#my cactus is Judith

[leonsliga]

cactus, bamboo and chia 💛

Aww thanks Judith <3

Cactus: funny enough, I’m learning about several things at the moment! First and foremost, I’m learning as much Spanish as I can. I wanna be fluent one day, but lately indirect and direct object pronouns have been giving me grief 😵 when there’s multiple of them in a sentence my brain short-circuits—it’s not pretty. If anyone has any suggestions with those, please let me know :) I’m also learning what I need to apply to psychology postgraduate programs in Ireland and Scotland as an international student. Last but not least, I’m currently researching how to apply for citizenship in the U.K., since I’m considering moving to Scotland if I do decide to study there.

Bamboo: I don’t really change into a new outfit when I get home if I’m honest. Usually I just shower, grab some comfy pjs and a throw blanket, and settle in for the night 🥰

Chia: oh my god, don’t even get me started! My best friend and I actually have an entire google doc dedicated to our inside jokes 😵😂 we started it back when we met in high school and it just continued growing from there. I think my personal favorite inside joke we have came from a FaceTime call we had when we were both on fall break our freshman year of college. I’ve lost a lot of the context to time, but basically, she took one look at her hair that day and decided it looked like a parallelogram. We literally laughed about that nonstop for like 30 minutes (I’m still laughing about it as I write this), and the whole thing culminated in her drawing a parallelogram around her hair on Snapchat. I think maybe you had to be there to appreciate the masterpiece in its full glory, but you probably get the gist lol. Nowadays though, whenever I make a birthday post for her on Instagram, it’s tradition that I include the parallelogram pic at the end for good measure 🤣

[moon-beam95]

Friends and Family

By Moon-beam95

Fandom: The Umbrella Academy

Pairing: Ben Hargreeves x Reader

You weren't entirely sure how it happened but one moment you were being held hostage and the next you've seemed to have gained two limpets. One a sarcastic shit starter and the other an angry bad-ass with a knife kink.

You'd just gotten in from a long day of College followed by hours at work, you had just toed off your shoes when you felt a sharp pain in the back of your head and the world tilted before turning black. You came too, tied to one of your kitchen chairs while some idiot ransacked your front room.

"Ugh" your head ached like fuck "Really, what the fuck did you hit me with?"

"Shut up" the figure said slamming a drawer closed, another you hadn't seen slapped you upside the head, yeah ouch as if you weren’t in enough pain.

'In case you haven't noticed, this place is a shit hole. The most expensive thing in this place is those shiny ass boots you have on."

"I said shut it," the first man snarled.

"Wow," you said raising your eyebrows, "just trying to make a little conversation."

You tilt your head to see the other man before jerking it towards the first, as if saying get a load of this guy. "But, seriously, fuckin' moon shoes, kinda throws off the whole ascetic you got going on."

The silent one said nothing, exchanging a glance with his partner, who stalked towards you pulling out a gun.

You let out a low whistle. "Yikes, someone's a little touchy."

The man cocked the gun as two more figures appeared behind the gun roaring thug wearing black eye masks. One grabbed the first and the curly haired mask wearer moved to the silent thug.

While grateful for the save all that was running through your mind was. "How the fuck do you people keep getting in my house?"

As a fight broke out your two saviours seemed to have the upper hand as they wrestled through the flat banging into everything.

"Hey watch the TV"

"Ouch that gotta hurt"

"Careful! Blood is a bitch to get out."

The thugs thoroughly out if it, the knife toting hero cuts you lose while the other rocks back on his heels. "You know most people would be grateful."

Springing out of the chair, you ignored him pushing past. Seeing the mess you drop to the floor and gave a wail.

"Hector."

"Errr Lady, you ok?"

They crowd you wanting to see what caused such a sound only to see you carefully cradling a cactus above a broken plant pot. The curly haired one gave a laugh, but knife kink just looked extremely bewildered, before tentatively patting you on your shoulder.

"There, there," he said. "Sorry about the mess and err, your loss but we gotta go."

And with that remark they were gone and you were left with two passed out thugs gazing around a wrecked apartment, looking mournfully at Hector, wondering how the hell you were going to explain this to your mother.

The next night after a long conversation on home safety with your mother and questions by the police the doorbell rang. Opening it you were greeted by the two men from the night before.

"You," you said, shaking a finger at them dramatically.

"Klaus" said the curly haired one.

"Diego" said knife kink.

They held out a rather large plant pot containing a small cactus wrapped in a sparkly green bow.

"For you know," Diego snorted, "Hector."

You opened the door further and invited them in taking the offering cooing and saying. "I shall call you Judith." Before kicking the door closed.

That was the start of a rather strange, albeit dangerous friendship. You learned that Klaus could see the dead and that Diego despite being extraordinarily good with knives, it was not his power but could in fact hold his breath for an astonishing amount of time. Which, BTW, prompted a lot of jokes.

You three often stumbled into weird situations and you watched them fight off crime from the sidelines providing a running commentary. They were beyond cute, despite often bickering you could see how much they cared for each other. Klaus seeking any sort of thrill to hide from the dead and Diego a total mother hen, a worrier.

It was one such situation that saw you meet Ben. Who worried about Klaus' disappearing and thinking he was out scoring drugs saw the two of you and followed you intent on warning you away from his brother. Which quite frankly was adorable!

You can see why he got the wrong end of the stick, you were after all skulking around an alley in the dark.

After leaving the two brothers you began the trek home, slipping down alleys to make it quicker. You could hear footsteps behind you and sped up only to let out a shriek when a hand grabbed you, spun you and pressed you against the wall.

Eyes wide, you stared up at the Hooded Hottie™ caging you in, one arm across your neck the other above your head.  You gulped as the boy glared down at you, despite the situation you noticed that he was rather beautiful, even when looking like he was inches away from killing you or perhaps that was what made him so attractive.

He opened his mouth but paused at the sound of people running and suddenly he was wrenched from you as you gulped air. Klaus and Diego. You slid down the wall, body shaking as they stared at the boy.

"Ben," said Klaus. "What the hell?"

Ben, you thought, their brother, as Diego helped you up and dusted you off

"Why" Diego bit out when he didn't answer, "did you have Y/N by the throat?"

His eyes flickered between his brother and the girl who shifted behind Diego more, eyes wide in fear. Diego would never allow Klaus to buy drugs which meant that he had royally fucked up. He lowered his hood.

"I thought you'd gone out to get drugs."

"What" Diego said crossing his arms.

"He's been acting shifty, leaving at all hours, more hyper than usual."

Klaus laughed, slinging an arm around Ben's shoulders, tugging at his cheeks cooing. "Awe, so sweet. He cares."

Ben slapped his hand away looking at the half hidden girl, before rubbing his neck rather sheepishly.

"I'm so sorry about all that."

You stepped out, smiling. "Eh, shit happens."

He let out a laugh, grin stretching across his face. You blushed, he really was cute.

The brothers looked on in amazement at you both flirting.

"You act like this is an everyday occurrence."

"Well, when your friends with these two," you trail off, jerking a thumb in their direction. "Also a guy usually buys me dinner before we get to the whole choking thing."

His laugh rang out, echoing throughout the alley and you were gone, never knowing that the sentiments were returned.

The three amigo became four and you all often holed up in your apartment. It wasn't uncommon that you'd get home from work or school and find them there, having tea with your mom, helping make dinner, just making themselves at home.

Your crush on Ben grew and you found yourself a blushing mess often lapsing into silences. You were drew in by his rather obvious devotion to his brothers and his mischievous personality .

Unknown to you, Ben had noticed you change in attitude whenever he was around vs how you acted when it was just his brothers. He hated that you didn't feel comfortable around him, especially since he was becoming rather attracted to you.

Ben scarcely talked about his powers and you soon found out why. All four of you had just left the cinema after watching a musical (Diego's choice) when on the way to the pizza shop you came across a robbery. A rather large group if people holding up a gas station. The boys jumped into action and you stepped a safe distance away but still close enough that you still had a full view of the fight. It never ceases to amaze you how they moved so separate yet as part of a unit. You were eager to see how Ben would fit into the dynamic.

With Klaus and Diego getting quickly over run, you let out a gasp as Ben stepped into the centre of the room drawing fire. He doubled over, clutching his stomach before springing back up and tentacles burst forth from his chest. They whipped round subduing the predators. His eyes caught yours and his face went white. Now that the robbers had been dealt with you all quickly made your way from the crime scene. Slipping down an alley you all pause, catching your breath. You turn to face Ben and he shifts not looking at you.

Diving at him, his eyes go wide as you fling your arms around him, he raises his arm pulling you close. He breathes in your scent, relishing having you close. You squeal into his ear -

"That was so cool."

He lets out a relieved laugh, before you pull back and whack him upside the head.

"How could you do something so dangerous, idiot."

He stares on in shock as you rant, Klaus in the background letting out a mournful "You never say that to me."

Ben's eyes drink in your impassioned figure, admiring the fire in your eyes. Steeling himself he surges forward, one hand wrapping round your waist the other reaching to cup your face and pressed his lips against yours.

You pull back blushing in shock and he starts to apologise before you return the favour.

So there you were down a grotty alley pressed against a blood covered boy while his brothers hooted and whistled in the background.

It was about damn time.

[sweet-andy]

😝💕☠️

[angelthefirst1]

Beth repeats everywhere.

Okay so I'm back and excited about the upcoming episodes and while bummed we didn't see Beth in 1016. I am super excited about where this is heading...

Even the title names are in your face Bethyl at this point, I mean... Home sweet home?

If the spoilers are accurate-it's actually a good thing...

*Ducks for cover (please don't throw things at me) 🥴🤕

So after a long but very needed break (The world falling apart kinda made analyzing TWD seem very unimportant) I have decided to climb out of my cave to weigh in on the current spoilers that have everyone acting like they just sat on a cactus. 🌵

If correct, these spoilers confirm to me that Beth is just about to be reintroduced and also confirm what i have been saying about how the story is told in TWD for years.

Season 9 and 10 especially has been repeating, major Beth season 4 and 5 plot. And, there is a reason it's getting more and more blatant. It's coming to a head...

We've seen Beth's story on repeat using other characters to remind us of the past, and show us the future to a degree too.

It's called predicative programming, showing a shadow of what's coming before it actually does.

So this Leah...even if she is "real" (more on this a little later) IS BETH showing aspects of the past to subconsciously remind us of past Beth, and aspects of what's to come for future Beth.

On the topic of what's real and what's not, there is a very good case to be made, that this is all in Mr Dixon's (And ultimately Rick's) head.

A bit further on I will go through some of the blatant repeats in the story to remind you just how 'in your face' the repeats from season 4/5 have become in season 9,10.

But first I want to talk through what I think is most likely happening with these potential spoilers.

I see a few possibilities out of this, but none of them are actually bad.

Scenario 1. Leah is real and her and Daryl have a relationship in that cabin.

Why isn't this bad?

This maybe a difficult concept for some to grasp as they see all the characters separately, but...the writers make the characters all one, by moving them in and out of repeating rolls.

So as I stated above, Leah is a Beth fill in and the reason we most likely won't actually see a full Leah and Daryl love scene on screen, is because it's shadowing the real love scene to come which will be with the main fulfillment, Beth.

Leah is the shadow reminding us of Alone and Still, but Daryl's memory, desire and hope are all about Beth, not Leah.

I mean come on... A Cabin? A Dog? Them not getting along to start but then hints of romance? They eat together? She leaves and is never mentioned until years later? and a note? In your face Bethyl.

And this leads into scenario number two...

I've often wondered if all these characters actually originate out of the 'real' Rick's mind (yes i know the comics don't end that way, but that doesn't mean the TV show isn't going down that road potentially)

While unconscious in his hospital bed, the character of Rick comes alive in his mind.

Some might not like this concept, but It does make sense of the constant repeats in story. Which can be likened to a dream state and inception.

If we have been in the character Rick's mind all this time, then once Rick's character "left" in the helicopter season 9, it became "Daryl's" mind we entered (He became the last man standing) and that's when the story shifted and became extremely Beth heavy.

We possibly entered into Daryl's subconscious instead of Rick's and instantly started getting HUGE Beth symbolism.

Why would Daryl's mind/subconscious be showing him in an almost identical setting to what we saw him and Beth in season 4, in Still and Alone but with someone else instead?

Because it seems he has suppressed her memory as much as possible to cope (Leah not being mentioned all this time is another clue that this is actually about Beth), but it's building and building to a climax, which should soon end in the truth exploding from his subconscious and finally revealing that Daryl loved and desires Beth.

Rick's story started and ended with "finding his family"-that was his repeating story.

And until he left and handed the reins over to "Daryl's mind" we were never going to access Daryl's subconscious enough for the truth about Beth to be revealed.

As soon as it becomes Daryl's characters mind in control, we immediately start seeing major Beth repeats beginning.

I'm going back over some major repeats from 9/10 to show you how obvious the repeating story has become.

