh]

yaiyai'yc [yai-YAI-eesh]

Note that this is still true when yc occurs in the middle of a word instead of the end:

barycir [bah-REE-shir]

besbe'trayce [BES-beh-TRAYSH-ay]

dirycir [DEER-ee-SHEER]

ke'gyce [keh-GHEE-shay]

majyce [mah-jEE-shay]

majycir [MAH-jeesh-eer]

mar'eyce [mah-RAY-shay]

mureyca [MOOR-aysh-ah]

cy is pronounced as /ʃ/

burc'ya [BOOR-sha]

burcyan [BOOR-shahn]

cyare [SHAH-ray]

cyare'se [shar-AY-say]

cyar'ika [shar-EE-kah]

cyar'tomade [SHAR-toe-MAH-day]

mirshmure'cya [meersh-moor-AY-shah]

murcyur [MOOR-shoor]

oyacyir [oy-YAH-sheer]

Ret'urcye mhi [ray-TOOR-shay-MEE]

sheb'urcyin [sheh-BOOR-shin]

sho'cye [SHOW-shay]

tracy'uur [trah-SHOOR]

Exceptions

The above holds true except for some exceptions:

The first is a group of words with a combination of u + yc:

buyca [BOO-shah]

buy'ce [BOO-shay]

buycika [BOO-she-kah]

This might be related to the status of /ui/ as a diphthong in Mando’a & could be a piece of evidence against it. What do I mean? Well, every instance of ⟨uy⟩ in the dictionary, Traviss breaks up in two syllables /u.i/. Could be there’s no diphthong /ui/ in Mando’a? However, I think it’s more likely this is because Traviss gives the pronunciations with an English orthography (i.e. how an English speaking reader would know to pronounce the words), and there’s no diphthong /ui/ in English, so in order to represent those sounds in English, they have to be broken up in separate syllables.

I also think the long /u:/ in buy’ce etc. is likely simply an elision: try going slowly from /u/ to /i/ to /ʃ/, and you’ll notice it’s easier to slip directly from /u/ to /ʃ/. I would generalise it as the diphthong /ʊɪ/ being realised as /uː/ before palatal consonants (at least; maybe others as well).

and:

buyacir [boo-ya-SHEER] /bʊ.ja.ˈʃiɾ/

Which has no excuse for being irregular except for influence on its spelling from buy’ce, so you could alternatively spell it as buyacyir or pronounce it as /bʊ.ja.ˈsiɾ/ (either would be regular).

The other exception to the rule is:

acyk [AH-seek]

The rule for this could be formulated as “y is the only vowel in a syllable, it’s pronounced as /i/ and the pronunciation of c follows that.” Except for…

tracyn [trah-SHEEN]

Which itself could be analysed as a combination of the above rules: y as an only vowel gets pronounced as /i/, but the consonant in cy is still pronounced as /ʃ/ (in which case it would be acyk that is irregular instead).

It’s the derivations that appear irregular:

tracinya [trah-SHEE-nah]

tracyaat [tra-SHEE-at]

tra'cyar [tra-SHEE-ar]

Tracinya is plainly a derivation of tracyn, just spelled with an i instead of y. Interestingly, in Harlin’s Mando’a tracyn is pronounced as /tra.ʃin/ and tracinya as /tra.sin.ja/. So perhaps it’s acyk which should be pronounced as /a.ʃik/?

I’ve chosen to adjust the pronunciation of the other two to conform to the rule of pronouncing cy as /ʃ/: /tɾa.ˈʃaːt/ & /tɾa.ˈʃaɾ/.

And then:

yacur [YAH-soor]

Idek? I have do idea where this one comes from.

And:

Coruscanta [KOH-roo-SAHN-ta]

which is a loanword and doesn’t count. Although I’d suspect that “Corusanta” might be a fairly common misspelling among native speakers.

Explanation

So why is it pronounced like that? The explanation is something called palatalisation, which is the same reason why c in Latinate words is sometimes pronounced as /k/ and sometimes as /s/.

In very simple terms, the high front vowels and the semivowel /j/ are pronounced such that the tongue is at or very nearly the palatal position. So they tend to pull the preceding consonants to the palatal place of articulation (instead of whichever place of articulation they used to be pronounced at).

So in Mando’a:

c → k

c + high front vowel /i e/ → /s/

c + semivowel /y/ → /ʃ/

Not sure if /k/ is the original value of ⟨c⟩ since this rule doesn’t seem to apply to ⟨k⟩. Maybe ⟨c⟩ had originally another value, which has later changed into /k/?

There will be a second part to this post later, but I’ll break this off here for now.

[stockcarpet]

MJ RODRIGUEZ Met Gala — In America: A Lexicon of Fashion (2021)

[mceproductions]

Best of 2021 Movies #15: Space Jam: A New Legacy

And we kick off the best half of this list with something that many felt was on the worst part of the year half but something I can digress as fulfilling enough for what it is.

25 years ago the original space jam although not the best story wise got by thanks to bringing in both Michael Jordan and the Looney Tunes along with being a capsule for everything 1996 had to offer.

Of course different times calls for a different star for Bugs Bunny and company to interact with and we get LeBron James here. Difference in tone and style but still having the same core around it.

In the midst of his superstar run LeBron has always been both focus on the fundamentals and being an all around goodwill ambassador.

When it comes to his middle son however he only sees imparting a Family legacy and not focusing on being a father figure.

When an aptly named Computer program in charge of the greater WB lexicon known as the serververse designated Al-g-rithim gets wind of king James he see someone as an equal. And arranges WB executives to meet with him and propose a partnership.

Only LeBron sees it as a sell out and wants no part of it. Until Al-G sees the dysfunction between LeBron and his son Dominic and decides to kidnap them to fulfill his own ends. LeBron gets flung into the server verse landing in the world of Looney Tunes. Where he meets the sole resident, the iconic bugs bunny.

And then we get a familiar point of view as LeBron himself now hast to do what MJ did 25 years before and assemble a team to play basketball in order to free his son.

Many called this HBO max the movie, others Ready Player 2 as the deluge of WB icons can feel overwhelming and even the choices of some of the iconic characters really don’t sit well for a family movie. Clockwork Orange and Rick and Morty especially.

But it is enjoyable especially given the animation within the Looney Tunes itself and once the characters go CGI for the basketball game.

More so with seeing in the iconic toons in different aspects of Warner Bros. properties.

And although it’s not Billy West reprising his role as bugs The Voice work here is pretty great.

Zendaya is the stand out as the new Lola bunny.

Overall despite the craziness dialogue and sometimes plausibility this does what it needs to do stand as a time capsule with iconic characters from ages past interacting with right now.

One scene in particular delivers one of the best laughs of the year.

Almost like synergy this is a perfect time capsule of 2021 contained in a two hour movie.

Worth it despite the obvious contraries.

SUM 22: LeBron James and Bugs Bunny almost repeat the events of 25 years earlier in a perfect time capsule of life and legacy for 2021.

[weclassybouquetfun]

Metropolitan Museum of Art's Costume Institute’s 2021 Met Gala has arrived. 

Today was the first part of a two-part exhibition: tonight’s theme is  In America: A Lexicon of Fashion and May 2022′s theme is In America: An Anthology of Fashion.  

Here is how Andrew Bolton, curator of the Costume Institute and partner of designer Thom Browne has to say about the two themes. 

American fashion has traditionally been described through the language of sportswear and ready-to-wear, emphasizing principles of simplicity, practicality, functionality, and egalitarianism.  Generally denied the emotional rhetoric applied to European fashion, American fashion has evolved a vernacular that tends to sit in direct opposition to that of the haute couture. Part One of In America addresses this linguistic imbalance by presenting a revised vocabulary of American fashion based on its expressive qualities. Part Two will further investigate the evolving language of American fashion through a series of collaborations with American film directors who will visualize the unfinished stories inherent in The Met’s period rooms.”

The exhibition is broken up in sections: “Nostalgia,” “Belonging,” “Delight,” “Joy,” “Wonder,” “Affinity,” “Confidence,” “Strength,” “Desire,” “Assurance,” “Comfort,” and “Consciousness.”

With that in mind, did people meet the theme?

Who wore it best or worst?

Here be fashion.

With a theme and exhibition of America at its center one would expect a run of fashion by American designers on display. Designer Christian Siriano was surprised that wasn’t so. 

Siriano’s design, worn by Riverdale’s Lili Reinhart was well thought out - the state flower for each state.

When I first read the theme I conflated it with “Americana”, so I really thought there would be modern takes on fashion through ages.  I was surprised that wasn’t the case.  As much as many actors did homages to Old Hollywood, I expected homages to designers like Halston, Bill Blass, Bob Mackie, Donna Karan, L. Wren Scott, Isaac Mizrahi or Todd Oldham - designers who epitomized a moment in time in fashion. Instead it seems that attendees went with the very American stance of “Eff what you say, I’m gonna do what I want.”

Like, what is this Shawn Mendes? I’m going to be generous and assume Camila Cabello is doing an homage to Cher.

Actual homages/reference points?

Gemma Chan (in  Prabal Gurung) channeling Anna May Wong

I truly believe Chan’s beau Dominic Cooper dates fascinating and gorgeous women like Amanda Seyfried, Ruth Negga and now Chan just so he can get invited to the Met Gala. 

grown-ish’s Yara Shahidi (in Dior) in an homage to Josephine Baker

Emily Blunt (in Miu Miu) in an homage to Hedy Lamarr

Co-Chair Billie Eilish (in Oscar de la Renda) channeling Marilyn Monroe

Co-Chair Amanda Gorman (in Vera Wang) in an homage to The Statue of Liberty

Chloe and Halle Bailey (in Rodarte) honoring Tina Turner

Which squad did it best?

Team Tory Burch represented by SNL’s Chloe Fineman and Mindy Kaling?

Team Thom Browne represented by Amandla Stenberg, Pete Davidson, Lil Uzi Vert, Erykah Badu, Lee Pace, MJ Rodriguez and Gossip Girl’s Evan Mock?

Team Valentino: Whoopi Goldberg, Carey Mulligan, Giveon, Normani, Janet Mock and Dixie D’Amelio.

Someone wrote “Giveon, more like not Giveon” and I died.

Team Balenciaga: Tracee Ellis Ross, Kim Kardashian, Elliott Page, Michaela Coel and the queen Rihanna (the only one who adhered to the theme! She looks like a flapper or a mob moll).

Rules still apply.

I give points to Rihanna’s beau A$ap Rocky because there’s nothing more Americana than an old granny quilt. 

Too bad underneath he went for a more classic look.

Team Iris Van Herpen: Gabrielle Union, Grimes, Tessa Thompson and Hailee Steinfeld (whose Apple+ series DICKINSON ends with this upcoming season).