This became long and it's only the really obvious stuff that I'll cover, there is way more that could be included, and it will become extremely obvious by the time we reach the end, that this IS Beth’s story, just remixed.

Further down i will also explain scenario number 3.

Repeats: Starting with season 9

As soon as Rick's helicopter files away over a barn (which is very similar to the barn Daryl weeps over Beth next to)

We see Magna who has been a major Beth fill-in with her blond hair and prison tattoo, and in a relationship with a dark haired archer.

We then meet grown up Judith with her braid and sheriffs hat.

We first see Daryl in season 9, as he comes across Carol and Henry in the woods

And he suddenly has a dog.

The camp site is a repeat of Beth and Daryl's "Suck-ass camp" from Still.

But having Dog there shows Daryl's desire to have Beth there. He desperately wanted to get her that dog in Alone.

Daryl kills a snake in suck-ass camp number 2 (it’s black and hanging around his neck)

Just like in Still...

Carol asks Daryl to take Henry to Hilltop because he wants to learn blacksmithing.

Daryl says he doesn't want to babysit. Repeating the sarcastic line Beth says to Daryl about being her chaperone.

Beth going to get something she wants (get alcohol)

Is Henry going to learn at the Hilltop blacksmith. In both cases Daryl does go with them even tho he initially protests.

Before they leave Henry hurts his ankle in a trap and Daryl provides an ointment to help it heal, a repeat of Beth's ankle in Alone and Daryl bandaging it for her.

Soon after we see Jesus get killed in a dark misty graveyard, Daryl's the one to immediately kill Jesus's murder. This was a combination of the Alone graveyard and Beth/Dawn at Grady.

We then see Henry get drunk on moonshine at Hilltop, and when Gage says they should have some more fun, his idea of fun is showing disrespect to the dead walker they trap in a pit. Henry kills it- just like Beth killing the walker in Still that Daryl was "having fun with".

Because of the moonshine Henry gets stuck in the cell block with Lydia (think Daryl saying "home sweet home") and in Still and Beth says "if we are going to be trapped (prisoners) again, might as well make the best of it".

We find out Lydia was abused like Daryl, and Henry keeps saying Lydia is a good person. Just like Beth and Daryl.

Henry and Lydia are young Beth and Daryl, who bond during this time in the cell block, they get separated due to the prisoner exchange with Alden and Luke.

The introduction of Alpha (An evil twisted Beth) who looks like she is dead. Same with Beta being Daryl with his double knives and who would follow Alpha anywhere. Their roles are reserved in that he is the musical one with a singing career and has released albums (sounds familiar to Emily right?).

Alpha is referred to as Mother by Lydia, and the whisperers refer to themselves as a pack (symbolic of wolf's) which is fulfillment of the song at the end of Still about 'Mother being absent' and a 'party when the Wolf comes home'.

We see the prisoner exchange (Luke and Alden for Lydia) from a nomad group and a fixed community. A repeat of Grady

We then see a Henry, Lydia rescue mission from Connie and Daryl in a building with a elevator shaft that Daryl pushes Beta into (Grady) repeating Beth pushing the officer down the elevator.

As Daryl and Beta fight, Daryl stabs him where Beth stabs Dawn.

Beta keeps yelling at Daryl "Where is she?" Daryl then stabs Beta in the same spot as Beth stabs Dawn. Repeating Daryl's desperate search for Beth from season 5 and how it ends.

Just before Beta gets pushed into the elevator he says "All I want is the girl", referring to Lydia but it shows Daryl's subconscious desire when going to Grady was just wanting the girl too (Beth).

The song at the beginning of 914 when pregnant Michonne is looking for Rick, is about dream catchers and dreaming. Which could be a hint at this being a dream state.

The episode also repeats the theme from the Grove, messed up children (Lizzy) willing and even happy about killing (Mica). The episode focuses on children killing dear just like The Grove and Josalin teaches them they must be strong, not weak just like Carol taught the kids in season 4. The timeline in this episode includes Henry getting his leg patched up at Alexandria with Lydia (another repeat of Beth's ankle injury) which would have happened around the same time as the events in the Grove.

We see Miles and Hilda running from walkers through the woods, him wearing plaid and her a cardigan just like Beth and Daryl in Still/Alone

They just happen to come across somewhere safe (Hilltop) but that eventually leads to her being scalped and Miles gets his face turned into a whisperer mask so he effectively ends up "walking around like a dead man" which is a reminder of what Len says to Daryl in season 4 referring to Daryl being miserable due to losing Beth.

Connie and Kelly fight about Connie not saying goodbye when she leaves with Daryl to rescue Henry. A reminder of  Beth and Daryl's conversation about not saying goodbye at the prison.

When next we see Beta and Daryl realises he survived being pushed into the elevator shaft.

Beta says to Daryl "You just had to give me the girl, no one else had to die, now that deal is done".

Same theme and mentality of Daryl when planning to rescue Beth from Grady.

He wanted everyone to go home and no one to die so he rejected Rick's plan of quietly slitting everyone's throats and hoped for a peaceful trade . But once Beth was lost to him, that deal was done and he instantly opens fire on Dawn.

The whisperers then kill Henry and the other's by quietly sneaking into Kingdom, taking them, and eventually slitting their throats and cutting their heads off.

All because they couldn't get Lydia back. The tactics were reversed. And in both situations the main Dr was not killed (Edwards and Siddiq)

Henry is killed and Lydia is miserable enough to almost commit suicide while the group is traveling through a snow storm from Kingdom to Alexandria. This is a repeat and reverse of the group traveling from Alexander in a heat wave and drought while Daryl was miserable.

Season 10

We see Siddiq keep having flashbacks about those that were killed at the fair.

Negan in prison at Alexandria is a repeat of Beth as a prisoner in Grady.

In 10.02 (1010) we get Alpha and Beta's back story from 7 years earlier. They are both in a addiction treatment Facility with hallways reminiscent of Grady, Beta has written on the walls 'Why am I STILL ALONE'. hint much?

Alpha tells Beta that she doesn't die easily. A repeat of Beth telling Daryl that even tho he looks at her like just another dead girl, she isn't.

Alpha starts singing/humming when she hears Beta humming and he tells her to stop singing and never do it again. Repeating Daryl yelling at/mocking Beth about her singing in Still, and a reverse of Alone when he tells her to keep on singing.

Beta asks for Alpha's name and she responds with "The dead don't have names". Reinforcing the theme from Still of Beth telling Daryl that she knows he sees her as just another dead girl, and that's why he's afraid to get too close to her.

We see the introduction of the whisperer sisters (twisted versions of Maggie and Beth from season 4/5) one of which-a blond, has just lost a baby (Beth and Judith) and she eventually dies.

Beta and Alpha talk about what the dead feel, Alpha says "nothing" repeating Beth yelling at Daryl "Do you feel anything?"

Later we find out Beta's brother was being treated in that facility for addiction, repeating Daryl telling Beth about Merle and how he was always high. Alpha is the one to kill Beta's brother, repeating Beth telling Daryl "You got away from it" meaning Merle and his influence, and Beth's insistence on him staying who he is, kept him from becoming his brother.

The very next scene is current time and shows Beta telling Alpha (Just after the satellite hits) that he saw smoke at the boarder. Insinuating the fire from the satellite also represents the fire from the cabin in Still which was also right after Beth and Daryl's talk about Merle and how he got away from him.

Alpha and Beta then interlock fingers just like Beth and Daryl in Alone.

The Whisperer sisters also have a conversation about how Alpha killed Lydia (which she lied about) and Alpha told them that she didn't shed one tear when Lydia died. One of the whisperer sisters says "She is Alpha, she doesn't cry."  repeating Beth's "I don't cry anymore Daryl".

Beta finds out Alpha lied about Lydia being dead and yells at her "she is never coming back, she is GONE! Alpha." Repeating Daryl and Rick's conversation about Beth being just gone.

The beginning of 1003 shows Alexandria get wave after wave of walkers because of the fire from the Satellite (Sill cabin) which is a repeat of the walkers being drawn to the cabin while Beth and Daryl are still watching it burn. 413 opens with Maggie, Sasha and Bob fighting waves of walkers in the fog, and the Grove episode which happened on the same timeline showed burned walkers coming to the cabin Carol, Ty and the girls were in.

It's repeating that era.

The fighters at Alexandria are exhausted and Gabriel tells Aaron he has to use Negan to fight because they are low on fighters, he says pointing to Negan then Aaron "Peanut butter meet jelly" repeating the peanut butter Beth eats in Alone and Jelly Daryl eats.

Carol, Daryl and Michonne stay the night at Barnett academy home of the foxhound. Repeating the dog theme from Alone.

The description of the episode says "The group stays at the academy but Carol falls into a trap." Once again Repeating the Alone/foot trap/dog/Grady/trap theme.

Carol calls for Daryl to help her once she steps in the trap.

This trap causes Carol to fall and hurt her arm badly repeating Beth's arm injury from season 5 when she wakes up with her arm in a cast.

Rosita and Eugene have an argument about how he loves her, and he says that he wished she would would re-zone him into love town, and hoped she'd changed her mind. (Changed your mind? Love? Yeah not spelling this one out for you)

This same episode Carol "wakes up" smiling but actually dreaming of domestic bliss with Daryl preparing her food, they have run out of jam/jelly. Probably because Daryl ate it all lol (once again Alone on repeat)

1006 Carol and Daryl go looking for Negan (the missing prisoner) a repeat of consumed 506 with Daryl and Carol searching for Beth.

At the same time we see a focus on the doctors/medical ward of Alexandria due to the contaminated water making everyone sick. A reminder of Grady.

We also have Eugene on the radio broadcasting to try and reach a new community, which eventually leads to him and the others in 1016 ending up at the end of the train tracks with train cars and the meeting of a new group.

Which is repeating terminus, who were broadcasting on the radio too.

He is on a mission to meet the new potential love of his life (Stephanie) at the same time Daryl and Carol are out on their search for the missing prisoner.

We see the whisperer doctor (Dante) plant himself into Alexandria and he eventually kills the second doctor (Siddiq) repeating but twisting the Grady story of Dr Edwards using Beth to kill the new doctor that comes into Grady.

Before he kills Siddiq however, Dante uses poison and kill another whisperer who gets put in the jail cell at Alexandria, he then blames the mistaken medication that killed the whisperer on Siddiq. Repeating Dr Edwards poisoning the new Dr that came into Grady while blaming Beth.

Lydia runs away from Alexandria during the time Dante kills Siddiq.

While Lydia (the girl) is missing and no one knows where she is, father Gabriel oversees Siddiqs funeral. Repeating Ty's funeral from season 5 while no one knew what became of Beth. The funeral scene emphasizes the sprinkling of dirt into the grave just like we saw with Ty.

Next we see a father Gabriel watching a video log of Dante when he first arrived at Alexandria

repeating the groups from seasons 4/5 arriving at Alexandria and doing video logs with Diana.

Aaron and Gracie are seen taking about vehicle registration plates and the different states, repeating Aaron and Eric's obsession with collecting them all in season 4/5

While searching for Alpha, Carol almost steps in an animal trap and Daryl saves her. Another repeat of Beth's animal trap.

Soon after the animal trap, Carol then runs after Alpha leading the group into a trap in the cave, repeating her running into the trap at Grady and being hit by the car and the leading of the group to Grady.

While in the cave we see a bird cage, like we see in Beth's cell back at the prison, the bird cage representing her at Grady.

Carol is rash wanting revenge and stupidly drops the explosive causing the group to think Connie and Magna are dead. Beth at Grady rashly stabs Dawn, causing the group to think she is dead.

We next see a depiction of resurrection when Beta comes out the grave while sneaking into Alexandria.

Daryl and Alpha fight, Alpha after fighting with Daryl wakes up from passing out, she is reborn stronger.

Eugene takes to Rosita about the probability of never seeing Father Gabriel and the others from Alexandria again because Alpha's horde is coming to Hilltop. Rosita tells Eugene to stop, repeating Beth and Daryl's argument in Still about never seeing Maggie again and Beth yelling at him to stop.

Eugene and Rosita then share some alcohol (moonshine) depicting Beth and Daryl doing the same.

Rosita tells Eugene he has no romantic game which we all know applies to Daryl too.

Before the fight/fire at Hilltop, Daryl tells Judith that he is afraid a little bit. With Beth he wouldn't admit he was afraid of losing people, he cared about.

We then see Hilltop get drenched in a clear flammable liquid (tree sap) and set on fire (The Hilltop fire represents the cabin Daryl and Beth Burn)

The episode with Virgil and Michonne is fascinating and aspects in it, could well be repeated with Daryl and Leah. This episode could be a foreshadow of: Scenario number 3. It's in part a hallucination.

In the Virgil/Michonne episode we see Michonne get drugged and she sees what the past would have been like if she'd chosen a different road. She describes what she saw in her hallucinations to Virgil, as losing her family and that it was Hell to see.

Virgil has taken the drugged tea before and he describes it as heaven because it reunited him with his family and he hoped it would do that for her. After coming out of the hallucination, Michonne spares Virgil's life and that act, ends up leading her to Rick's boots

And the phone with the picture of her and Judith on it.

The end of the episode ends in Michonne going to "Find him."

So the theme at play is: a Hallucination, then having mercy could lead to clue of a lost loved one finding the other. Interesting...

The note Daryl apparently leaves Leah says "Find me".

If Daryl is in some kind of drugged state during this episode, it could combine his immediate situation (Leah actually being there) and his memory and desire of Beth in a similar setting (Alone). If this scenario plays out Leah could take something of Daryl's and the follow on effect may well lead Beth to a clue about Daryl, leading to her finding him.

Just putting this idea out there as the hallucination theme is reinforced in season 10 with Siddiq and in the very next episode when Carol hallucinates Alpha, just after Alpha has been killed. Princess also mentions not being sure if she is hallucinating or not when she meets Eugene, Ezekiel and Yumiko, and wonders if they are real. And Beta hallucinates the walkers all looking to him and saying "this is the end of the world".

So the Leah events maybe half true, half hallucination and this might be what leads to a clue and eventual reunion just as we assume Michonne's clues will eventually lead to a reunion with Rick.

After this episode the repeats in Bethyl themes get even more obvious.  

Beta takes Alpha's head and goes off on his own to listen to music (Emily's song, a love song with lyrics about going to Hell to find your missing girl) Beta makes a mask of half her face. She's with him even when she's gone.

The last words Beta says to Alpha are "Thank you, I see now, thank you". Repeating the thank you note and how she taught Daryl to believe there are still good people.

Eugene's group going into the city and then on to meet the new group at the train yard, is a mix of the group traveling to Atlanta to get Beth and also traveling to Terminus. Both times at the train tracks with train cars and the group ends up surrounded and with weapons pointed at them.

The hospital location in 1015 and 16 or "Tower" as they call it, and what happens especially with Judith and Daryl, is in my opinion the biggest clue we are close to her return.

The hospital is in your face Grady and it's meant to remind you of that time.

In the hospital we see Lydia patting cats

A reminder of the claimers and Joe the claimer leader asking Daryl if he was a cat person, just after losing Beth at the funeral home, but before Grady.

Lydia has just lost Henry, repeating that time. Also if you recall in season 4 just before the Daryl meets the Claimers, Michonne and Rick were separated he was injured and she eventually finds a clue to him and Carl. Michonne is currently looking for Rick again due to the clues she finds with Virgil.

Luke is working on fixing up a speaker system to play music. Music/Beth inside the hospital.

Outside the hospital, in the woods Judith finds Daryl and tells him she doesn't like it inside it smells like cat pee (another reminder of the claimers era) she then tells Daryl she wants to learn what he does.

Just like Beth learning to track, we even get Judith tracking and identifying what she tracks as a walker while Daryl looks on proudly.

The group's whole plan for 1016 is to safely get "The music" speaker system out of the tower/hospital, to lead the huge horde of walkers surrounds them away.

Exactly what we didn't get to see in the aftermath of Grady. Getting Beth (music) out of the hospital.

Carol putting the knife up her sleeve is repeating Beth putting the scissors in her cast.

Carol ends up getting her revenge without getting killed (Unlike Beth with Dawn) but ultimately it's Negan and Daryl that do the revenge killing for Carol and Beth. Carol says to Negan regarding killing Alpha" What took you so long", where as Daryl's reaction was instantaneous, in a split second and he had put a bullet in Dawn's head.

We also see Negan go down the elevator shaft with a rope, just like Beth did.

The music they play to get the walkers away from the hospital is "Burning down the house", another repeat of the Still cabin.

When Negan comes across Beta, Beta runs at him immediately to kill him. Pushing him down he pulls out his knife and is about to kill Negan as he say "For Alpha". Beta Repeating Daryl's instant revenge on Dawn.

The title of 1016 is A Certain Doom, which is actually what Coda should have been called, considering this episode actually went to plan (mostly) for our group. Hardly anyone dies, only Beatrice from Oceanside and they get rid of Beta and Alpha's horde.

Beta dies as Daryl kills him before he can kill Negan. As Beta dies we see Alpha flashbacks of her telling him, he is not broken, that they love nothing, fear nothing, feel nothing and it makes them free. This is the exact opposite of what Beth taught Daryl. She called him out on being afraid of feeling and loving/caring about others.

Season 9 and 10 culminates with Lydia (Daryl) saving Carol (Beth) from certain death, by not letting her go over the cliff with all the walkers.

And standing on the edge of the cliff watching the horde fall down-along with Alpha's mask, Lydia and Carol interlink hands, just like Daryl and Beth in front of the grave. The Grave Beth and Daryl stand in front of says Father, while Lydia and Carol are looking at the end of Mother (Alpha)

Hopefully soon we get to see the original version of all this, and not just a repeated shadow of Daryl unknowingly doing something that helped Beth survive in the aftermath of Grady.

The upcoming episodes have me itching to see, I'm already seeing more repeats from Alone, Coda and 510 to name a few.

Beth is absolutely spilling out of the story right now through all these parallels, I haven't even covered them all here but just the main standouts of season 9 and 10.

So no matter what happens with this Leah character, Beth is still coming back and it's going to be massive

[itsmariotti-blog]

Jay Mariotti: Who's got it better? Harbaugh

He wasn’t on the ballot and has yet to coach a game at Michigan, yet Jim Harbaugh finished fourth in voting last week for the student-body presidency. This should shock no one who has watched life’s two proven equalizers, karma and justice, embrace him with hugs and love since Dec. 28. You’ll remember that as the dark and dirty afternoon when the 49ers — and there is no other way to state it — removed his khaki-covered carcass from the premises in one of football’s all-time mismanagement fiascos.

Those of us who know Harbaugh — me from way back — realize his public persona is something of an act. Yet no PR firm could shape a campaign that has him coming off as a happy, wealthy and enormously popular BMOC, in contrast to a Jed York-Trent Baalke corporate abomination that grows more sour and depressing by the hour at Levi’s Stadium. Seems Harbaugh makes more news than the Kardashians these days, the difference being that his events always glow with good, fun vibes, devoid of a Kanye or Disick funk.

“Disappointed w/4th place finish for @umich student body Pres,” he cracked Monday on his Twitter account. “Competitive juices flowing! Hat in the ring for 2016 & will campaign.”

Can a man beat Urban Meyer and rule a large student body in one swoop? Jimmy Frat House might be the only coach capable of pulling this off. It’s amazing how he keeps his personal headline cycle generating with cool water-cooler buzz that must warm the collective embittered souls of 49ers fans, who at least can root for Harbaugh from afar while their franchise implodes amid a crippling roster exodus and a bizarre coaching appointment. If he already had blown away York and Baalke in the public-opinion race, what’s happened since is a rout akin to the last Seahawks loss.

There was Harbaugh on a snowy afternoon in Ann Arbor, playing good Samaritan when he observed a rollover crash on an interstate highway. Christine Mowrer didn’t know who he was, but covered in blood after her 2003 Jeep Cherokee flipped at least three times, she was relieved to see Harbaugh and another football staff member wrap her and her 73-year-old mother in blankets and administer first aid until help arrived. “He probably kept me from going into shock,” Mowrer, 53, told the Ann Arbor News from her hospital bed. “I had blood dripping out of my nose, and he helped me out and got me onto the ground.”

Meanwhile, in Santa Clara, York and Baalke were trying to explain the identity of Jim Tomsula and douse speculation that Tomsula had undercut Harbaugh to get his job, furthering perceptions that the departed angel had been sabotaged by the worst kind of office politics. As Harbaugh said to a Bay Area columnist, “[You] definitely walk down the halls and people look away or they look at you and you know something’s going on,” adding that it would be a good issue for Tomsula to address. When Tomsula did address it, he blamed the media and never really denied it.

There was Harbaugh, going to Michigan basketball games, belting out the “Hail to the Victors” school fight song and pressing his hand against his heart during the national anthem. There was Harbaugh, staying in a budget hotel with his assistant coaches and eating pre-dawn cereal in the lobby before carpooling to Schembechler Hall and staying until midnight. There was Harbaugh, hanging out with his 25-year-old son, Jay, the new tight ends coach. There was Harbaugh, waving at students who wear “Maize, Blue and Khaki” T-shirts and “Welcome to Ann Arbaugh” clothing lines. St. Jim, they were calling him.

Meanwhile, in Santa Clara, York and Baalke were ducking reporters on a day when serious explanations were needed for fans. Why was Patrick Willis retiring? Why were Frank Gore and Mike Iupati leaving? Why was Justin Smith considering leaving? Why was yet another player in trouble with the law? Why wasn’t the highly regarded Vic Fangio given the head coaching job? And why was Tomsula babbling incoherently during a CSN Bay Area introductory interview?

There was Harbaugh, a big fan of the “Judge Judy” show, using his Twitter feed to congratulate Judith Sheindlin for signing a contract extension, to which she replied with a good-luck wish for his opening collegiate season. There was Harbaugh, hosting NFL prospects Jameis Winston and Bryce Petty for precombine workouts in what only could be a tribute to his standing as a quarterbacking guru.

Meanwhile, in Santa Clara, Baalke was denying reports he is shopping Harbaugh’s regressing pet QB, Colin Kaepernick. This while Kaepernick was engaging in Twitter wars and telling one fan, @battman_returns, to “mind your damn business, clown” and to “get better at life!” — all because one Stephen Batten had said Kaepernick’s abs workouts wouldn’t help him find open receivers, which is kind of true.

There was Harbaugh, escaping the Midwest winter for Arizona, coaching first base for the A’s as a “special guest instructor” for an old pal from his Palo Alto boyhood, manager Bob Melvin. And you know what he said after the Cactus League victory? “How does it get any better than this?” he gushed, in a variation of his famous line. “It’s a great day for baseball, and just to be able to put on the uniform … I haven’t been in a baseball uniform since American Legion ball.”

“He’s an inspiration just walking out here,” Melvin said. “He’s got that air about him. He’s always been quite the competitor and everyone knows that. A winner. And whenever you can have guys like that around, guys benefit from it. Plus you don’t find too many guys who want to get in uniform and go out there and interact with the guys during the workout.” Meanwhile, in Santa Clara, emerging defensive star Chris Borland was becoming an inspiration in his own right by retiring from football at age 24, injecting a cursed element into the raging chaos.

Given the turbulence and in-house leaks that undermined Harbaugh’s final season with the Niners, he deserves to experience a blossoming love affair at his alma mater. If York were an effective CEO, he would have made the Harbaugh-Baalke combination work and buffered their strained relations. The Seahawks have made it work with Pete Carroll and John Schneider, but instead of drawing lines for the coach and GM, York did the covenient management dance and sided with his fellow exec. I covered a fairly famous sports dynasty, the Chicago Bulls of the 1990s, that ended prematurely because an owner couldn’t soothe the differences between a general manager and a coach named Phil Jackson, who went on to win more championships than any coach in NBA history. Yet everyone weathered the storms long enough to win six titles, six more than these 49ers won.

“You have to have like-minded people building a team,” Baalke said in a media gathering after Tomsula’s first news conference. “If you don’t have like-minded people building a team, coach, coaching staff, front office … If we’re not all looking for the same characteristics, the same type of players, it’s tough to build a unit that can go out there on Sundays and win football games.”

We’re still waiting for York to say that he failed in letting the marriage collapse, in choosing a winner and a loser. Clearly, he wasn’t overly interested in appeasing Harbaugh after using his ultrasuccessful debut season to help get a $1.3-billion stadium built in Silicon Valley. The coach was too popular and wanted too much power, and regardless of his three consecutive appearances in the NFC title game, the big bosses wanted control and no tugging of the rope. Now, Baalke gets to pull the strings of his puppet, Tomsula, and tell him which assistants to hire and which players to acquire. Now, York can preside over his sterile, quiet stadium — the high-tech antithesis of Candlestick — and count megaprofits from Super Bowl 50, WrestleMania 31 and an outdoor hockey game.

Each party in this debacle has gained total control — Harbaugh in Ann Arbor, York and Baalke in Santa Clara. Yet only one man is going to win a lot of football games anytime soon. Someone asked Harbaugh if he viewed himself as the messiah of Michigan.

“I’m not comfortable with that at all,” he said.

Oh, yes, he is. Very comfortable.

Be happy for him. He deserves that much.

Mariotti is sports director and lead sports columnist at the San Francisco Examiner. He can be reached at jmariotti@sfexaminer.com. Read his website at jaymariotti.com.

[albumsongmeanings101]

Twice - 'Formula Of Love: O+T=♡’- 3rd full Album - part.1

1. SCIENTIST

is about studying love and figuring out that there is no right answer to love. The message is that ‘you should just go for it.’