Team Versace: Lupita Nyong’o, Maluma and Lil Nas X

BOO’D UP

Jennifer Lopez (in Ralph Lauren) with Ben Affleck.

The ever stylish pair: Pharrell Williams and wife Helen (in Chanel)

Brooklyn Beckham and fiancee Nicola Peltz

Red carpet official Zoe Kravitz (in Yves Saint Laurent) and Channing Tatum

Not boo’d up as far as the public know is co-chair Timothee Chalamet (in Haider Ackermann)

Maybe Timothee and model Ella Emhoff (stepdaughter of Vice-President Kamala Harris) can join a dance crew.

but three of Timothee’s exes were on hand. Lourdes Leon (in Moschino), Lily Rose Depp (in Chanel) and Eiza Gonzalez (in Valentino).  

Chalamet ties with Miley Cyrus for the number of exes attending the same gala. In 2019 Miley partied alongside exes Stella Maxwell, Nick Jonas and Patrick Schwarzenegger. 

Other bits:

Frank Ocean doing whatever the hell he wants, per usual.

Hunter Shaffer bringing spooky season early.

Game of Throne’s Maisie Williams in Ruben Selby

Troye Sivan bringing no effort to this event

The same expression I had when I saw what he was wearing.

Iman (in Harris Reed) doing model tings!

Congresswoman Carolyn Mahoney nailing the theme.

You did it, chairs!

[knives-out20]

Before You Go - Cliff Booth x Male!OC

Fandom: Once Upon A Time In Hollywood (2019)

Pairing: Bobby Brightside (OC) x Cliff Booth

Warnings: Suicide, Bobby talks to god but the one that isn’t Cliff and the one he doesn’t believe is in the sky, Slight religious trauma, Abuse flashbacks, R@pe flashbacks, Bobby just not acting like himself, Sad Bobby ig people don’t like that, Parallels, Crying Cliff (a huge TW),

Notes: Based off of Before You Go by Lewis Capaldi. Slight Brokeback Mountain references. Enjoy!

“Reality sucks.”

Bobby lay on the rooftop of one of the highest buildings in Hollywood. In the dead of night, he fell by the wayside of every thought he was used to having when by himself.”I hate you” Bobby whispered, more to himself than anyone else in a long time; he knew he wasn’t just kidding himself at this point. He hummed for a moment- but what about Cliff, Aria, MJ, Sharon, Joseph, Rick, Calvin and Amelia? Bobby shrugged the thought away, his every moment with them, they were sure to replace.

Cliff. Cliff moved onto Bobby from Billie just fine, surely he has enough strength in him to do it again? Much more strength that Bobby ever had, believe it or not. Cliff didn’t deserve Bobby, he deserved so much better, everything Bobby ever thought that he knew he was. Time could heal Cliff of what Bobby was about to do quicker than it ever healed anything Bobby had to go through.

Cliff. The same Cliff who forced himself to play whatever genre of rock the Stones fit into, because he knew Bobby liked it. Sure, it was nice of him, but it made Cliff play music he didn’t like in his own car, and that didn’t make Bobby feel so good, the more he thought about it. Cliff already has enough on his plate, Bobby sighed as he only thought about it.

Cliff. Short for Cliff Booth, not Clifford, or Clifton, Bobby remembers Cliff telling him that it’s just ‘Cliff’. It was sort of humorous, because at least ‘Bobby’ was short for something. Even funnier because Bobby’s shorter than Cliff in general. By an inch or not, Cliff always teased Bobby about it.

Cliff. The exact Cliff whose every moment Bobby currently played in his head: every moment he ever had with Cliff. When they first met, their first time sleeping together, their first date, their first kiss as a couple, their first “I love you”s (Bobby drew the conclusion every “I love you” Cliff gave him was empty), the first time they called each other a nickname of adoration. Every single interaction the two ever had replayed in Bobby’s head, as he nitpicked his every movement. 

Cliff. The Cliff with shaggy blond hair, soft blue eyes, a perfect nose, muscled arms, a scarred torso, toned legs, and welcoming lips. An endearing laugh, annoying jokes, messy driving, yet rhythm in his every movement. All Bobby could think of now was the inevitable look of relief on Cliff’s face once he finds out what Bobby was about to do.

Cliff. The same one who Bobby, among others, began to distance himself from. Little by little by little, Bobby drew himself to a safe enough of a distance in order to hurt himself the least for soon leaving Cliff. Again, he was sure Cliff could easily move onto another lover. Would he and Cliff had been better enough by now if Bobby let his extra walls come down, the ones Cliff was sure he tore down? Bobby guesses he’ll never know.

Cliff. The only Cliff- or man, in general- Bobby could bet his life on actually, truly, madly, deeply fell so in love with, it was unbelievable; unimaginable, even. Cliff was better off finding a copy of that love after Bobby, Bobby was sure of that.

Bobby stood up, and looked over the ledge, down at the alleyway he murdered Billie in. He forced out a giggle; this alleyway is just the Kill Cliff’s Lovers Corner, huh? With Bobby being responsible for both killings, that sure was funny. A blank grin slid onto his lips, a forced one. Smile even in the face of death, Bobby was told he’s reminded people of that quote quite a lot. 

Bobby figured he had smiled in the face of death many times in the past. Each time he smiled at a pointless protest, riot, or rally, he was sure he was smiling in the face of death. Bobby was sure he’d die in each event. He wondered why he even bothered; he’s been to billions of them, and nothing has changed since he was a kid. What a waste of time.”I hate you” Bobby repeated, pointing his thumb at himself. He felt the cool breeze tangle itself into his dark hair, the same strands he remembers his parents tugging before they mercilessly beat him on countless events. Bobby now knows he deserved every hit he took. He looked down at the pavement, sure he had been asking for it- just like he had been asking for those two times men took advantage of him in the past.

Bobby thought about if he had anything else to do before he had to go...No, not that he knows of. He could practically feel the blood pumping through his veins, like troubled water running cold. It’d all be over soon, at least he had that one thought of comfort. Bobby gulped, taking a step away from the ledge. He realized what he did, and furrowed his eyebrows in frustration.”I hate you” Bobby mumbled once again, stepping back up. He took a long, deep breath, looking up at the sky.”I hate you too, big guy.”

Bobby figured this was the first time he had ‘talked to god’ after completely kicking the concept of its existence out of his mind. From the moment he met Cliff, he had been sure as all hell that if there was any God, Cliff was it. He remembers being laughed off whenever he called Cliff ‘God’, as if it was a recurrent joke. Bobby felt confused at this, because he never called Cliff ‘God’ as a joke- he was being dead serious, each and every time. Cliff Booth is God, a God among men, and apparently only Bobby knew that each time Cliff’s feet hit the ground as he walked, each time Cliff’s ribs vibrated when he laughed, each time Cliff said any word in the English lexicon, apparently only Bobby picked up on the fact that Cliff Booth is a deity worth worshiping. Too bad he couldn’t worship Cliff for any longer.

“You happy now?” He asked, eyes on the night sky.”You beat me up, beat me down, beat me left, right, sideways, upside, right-side-up, and even backwards, and it’s led me to here. Piece of shit, if I land up in the sky, I’m swinging at you, first” Bobby growled.”You took everything in my entire life that made me happy- or was supposed to make me happy- and twisted it into doing the exact fucking opposite, and look where we are, fella. This is so on you, right now” he carried on.”Don’t even act like you haven’t seen me in this position before- you KNOW I’ve tried before. But I’m going through with it this time, see?” Bobby laughed, the laughter dying down when Cliff popped into his head once again.

Cliff. The same Cliff that Bobby felt he was leaving behind for the better.

He sighed.”Now go! Save him!” Bobby called, referencing to Cliff.”Go! Save Cliff! Save him in the ways you couldn’t have been fucking bothered to save me, okay? Save Cliff!” He reached an arm up, hand grasping to somehow hold the moon. 

Bobby was brought back to the time he lay in a grassy field with Cliff; Cliff had an arm outstretched, eyes on the moon he was pointing at. But Bobby was looking at Cliff’s hand.

“Take him to the moon for me, okay?” His face softened out of pure love, sadness written over his lips due to the fact he had to leave the one person who managed to make him so happy, just from the sight of him.

”Goodbye, Cliff” Bobby bade him farewell, stretching out his arms like he was on a cross. He inched closer to the ledge, slowly closing his eyes when tears made his vision blurry. Bobby leaned forward, falling from the roof as he heard one last thing.

“BOBBY!”

***

Cliff awoke in a jolt, blue eyes darting around the ceiling of his bedroom in his trailer. He groaned, slowly sitting up and rubbing his eyes. Cliff remembered last night in spare blurs; his car racing down the dark streets as usual, cut to him drinking bottle after bottle. The same ones scattered around his bedroom floor. Cliff forced himself out of bed, glancing at the clock.

He had slept the day away. Shit. Bobby must be pissed as hell.

Cliff also remembered something, but not about last night; he was late from picking Rick up from that movie set.”Fuck-” he swore, grabbing his jean jacket and shrugging it on. Cliff rushed out his bedroom and out the front door, bidding Brandy a quick “goodbye.”

He hopped into his car, starting it up and racing over to the street. 

Cliff passed by people huddled around an alleyway, but had no time to let curiosity get the best of him tonight. He skid to a stop, where he looked out his passenger side window to a worried Rick.”Hi” Cliff smiled sheepishly, reaching over to unlock the front door.

Rick raised an eyebrow, cautiously getting in and shutting the door behind himself.”Hey.”

Cliff started driving again, in the same comfortable silence he was used to having with Rick. But he enjoyed comfortable silence with Bobby, more. Cliff figured he should drive straight to Bobby’s afterwards, and find some way to apologize for not being heard from for the whole day. He smiled to himself; Cliff loves Bobby so much, it doesn’t even make sense to live without him.

Rick glanced over at Cliff. Should he say something...? No, it’s best to leave Cliff alone. Maybe this is how he grieves.

Cliff pulled into Rick’s driveway, setting his car in park.

Rick shook his head, he had to say something.”You, uh...You alright, Cliff?”

Cliff furrowed his eyebrows, meeting Rick’s gaze.”Oh, right- sorry I was late, man. I slept through the entire day, it’s so weird.”

Rick glanced away in confusion.”No, that- that- that’s fine, but like...are you- are you okay? Are you handlin’ well?”

Cliff blinked slowly.”Handling what well?”

Rick’s eyebrows jumped.”Do you-? Not know, or- or remember?”

“Know or remember what? Speed this up, Rick, I gotta go visit Bobby at his place.”

“Cliff, Bobby committed suicide last night.”

Cliff opened his mouth to say something, but it was moreover in shock.”Wh-...huh-?”

“Yea, do you- do you not remember? His body was in that alleyway by that- that cheap cinema Sharon likes going to.”