Produced by TBHits, Michel "Lindgren" Schulz & Mr. Franks

Written by TBHits, Michel "Lindgren" Schulz, Melanie Joy Fontana, Mr. Franks, Anne-Marie, 심은지 (Sim Eunjee) & 72

2. MOONLIGHT

captures the bubbly feeling of butterflies in your stomach when you are starting to fall in love., describes a love so simple that you don’t need anybody else in the moonlight. , about your special someone

Produced by The Stereotypes

Written by Jonathan Yip, Jeremy Reeves, Ray Romulus, Michael Pollack, Jake Torrey, Destiny Rogers & Ray Charles McCollough II

3. ICON

about expressing the iconic side of you without hesitation.

Produced by Michel "Lindgren" Schulz

Written by Michel "Lindgren" Schulz, Melanie Joy Fontana & GG Ramiraez

4. CRUEL

is about asking if my unscathed appearance is cruel to you after our break-up.

Produced by Cutfather, Jeppe London Bilsby & Lauritz Emil Christiansen

Written by Cutfather, Jeppe London Bilsby, Lauritz Emil Christiansen, Brooke Tomlinson, DAHYUN & Alma Guðmundsdóttir

5. REAL YOU

is about asking for truthfulness and sincerity from a person who is full of his/herself and doesn’t realize what pure love is.

Produced by earattack & 공도 (Gong Do)

Written by MasterKey (마스터키), earattack, Sophiya, JIHYO & 공도 (Gong Do)

6. F.I.L.A (Fall In Love Again)

is about conflict that arises during a relationship and the shaking heart toward a hopeless and futureless relationship.

Produced by Sonny J Mason & Ronny Svendsen

Written by Karen Poole, Sonny J Mason, Anne Judith Wik, Ronny Svendsen & NAYEON

7. LAST WALTZ

is a sad story about wanting to make the day you break up with someone the best, perfect day. It’s about two people wanting to make the sad ending happy., focuses on saying goodbye to a lover with one final dance, letting the relationship end on a beautiful note.

Produced by 이해솔 (Lee Hae Sol)

Written by 심은지 (Sim Eunjee), EJAE & 이해솔 (Lee Hae Sol)

8. ESPRESSO

contains the feeling of ecstasy you feel from caffeine once you have a sip of a deep espresso, It expresses that warm feeling when you have a hot drink, making you feel cozy and all. I think TWICE is trying to show that they want that warm feeling to be similar to that of a lover

Produced by JayJay (MosPick)

Written by YoungChance & 손영진 (Son Young Jin)

9. 알고 싶지 않아 (REWIND)

expresses the end of a relationship in a realistic way without any decorative words.

Produced by e.one

Written by 정호현 (Jung Ho Hyun)

10. 선인장 (CACTUS)

is about the feeling of uneasiness from the uncertain future of a relationship. It was inspired by my pet cactus, written about Jihyo’s cactus plant named Angie that died.

Produced by 희장 (Coke paris)

Written by JIHYO & 희장 (Coke paris)

Sources ;

[papermoonloveslucy]

LUCY GETS LUCKY

March 1, 1975

Directed by Jack Donohue ~ Written by Robert O'Brien

Synopsis

Lucy Collins comes to Las Vegas to see Dean Martin perform at the newly-opened MGM Grand Hotel. When Lucy's reservation falls through, she hears that Martin is doing a special show for employees and promptly gets herself hired. Naturally, Lucy causes chaos in each department she is transferred to: valet parking, cocktail waitress, Keno girl. But Lucy gets lucky when Dean Martin takes a liking to her and arranges a front row seat at his show.  

Cast

Lucille Ball (Lucy Collins) was born on August 6, 1911 in Jamestown, New York. She began her screen career in 1933 and was known in Hollywood as ‘Queen of the B’s’ due to her many appearances in ‘B’ movies. With Richard Denning, she starred in a radio program titled “My Favorite Husband” which eventually led to the creation of “I Love Lucy,” a television situation comedy in which she co-starred with her real-life husband, Latin bandleader Desi Arnaz. The program was phenomenally successful, allowing the couple to purchase what was once RKO Studios, re-naming it Desilu. When the show ended in 1960 (in an hour-long format known as “The Lucy-Desi Comedy Hour”) so did Lucy and Desi’s marriage. In 1962, hoping to keep Desilu financially solvent, Lucy returned to the sitcom format with “The Lucy Show,” which lasted six seasons. She followed that with a similar sitcom “Here’s Lucy” co-starring with her real-life children, Lucie and Desi Jr., as well as Gale Gordon, who had joined the cast of “The Lucy Show” during season two. Before her death in 1989, Lucy made one more attempt at a sitcom with “Life With Lucy,” also with Gordon.

Lucy Collins lives in Los Angeles and took the bus to Las Vegas.

Dean Martin (Himself) also played himself (and his stunt man doppelganger Eddie Feldman) in “Lucy Dates Dean Martin” (TLS S4;E21) in 1966.  He was born Dino Paul Crocetti in Steubenville, Ohio, in 1917. He made his screen debut in a short playing a singer in Art Mooney’s band, but his first big screen role was 1949’s My Friend Irma with Jerry Lewis. This began a partnership that would be one of the most successful screen pairings in cinema history. Later, he also worked frequently members of “the Rat Pack”: Frank Sinatra, Joey Bishop, Peter Lawford, and Sammy Davis Jr.  His persona was that of a playboy, usually seen with a glass of booze and a cigarette. Martin and Lucille Ball appeared on many TV variety and award shows together. He died on Christmas Day in 1995 at age 78.     

Jackie Coogan (Gus L. Mitchell, below center) was a child actor. In “Ricky’s Screen Test” (ILL S4;E6) Lucy Ricardo hopes Little Ricky will be “the next Jackie Coogan.” Coogan was once married to Flower Parry, who was a frequent extra on “I Love Lucy.”  He is, of course, best remembered as Uncle Fester on TV’s “The Addams Family” (1964-66). He made two appearances on “The Lucy Show” and on one episode of “Here's Lucy.” He died in 1984 at age 69.

Gus Mitchell is head of personnel at the MGM Grand.

Bruce Gordon (Max Siegel / Vogel, above right) is best known for playing Frank Nitti on the Desilu series “The Untouchables” (1959-63).  He played a version of the character when “The Lucy Show” parodied “The Untouchables” in 1966. He was also seen in “Lucy and the Ex-Con” (HL S1;E15) in 1969.

Although the final credits list him as Max Vogel, in the special Gordon clearly says his name is Max Siegel. He is a toy company executive with a business that has been suffering due to shipping problems with their baby dolls.

Paul Picerni (Packy West) was a also cast member of Desilu’s “The Untouchables” from 1959 to 1963. He was seen in four episodes of “Here’s Lucy.”

Lee Delano (Chuck Murdock) previously appeared on the Desilu shows “Star Trek” and “Mission: Impossible.”  

Packy and Chuck are Max's gambling buddies.

Ken Lane (Himself) was Dean Martin's musical arranger, pianist, and, alongside Nelson Riddle, also served as composer for this special, although he was uncredited for that work.

Hal England (Dean Martin's Arranger) was an experienced Broadway actor who began screen acting in 1960. He previously appeared in “Lucy and the Astronauts” (HL S4;E5) and “My Fair Buzzi” (HL S5;E13). England died in 2003.

Joey Forman (Eddie) had a nightclub act with Mickey Rooney during the 1950s that led to his appearance on many TV variety shows.  He will also appear in “Lucy Calls the President” in 1979.

Eddie is the head of valet parking at the MGM Grand.

Gino Conforti (Antonio) began his TV acting career in 1968 and has been continually working since, although mostly as one-off characters. He had a recurring role as Felipe on “Three’s Company” from 1980 to 1982, a series Lucille Ball admired. He played the burglar in “Lucy Plays Cops and Robbers” (HL S6;E14) in 1974. He will also be seen in and “Three for Two” later in 1975.  

Antonio is the Maitre D' at the Celebrity Room. His name is never mentioned in the dialogue.

Vanda Barra (Gladys) made over two dozen appearances on “Here’s Lucy” as well as appearing in Ball’s “Three for Two” (with Jackie Gleason). She was seen in half a dozen episodes of “The Lucy Show.” Barra was Lucille Ball’s cousin-in-law by marriage to Sid Gould. 

Gladys is the desk clerk (possibly owner) of the Cactus Flower Motel.

Sid Gould (Taxi Driver) made more than 45 appearances on “The Lucy Show” and nearly as many on “Here’s Lucy.” Gould (born Sydney Greenfader) was Lucille Ball’s cousin by marriage to Gary Morton. He was previously in the Lucille Ball Special “Happy Anniversary and Goodbye.”  

Gary Morton (Al) was a comedian who worked the famed ‘Borscht Belt’ in the Catskills Mountains. He met Lucille Ball shortly after her divorce from Desi Arnaz and they married in November 1961. At her request, Morton gave up his nightclub career and became a producer of “The Lucy Show.” Morton also served as a warm-up comic for the show’s studio audience. He is also Producer of this special. Morton passed away in 1999.

Al is a pit boss at the MGM Grand.  His name is not spoken in the dialogue.

Bonnie Boland (Sally) played Mabel on “Chico and the Man.” The last of her six episodes aired two weeks after this special was first broadcast.

Sally is a waitress at the MGM Grand Coffee Shop.

Jack Donohue (Ralph) was the director of this special, as well as many episodes of “The Lucy Show” and “Here's Lucy.” He would sometimes make cameo appearances in the episodes he directed.

Joan Swift (Dawn) made six appearances on the “The Lucy Show” as well as two episodes of “Here’s Lucy.” This special is her final screen credit.

Dawn is Ralph's wife. Lucy parks their car when they arrive at the MGM Grand.

Judith Wright (Peggy, Keno Girl)

Jane Aull (Keno Girl) was a background performer making her fifth and final screen appearance.

While making a telephone call, the character is mistaken from the back for Lucy.

Jay Jones (Maintenance Man) makes his screen debut with this special.

Roy Rowan (Voice Over Announcer, uncredited) was Lucille Ball’s announcer for all of her sitcoms. He also made occasional on-camera appearances. 

During his introductions, Rowan doesn’t use the show's title, but calls it “The Lucille Ball Special.”  This was also the case with “Happy Anniversary and Goodbye,” which had nearly identical voice-over announcements introducing the show.

This was Lucille Ball's second primetime special after the end of “Here's Lucy” in 1974. The first was “Happy Anniversary and Goodbye” four months earlier.  After playing a character named Norma in that special, Ball is back to playing a character named Lucy. This time her last name is Collins. 

In 1953's “Lucy is Matchmaker” (ILL S3;E27), Lucy tried to fix up Eddie Grant with a girl named Sylvia Collins, although the character remained off-screen. 

On “The Lucy Show” Viv’s on-again-off-again boyfriend was named Eddie Collins. 

Collins is the surname assigned to Robert Cummings on a 1972 episode of “Here’s Lucy”. 

In the film Follow The Fleet (1936), Lucille Ball’s character is named Kitty Collins.

On a 1966 “The Lucy Show” Mr. Mooney and Lucy Carmichael meet the hip hypnotist Pat Collins (her real name)!

This special is available on DVD from MPI video or can be streamed online. It was originally aired on CBS in the USA and ITV in the UK. Like “Happy Anniversary and Goodbye”, this show is sponsored by Timex, which gets opening title credit.

Writer Robert O'Brien had written 54 episodes of “The Lucy Show” and 24 of “Here's Lucy,” many of which were directed by Jack Donohue.

The biggest departure for this special is there is no studio audience or laugh track.  

Lucille Ball reunites with many of her “Here's Lucy” production staff, including hairstylist Irma Kusely, prop master Kenneth Westcott, costumer Renita Reachi, production manager William Maginetti, and script supervisor Dorothy Aldworth.

Location shooting was done at the (then) newly opened MGM Grand Hotel in Las Vegas. Scenes set inside the Cactus Flower Motel were shot at Paramount Studios in Hollywood. This is the second time Lucille Ball has shot on location in Las Vegas, the first being at Caesars for “Happy Anniversary and Goodbye.” Although episodes of her television shows were set in the city, actor doubles and second unit footage were used while Ball remained in Hollywood.  

Dean Martin's name was seen on the marquee of the Riviera Hotel when Lucy Carter went to Las Vegas in 1970's “Lucy and Wayne Newton” (HL S2;E22, above), three years before the MGM Grand was built. Lucille Ball first used location footage of Las Vegas in “Lucy Hunts Uranium” (LDCH 1958). Lucy Carmichael also visited the town in 1965's “Lucy Goes to Vegas” (TLS S3;E17), however no establishing or location footage was shot, and the episode was filmed entirely on the Desilu soundstage in Hollywood.

The show opens with a montage of the the Las Vegas strip that includes the marquees of the Caesars Palace, the Flamingo, the Frontier, the Stardust, the Sands, and the Dunes, before ending on the exterior of the MGM Grand. This montage is an aerial view at night, instead of the daytime street view in “Lucy and Wayne Newton” (HL S2;E22).

The MGM Grand opened as one of Las Vegas's first mega resorts on December 5, 1973. Dean Martin was the entertainer on opening night. It was the largest hotel in the world at its opening and would remain so for several years. “The Dean Martin Celebrity Roasts” were filmed at the hotel. The property was sold in 1986 and the name was changed to Bally's. The MGM Grand name was transferred to the former Marina Hotel, now known as MGM Grand Las Vegas.  

When Lucy Collins arrives at the MGM Grand with suitcases in hand, she walks through the casino and down their 'Hall of Fame' lined with illuminated posters of movie stars. The soundtrack plays a wistful  version of “Hooray for Hollywood.” 

Lucy pauses at posters of Spencer Tracy and Katherine Hepburn;  

She blows kisses to Cary Grant, whose poster is alongside Grace Kelly.

She gazes lovingly at photos of Frank Sinatra, Fred Astaire and Ginger Rogers. Rogers played herself on a 1971 episode of “Here's Lucy.”

Lucy does a 'ha-cha-cha-cha' in front of a poster of Jimmy Durante, who Lucy Ricardo disguised herself as in “Lucy Meets Harpo Marx” (ILL S4;E28). Durante later did a brief cameo on a 1966 “Lucy Show.”  

In a meta moment, Lucy Collins then stops and primps her hair in front of a poster of Lucille Ball!  Lucy Carter also stood before a poster of Lucille Ball in “Lucy and the Andrews Sisters” (HL S2;E6) and later shared scenes with movie star Ball in “Lucy Carter Meets Lucille Ball” (HL S6;E22).  Although her recent film Mame had been released by Warner Brothers, Lucille Ball had done several films with MGM, like The Long, Long Trailer (1954) and Forever Darling (1956).

Walking out the employees back entrance and trekking through the desert, it becomes clear that Lucy was only using the MGM Grand lobby as a shortcut to get to her actual lodgings, the Cactus Flower Motel, managed by her friend Gladys (Vanda Barra).

Lucy: (about her dress choices for Dean Martin's opening night) “The other one is older, but its got a Gucci label.” Gladys: “You have an outfit from Gucci?”  Lucy: “No. Just the label.”

In the MGM Grand coffee shop having a cup of tea in a back booth, Dean Martin sings a few bars of “Volare,” a song written by Franco Migliacci and Domenico Modugno. Martin was one of the first to cover the song in 1958. His orchestra will reprise the song at the end of the special while Lucy and Martin dance.

When Lucy phoned for a reservation for Dean Martin's opening night, she lied and said there'd be eight guests. Talking to Antonio the maître d' she must now make excuses for the absence of the seven others.  

Mr. and Mrs. Winters are expecting a baby;

Mr. and Mrs. Nichols, Mrs. Winters mother and father, naturally won't be coming either;

Mabel and Henry, Mr. Winters mother and father also aren't coming because of the baby;

Gregory is Mrs. Winters doctor, so he also won't be there;

So it is just Lucy.

Unfortunately, Antonio won't give Lucy a table for one!

Lucy: “I have been a fan of yours from bobby socks to suphose.” Dean Martin: “Do you think those suphose would help my problem?” Lucy: “What's your problem?” Dean Martin: “I fall down a lot.”

Lucy Collins gets a job as a cocktail waitress and causes chaos at the roulette tables. Lucy Ricardo had some luck (then lost it all) playing roulette in “Lucy Goes to Monte Carlo” (ILL S5;E25). In 1965, Lucy Carmichael had some luck (then lost it all) playing roulette in “Lucy Goes to Vegas” (TLS S3;E17).    

The character of Max Siegel (credited as Vogel) is likely named for gangster Bugsy Siegel, who was primarily responsible for the development of the Vegas strip in the 1950s. The fact that Max is being played by Bruce Gordon, famous for playing real-life gangster Frank Nitti on Desilu's “Untouchables,” pretty much assures the comparison. Naturally, Lucy overhears Siegel and his friends talking about “busted up dolls” and thinks they are talking about women, as the term was often used for females in the Damon Runyon musical Guys and Dolls.

Max Siegel's gambling buddy is played by Paul Picerni, another “Untouchables” alumni. His character name is Packy West, which is an obscure reference to Lucy's pal Bob Hope. In July 1919, a 16-year-old Hope entered the Ohio State Boxing Amateurs tournament under the name “Packy East,” a nod to light and welterweight boxer Patrick “Packy” McFarland and Hope's own school, “East” High.

A chase sequence involving Lucy and Max Siegel's gambling buddies ends up backstage at “Hallelujah Hollywood,” a lavish stage show conceived, produced, and directed by Don Arden, It was a 3 million dollar tribute to classic MGM Hollywood musicals which played The Ziegfeld Room (which at the time was the largest stage in the world, with the largest backstage area in the world), at the MGM Grand Hotel in Las Vegas. The show opened in 1974, and ran until 1980. Its flamboyant finale was a tribute to the Ziegfeld Follies, featuring The Grand Stairway and The Great Ziegfeld Walk. The show featured over a 700 costumes (designed by Ray Aghayan and Bob Mackie). Lucille Ball played a lavishly attired Ziegfeld showgirl in the 1946 MGM film Ziegfeld Follies.

On stage with Lucy in the front row, Dean sings “Everybody Loves Somebody,” a song written in 1947 by Sam Coslow, Irving Taylor. Although it had been recorded by others, it was Dean Martin’s 1964 recording that hit #1 on the Billboard Pop Charts. He also sang it in “Lucy Dates Dean Martin” (TLS S4;E21, above). He then launches into “Tie a Yellow Ribbon 'Round the Old Oak Tree” written by Irwin Levine and L. Russell Brown in early 1973. It was a #1 hit for Tony Orlando and Dawn. The song was referred to by Steve Lawrence (but not sung) in “Lucy, the Peacemaker” (HL S6;E3).

This Date in Lucy History - March 1

“Home Movies” (ILL S3;E20) – March 1, 1954

“Lucy and the Old Mansion” (TLS S3;E22) – March 1, 1965

This is one of the best post-”Lucy” outings of Lucille Ball's career. The reason is simple: She sticks close to what she does best – and she does it without the cloying addition of a laugh track. Had she decided to call the character Lucy Carter instead of Lucy Collins, it might well have been billed as a “Here's Lucy” special.  As Lucy Carmichael, she did a similar filmed special titled “Lucy in London” during “The Lucy Show.”  Lucy Carmichael dated Dean Martin for one episode, so it would only have worked with Lucy Carter. Perhaps Ball thought people wouldn't remember “Here's Lucy” a year later. But whatever she's named, this special gives us old school, celebrity-hunting, anything-goes, Lucy and it is terrific!

[stvlti]

For 002, Ritsu and Misa

send me a ship, a character, or a list of 5 characters

002 | RITSU

How I feel about this character

hmm, gotta be honest, it’s been a while since i last read an MP100 manga update, so these thoughts aren’t gonna be reflective of how i might feel about his current characterisation in the manga. regardless, regardless… here goes. 

let’s just say that i never particularly liked him when i watched the anime adaptation. the big cleanup arc lost a bit of its nuances when it was translated to the screen, so at first all i thought was wow, Ritsu’s actually a little bit of an ass and a pushover. but then i read the manga, and then rewatched the anime, and suddenly it clicked. he’s not aloof because he’s an asshole, and he doesn’t make friends easily because he’s a private person that can’t trust people with his emotions, like the other side of the coin that makes Mob an emotionally-repressed person, but because of the childhood traumatic experience he has with Mob. and just, generally growing up with a sibling that’s by all accounts mentally ill in a sense. i can’t relate to the specific circumstances he’s in because i’m an only child, and my parents aren’t mentally ill or inadvertently abusive, but the bit about not wanting others to know your true emotions is kinda what i’ve been doing for the better part of the last 5 years… 

and then, the whole thing about being the kind of model student you are simply because that’s what others have expected you to be, that’s also A Mood. i kinda gave up the ghost after high school but the funny thing is i was a prefect at some point, and even though i was progressively swearing more and more like a sailor behind closed doors, and i was growing more and more restless about certain institutional traditions, i still put on an act for the disciplinary teachers because i’m a girl, i get scholarships every year, and that’s expected of me if i want to keep being perceived as such, lol. (well, not wanting to disappoint my parents is another major factor, but that’s why i never said ritsu was a 100% relatable character, just one that is relatable enough for me to project a bit onto haha.)

All the people I ship romantically with this character:

i don’t, really? i mean, Riteru (Ritsu/Teru) is an interesting dynamic to explore in fanfics and headcanons, but they’ve pretty much never interacted in canon lol. so it’s not exactly OTP material for me. (i also don’t really get Ritshou tbh, i don’t think their interactions have been given as much depth as Teru and Mob’s, so i don’t actually ship Ritshou.)

My non-romantic OTP for this character:

hmm i don’t think i have any BROTPs for him. next question.

My unpopular opinion about this character:

well i already said what i said in q1. i used to think he’s a bit of an ass haha. still do actually, i think he’s kinda classist in the way he thinks he can just kick delinquents and other less fortunate members of society to the curb? hmm idk, this boy makes me conflicted.

One thing I wish would happen / had happened with this character in canon:

well i saw a comic circulating here where basically he talks it out with Mob and they expressedly forgive each other for the things that’s happened in the past, and i’d like that in canon.

my OTP:

isn’t this kinda a redundant ques? refer to “all the people i ship romantically with this character”. i.e. i don’t have an OTP for him.

my cross over ship:

??? none

a headcanon fact:

i like the one where he keeps a spoon on him at all times. wait, that’s canon, right? then idk. (i mean, i had an hc at some point about how Shou actually keeps a cactus named Ritsu, but that would be a Shou hc, not Ritsu hc, hhhh)

002 | MISA

How I feel about this character

well, i’ve only written several meta about this girl, whatever would make you think i have opinions about her /s

well, just to sum it all up briefly, like most casuals i started out finding her character a bit meh. not very well-written and pretty misogynistic in design (as in, she is clearly moulded after a terrible stereotype and the fact that she is the one fem chara with the most screentime in Death Note. OHBA SHOULD BE ASHAMED). but well, shortly after i finished DN the anime, i recalled the things i learned in my Feminism literary theory unit earlier that academic year, and i wrote this meta; and although i didn’t necessarily agree with these potential interpretations just yet, i could start to understand that she is much more than your average kawaii yandere. 

later that year i started a module called Transnational Feminisms, which not only dismantled the idea that there is only one way of being a feminist / writing feminist characters, it also helped me understand i shouldn’t even limit myself to reading her character from Western feminist values (so, beyond De Beauvoir, Sedgwick, and Judith Butler). i should consider, obviously, the cultural contexts of gender expectations in Japan, etc. i have yet to write an actual post about this but yeah, i do have some follow-up thoughts to that feminist meta i wrote, and the long and short of it is that, considering the social context she is honestly a character with a subtle, subversive potential that Ohba probably didn’t even recognise.

(doesn’t mean i agree with canon’s treatment and portrayal of mental health issues when it comes to Misa though. Ohba can choke on his poorly researched and unqualified understanding of trauma.)

All the people I ship romantically with this character:

NOT LIGHT YAGAMI. people i think that Misa deserve: Rem, and Sayu. probably others as well, but Rem and Sayu are the only ones i can conceive of who canonically do / will care about Misa on a personal level.

(but honestly tho Sayu is pretty gay for Misa in the TV Drama)

My non-romantic OTP for this character:

hmm. her friendship with Mogi i guess.

(it’s not necessarily an OTP tho since i don’t have much feelings about their dynamic, but he’s good for her.)

My unpopular opinion about this character:

well, even though she’s a unique and subtly complex character, she still has issues. she was manipulative towards Light, there’s no question about that. in a twisted way i don’t think that, as long as Misa upholds her canon beliefs and attitude about love, she will find a partner in anyone other than an emotionally-distant and manipulative (in a different way) asshole like Light. i think a lesser partner would have caved to her every whim and demand. (that’s why actually, even though i think she deserves somebody that will love her back, i do not wish to actually make Misa/Sayu canon. Sayu deserves a healthy relationship.) 