The same alleyway Cliff made the mistake of rushing past, earlier.”What-?”

Rick slowly got out the car, closing the door.”Cliff, buddy, you-” 

But Cliff already raced away. He didn’t want Rick to see him start to cry.

***

Cliff stood with his friends in the cemetery, huddled around a black granite gravestone that reached to around his knees. He stood directly in front of it, a fresh mound of dirt touching the toes of his dress shoes.

‘BRIGHTSIDE’ it read, carved in a huge font, including Bobby’s birth year, a dash, then his death year, AKA the current year. Under both of these, it read ‘Smiled in the face of death’

Cliff’s lips broke into a small, sad smile. If he had a dollar for every time someone said Bobby was the personification of this quote, he’d probably be as rich as Bobby was. 

Cliff glanced to his right, where Sharon, MJ, and Joseph lined up. He inhaled sharply, hating to see Sharon cry; or any of Bobby’s and his friends cry, really. To his left, stood Rick, Aria, and their two kids, Calvin and Amelia, fast asleep in a stroller. He glanced around at the other people who had bothered to gather; Bruce Lee, Jay Sebring, James Stacy, Sharon’s husband Roman, Wayne Maunder, Bobby’s band mates and his other buddies, among others. Cliff wondered if Bobby would have liked the turnout, as he slowly knelt down to place a bouquet over the grave- a bouquet made out of the extremely specific types of flowers that Bobby liked. He had it memorized like the back of his calloused hand.

Cliff kept wondering as people slowly began to trudge away, fewer and fewer and people staying around until it was just him by himself, still standing. He felt a hand on his shoulder, and turned to see Rick.

“You- You, uh, gonna be okay, buddy?”

Cliff caught the worrisome look in Rick’s eyes. He nodded sternly.”Just...give me a moment alone with him, could you?”

Rick nodded respectively, disappearing in a flash.

Cliff fixed his tie, looking down at the grave through his usual sunglasses, the ones Bobby loved so much. He sighed silently.”You left early.” Cliff cracked a forced smile, one that didn’t last long.”Was there something I could’ve said to make you feel any better, to- to steer you away from...this?” He weakly gestured down at the ground, where Bobby lay, just six feet under. Cliff gulped thickly.”If only I’d have known you had your own storm to weather, beyond everything you’ve ever told me.”

Cliff thought back to each and every time Bobby opened up to him, and replayed his own every reaction, every movement. Maybe something he did made it seem like he didn’t care? He grunted softly; Cliff cares more than anything, especially when it comes to Bobby.

“Was- Was there something I could’ve said to...make you stop hurting, the way you did?” Cliff asked, as if expecting Bobby’s ghost to appear and answer him. He wiped the first tear he felt, unaware of the many that were to follow.”Bobby, it kills me how your mind could make you feel so fucking worthless. You’re worth so much to me. More than any amount of money, any car, any movie, any amount of fame. You’re practically priceless, baby, you didn’t- you didn’t deserve me, you deserved someone more in- in-tune to your liking, and your ways. I’m just some creepy stunt double who’s aging out of Hollywood...” Cliff looked straight down, breath shaky.

Obvious silence from Bobby’s end.

“Would we have been better off by now, if I had let my own walls come down?” Cliff asked, pushing his sunglasses up. He obviously had walls of his own, ones he spent his entire life building. Ones he was sure Bobby pushed aside like a glass door, but, he guesses not.”I guess we’ll never know, huh?”

Literal crickets. 

Cliff, for once, hated this silence he had with Bobby. He got down on one knee, softly placing a hand over the pile of dirt he watched get shoveled over Bobby’s casket. Cliff’s fingers padded the brown earth.”I’ll miss you, buddy, there’s no denying that. I guess the Big Man himself has it out for me, if he even exists. You seriously had no right to keep comparing me to ‘im, baby, c’mon” he chuckled softly, a genuine smile crawling over his feature. Cliff loves Bobby, and he was gifted with the knowledge that that love was far from ever dying down.”You kept on treating me like how I never thought I deserved to be treated like, it was- it was strange, but I love you for it. Getting used to it was fun. Getting used to you was amazing. Getting used to the lack of you...will obviously be the exact opposite. Especially for Brandy, she always loved you like you were another me.”

Cliff looked down at his suit- this wasn’t the situation he wanted to be wearing a suit around Bobby, in. Quite the opposite, down to the setting and the mood. And the empty ring finger.

Cliff took off his sunglasses, folding the temples.”Here, sweetheart...” He whispered, placing it on the grave, so that its lenses were facing him, but its back leaned against the black granite headstone.”Y-You always look better in them than I- I ever did” Cliff stuttered, rushing to stand back up. He wiped his teary eyes, keeping the dirt on his knee. Cliff sniffled, racking his brain for a witty one-liner, or some final line at the end of the script of the movie Bobby and him had lived through.”You always knew how to render me speechless, huh, baby?” He rhetorically asked Bobby.

Bobby. The exact Bobby that Cliff had to somehow move on from, if he could even move on, at all. He was certain he’d be stuck on Bobby for a long time, like a puzzle he put so much time, effort, love, care, and emotion into. A puzzle that was way too grand for Cliff to even begin to be worthy of. Bobby’s everything Cliff could ever love in anyone, and now he’s gone, just like that. And now Cliff’s expected to move on, somehow? Impossible, no doubt about it.

Bobby. The same Bobby who breathed The Rolling Stones in like their music was air, or like Mick Jagger’s voice was a good blunt. Cliff remembers how time after time again, he’d play the Stones in his car. He knew how much Bobby loved them, after all. Cliff reminisced on how Jagger slowly started to grow on him over time, he started to actually like the Stones. He would play The Rolling Stones during car rides Bobby wasn’t even a part of, or car rides Cliff would take by himself. They weren’t that bad, really. And now Cliff can’t listen to them without falling into immense pain, because it’ll just remind him of Bobby.

Bobby. Short for Robert Duncan Brightside. Cliff would often catch himself thinking that, if him and Bobby were to ever illegally get married, Bobby’s initials wouldn’t change. Same goes for if Cliff were to somehow take Bobby’s last name. He was sad to know that this would only remain a fantasy, now.

Bobby. The same Bobby who was currently marching around Cliff’s head like at a protest, his every word playing on repeat in Cliff’s mind like a broken record. Cliff thought of every first Bobby and him ever had, along with their every last. Their last meeting, their last time sleeping together, their last date, their last kiss, their last “I love you”s (every single time Cliff told this set of words to Bobby, he meant it with ever ounce of his being), the last time they called each other a loving nickname. He remembered every moment he had with Bobby, and mentally beat himself up over every single thing he did in those times that could’ve made it seem to Bobby that he didn’t love him, that he didn’t care. Because Cliff did love Bobby, he still does, he still cares, more than anything. He knew it’s his fault that Bobby couldn’t see that.

Bobby. The Bobby with the tousled brown hair, deep brown eyes, a button nose, lean arms, narrow torso, fast-paced legs, and sweet lips. A playful laugh, dad-like jokes, stone-cold denial of ever sitting behind the wheel, and a pep in his every action. All Cliff found himself thinking of now was how much he was going to miss every little thing that made Bobby, well, Bobby. And how much it’ll hurt him, how he’s never going to see any of it, ever again.

Bobby. The exact same Bobby who was loud-mouthed, and very open with how he felt on any topic ever brought up in a conversation. Cliff would always admire how open-minded Bobby was, and how unafraid he was to say how he feels, and fight for what he believed in; for what was right. It was slow work, but each protest, riot, and rally Bobby formed or attended made positive change extremely inevitable. Bobby never distanced himself from a challenge, or a good fight, if it meant going for what’s right, and what he loves. Bobby loved Cliff, but Cliff wondered what it was that made Bobby distance himself from him.

Bobby. The only Bobby- and person, actually- Cliff swore his entire life on being the only person he has ever really fell in love with. Just the way he loves Bobby is unfathomable, it’ll never be ‘loved’, it’ll never be in past-tense. It’ll always be love, and loves. Cliff is in love with Bobby. Cliff loves Bobby. He knew this, so damn well it’ll hurt like a bullet through the heart.

Cliff got shoved back into reality, finding himself on his knees over Bobby’s grave, tears hitting the fresh dirt.”I’m gonna m-miss you so fucking much, I’ll hardly st-stand it” he choked, arms shaking slightly. When Cliff only ever found himself hurting under the surface, this was one way he never saw the cork exploding at, letting his emotions loose like troubled water spraying out of a pipe.”You’ll have no- no fucking idea how b-bad it’ll get, Bobby-” he sobbed, hunched over the dirt as stray tears stained the collar of his white button-up.”I wish I- I knew how to f-fucking quit you, baby, r-really, Jesus f-fuck-” Cliff cried, hands balling into tight fists.

From afar, Rick watched from his car. He exhaled quickly, going to get out.

Aria put a hand on his shoulder, stopping him.”Leave him, baby. Give- Give him a bit of time” she instructed, clenching her jaw.

Rick looked back down at Aria, finally nodding. He sniffled, slouching back down.

Cliff continued to cry, his waterworks reaching the stems of the flowers wrapped in his bouquet. He used to compare holding Bobby like someone holding a bouquet of bright, beautiful flowers. Cliff grit his teeth in poor efforts to stifle himself, slapping a hand over his watery eyes; of course it was Bobby Brightside of all people who was able to make Cliff Booth cry.

Bobby. The same Bobby that Cliff could never leave behind.

Cliff wobbled as he slowly got up, wiping his eyes, then his nose, on his sleeve. He sniffled, blinked back any loose tears. Cliff wiped his eyes again, until his vision became crystal clear. His blue eyes trailed up from his bouquet, over the rectangle of dirt, onto his sunglasses, until he re-read the words on Bobby’s headstone. Black granite, up to Cliff’s knees. Cliff quickly leaned in, patting the top of the headstone and pulling away just as fast. He can’t recall the last time he was in this much pain, no stunt ever even had him hurting like this. Cliff gulped the lump in his throat away, inhaling shakily. He slowly licked his lips, tasting a couple salty tears.“I love you, Bobby. Believe it or not, I’ll never stop. I’ll- I’ll love you like it’s my air, Bobby. An addiction that I’ll never fucking get over...” Cliff slowly stepped away from the grave, not ever wanting to leave Bobby here, but he had to say one last thing before he left.

”I love you, Bobby. See you again soon.”

[bookwormcheerleader]

shhh MJ no please call me by name don't do the thinky thoughts <3

georgia!! i. ☺️ okieeee

also “don’t do the thinky thoughts” has been adapted into my lexicon

[theblackestnerdsyouknow-blog]

Spider-Man, 15 Years Later: The Birth of the Comic Book Movie.

I firmly believe that Spider-Man is one of, if not, the greatest comic book movie ever made. It was the arrival of a new era for freaks and geeks; Not only can comic book movies entertain and make bank, but they can be really good. Our parents grew up with Superman, Batman, and Wonder Woman on the television screens, but there seemed to be a lull in the movie world, especially after Schumacher left his indelible mark on the Bat-franchise. Sure, we had some mild hits. Blade kept it real for the die-hard horror fans, and Bryan Singer brought an exciting and thought-provoking vision to X-Men. For many comic book fans around the world (like yours truly,) the web-slinger’s introduction to the silver screen became something of a turning point. And its mark is still felt 15 years later.

               You know the story: Geeky bookworm Peter Parker gets bitten by a radioactive spider, thus turning his world upside down. Instead of leaping foot first into hero mode, Peter does what most of us would do: Exploit these newfound abilities for cold hard cash. After getting into an argument with his Uncle Ben, Peter gets scammed by a shady wrestling company (Too bad Youtube wasn’t a thing back in 2002.) When the manager gets robbed, Peter lets him be. Just so happens that’s the same robber who shoots his uncle. From that day forward, Peter learns the ultimate lesson; “With Great Power comes Great Responsibility.”

               What does Spider-Man mean to me? Let me take you back for a minute, boys and girls. I was all of nine years old. Front row seats to Jurassic Park III (Stay with me.) the last trailer I remember looked simple enough; a bank robbery sequence, the criminals are planning their major getaway in a helicopter until they find themselves ensnared…in a giant spider web. And I lost it. Here he was. Swinging, leaping, live and in living color. Peter Parker isn’t an alien demigod, a legendary Asgardian warrior, or a vengeful sociopath billionaire. What makes the journey of Peter Parker so riveting is that he’s just like us. He has to find a job, keep up his grades, try to please his girl, maintain a social life, and take care of his family, all while mentally unstable criminals attempt to tear the Big Apple in half. And Sam Raimi translated his strife and struggles beautifully. We can’t forget about the cast. Tobey Maguire is to Peter Parker what Sean Connery is to James Bond. He was the first, and perhaps even the best to wear the red and blue suit. Kirsten Dunst brings such a vulnerability and sweetness to MJ that it’s almost impossible to not fall in love with her. James Franco balances the line between smarmy and endearing as Harry Osborn, and Willem Dafoe is an absolute scene-stealer as his father Norman, who we all know as the Green Goblin. Many of the people in my age group see this as the pinnacle of the superhero genre. Just try to convince someone that J.K. Simmons shouldn’t be J. Jonah Jameson again. Before The Dark Knight convinced every major studio that dark and gritty were the magic words, Raimi brought a bright and friendly atmosphere to the world of Spider-Man. It was New York, but cranked up to 11, which feels like how Stan Lee and Steve Ditko intended when they created Spidey all the way back in 1963. It’s hopeful, colorful, earnest, and optimistic, traits you don’t often hear when it comes to the genre nowadays.

If you take Spider-Man away from the pop culture lexicon, the trickle effect is stupendous. Marvel wouldn’t dare have the gall to green-light a space odyssey about a talking raccoon and his talking tree. Spider-Man gives me the same feeling that 1978’s Superman does, what Jurassic Park does. It’s still one of those moves that if I catch it on television I will sit down and watch it like it’s the first time, and my heart will still soar every single time I see that bridge sequence. It’s that unexplainable magic that takes ahold of you and never lets go, and it’s the same magic that Marvel still uses to this day. Spider-Man is the movie we needed after 9/11; a story of how hope can triumph over all, and we can always find something to believe in.

[merriammusicinc]

30+ Piano Bar Songs You Should Absolutely Request

Seeing the best dueling pianos live is a great night out for any music lover. Most dueling piano songs are in the rock and country music genres. Generally, the performers are operating with the goal of encouraging audience participation, rather than directly battling one another. Here are the best piano bar songs to remember to request the next time you're out on the town.

Even if it's hard to find anyone among your friends who feels comfortable singing in public, nearly 60% of people sing in the shower. Among those who are willing to sing in the shower, even more, will be inspired to sing along when they hear the best piano bar songs being played in a crowd. When you're headed out to see live music at a piano bar, you should have a few requests in mind that you know you and your friends will have fun singing.

Here are 30 of the best songs to request at a dueling piano bar.

1. Elton John - "Your Song"

https://www.youtube.com/watch?v=Td9X06tgxcs

Elton John is, along with Billy Joel, an absolute master of crafting great songs on the piano. There are about 10 different Elton John songs that would be perfect for any piano bar crowd, but there are few that can really make people feel something.

"Your Song" has the classic emotional humor that runs along the edges of the most painful pop songs. The entire bar will be belting out "I hope you don't mind" over and over, with a smile on their face, regardless of how conflicted the narrator of the song really is.

One of his songs is also Tiny Dancer(1971), Rocket Man(1972) and Benny and the Jets(1973) which are also related to Bar Songs.

2. Biz Markie - "Just a Friend"

https://www.youtube.com/watch?v=EZ4B-A3TxlQ

The Biz's classic tune "Just a Friend" is a simple rhyme scheme rapped over a simple melody. This tweaks the balance of emotion and humor from Elton John's songs and makes it a little bit funnier.

Biz Markie is one of the best rappers of all time and this 1989 interpolation of "You Got What I Need" helped to solidify his genius to a mainstream audience. People love to really give it their all for this one. You'll be a piano bar hero for requesting this one.

3. Alicia Keys - "Empire State of Mind"

https://www.youtube.com/watch?v=kFqcOgq9bRI

For the bold and brassy belters out in the crowd, the chorus of "in New Yo-o-o-o-o-ork" has become an iconic melody of the 21st century. Whether you live in New York, Florida, or Omaha, the aura of New York lives and breathes in this song.

Whether anyone in the crowd knows the Jay-Z portion of the tune, the bar will be on fire when the chorus hits for the final time. People will be shouting like their life depends on it.

4. Prince - "When Doves Cry"

https://www.youtube.com/watch?v=Wwo3IVHjUi4

While there are plenty of other Prince songs with a much more robust piano portion, "When Doves Cry" is still one of his biggest hits of all time. During those later hours when the night starts to turn sultry, Prince is the perfect accompaniment for two partners to sing to one another.

This off-kilter melody will be fun for the piano player as it should mix up the standard bits of show tunes and constant requests for "Sweet Caroline". A little bit of Prince will spice up your night.

5. Grease ST - "You're The One That I Want"

https://www.youtube.com/watch?v=qMvaJgxNzfg

Probably one of the most memorable and fun songs from any musical in the 70s, "You're the One That I Want" is iconic. Most people imagine John Travolta and Olivia Newton-John singing it in their classic 1950s costumes.

Grease songs are always upbeat and a great shot of energy into any piano bar. You'll find every member of the crowd tapping their feet and singing along when you request this classic.

6. 4 Non-Blondes - "What's Up?"

https://www.youtube.com/watch?v=nUUTWGXrif4

While there are some die-hard 4 Non-Blondes fans out there, most people don't know much about their career beyond this one hit they had in the 1990s. It captures the vibe of the Generation X grunge era with a whole lot of attitude. Second only to the attitude is the melody, perfect for belting out after a drink or two.

Since the chorus is "Hey-ay-ay-ay, what's going on?", there's little chance anyone will have trouble singing along. Even haring it once, the infectious melody will stick with you.

7. Journey - "Don't Stop Believing"

https://www.youtube.com/watch?v=_HVH3K0EbS0

"Don't Stop Believing" is one of those songs that you either love or hate. It's hard for most people to name any other Journey songs, but that doesn't stop the band from selling out stadiums.

When the first few notes of this song play, watch for the energy in the room to start to boil. People will be on the edges of their seats, excited to sing along.

8. Michael Jackson - "Billie Jean"

https://www.youtube.com/watch?v=1-_pv78cwtY

Much like Prince or Elton John, Michael Jackson has plenty of tunes that would be fun to sing along to at a piano bar. Few people would know all the words like they would to Billie Jean.

This strangely dark tale of Michael Jackson being extorted for child support for a chile that wasn't his has one of the best melodies of any MJ song.

People will be doing their favorite Michael Jackson moves in the aisles of the bar and singing their hearts out from start to finish during this song.

9. Roberta Flack - "Killing Me Softly"

https://www.youtube.com/watch?v=UaAbjkpYbZM

Whether you're thinking of the Fugees or the Roberta Flack version, this song has been in the cultural lexicon for nearly 50 years now. People from all over the world know this painful and beautiful pop song.

Whether partners will be singing this to one another or solo bar attendees will be singing it to a long-lost love, everyone in the bar is sure to sing along. While the song seems so sad, it's actually one of the loveliest melodies of any great piano ballad.

10. Queen - "Bohemian Rhapsody"

https://www.youtube.com/watch?v=C07YDi4WiJ0

It takes a skillful and imaginative pianist to showcase the wonder of Bohemian Rhapsody, a classic rock tune that's about as funky music and inventive as a progressive rock song can get. When talented musicians at piano bars bring this song to life for audiences, people love it and will request it as often as they can get it. Bohemian Rhapsody is included on the Rock and Roll Hall of Fame's list of the 500 Songs That Shaped Rock and Roll.

11. Neil Diamond - "Sweet Caroline"

https://www.youtube.com/watch?v=nrrHmFXrjPs

If you're a baseball fan, you've probably heard Sweet Caroline enthusiastically sung by fans at games, which will also give you some idea of its strong popularity at piano bars. Whether at baseball games or piano bars, audiences can't resist singing out "dum, dum, dum" in the chorus of this soft rock song. In 2014, Sweet Caroline was digitally downloaded two million times.

12. Garth Brooks - "Friends in Low Places"

https://www.youtube.com/watch?v=FU-oADHiETA

Friends in Low Places is a demanding song to sing since its melody requires a two-octave vocal range. Low notes and high notes are no obstacle for fans of piano bars, though, who consistently request the appealing country song in droves for heartfelt sing-alongs. Friends in Low Places won the 1991 Single of the Year award from both the Country Music Association and the Academy of Country Music.

13. Sir Mix-a-Lot - "Baby Got Back"

https://www.youtube.com/watch?v=-EsbKh_TFrA

A comical and risqué rap song about female anatomy would seem an unlikely candidate to morph into a favorite at piano bars, but there's simply no denying the popularity of Baby Got Back with audiences. This one's a real crowd-pleaser when performed by a pianist with musical skill and showmanship. Baby Got Back is listed as number seventeen on VH1's list of the 100 Greatest Hip Hop Songs.

14. Bob Seger - "Old Time Rock and Roll"

https://www.youtube.com/watch?v=qcI0cqqFIUs

There's no doubt about it; you can't beat Old Time Rock and Roll, whether it's the song or the genre, and Bob Seger's classic rock tune has become one of the most commonly made requests in piano bars. The song lends itself well to showmanship at the piano, and audiences couldn't resist singing along even if they tried. Old Time Rock and Roll are included at number 639 on Rock n Roll America's list of the Top 1000 Classic Rock Songs.