One thing I wish would happen / had happened with this character in canon:

well, depends which canon we’re talking about here. as i have mentioned time and time again, @casuistor and @mikami both wrote an analysis on how, unlike manga!Misa, anime!Misa is actually more cognizant of the one-sided nature of her relationship with Light. so if we’re talking solely about anime canon, then i do wish she’d have seen that Light is not worth her time!! and get Rem out of the “friendzone” before she dies for nothing, please.

my OTP:

Remisa, duh.

my cross over ship:

none. (i rarely get ideas for crossover ships tbh, so unless there’s a well-written fic that can convince me of the dynamic of a particular crossover ship, i’ll just stick to my high school concepts of Wayfire and Howellight… hmm yeah very subtle about your own history in the RPF community Eugenia)

[reiner-is-back-bitches]

Rules: Answer the 20 questions and tag 20 amazing followers/people you’d like to get to know better

Tagged by : @rougeheichou

Name: Judith Nicollette

Nicknames: Nikkie, Nik, DooDoo, Judith Priest, Judge Judy, Sparky, Rocky, Short Mexican Girl

Zodiac: Leo

Height: 5′1

Orientation: Bisexual

Favorite Fruit: Cactus Fruit

Favorite Season: Fall

Favorite Book: The Inheritance Cycle by Christopher Padalini

Favorite Flower: Hmm, Roses

Favorite Scent: Japanese Cherry Blossom and Cucumber Melon

Favorite Color: Purple

Favorite Animal: Dragons

Coffee | Tea | Hot Cocoa: Coffee, allday errday

Average Sleep Hours: 3-4

Cat or Dog: Cat

Favorite Fictional Character: Reiner Braun, Daryl Dixon, Hugo Stiglitz, Jessie Pinkman, Walter White, Eragon Bromson, Saphira, Dethklok, I could go on

Number of Blankets you Sleep with: 1

Dream Trip: Tokyo Japan baby!

Blog Created: 2016, I think~

Number of Followers: 52

Random Fact: I care easily, I don’t fuck around with my relationships. If I think you’re my friend, you’re my friend until you tell me otherwise. That’s probably creepy but hey.

I tag @eeerruhh99 @ask-the-lieutenant @jagerdernacht @bakachanx3 @lunar-intoxication @ruizuna @vermillionbutterfly @bubbydays @purplesnkgifs @artsisamazing

[morrisbrokaw]

When a Change of Season Calls for a Beautiful Room Refresh

Autumn has always been my favorite time of year. Every August, just like clockwork, I find myself anxiously anticipating the change in season. It prompts me to refresh my wardrobe with yummy sweaters and find new and innovative ways to redecorate my home in preparation for the chilly yet cozier months of the year.

When Sherwin-Williams shared their 2019 Color of the Year, Cavern Clay SW 7701, Kate and I both agreed we loved the look and feel of this color tone and we jumped at the thought of doing a beautiful redesign story around it. I was drawn to the warm terracotta color because of its ancient, elemental roots and mostly by the way it made me feel. Cavern Clay is a blend of midcentury modern style and the rich and earthy American Southwest, which together create a kind of desert modern aesthetic vibe. Because I love and live in all things boho, Kate asked me to take on this makeover story, and if you know me just a little bit, you know I absolutely LOVE anything interiors related, especially if it’s bohemian. So, I couldn’t wait to get started.

Because I’m currently living in a rental unfortunately my bedroom was off limits for painting. So I quickly reached out to good friends Jenny Jorgensen and Kate Worum, the local mavens of She She, a hand-painted print and pattern design studio, to see if they were interested in receiving a little room refresh and luckily Kate Worum was all in! Kate, a local Minneapolis illustrator who recently turned 30, was looking for a fresh start and a little change of scenery in her life. We were happy to provide that to her with a fresh wall of paint in her bedroom, and we thought, why not help a girl out with a full-on room refresh! After kicking off the project I went over to her place right away and we began brainstorming how we could transform her sunny little apartment bedroom into a relaxing bohemian bungalow.

Before sitting down to paint, I worked with our designer Raquel to put together a little mood board inspo that really embodied my vision for this redesign project. I selected a handful of beautiful textiles from my personal shop Arden Trading Co. I then put together a collection of eclectic yet complimentary plants and planned to insert earthy elements into the space whenever I could. Which I think you’ll find a lot of that earthy feel in the Cavern Clay color itself. I also made a note of how important it is to include a little bit of cream, sand and ivory tones in with the darker/brighter pops of color. The lighter tones make the room feel fresh and clean; they balance the space out and don’t weigh the color scheme down with a heavy, dark feel.

This is Kate’s beautiful and busy room before we painted a fresh coat of Cavern Clay over this bluesy tropical She She landscape. To be safe we added a coat of primer first and because the whole W&D team was there painting the wall was done in a jiff.

We were thrilled to find the Emerald Interior paint by Sherwin-Williams went on smooth and thick. We only needed two coats of Cavern Clay to complete the look.

Cavern Clay, embodies renewal, simplicity and a free-spirited, bohemian flair, which seemed like the perfect way to start out a fresh season of life this fall.

When the W&D team got together at Kate’s house to paint her bedroom wall Cavern Clay, the She She girls were already dreaming up a whimsical and feminine pattern to paint over the Cavern Clay color to give the room a little more dimension, duality, and softness. They decided to accent the wall with a beautiful Origami White SW 7636 and Dark Clove SW 9183 paint by Sherwin-Williams. Jenny and Kate painted their designs in a free-flowing pattern that celebrates the strength and beauty of women and botanicals.

Next, Kate was in dire need of a new bed frame so she decided to purchase the Drommen Wood Bed from CB2 that complimented the room so nicely. I then brought in one of my baby blue cactus silk Moroccan rugs to give the room that true wanderlust feel. Kate had just visited New Mexico and I had recently visited Morocco so a lot of the inspiration you’ll find in her room refresh was based around our previous travels.

Toward the right of the bed, we created a little dreamy plant oasis. Kate and I went to a few different plant stores to find a wide array of greenery that felt unique yet still cohesive. We decided on a few little succulents, an Arboricola, a Ficus Decora, and a little Fiddle-leaf fig, we also added in a tall Marginata Dracaena that I loved because it reminds me of a Dr. Suess character in that book Oh, the Places You’ll Go!

To the left of the bed, we stacked quite a few large art books and I styled the nightstand with a few brass trinkets I picked up in Morocco, like that bookshelf-worthy golden camel and horse figurine. We finished this look off with a batch of white hydrangea picked fresh from Jenny’s garden that morning. The flowers made the room feel very Better Homes & Gardens which I loved.

We selected a sand-colored linen duvet cover for the bed which looked amazing. I bought this on clearance at Macy’s! It’s surprisingly soft and cozy. I then styled a handful of my Turkish kilim pillows near the bed frame to give the room that colorful pop of texture on top of the neutral-duvet base. Kate and I were so happy with how the final look came together. It truly felt like a brand-new space that was warm, tranquil, cultured and sophisticated! And we did this all in a matter of a couple days!

What do you think of the room refresh and the Sherwin-Williams 2019 Color of the Year? And curious minds are inquiring – what paint trends or colors are catching your eye lately?!

Photography by 2nd Truth  Art Direction by Judith Marilyn Styling by Stefani Hodzic

—

Ed. note: This post was sponsored by Sherwin-Williams®. The compensation received in exchange for placement on Wit & Delight is used to purchase props, hire a photographer, write/edit the blog post and support the larger team behind Wit & Delight.

While compensation was received in exchange for coverage, all thoughts and opinions are always my own. Sponsored posts like these allow for the development of additional dynamic content to be produced, unsponsored. Thank you for supporting our partners!

  The post When a Change of Season Calls for a Beautiful Room Refresh appeared first on Wit & Delight.

When a Change of Season Calls for a Beautiful Room Refresh published first on https://workbootsandshoes.tumblr.com/

[nofomoartworld]

Hyperallergic: At Frieze London, Feminism Sells, Paul Chan Slumps, and Nothing Ever Changes

Crowds at Frieze London 2017 (photo courtesy Frieze)

LONDON — The first thing to know about the Frieze art fair is that nothing ever changes. It is the “Hotel California” of art events: sprawling endless white hallways of gallery booths where contemporary art lies in stasis. Larger spaces are typically dedicated to blue chip dealers and their wealthy patrons, who seemingly never leave home dressed in anything less than their finest furs and chiffon. Likewise, any press preview of Frieze will invariably involve the same core components of misanthropy: resentment of the art market, lack of specificity in the curation of gallery booths, and the mystifying omnipresence of Hans-Ulrich Obrist at every corner. (Witnessing the über-curator double-kiss hundreds of art world adulators in his fiefdom while his assistant juggled three heavy tote bags was the endurance performance of the afternoon.)

If the preview of this year’s Frieze London fair already sounds like the beginning of a “Scene and Herd” article on Artforum, it’s only because I am avoiding confrontation with the art on view this year. Not because everything shown is necessarily bad, but because the gestalt of the fair is so middling. How do I approach such consistent banality with novelty?

Hans-Ulrich Obrist at Frieze London 2017 (photo by Mark Blower; courtesy of Mark Blower/Frieze)

Unlike this year’s New York iteration, Frieze London is strikingly apolitical. Virtually no booth references President Trump and almost none dares to wrestle with the fractious socio-political events unfurling across Europe. Given the looming threat of Brexit, it’s surprising to see such a willful denial within the art world — a flat nothing. It’s almost as if such changes will not affect the culturati who run and shop at the show.

Paul Chan, “Pillowsophie” (2017), in the Greene Naftali booth at Frieze London 2017 (photo by the author for Hyperallergic)

The closest we do get to ostentatious contemporary political commentary is also Frieze London’s most deafening and cringeworthy moment. Paul Chan’s “Pillowsophie” (2017) hovers above Greene Naftali’s booth, evoking the black hoodie of Trayvon Martin as a ghoulish signifier of the Black Lives Matter movement. What context does this piece have in an art fair? In a huge white tent devoted to the commodification of culture? It’s a strange juxtaposition to make, especially when the remainder of the gallery’s booth is devoted to more de rigueur modernist fare. Ironically, the fan powering Chan’s work did not have the correct voltage. Instead of flapping around wildly, “Pillowsophie” drooped limply — a wonderfully unintentional commentary on both Green Naftali’s thoughtless inclusion of the piece  and the broader apathy of the art world for others’ suffering.

Andrea Bowers, “My/Her Body My/Her Choice” (2016), in the Andrew Kreps Gallery booth at Frieze London 2017 (photo courtesy Frieze)

We could also discuss the ill-deployed installation at Andrew Kreps Gallery, which pairs Andrea Bowers’s “My/Her Body My/Her Choice” (2016) alongside performance ephemera from Goskha Macuga’s “Time as Fabric” (2016), which was staged at the New Museum last year. The former is a somewhat gaudy neon sign that blinks its titular message across the booth. The latter consists of a handful of droll cardboard cut-outs from across history, including a dour Angela Merkel and Marcel Duchamp crossdressing  as Rrose Sélavy. While each artist’s work is strong individually, their juxtaposition imbues Frieze with a vapid commercial feminism. The mere appearance of now-clichéd empowerment messages alongside some historical figures isn’t going to arouse feelings of solidarity.

Goskha Macuga, “Time as Fabric” (2016), in the Andrew Kreps Gallery booth at Frieze London 2017 (photo courtesy Frieze)

Visitors examine a painting by Betty Tompkins at Frieze London 2017 (photo by Mark Blower, courtesy of Mark Blower/Frieze)

Heck, Frieze London’s curatorial organization feels leveraged against real solidarity. Feminism also takes a walloping in the fair’s salacious Sex Work: Feminist Art & Radical Politics section. The curatorial scaffolding created by Alison Gingeras and legitimized by A.I.R. Gallery’s inclusion is mere table-dressing for other galleries wanting to exhibit erotic art. Here again, we sense the dilution of feminist rhetoric for commercial ends. The inclusion of Betty Tompkins does not a feminist exhibition make ipso facto — and neither do Penny Slinger, Natalia LL, or even Marilyn Minter. What is Gingeras’s goal, with her exhibition title equating these artists to sex workers, beyond mere sensationalism? With the smell of stale champagne and cologne wafting through the galleries, it’s extremely hard to digest this deluge of genitalia as anything more than a fetishistic amuse-bouche for the crowds. What these artists need is better political contextualization. And that’s why Sex Work’s small bright spot is A.I.R Gallery’s timeline on the section’s back wall, detailing the gallery’s historic collaborations with artists like Judith Bernstein and Mary Beth Edelson. The timeline also includes a selection of works from the above artists that illustrate the changing political tides of second-wave feminism. If only the other galleries included could respect the work of their artists as much.

A timeline of AIR Gallery’s history in the Sex Work: Feminist Art & Radical Politics section of Frieze London 2017 (photo courtesy Frieze)

Most of what I’ve discussed thus far comes from well-established, prestigious galleries; however, everyone knows that the best art at Frieze comes from unexpected places. This year, underdog galleries from cities including Cape Town, Guatemala City, and Mexico City have triumphed with booths that hold tightly curated mini-exhibitions and solo shows.