15. Meatloaf - "Paradise by the Dashboard Light"

https://www.youtube.com/watch?v=31YSJV9oDFM

"Paradise by the Dashboard Light" is a most notable song written by Jim Steinman which was first released in 1977 on the album Bat Out of Hell, with vocals by the American musician Meat Loaf alongside Ellen Foley. The song has its unique structure and length and has become a staple of classic rock radio.

16. Jimmy Buffet - "Margaritaville"

https://www.youtube.com/watch?v=Wyvzqag2pBc

With its catchy tune and mellow lyrics about a fellow who is seriously indulging in an alcoholic drink, you can't beat Margaritaville as a bar song, especially a piano bar song. It's a country tune that audiences tend to know by heart, and it pops up on numerous lists of songs that people like to request. Margaritaville was inducted into the Grammy Hall of Fame in 2016.

17. Lynyrd Skynyrd - "Sweet Home Alabama"

https://www.youtube.com/watch?v=4-r8_yNH5RU

A staple of the Southern rock genre, Sweet Home Alabama has found its way into piano bars across the nation and consistently ranks as a perennial audience favorite. With its infectious chorus, this song is irresistible as a piano bar sing-along, especially when sung at top volume. Ultimate Classic Rock puts Sweet Home Alabama in the number two spot on their Top Ten Southern Rock Songs list.

18. Van Morrison - "Brown Eyed Girl"

https://www.youtube.com/watch?v=JVCYqh3PqFk

With its captivating melody, Brown Eyed Girl is a classic rock song you'll want to request on your next trip to a piano bar. Performers who entertain at piano bars regularly cite the song as a favorite with their audiences, largely due to this tune's croonable chorus with its liberal doses of "sha la la tee da." In 2007, Brown Eyed Girl was inducted into the Grammy Hall of Fame.

19. The Beatles - "Twist and Shout"

https://www.youtube.com/watch?v=gHCAag_hOC4

Made famous by The Beatles, Twist and Shout is a singable and danceable classic rock song that's such a consistent hit with audiences at piano bars that it was included in The Rollicking Piano Bar Songbook. Its rhythm is downright contagious, and the simple, catchy melody will make you want to twist and shout all night. The Beatles' version of Twist and Shout reached number two on the Billboard Hot 100 in 1964.

20. Three Dog Night - "Joy to the World"

https://www.youtube.com/watch?v=M18LOFV16Ko

Joy to the World is so singable that even Jeremiah the Bullfrog himself might enjoy croaking along with it at a piano bar. With its catchy tune and silly but lovable lyrics, this classic rock hit is guaranteed to make people sing. Joy to the World spent six weeks at the top of the Billboard Hot 100 in 1971.

21. Billy Joel - "Piano Man"

https://www.youtube.com/watch?v=YAuUHmvLhDM

"Piano Man" is based on Joel's real-life experiences as a lounge musician in Los Angeles from 1972–73, which he had decided to pursue in an effort to escape his contracted New York-based record company at the time, Family Productions, Joel played under the name Bill Martin, which explains why the patrons in the song call him Bill. Martin is his middle name. Following the poor commercial performance of the album Cold Spring Harbor. Joel describes various characters, including a bartender named John and a "real-estate novelist" named Paul, all based on real-life individuals.

22. Def Leppard - "Pour Some Sugar on Me"

https://www.youtube.com/watch?v=LBUJGrbzUoA

Piano purists might consider Pour Some Sugar on Me, a heavy metal song associated with squealing electric guitars, decidedly off-kilter as a song for tickling the ivories. "Pour Some Sugar on Me" is a song by the English rock band Def Leppard from their 1987 album Hysteria. Piano bar audiences, as well as the pianists themselves, would clearly disagree since the song is included on numerous lists of best piano bar songs. In Rolling Stone's reader poll of the best hair metal songs of all time, Pour Some Sugar on Me sits proudly at number one.

23. Wilson Pickett - "Mustang Sally"

https://www.youtube.com/watch?v=bRYC7eWtGQE

Rhythm and blues is another genre that works well at piano bars, as evidenced by the popularity of Mustang Sally, a well-loved song with a seductive, bluesy hook. The chorus, with its easy musical groove and lyrical repetition, is a great one for gathering around the piano and crooning all night. Mustang Sally made it to number 441 on Rolling Stone's list of the 500 Greatest Songs of All Time.

24. Bon Jovi - "Livin' on a Prayer"

https://www.youtube.com/watch?v=tvHk2V0k_qc

Back in the 1980s, Livin' on a Prayer was one of the most successful songs of that decade, and its legacy continues. Today it's still a hit in piano bars all across the country. Pianists report that audiences love to sing this iconic hard rock song, and people also love to see how its guitar-driven style will be reproduced on the piano keyboard. Livin' on a Prayer hit the top of the Billboard Hot 100 in 1986 and is widely regarded as Bon Jovi's signature song.

25. Eric Clapton - "Wonderful Tonight"

https://www.youtube.com/watch?v=hrcObssMPIQ

"Wonderful Tonight" is a ballad written by Eric Clapton. A fixture at proms and weddings, Eric Clapton wrote "Wonderful Tonight" in 1976 while waiting for his girlfriend (and future wife) Pattie to get ready for a night out at Paul McCartney’s annual Buddy Holly party. They were going to a Buddy Holly tribute that Paul McCartney put together, and Clapton was in the familiar position of waiting while she tried on clothes.

26. The Righteous Brothers - "Unchained Melody"

https://www.youtube.com/watch?v=oBbCnr-yrCc

Unchained Melody is a 1955 song with music by Alex North and lyrics by Hy Zaret. The Righteous Brothers version was a huge hit, but it was recorded with far more modest expectations. Phil Spector considered it album filler and released it as a B-side. The single had "Unchained Melody," with no producer credit on the label, as the flip to Gerry Goffin and Carole King's "Hung on You," but many DJs preferred "Unchained Melody" and played that one instead. This infuriated Spector, who subsequently left no doubt as to which side of a Phillies single was the A-side. According to the song's publishing administrator, over 1,500 recordings of "Unchained Melody" have been made by more than 670 artists, in multiple languages

27. Hank Williams Jr. - "Family Tradition"

https://www.youtube.com/watch?v=q2V8Usz3Z6o

American country music artist Hank Williams Jr wrote a song titled "Family Tradition". It was released in May 1979 as the fourth and final single and title track from his album of the same name. It has sold 909,000 digital copies as of April 2016. The song is a Williams' statement of rebellion, not only in his lifestyle and living out the lyrics of his songs, but of his musical identity and direction.

28. Johnny Cash - "Ring of Fire"

https://www.youtube.com/watch?v=HVStVkAHvps

Ring of Fire is uncommonly iconic. The song was recorded on March 25, 1963, and became one of the biggest hits of Cash's career, staying at number one on the country chart for seven weeks. It was certified Gold on January 21, 2010, by the RIAA and has also sold over 1.2 million digital downloads. The 1963 country music hit became synonymous with the Man In Black for the rest of his career, topping the country chart for seven weeks and spawning myriad covers in Nashville and every other genre over the next 50 years. Saying it's one of the greatest hits of Cash's career is an understatement.

29. Outkast - "Hey Ya"

https://www.youtube.com/watch?v=MdNLZxVYPog

A song performed by the American hip-hop group Outkast and André 3000 was Hey Ya. Along with "The Way You Move", recorded by Outkast's other member Big Boi, "Hey Ya!" was released by LaFace Records as one of the two lead singles from the duo's fifth album, Speakerboxxx/The Love Below. This was a huge crossover hit, getting lots of play on hip-hop, Top 40 and R&B radio stations. It went to #1 on the Hot 100 December 13, 2003, and stayed for nine weeks. In which, they made a double album, with each member contributing half on 2003.

30. Tina Turner - "Proud Mary"

https://www.youtube.com/watch?v=g6jQZpW5XiM

A rock ’n’ roll song written by John Fogerty and first recorded by his band Creedence Clearwater Revival was "Proud Mary". It is the Best of Ike & Tina Turner features some of Ike & Tina's greatest hits from their formation in 1960 until their separation in 1976 that makes this song became a major hit in the United States, peaking at No. 2 on the Billboard Hot 100 in March 1969, the first of five singles to peak at No. 2 for the group.

The Best Piano Bar Songs Get The Crowd Going

While you might want to show off your taste by requesting the best piano bar songs of the night, your goal should be to pick something you'll have fun singing. Not every request will get chosen but if you choose a song that is fun enough to sing, the piano player will be sure to include it.

If you want to become a more dynamic singer, check out our guide for tips.

More Piano Bars Songs

[table id=508 /]

The post Piano for Beginners: Keyboard or Digital Piano? first appeared on Merriam Pianos

2359 Bristol Cir #200, Oakville, ON L6H 6P8 merriammusic.com (905) 829-2020

[hubroot]

Having the Cannabis Talk with Parents and Grandparents (Holiday Edition)

The first thing you’ll need to understand is that “altering your lexicon is key”, In other words, no longer will you refer to cannabis in any other light other than “cannabis”. That means – “no weed, no mj, ganja, stogie, puff, reef, herb, derb, etc”. You’ll only refer to it as cannabis and the cannabinoids. When you’re talking to someone who isn’t ideologically programmed to respond negatively to weed – you can use any word you wish – however, for those who are subjected to this type of programming – cannabis is king.

Having the Cannabis Talk with Parents and Grandparents (Holiday Edition) published first on https://uppercanadaseedbank.tumblr.com/

[jessicakehoe]

Here’s All the Fashion News You Missed This Week

View this post on Instagram

#Nirvana is suing #MarcJacobs for copying its famous Smiley Face logo, which Kurt Cobain created in 1991. (More in Stories & on the blog) •• Has anyone else been waiting for this to happen? (@courtneylove, please tell me you have thoughts on this!) #copycat #fashion

A post shared by TFL (@thefashionlaw) on Dec 29, 2018 at 6:55am PST

Nirvana is Suing Marc Jacobs Over Use of the Smiley Face Logo

Nirvana’s smiley face, a cartoon burnout face with x’s for eyes, a squiggly mouth and an outstretched tongue, is one of the most iconic t-shirt designs of all time. So it’s no surprise that when Marc Jacobs rereleased his 1992 ‘grunge collection’ he chose to parody the shirt. Called the “bootleg grunge” tee, Jacobs’ design features a similar cartoon face with the initials ‘MJ’ replacing the eyes and the word ‘Heaven’ written in the same font. The result? Nirvana has slapped Marc Jacobs with a lawsuit, claiming that the fashion label has “infringed Nirvana’s copyright.” According to the lawsuit, the smiley face symbol has “come to symbolize the goodwill associated with Nirvana… one of the most famous and influential rock bands in history.” In addition to producing the t-shirt, Marc Jacobs has also used lyrics from the Nirvana song “Come as you are” in ads for the collection, apparently taking great pains to associate the collection with Nirvana. While we’re not entirely convinced that the Marc Jacobs’ t-shirt has “caused Nirvana to suffer irreparable injuries, and threaten[s] to dilute the value of Nirvana’s licenses,” the shirts do seem like a very bad faith move. It will be interesting to see how this and the Pooey Puitton magic slime case both play out. (The Fashion Law)

View this post on Instagram

#tbt A throw back Thursday to a very long time ago. What AM I wearing?! T.xx

A post shared by Twiggy Lawson (@twiggylawson) on Aug 27, 2015 at 8:35am PDT

’60s Model Twiggy Awarded Damehood By the Queen

Quintessential 1960s waif Twiggy (real name: Lesley Lawson née Hornby) has been awarded a damehood (the female equivalent of knighthood) by the Queen for her services to fashion, the arts and charity. The model was honoured alongside Monty Python comedian Michael Palin and children’s author Philip Pullman on Britain’s New Years’ Honors List, released last week. Discovered at age 16, Twiggy was nicknamed for her slender, stick-like limbs which she frequently bared while modeling the then-scandalous new minidress silhouette of the era. Her image quickly became associated with the 1960s Youthquake movement, short hair cuts for women and the “mod” look. The word ‘iconic’ is painfully overused in the fashion lexicon, but Twiggy is one of the few figures deserving of the mantle. “I’m a very proud Brit, I feel I’m an ambassador for Britain, I always have,” the model told the BBC. Kudos, Twiggy. (BBC)

View this post on Instagram

It is with great sadness we share that Blake Nordstrom passed away unexpectedly earlier today. Blake was a tremendous leader who personified the heart and soul of our company. We're devastated by this news and our hearts go out to his family during this difficult time.

A post shared by Nordstrom (@nordstrom) on Jan 2, 2019 at 1:08pm PST

Co-CEO of Nordstrom Has Died of Lymphoma

Less than a month after being diagnosed with lymphoma, Blake Nordstrom, the 58-year-old co-CEO of Nordstrom, has died. Nordstrom ran the family business with his brother Erik and Peter, and was a beloved figure within the fashion industry. On Twitter, designer Kenneth Cole described Nordstrom as Designer Kenneth Cole took to Twitter to describe Nordstrom as “one of our industry’s truest leaders and finest individuals,” someone who will be “missed by all who had the privilege to know and work with him.” I met Blake in March 2018 at the opening of the first Nordstrom Rack at Vaughan in Toronto and he projected geniality and warmth as he led a group of media around the not-yet-opened store. He seemed genuinely excited to be expanding Nordstrom Rack into Canada and optimistic about the future. FASHION offers up our deepest condolences. (WWD)

View this post on Instagram

New year, new denim (on denim on denim). #jcrewalways

A post shared by J.Crew (@jcrew) on Jan 2, 2019 at 3:00pm PST

What Does Retail Have to Look Forward to in 2019? Not Much, Apparently.

If you’re enjoying the post-holiday sale season, then you can look forward to plenty more heavily-discounted goods in the new year as WWD projects that plenty of bankruptcies are on the horizon for 2019. Though many retailers claim that an increase in online sales has helped offset the decline of in-store purchases, investors suggest that the drop in impulse buys has led to a decline in profitability. Credit ratings agency Fitch Ratings Inc. has named Neiman Marcus, Tom’s Shoes, NYDJ Apparel and Charlotte Russe as possible brands to declare bankruptcy based on the amount of debt they carry. J. Crew and JC Penney are also on the watch list. J. Crew appears to be pulling out of Canada entirely, as they shutter their store in Toronto’s Eaton Centre this Sunday, December 6th. As depressing as it is, enjoy those 70% off labels. (WWD/NOW Toronto)

      The post Here’s All the Fashion News You Missed This Week appeared first on FASHION Magazine.

Here’s All the Fashion News You Missed This Week published first on https://borboletabags.tumblr.com/

[lindyhunt]

Here’s All the Fashion News You Missed This Week

View this post on Instagram

#Nirvana is suing #MarcJacobs for copying its famous Smiley Face logo, which Kurt Cobain created in 1991. (More in Stories & on the blog) •• Has anyone else been waiting for this to happen? (@courtneylove, please tell me you have thoughts on this!) #copycat #fashion

A post shared by TFL (@thefashionlaw) on Dec 29, 2018 at 6:55am PST

Nirvana is Suing Marc Jacobs Over Use of the Smiley Face Logo

Nirvana’s smiley face, a cartoon burnout face with x’s for eyes, a squiggly mouth and an outstretched tongue, is one of the most iconic t-shirt designs of all time. So it’s no surprise that when Marc Jacobs rereleased his 1992 ‘grunge collection’ he chose to parody the shirt. Called the “bootleg grunge” tee, Jacobs’ design features a similar cartoon face with the initials ‘MJ’ replacing the eyes and the word ‘Heaven’ written in the same font. The result? Nirvana has slapped Marc Jacobs with a lawsuit, claiming that the fashion label has “infringed Nirvana’s copyright.” According to the lawsuit, the smiley face symbol has “come to symbolize the goodwill associated with Nirvana… one of the most famous and influential rock bands in history.” In addition to producing the t-shirt, Marc Jacobs has also used lyrics from the Nirvana song “Come as you are” in ads for the collection, apparently taking great pains to associate the collection with Nirvana. While we’re not entirely convinced that the Marc Jacobs’ t-shirt has “caused Nirvana to suffer irreparable injuries, and threaten[s] to dilute the value of Nirvana’s licenses,” the shirts do seem like a very bad faith move. It will be interesting to see how this and the Pooey Puitton magic slime case both play out. (The Fashion Law)

View this post on Instagram

#tbt A throw back Thursday to a very long time ago. What AM I wearing?! T.xx

A post shared by Twiggy Lawson (@twiggylawson) on Aug 27, 2015 at 8:35am PDT

’60s Model Twiggy Awarded Damehood By the Queen

Quintessential 1960s waif Twiggy (real name: Lesley Lawson née Hornby) has been awarded a damehood (the female equivalent of knighthood) by the Queen for her services to fashion, the arts and charity. The model was honoured alongside Monty Python comedian Michael Palin and children’s author Philip Pullman on Britain’s New Years’ Honors List, released last week. Discovered at age 16, Twiggy was nicknamed for her slender, stick-like limbs which she frequently bared while modeling the then-scandalous new minidress silhouette of the era. Her image quickly became associated with the 1960s Youthquake movement, short hair cuts for women and the “mod” look. The word ‘iconic’ is painfully overused in the fashion lexicon, but Twiggy is one of the few figures deserving of the mantle. “I’m a very proud Brit, I feel I’m an ambassador for Britain, I always have,” the model told the BBC. Kudos, Twiggy. (BBC)

View this post on Instagram

It is with great sadness we share that Blake Nordstrom passed away unexpectedly earlier today. Blake was a tremendous leader who personified the heart and soul of our company. We're devastated by this news and our hearts go out to his family during this difficult time.

A post shared by Nordstrom (@nordstrom) on Jan 2, 2019 at 1:08pm PST

Co-CEO of Nordstrom Has Died of Lymphoma

Less than a month after being diagnosed with lymphoma, Blake Nordstrom, the 58-year-old co-CEO of Nordstrom, has died. Nordstrom ran the family business with his brother Erik and Peter, and was a beloved figure within the fashion industry. On Twitter, designer Kenneth Cole described Nordstrom as Designer Kenneth Cole took to Twitter to describe Nordstrom as “one of our industry’s truest leaders and finest individuals,” someone who will be “missed by all who had the privilege to know and work with him.” I met Blake in March 2018 at the opening of the first Nordstrom Rack at Vaughan in Toronto and he projected geniality and warmth as he led a group of media around the not-yet-opened store. He seemed genuinely excited to be expanding Nordstrom Rack into Canada and optimistic about the future. FASHION offers up our deepest condolences. (WWD)

View this post on Instagram

New year, new denim (on denim on denim). #jcrewalways

A post shared by J.Crew (@jcrew) on Jan 2, 2019 at 3:00pm PST

What Does Retail Have to Look Forward to in 2019? Not Much, Apparently.

If you’re enjoying the post-holiday sale season, then you can look forward to plenty more heavily-discounted goods in the new year as WWD projects that plenty of bankruptcies are on the horizon for 2019. Though many retailers claim that an increase in online sales has helped offset the decline of in-store purchases, investors suggest that the drop in impulse buys has led to a decline in profitability. Credit ratings agency Fitch Ratings Inc. has named Neiman Marcus, Tom’s Shoes, NYDJ Apparel and Charlotte Russe as possible brands to declare bankruptcy based on the amount of debt they carry. J. Crew and JC Penney are also on the watch list. J. Crew appears to be pulling out of Canada entirely, as they shutter their store in Toronto’s Eaton Centre this Sunday, December 6th. As depressing as it is, enjoy those 70% off labels. (WWD/NOW Toronto)

[junker-town]

How a New York City high schooler made 'the jelly' the coolest move in basketball

The jelly is coming to college basketball this season, and it’s going to be glorious.

There’s a movement coming to college basketball this season, one born in New York City that will soon be felt all around the country. It will be rooted at Minnesota, of all places, where a Harlem-bred guard is set to give the Golden Gophers more national appeal than they ever imagined.

The jelly is here, it’s happening, and it’s about to make the college hoops landscape a richer place.

Isaiah Washington wasting no time bringing the Jelly to Minnesota! @Jellyfam_Dimes http://pic.twitter.com/TMbjSharfL

— Courtside Films (@CourtsideFilms) November 3, 2017

This is Isaiah Washington, the reigning New York Mr. Basketball and the inadvertent starter of a revolution. That twisting, spinning, undeniably cool layup you just saw? He calls that a jelly.

Washington coined the term himself. At this point, it’s part of the modern basketball lexicon. If you haven’t heard of the jelly, JellyFam and all of its influence yet, it’s time to catch up.

Let’s start with the basics.

What is a jelly?

A jelly is a finger roll with style.

Here’s Washington explaining it in his own words:

You gotta get in the air, float, kick your legs open, flick it with some English, use different angles off the glass, stuff like that. Left hand, right hand, reverses—there are a lot of variations to it.

Where did the jelly come from?

A young Washington remembers being inspired by the clip of Michael Jordan jumping from the free throw line in the 1988 NBA Dunk Contest. There was only one problem: he couldn’t dunk himself. He did the next best thing and started mimicking Jordan’s iconic move on his layups.