A work by Billie Zangewa in the Blank Projects booth at Frieze London 2017 (photo by the author for Hyperallergic)

Blank Projects may be a newcomer to Frieze London, but it has wisely chosen to focus its efforts on one artist. Billie Zangewa represents the Cape Town gallery, furnishing its emerald-green booth with delicate silk tapestries. Her hand-stitched textiles depict scenes from everyday life in South Africa. Zangewa configures beautifully silent and poetic tableaus of quotidian repose — her subjects recline and embrace each other; they surf the web and read their books. All is not serenity, however. The artist violently tears fabric away from her images. These abrasions often impale her subjects, severing their limbs. What was once a purely romantic scene becomes complex and unnerving.

From the capital of Guatemala, Proyectos Ultravioleta presents a retrospective on the films of performance artist Regina José Galindo. Every day, the gallery will feature a different recording of Galindo’s work from the past five years. On the day of the press preview, “The Shadow (La sombra)” (2017) was on view. The piece consists of Galindo running through a field outside Berlin for 9 hours while a massive German war tank, called the Leopard, roves behind her. “The Shadow” allegorizes Germany’s imperfect relationship with Guatemala. (The European country is a major arms manufacturer, while the Central American country has one of the highest murder rates in the world.)

Part of Maryam Jafri’s “The Wellness Industrial Complex” (2016) installation in the La Veronica booth at Frieze London 2017 (photo courtesy Frieze)

Nearby, Sicilian gallery La Veronica showcases Maryam Jafri’s “The Wellness Industrial Complex” (2016), which documents the US military’s newfound fascination with meditation. Adopting the principles of Zen Buddhism, soldiers are now instructed in the art of self-care. The military views meditation as “mindfulness training,” a soft technology that promotes inner peace while waging outward violence. Accordingly, Jafri’s three small installations from the project are as deceptively innocent as they are subversive. “American Buddhism” features a public domain video of army meditation training atop a rough wooden structure containing plush Buddhas and fake orange flowers. “Meditation Square” conflates contemplation with adoration; it features photographs of meditating recruits below a toppled statuette of Saddam Hussein. Caught mid-collapse, the statuette is adorned with wooden prayer beads. Here, Jafri further exposes how deranged the US army’s appropriation of meditation is. Through mental power alone, the soldiers appear to be toppling Hussein’s regime.

Yann Gerstberger, “Overdetermined System” (2017) in the Galería OMR booth at Frieze London 2017 (photo courtesy Frieze)

Outside of global political intrigue, some artists on view at Frieze are making truly wonderful aesthetic strides. Mexico City’s Galería OMR is showing an enthralling textile work by Yann Gerstberger. “Overdetermined System” (2017) bravely synthesizes Cubist illusions with Mexico’s rich tradition of iconography and textile-weaving. A French expat living in Mexico, Gerstberger effortlessly imbeds elements of Picasso’s work into a tapestry of bright patterns. Cumulatively, “Overdetermined System” is a psychedelic retelling of Mexico’s founding myth. Legends tell of how Aztec settlers founded the ancient city of Tenochtitlan after a vision sent by their god. The precursor to Mexico City would be found where an eagle was perched atop a cactus while devouring a snake. The Aztecs found such a gruesome scene occurring on a small islet near Lake Texcoco and called it home. Gerstberger interprets this story with dramatic flair. The main elements of the story are here, but the artist has also included an anthropomorphized bird-man approaching the islet from the foreground; he wears a cape-length primitive mask on his back.

The best part of visiting Frieze is always leaving it. Passing into the manicured gardens of Regent’s Park, I start to review my day inside the big white tent. A few stray thoughts and observations meander through my mind as I see (who else?) Hans-Ulrich Obrist also exiting the fair, tote-toting assistant in tow.

How much wealth do I need managed in order to access the Deutsche Bank Wealth Management Lounge? Do they accept student loans?

Why is Frieze London inexplicably filled with potted plants this year? Are we all just trying to fill the hole in our hearts with ferns?

I almost gagged when the gallerist at Greene Naftali tried to explain that Paul Chan’s “Pillowsophie” was meant to “draw the viewer into a one-on-one encounter, allowing the viewer to envision themselves as Trayvon Martin.”

Absolutely nobody I spoke to (guests, gallerists, volunteers, organizers, etc.) would admit that they were stressed or even slightly tired. What was in the VIP champagne?

I should probably like Lucy and Jorge Orta’s Antarctica World Passport project, but it’s totally this year’s Soylent. Just another feel-good “global citizen” moment in a season of overwhelming atavism.

Two women unknowingly reenact a Lydia Davis short story verbatim while looking at Leonor Antunes’s supremely boring bronze curtains in the Marian Goodman booth: “It’s extraordinary,” says one woman. “It is extraordinary,” says the other.

Installation view of Marian Goodman’s booth at Frieze London 2017, with Leonor Antunes’s bronze curtain sculpture in the background (photo by Mark Blower; courtesy of Mark Blower/Frieze)

The Harrisons, “Survival Piece V: Portable Orchard” (1972) in the Various Small Fires booth at Frieze London 2017 (photo courtesy Frieze)

The Pilar Corrias booth at Frieze London 2017 (photo by the author for Hyperallergic)

Lili Reynaud-Dewar in the Galerie Emanuel Layr booth at Frieze London 2017 (photo by the author for Hyperallergic)

Lucy and Jorge Orta’s “Antarctica World Passport” project at Frieze London 2017 (photo courtesy Frieze)

Frieze London 2017 continues in Regent’s Park (London, UK) through Sunday, October 8.

The post At Frieze London, Feminism Sells, Paul Chan Slumps, and Nothing Ever Changes appeared first on Hyperallergic.

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[weekend-seoul]

조나 킹

Jonah King

2017. 02. 04 ~  03. 05

Opening Reception: Friday, 02. 03, 6 - 8 PM

조나 킹은 시간과 공간이라는 두 개의 다른 차원의 세계가 교차하는 지점을 작품에서 주로 다룬다. 그는 디지털과 실제 오브제, 몸과 생태계, 시뮬레이션과 심원한 시간(deep time) 간의 차이를 이분법적으로 나누지 않는다. 그 대신, 정보화 시대를 살아가는 인간의 연약함과 복잡다단하게 뒤얽혀 있는 상황 그 자체를 탐구한다.

작가는 과학자와 기술 분야 전문가의 조언을 받아 그의 관심사를 인류세(역자주: 인류로 인한 지구온난화 및 생태계 침범을 특징으로 하는 현재의 지질학적 시기), 특이성 이론(Singularity Theory), 창발성 이론(Emergence Theory)과 같이 새로 부상하는 패러다임과 연결하여 정교하게 다듬어나간다. 그는 과학이 사변에 빠지는 순간을 포착하며 과학적 진보의 이면에 숨겨진 개인적 욕망을 드러낸다.

주로 비디오로 작업하는 작가는 전통적 비디오-에세이의 영역을 확장한다. 작품은 허구와 사실이 한데 뒤섞인 내러티브를 다루고 있으며, 실제로 물질을 다루는 것과 디지털 효과를 모두 사용하여 영상을 제작한다. 상황에 따라 배우, 무용가, 특정 커뮤니티, 작가의 친구 등 다양한 사람들과 협업한다. 다채널 영상 작품은 컨셉트에 맞추어 조성한 공간에 설치된다. 그의 작품은 상상 속에 존재하는 유토피아와 종말론적인 미래를 중점적으로 다루며, 혼란스러운 광경을 선보인다.

조나 킹은 세르게이 파라자노프(Sergei Parajanov), 마야 데렌(Maya Deren), 얀 스반크마예르 (Jan Svankmajer), 케네스 앵거(Kenneth Anger)와 같은 초기 아방가르드 영화감독들에게 영향을 받았다. 그들은 페르난도 솔라나스(Fernando Solanas)의 “총체적 영화 제작자(total filmmaker)”로서의 태도를 강조하였다. 즉 작품 제작 전반에 관여하기 때문에 기존 제작 방식의 제약에 구애받지 않고 급진적 상상력을 펼칠 수 있게 되는 것이다.

작가는 고고학자였던 모친의 영향으로, 유년기의 많은 시간을 아일랜드의 발굴 현장에서 보냈다. 그곳에서 작가는 피의 제물과 태양의 숭배, 두 세계의 남겨진 문화 흔적을 다루었다. 그는 아일랜드의 경제붕괴 이후 뉴욕에서 유학하였고, 자연, 신념, 매개의 팽팽한 긴장 상태를 작품의 중심 주제로 삼게 되었다.

조나 킹은 2012년에 더블린의 National College of Art & Design을 수석으로 졸업하였고, 2016년에는 Columbia University에서 석사학위를 취득했다. 같은 해 the Skowhegan School of Painting and Sculpture에 재학하였다. 또한 런던의 Central Saint Martins와 벤쿠버의 Emily Carr University of Art and Design에서 재학하였다.

조나 킹은 뉴욕의 Judith Charles Gallery, Fisher Landau Center for Art, The Jewish Museum, The Broadway Symphony Space, 벨파스트의 Catalyst Arts Centre, 더블린의 Kevin Kavanagh Gallery, National Science Gallery, Block T, Basic Space, Temple Bar Square, Project Arts Centre, 벤쿠버의 Abraham J Rogatnick Gallery, 베를린의 Zwitschermaschine, 서울의 Weekend, 밀라노의 Bergamo Scienza 등 다수의 그룹전에 참여했다. 또한 The Irish Ties, Totally Dublin, Cactus Magazine, Freedom of Space, The Guardian UK, RTE에도 소개된 바 있다.

작가는 Andrew Fisher Fellowship, Ox-Bow Resident Award, Block T Gradate Award, Owen Walsh Award를 수상하였다. 그의 작품은 the Irish State Collection에 소장되었다.

또한 Exchange Dublin를 설립하여 꾸준히 전시기획에 참여하고 있다. 지난 5년간 4000여 개의 이벤트를 진행하였고, Example Gallery에서는 과정에 중심을 두고 작업하는 16명의 국제 예술가와 여러 단체를 1년간 선보였다.

조나 킹은 뉴욕에서 거주하며 작업하고, 현재 Meyohas Gallery(뉴욕)에 소속되어 있다.

Jonah King’s work charts a crossing of great distances in time and space. His projects repurpose distinctions between digital and mineral, body and ecology, simulation and deep time, presenting them as spectrums rather than binaries, tracing the complexities of human vulnerability within the Information Age.

King consults scientists and technologists to refine his inquiry into emerging paradigms such as the Anthropocene, Singularity Theory, and Emergence Theory. He searches for moments where science gives way to speculation, revealing motivations of personal desire and belief that underpin scientific advancement.

Working primarily with HD Video, King’s works expand on the tradition of the video-essay. Fictional and true accounts weave through constellations of moving images generated via a myriad of digital and material processes and in collaboration with actors, dancers, community groups and the artist’s friends interchangeably. As multi-channel installations within sculptural environments, his works create disorienting spectacles of envisioned utopias and apocalyptic dreams.

King takes influence from early avant-garde filmmakers, such as Sergei Parajanov, Maya Derren, Jan Svankmajer, and Kenneth Anger. These artists emphasised the “total filmmaker” approach (Fernando Solanas): by embodying all aspects of production, they sought to realise the possibilities of radical imagination outside the confines of an established production model.

King, whose mother was an archeologist, spent much of his childhood on excavation sites around Ireland, handling the remains of cultures that held testament to travel between worlds, blood-sacrifice and sun-worship. Coming to study in New York in the wake of the Irish economic crisis, he found that these tangible tensions between belief, nature, and mediation became central themes of his work.

Jonah King received his BFA from the National College of Art & Design, Dublin in 2012 (valedictorian) and his MFA from Columbia University in 2016. He attended the Skowhegan School of Painting and Sculpture in 2016. He has additionally studied at Central Saint Martins, London and Emily Carr University of Art and Design, Vancouver.

His work has been exhibited internationally in venues including Judith Charles Gallery, Fisher Landau Center for Art, The Jewish Museum and The Broadway Symphony Space in New York; Catalyst Arts Centre in Belfast; Kevin Kavanagh Gallery, National Science Gallery, Block T, Basic Space, Temple Bar Square and Project Arts Centre in Dublin; Abraham J Rogatnick Gallery in Vancouver; Zwitschermaschine in Berlin; Weekend in Seoul; Bergamo Scienza in Milan. He has been featured in The Irish Times, Totally Dublin, Cactus Magazine, Freedom of Space, The Guardian UK, and RTE.

King is the recipient of an Andrew Fisher Fellowship, Ox-Bow Resident Award, Block T Graduate Award and Owen Walsh Award. His work is included in the Irish State Collection.

As part of an ongoing curatorial practice King was a founding director of Exchange Dublin a state-supported multidisciplinary arts center that hosted approximately 4000 events over a five year period and Example Gallery a year long project showcasing process-based artworks by 16 international artists and collectives. In addition he has authored and contributed to numerous catalogues and gallery publications.

Jonah King lives and works in New York City. He is represented by Meyohas Gallery (NYC).

2017 Weekend Program

12/17 ~ 1/22     이환희 Fanhee Lee (b. 1990)

fanheelee.com

이환희는 현재 서울에서 거주하며 작업하고 있다.