What are the three keys to a good jelly?

Glad you asked:

a) Hold the ball outward for a split second so it almost looks like you’re going to dunk

b) Kick your legs out like MJ

c) Put some serious English on the finish

OK, can we see him Jelly again now?

Thank you for your patience.

Isaiah Washington bringing the jelly! JellyFam_Dimes http://pic.twitter.com/9mGV7E0LE9 #HipHop

— HipHop Clockers (@HipHopClockers) September 18, 2017

Do not attempt this next one at home unless you are an extremely flexible teenager:

Isaiah Washington just changed the #StopAndStareChallenge with some jelly @Jellyfam_Dimes http://pic.twitter.com/56d0rrsTxG

— Overtime (@overtime) August 30, 2017

Does Washington ever miss a jelly?

Not according to his high school coaches:

I got frustrated when I initially saw him Jelly, because I kept thinking he was going to miss. But he always makes the layup.

Why did Washington end up at Minnesota?

Washington played for New Heights, a NYC-based grassroots program, as a high school player. Two years ago, Minnesota hired Kimani Young as an assistant on his staff. Young is the former program director at New Heights.

If you’re wondering why the the best player in New York City committed to Minnesota — especially a consensus top-75 prospect like Washington — that’s a good place to start.

So, this is a movement?

It has become one, yes.

Two years ago, Washington and his friend Ja'Quaye James — now a senior point guard at Teaneck High School in New Jersey — decided to brand themselves as JellyFam. The group now includes eight players with roots in the tri-state area.

As Washington kept gaining more attention for his signature move, JellyFam blew up on social media. Now everyone wants to jelly.

Who is in JellyFam?

The family , Big Jelly

A post shared by Isaiah Washington (@jellyfam_dimes) on Nov 1, 2017 at 6:30pm PDT

JellyFam includes: UConn freshman Sid Wilson, 5-star recruit Jahvon Quinerly (yes, the former Arizona pledge likely mentioned in the FBI investigation), Seton Hall guard Jordan Walker, Robert Morris guard Leondre Washington, high school guard Pedro Marquez, and Ole Miss freshman Milicia Reid, the group’s only female player.

How do you get in JellyFam?

You have to jelly on someone three times in one game.

Are there a bunch of examples of kids jellying on social media?

You know it.

Oh my... Follow @crazycrosses for more!

A post shared by Basketball (@nbanation) on Oct 14, 2017 at 2:58pm PDT

Have NBA players caught on to the jelly?

Oh yes. Just LeBron and John Wall, no biggie:

I’m gonna need to see some more jelly

This jelly freestyle session is real fun. Quinerly in particular is mesmerizing:

Are there any cool in-air jelly photos?

From Washington’s Instagram:

A post shared by Isaiah Washington (@jellyfam_dimes) on Sep 9, 2017 at 8:47am PDT

From his now defunct Twitter:

Isaiah Washington’s twitter account

Wait, what happened to Washington’s Twitter?

It looks like Pitino made his team deactivate from Twitter. This is a crime. Washington built a grassroots following from scratch off the strength of his own marketing genius. You can buy jelly t-shirts now. Nike might have initially tried to use the phrase for a colorway on Paul George’s new shoes.

The jelly spread through social media. As Washington enters the college level this season, his influence is only going to get bigger. Let the kid back on Twitter, and allow him to watch what he built.

[verydeepthots]

letters & numbers combos in lexicon

MJ 23 NY LA ATL

[hoopslab]

Kobe vs Dirk: scouting, boxscores and impact

In the RealGM Top 100 project, we have done a lot of analysis and comparisons of great players vs one another in NBA history. One interesting one, that doesn’t get done often, is Kobe Bryant vs Dirk Nowitzki. Kobe is universally thought of as better in the general NBA lexicon, from casual fan to former players. But, what do their careers look like if we step away from team accomplishments like rings and accolades, and really look at them from a scouting/analytics level? Let’s find out (original post from 2014 Top 100 project).

Kobe vs Dirk

In the vein of the 1-on-1 matchups I described yesterday, I decided to start with the two best current/modern day players still on the board: Dirk Nowitzki and Kobe Bryant. This is a very interesting, potentially epic comparison, that in my experience pretty much never gets made (not including this project, of course, where Reservoir Dogs has taken a crack at it). But outside of here, there are a million Kobe threads and Dirk is pretty popular on this board too, but rarely (if ever) do I see Dirk vs. Kobe. I think part of that is due to perception...before 2011 it was considered ridiculous around here to put Dirk on Kobe's level (I remember ranking 2003 Dirk over 2003 Kobe in the 2010 RPoY project, and it was NOT well received). After 2011 people felt better about giving Dirk his due, but he generally gets compared with great frontcourt players. When in reality, I think he and Kobe make one heck of a match-up. So, let's start digging in and see where it goes.

The boxscores

Regular season, 10 year primes per100 possessions

Kobe Bryant (2001 - 2010): 37.5 pts (55.9% TS), 7.6 reb, 6.9 ast, 4.1 TO

Dirk Nowitzki (2002 - 2011): 34.5 pts (58.4% TS), 12.3 reb, 4 ast, 2.8 TO

Playoffs, 10 year primes per 100 possessions

Kobe Bryant (2001 - 2010): 35.8 pts (54.8%), 7.1 reb, 6.7 ast, 4.0 TO

Dirk Nowitzki (2002 - 2011): 33.4 pts (58.5%), 13.5 reb, 3.5 ast, 3.0 TO

I often like to start with the box score stats (regular and postseason) just to get some baseline information out there to look at. Most of us watched both of these careers play out, so we all have images in our heads of what these two can do. But the numbers help to firm up the impressions, and really quantify those contributions. The per-100 numbers aren't so necessary for two players in the modern era, but for this project I like to use per 100 for everyone for a bit of cross-era normalization.

Anyway, the story is similar in both the regular and postseason. Kobe scores on slightly more volume, with Dirk at better efficiency (but both look really impressive in both). Kobe is more of a playmaker, while Dirk is stronger on the glass as you'd expect for a big (though again, it's clear that each contributes in the opposite category as well, for their position). From these numbers I don't think anyone could really get a feel for who was better, but both look extremely elite for a long period.

"The style makes the fight"

Both Kobe and Dirk evolved stylistically over time, going from extremely raw (Kobe entered the NBA as a teenager out of high school, Dirk entered the NBA as a teenager from Europe) to extraordinarily polished. Very good arguments can be made that Dirk and Kobe are the two most skilled offensive players of this generation, mixing technique and precision in with physical attributes that already made them mismatches.

They are also two of the most unique talents that the NBA has seen. I think people recognize the uniqueness of Dirk, but maybe don't always see it in Kobe because he (seemingly deliberately) reminds people so much of Jordan. But ironically, despite his resemblance to his Airness, Kobe is still extremely rare. People forget that before Jordan a shooting guard that was 6-6 or 6-7 and uber athletic was extremely rare. After Jordan it became more of the goal (because everyone wanted to be the next Jordan), but for the most part these bigger 2s handled the ball more like 3s. Kobe, on the other hand, could control his dribble and direct the offense almost like a combo guard...only most combo guards are 3 or 4 inches shorter. Then, while Jordan was always a slasher first-and-foremost (and then later in his career became more of a post threat as his athleticism waned), Kobe always seemed more comfortable operating from the outside-in. He had the high-flying athleticism (and later the strength/footwork to be a great post threat on offense), but his long-range was always more natural than Jordan's and it was a larger staple of his scoring. This played a part in what has been both a boon and a bane for Kobe...he could always get a shot that he was comfortable with from the perimeter, no matter how he was defended. As such, he is one of the best difficult-shot-makers that I've ever seen. That sometimes tempts him to take a lower percentage shot when a higher percentage look (for himself or a teammate) was available, but on the flip-side it makes him a higher-than-expected percentage threat when the offense breaks down and he has to make something happen alone.

And then there's Dirk. No one has ever seen a 7-footer that is such a natural, effortless, pure scorer from the perimeter. He has the jumper of an elite shooting guard, and the ball-handling and court vision of a reasonable small forward. Put those things together, and it is extremely difficult to match up with him. Up through his MVP season the conventional wisdom used to be that he was too good on the perimeter to be defended by a big man, but that he was too tall to be defended by a wing. For the most part this was true, which is why he was receiving All NBA nods early in the decade and rose to MVP status by 2007. However, he had the misfortune in his MVP season of running into the one coach that knew his tendencies well enough (former coach Nelson) and also had a long wing that could play 1-on-1 defense (in Stephen Jackson) that, in conjunction with other factors, allowed a #8 seed to defeat Dirk's #1 Mavs. That series played a big part in Dirk's perception as a so-called "failure" for a long time...but it seemingly had the hidden benefit of getting Dirk to focus more on his post-game. Once he mastered that and added it to his other offensive talents, Dirk became nigh unguardable 1-on-1. Which is why many consider 2011 his absolute peak, despite his MVP and most impressive box score exploits coming 4 or 5 years earlier. Plus, because Dirk IS 7-0 tall, he brings a dimension of spacing/defensive warpage that even exceeds his own scoring. This is part of why his impact shows up so well in +/- studies, even better than his boxscore numbers might suggest. Having a 7-footer that can dominate a game from the perimeter, demanding not only a big man to leave the paint (weakening opposing defenses) but often a double if he stepped inside the arc, is arguably the biggest warping effect you can have (which is why I tend to believe his offensive impact might be pretty close to what a modern Bird would have been, despite Bird's much better passing, because Bird is 3 inches shorter and height really matters for this effect).

Chronology and the story outside of the box scores: the infamous RAPM

RAPM has gotten a lot of attention thus far in the project (understatement alert), but here the RAPM scores over time help to really tell the story of how Dirk's and Kobe's impacts have changed over time as their roles have changed and their games have developed. It's unfortunate that we don't have RAPM data for 2001 and that 2002 is only partial season data as well, because that was an important time period, but we have enough data to work with that I feel like I have a handle on what the missing/partial data may have said anyway. Again, the RAPM numbers reported are from Doc MJ's normalized PI RAPM spreadsheet from 1998 - 2012.

Late 90s Kobe and Dirk didn't really move the needle much (RAPM values right around 0). Dirk scored a slight positive RAPM in 2000 (+2.3), and in the partial 2002 his RAPM was still at a similar place (+2.6). Kobe, on the other hand, went from a mark of +0.7 in 2000 to a +4.9 in the partial 2002, then he just about replicated that score in 2003 (+5.5). It is pretty universally agreed upon that Kobe took a major step forward in impact in 2001, so I'd guess that his 2001 score probably looks similar to/better than his 2002 and 2003 scorers. So, much as the impressions of the time would have suggested, Kobe took the leap towards stardom a bit before Dirk.

However, in 2003 Dirk's RAPM scores surpassed Kobe's to date (Dirk's score jumped to +7.3 in 2003, an elite amount of team lift) and he maintained that mark like a metronome for the next six years (RAPM between +7.2 and +8.0 every year between 2003 and 2008). What's really interesting about Dirk's flat-line major impact is that so much was changing around him. 2003 was the peak of Nellie-ball (where the Mavs had a legit title shot if Dirk doesn't go down to injury against the Spurs) with Nash and Finley as side-kicks, while by 2008 Dirk had won an MVP and come within a breath of another possible championship in a team with a more defensive philosophy with Coach Avery Johnson and side-kicks Josh Howard and Jason Terry. The situations were dramatically different, the team philosophy at the opposite end of the spectrum, but Dirk's impact remained rock solid at a level worthy of a reasonable MVP.

Kobe, meanwhile, was entering the most volatile period of his career both on- and off- the court. For the 2004 season the Lakers brought in the aged Karl Malone and Gary Payton to supplement Kobe and Shaq in a posited super-team, and of course Kobe had his incident in Colorado that had to deal with over the course of that season. This was also the peak of the unfortunately public Shaq and Kobe feud, and after the 2004 season we saw Shaq (and Phil Jackson, and Malone, and Payton) leave town. The Lakers (and Kobe) both had their worst season of the decade to date. With all of this going on, it doesn't surprise me that Kobe's RAPM values reached the lowest point of the decade in these two years (average of about +1.5).

However, in 2006 Kobe returned renewed (after his first major injury and the Lakers missing the playoffs in 2005), and Coach Jackson also came back to town. Kobe was soon to turn in an offensive season for the ages in 2006, and this touched off his own metronomic high-impact stretch in which he registered RAPM values between +6.4 and +8.1 every year between 2006 and 2010. This time period, of course, saw Kobe win his only career MVP as well as his first two Finals MVPs. For those that had questions as to whether Kobe could really be a megastar and lead a team to the promised land without Shaq, all of those questions were answered emphatically 'yes!' during this stretch.

Back to Dirk. After 2008 coach Johnson was out, to be replaced by Rick Carlisle. Carlisle was a defensive coach like Johnson, but by all accounts he was a better tactician and planner. While the Mavs continued to have 50+ win seasons in '09 and '10, they weren't really championship contenders. And while Dirk continued to measure out with really good RAPM scores (+5.3 and +4.9), it was a step down from his Groundhog Day-like +7.5s through the middle of the decade. Seemingly it took those couple of years for Dirk to perfect the post-game that I mentioned above, for the Mavs to build a team that complimented him fully while also fitting Carlisle's schemes, and for Carlisle to perfect the way that he wanted to use him. But it all came together in 2011, when the Mavs put on the floor a defensive-minded squad with tough, battle-tested vets at every position that were really strong and their complemntary roles. But a squad that would have been awful without an offensive engine...and it just so happens that the Mavs had one of the best offensive engines of all-time on their squad. Everyone knows that Dirk led the Mavs to the title in one of the more storied "superstar without big name help" runs that we've seen. But RAPM also recognized the incredible lift that Dirk was providing to those teams, as his +11.5 normalized RAPM in 2011 marked a career-high for Dirk and entered him into the pantheon of the top-10 highest RAPM scores measured since 1998.

The playoffs

Dirk and Kobe both have reputations for performing on the big stage. There have been box score numerical analyses done in this project to either argue for or against Kobe's performance based on scoring efficiency, and those arguments are worth absorbing and filtering. Kobe apparently did have some efficiency blips through the years against good defenses, which we didn't see with Dirk (who maintains an absurd volume/efficiency ratio from the regular season right into the postseason). I don't really think that individual scoring efficiency is nearly as important as many make it out to be, but for players that are primarily offensive and more specifically primarily scorers, scoring efficiency has to at least be considered. On the other hand, Kobe has also faced off against some of the best defenses in history throughout his time, and that can certainly affect the old true shooting percentage.

(Aside on playoff on/off +/-)

Interestingly, for those that give any credence at all to playoff on/off +/-, it's Kobe (even with his lower scoring efficiencies) that tends to look more impressive than Dirk. Dirk's best postseason mark of his career (obviously) came in 2011 with an impressive +16.8 per 100 possessions, and this capped off a run of three positive double-digit marks in four years (thought the first two were for relatively short runs and thus I give them next-to-no weight as single seasons). However, outside of that period his playoff on/offs are pretty pedestrian compared to the other greats of this generation. He was +6.9 in the 2006 run, but pretty meh else for a career playoff on/off mark (from 2001 - 2014) of +1.8.

Kobe measured out with a positive playoff on/off +/- in every playoff run of his career (at least since 2001) in which his team made at least the 2nd round. His best career mark came in 2003 (+17.4), but he was also really strong in 2001 (+14.2 vs. Shaq's -0.3, lending credence to those that say that Kobe was driving the bus for that postseason run) and 2009 (+12.4 vs Pau's +6.8, though Odom measured out best at +16.7). Kobe was also +8.9 in 2008 and +7.6 in 2010, and sports a career-mark of +8.3 that's right in line with Shaq, Duncan and LeBron.

Bottom line:

As I figured before I got started, this is an epic comparison. It's almost a toss-up, a "what do you like"? Stylistically, in the box scores, and in the +/- stats for both the regular and postseason it's hard to find a consistent advantage for either of them. Kobe is probably the incumbent as far as this match-up goes, and the saying is that you have to beat the champ to take his place...and I definitely don’t see this as a clear win for Dirk. In fact, with playoffs impact estimates thrown in, that might be enough to tip this whole thing in Kobe’s favor in my mind. But at the very least, it’s a very interesting comp between two players that you don’t often hear mentioned in the same breath.

[jessicakehoe]

Here’s All the Fashion News You Missed This Week

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#Nirvana is suing #MarcJacobs for copying its famous Smiley Face logo, which Kurt Cobain created in 1991. (More in Stories & on the blog) •• Has anyone else been waiting for this to happen? (@courtneylove, please tell me you have thoughts on this!) #copycat #fashion

A post shared by TFL (@thefashionlaw) on Dec 29, 2018 at 6:55am PST

Nirvana is Suing Marc Jacobs Over Use of the Smiley Face Logo

Nirvana’s smiley face, a cartoon burnout face with x’s for eyes, a squiggly mouth and an outstretched tongue, is one of the most iconic t-shirt designs of all time. So it’s no surprise that when Marc Jacobs rereleased his 1992 ‘grunge collection’ he chose to parody the shirt. Called the “bootleg grunge” tee, Jacobs’ design features a similar cartoon face with the initials ‘MJ’ replacing the eyes and the word ‘Heaven’ written in the same font. The result? Nirvana has slapped Marc Jacobs with a lawsuit, claiming that the fashion label has “infringed Nirvana’s copyright.” According to the lawsuit, the smiley face symbol has “come to symbolize the goodwill associated with Nirvana… one of the most famous and influential rock bands in history.” In addition to producing the t-shirt, Marc Jacobs has also used lyrics from the Nirvana song “Come as you are” in ads for the collection, apparently taking great pains to associate the collection with Nirvana. While we’re not entirely convinced that the Marc Jacobs’ t-shirt has “caused Nirvana to suffer irreparable injuries, and threaten[s] to dilute the value of Nirvana’s licenses,” the shirts do seem like a very bad faith move. It will be interesting to see how this and the Pooey Puitton magic slime case both play out. (The Fashion Law)

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#tbt A throw back Thursday to a very long time ago. What AM I wearing?! T.xx

A post shared by Twiggy Lawson (@twiggylawson) on Aug 27, 2015 at 8:35am PDT

’60s Model Twiggy Awarded Damehood By the Queen

Quintessential 1960s waif Twiggy (real name: Lesley Lawson née Hornby) has been awarded a damehood (the female equivalent of knighthood) by the Queen for her services to fashion, the arts and charity. The model was honoured alongside Monty Python comedian Michael Palin and children’s author Philip Pullman on Britain’s New Years’ Honors List, released last week. Discovered at age 16, Twiggy was nicknamed for her slender, stick-like limbs which she frequently bared while modeling the then-scandalous new minidress silhouette of the era. Her image quickly became associated with the 1960s Youthquake movement, short hair cuts for women and the “mod” look. The word ‘iconic’ is painfully overused in the fashion lexicon, but Twiggy is one of the few figures deserving of the mantle. “I’m a very proud Brit, I feel I’m an ambassador for Britain, I always have,” the model told the BBC. Kudos, Twiggy. (BBC)

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It is with great sadness we share that Blake Nordstrom passed away unexpectedly earlier today. Blake was a tremendous leader who personified the heart and soul of our company. We're devastated by this news and our hearts go out to his family during this difficult time.

A post shared by Nordstrom (@nordstrom) on Jan 2, 2019 at 1:08pm PST

Co-CEO of Nordstrom Has Died of Lymphoma

Less than a month after being diagnosed with lymphoma, Blake Nordstrom, the 58-year-old co-CEO of Nordstrom, has died. Nordstrom ran the family business with his brother Erik and Peter, and was a beloved figure within the fashion industry. On Twitter, designer Kenneth Cole described Nordstrom as Designer Kenneth Cole took to Twitter to describe Nordstrom as “one of our industry’s truest leaders and finest individuals,” someone who will be “missed by all who had the privilege to know and work with him.” I met Blake in March 2018 at the opening of the first Nordstrom Rack at Vaughan in Toronto and he projected geniality and warmth as he led a group of media around the not-yet-opened store. He seemed genuinely excited to be expanding Nordstrom Rack into Canada and optimistic about the future. FASHION offers up our deepest condolences. (WWD)

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New year, new denim (on denim on denim). #jcrewalways

A post shared by J.Crew (@jcrew) on Jan 2, 2019 at 3:00pm PST

What Does Retail Have to Look Forward to in 2019? Not Much, Apparently.

If you’re enjoying the post-holiday sale season, then you can look forward to plenty more heavily-discounted goods in the new year as WWD projects that plenty of bankruptcies are on the horizon for 2019. Though many retailers claim that an increase in online sales has helped offset the decline of in-store purchases, investors suggest that the drop in impulse buys has led to a decline in profitability. Credit ratings agency Fitch Ratings Inc. has named Neiman Marcus, Tom’s Shoes, NYDJ Apparel and Charlotte Russe as possible brands to declare bankruptcy based on the amount of debt they carry. J. Crew and JC Penney are also on the watch list. J. Crew appears to be pulling out of Canada entirely, as they shutter their store in Toronto’s Eaton Centre this Sunday, December 6th. As depressing as it is, enjoy those 70% off labels. (WWD/NOW Toronto)

      The post Here’s All the Fashion News You Missed This Week appeared first on FASHION Magazine.

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