Fanhee Lee lives and works in Seoul, Korea.

All of the works on his first solo exhibition at Weekend got their titles after completion. The works themselves couldn't thank him enough for their perfect marriage to the titles.

curated by Jeongyoon Choi

2/4 ~ 3/5     조나 킹 Jonah King (b. 1985)

jonahking.info/

조나 킹의 비디오 설치 작품은 디지털 기술이 자연과 인간의 심리관계에 어떤 영향을 끼치는지를 탐구한다. 그는 허구와 사실적 이야기들을 지역 사회공동체나 배우들과 스튜디오에서 촬영한 영상들로 엮어낸다. 유토피아나 종말론적 꿈과 같은 사변적인 내러티브를 환기함으로써 작가는 최근 크게 디지털화 되고 있는 인간 생태계의 의미에 대해 질문을 던진다. 조나 킹은 2012년에 더블린의 National College of Art & Design을 수석으로 졸업하였고, 2016년에는 Columbia University에서 석사학위를 취득했다.

Jonah King’s video installations explore how digital technology is changing our psychological relationship to land. King weaves fictional and true accounts through constellations of moving images generated in the studio, with actors, or in collaboration with community groups. By invoking speculative narratives of envisioned utopias and apocalyptic dreams, he questions what it means to be human in an ecology increasingly infused with the digital. Jonah King received his BFA from the National College of Art & Design, Dublin in 2012 (valedictorian) and his MFA from Columbia University in 2016.

organized by Jenny Cho and NaJeong Lee

3/18 ~ 4/16     이희준 Heejoon Lee (b. 1988)

이희준은 서울을 기반으로 활동하며 도시 건축의 이미지와 인테리어 환경 속에서 조형적 요소들을 수집하고 재구성하여 평면적 환경을 만드는 작업을 한다. 2013년부터 그가 거주했던 홍대 일대의 건축물을 그리기 시작했고, 2014년 스코틀랜드의 글라스고 예술대학에서 석사과정을 마치고 귀국 후 공릉동 작은 공간에서 노토일렛을 운영하며 4번의 전시를 열었다. 2015년에는 중랑구 망우동 작업실에서 <Interior Nor Exterior> 회화 연작을 시작하여 현재에 이르게 되었다. 아이슬란드 아큐레이리, 영국 글라스고, 런던, 에딘버러 및 독일 베를린 등지에서 다수의 기획전시에 참여했으며 2014년 런던 사치 갤러리가 주관한 New Sensation 2014 수상 후보로 선정된 바 있다. 2016년 서울에 위치한 기고자에서 첫 개인전을 가졌다.

Heejoon Lee is a visual artist based in Seoul, South Korea. The conceptual range of his painting includes architectural structure and trendy interior objects of our time. Heejoon received his BFA in Painting and Sculpture at Hong-Ik University in 2012 and his MFA at Glassgow School of Art in 2014. His recent group exhibitions include; I DROGUM at the Art Museum of Akurey, Akurey, Iceland, Dear Green at ZK/U, Berlin, Germany, 2014 and Tipping the Line at My Occupy Time Gallery, London, UK, 2014. He was nominated in 'Jury Picks' in 100 Painters of Tomorrow (Thames & Hudson 2014) and the New Sensation 2014 by Sattchi Gallery. His first solo exhibition was held at Kigoja in Seoul, 2016.

curated by Jeongyoon Choi

4/29 ~ 5/28     이사라 Yi Sa Ra (b. 1988)

yisara.com

이사라는 주로 비디오 설치 미술과 디지털 사진 작업을 하는 개념미술가이다. 그의 작업은 다큐멘터리 언어를 통하여 어떻게 그의 개인적인 경험이 동시대의 사회 현상과 연결되는지 탐구한다.

그는 2011년, 로드아일랜드 스쿨 오브 디자인을 우등 졸업하였고, 2010년에 예일대학교로부터 엘렌 배텔 스토켈 펠로우쉽을 받아 예일 노퍽 섬머 스쿨 오브 아트 앤드 뮤직을 이수하였다. 그의 작품은 챕터투, 한국 (2016), 에치고 츠마리 아트 트리엔날레, 일본 (2015), 예술의 전당 한가람 미술관, 한국 (2013), 로저 윌리엄스 국립공원, 미국 (2011)에서 전시되었다.

Yi Sa Ra (Sarah Lee) is a conceptual artist who primarily works in video installation and digital photography. Using the language of documentary, her work explores how her personal experiences inform social and cultural predicaments specific to our time.

She received a BFA with honors from the Rhode Island School of Design (RISD), USA, in 2011 and the Ellen Battell Stoeckel fellowship from Yale University to attend the Yale Summer School of Art and Music in Norfolk in 2010. Her work has been exhibited at CHAPTER II, Korea (2016), Echigo-Tsumari Art Triennale, Japan (2015), Hangaram Art Museum, Seoul Arts Center, Korea (2013) and Roger Williams National Memorial, USA (2011).

curated by Jeongyoon Choi

6/10 ~ 7/9     함혜경 Hyekyung Ham (b. 1983)

함혜경은 한국에서 활동하고 있는 비디오 작가다. 그녀는 다양한 장소에서 수집된 이미지를 재구성하여 ‘누군가’의 독자적인 이야기로 만들어 내는 작업을 하고 있다. 그녀는 이미 존재하는 내러티브와 이미지를 도구로 새로운 이야기를 만드는 방식에 주목하며, 현실의 어떤 불편함, 불완전함, 언제 끝날지 모르는데 끝나버릴(린) 상황등을 나름의 방식으로 은유 한다.

Hyekyung Ham is a video artist currently working in South Korea. She collects and edits images from various places into a unique narrative of ‘someone’. By focusing on weaving new stories from already existing narratives and images as the main tool, her works represent a metaphor of discomfort and imperfection of truth, and situation which to end (or has ended) in indefinite time.

curated by Jeongyoon Choi

7/22 ~ 8/20     전현선 Hyunsun Jeon (b. 1989)

전현선은 현재 서울에 거주하며 작업하고 있다. 이화여자대학교에서 서양화를 전공하였으며 현재 동대학원을 수료했다. 이화익갤러리 (2016)와 플레이스막 (2015)에서 개인전을 열었고, 인사미술공간 (2016), 하이트컬렉션 (2015), 두산갤러리 (2015), 스페이스 K (2015) 등 다수의 그룹전에 참여하였다. 그림과 글이 담긴 <그림이 된 생각들(열림원)> 책을 출판했다.

Hyunsun Jeon lives and works in Seoul. She received her BFA in Painting and completed her master's course in Painting from Ewha Womans University. She had solo exhibitions at LEEHWAIK Gallery (2016) and Place MAK (2015). She participated in group exhibitions at Insa Art Space (2016), HITE Collection (2015), DOOSAN Gallery (2015) and Space K (2015). She also published the book Thoughts that Became Paintings (Yolimwon Publishing Group) with her paintings and writings.

curated by Jeongyoon Choi

9/2 ~ 10/1     박아람 Rahm Parc (b. 1986)

rahmparc.tumblr.com        

박아람은 서울을 기반으로 작업하며, 2014년에 첫 개인전인 <자석 올가미 측량> (케이크 갤러리), 2016년에는 두 번째 개인전 <질, 량, 형> (갤러리 엠)을 열었다. 참여한 그룹전으로는 <우주생활> (일민미술관, 2015), <오늘의 살롱> (커먼센터, 2015), <분석적 목차> (케이크 갤러리, 2015), <평면 탐구> (일민미술관, 2015) 등이 있다.

Rahm Parc works in Seoul, Korea. She received a BA in Visual Communication Design from Gacheon University and a MFA in painting from Hongik University. She has had solo shows at Cake Gallery, Seoul (2014) and Gallery EM, Seoul (2016). She has also participated in group exhibitions at Il Min Museum, Seoul (2015), Common Center, Seoul (2015) and Cake Gallery, Seoul (2015).

curated by Jeongyoon Choi

10/21 ~ 11/19    시아오시 비비안 비비안 친 Xiaoshi Vivian Vivian Qin (b. 1989)

xiaoshiqin.co

시아오시 비비안 비비안 친은 중국 광저우와 ���욕을 오가며 작업한다. Denison University에서 Communication Theories and Art를 학사 졸업하였고 Columbia University에서 석사 졸업하였다. 그는 Queens Museum, 뉴욕 (2016), Jewish Museum, 뉴욕 (2014), HB Station at Times Museum, 광저우 (2014), SPRING/BREAK ART Show (2016), Barnard College (2016), I: project space, 베이징 (2015), 221A Gallery, 벤쿠버 (2015), Flux Factory, 퀸즈 (2015), Ying Space, 베이징 (2016), Biljana Circs' curatorial project You Won't be Young Forever (2016)의 전시에 참여하였다. 비비안은 the Lotos Foundation Prize를 2015년에 수상하였고 Modern Weekly Magazine (周末画报)과 Leap Magazine에서 예술과 기술에 대한 글을 기고한다.

Xiaoshi Vivian Vivian Qin lives and works between Guangzhou, China and New York City. She received her MFA from Columbia University (2015) and BA in Communication & Studio Art from Denison University (2012). Her work has been screened or exhibited in Queens Museum, New York (2016), Jewish Museum, New York (2014), HB Station at Times Museum, Guangzhou (2014), SPRING/BREAK Art Show (2016), Barnard College (2016), I: project space, Beijing (2015), 221A Gallery, Vancouver (2015), Flux Factory, Queens (2015), Ying Space, Beijing (2016) and at Biljana Circs’ curatorial project You Won’t be Young Forever (2016). She received the Lotos Foundation Prize in 2015. She writes about art and technology for Modern Weekly Magazine (周末画报) and Leap Magazine.

organized by Jenny Cho

Weekend 로고 디자인: 윤지수 Jisoo Yoon (b. 1989)

jisooyoon.com

윤지수는 서울에 거주하며 작업하는 그래픽 디자이너다.

Jisoo Yoon is a graphic designer who lives and works in Seoul.

Weekend는 서울에서 독립 큐레이터로 활동하는 최정윤과 서울과 뉴욕을 오가며 활동하고 있는 제니조가 공동설립한 공간으로 국내외 신진 작가들을 소개합니다.

Co-founded by Jeongyoon Choi, an independent curator based in Seoul and Jenny Cho, an artist based in New York and Seoul, Weekend introduces young and emerging local and international artists.

Weekend in partnership with 67 in NY,

USCA in Antwerp, Belgium

[christopherandaudrey]

| O N W A R D | The weekend was nothing short of wonderful. My heart is bursting at the seams. • Friday night dinner at one of our favorites in Marfa, Stellina. Beautifully curated dishes, and a red wine that is possibly my favorite to date. We “Tumbled Inn” to the usual to pop our tent for the evening, and slept amongst the chill fog. We awoke to a crisp morning, freshened up, and hit up the local coffee. Met and chatted with some beautiful souls in from Austin & Montana. I’m always bewildered by the vast demographic of people in Marfa. They all seem to show up with direct intention of coming to enjoy the wide open space… to breathe, and clear their mind amongst the eclectic nature of this tiny town. C and I are still trying to sort that mystery out, although were not sure we ever really will. From there, we hit the road on to Alpine, primarily to check out another local coffee joint, ha. We stumbled upon a hole-in-the-wall rock shop, and my heart skipped a few beats when I caught sight of Judith’s 30+ year collection. C and I ran around town, taking the vibe of Alpine in. From Alpine it was onward to the mountains! Our absolute most treasured place to be, even in our dreams. Photo fun filled the final hours of our day and it was a splendid time. We found horses, a dirt road, and a cactus greenhouse! It was much too brief for our liking, but we take what we can get. • Our creative soul is brimming, inspiration is fresh, and a clear breath fills our lungs for the weeks that set before us. • Its day 16 of 2017, onward we go! • @stellinamarfa @bansheewines @doyourthingcoffee @cedar_coffee_supply (at Chihuahuan Desert Research Institute)

[morrisbrokaw]

When a Change of Season Calls for a Beautiful Room Refresh

Autumn has always been my favorite time of year. Every August, just like clockwork, I find myself anxiously anticipating the change in season. It prompts me to refresh my wardrobe with yummy sweaters and find new and innovative ways to redecorate my home in preparation for the chilly yet cozier months of the year.

When Sherwin-Williams shared their 2019 Color of the Year, Cavern Clay SW 7701, Kate and I both agreed we loved the look and feel of this color tone and we jumped at the thought of doing a beautiful redesign story around it. I was drawn to the warm terracotta color because of its ancient, elemental roots and mostly by the way it made me feel. Cavern Clay is a blend of midcentury modern style and the rich and earthy American Southwest, which together create a kind of desert modern aesthetic vibe. Because I love and live in all things boho, Kate asked me to take on this makeover story, and if you know me just a little bit, you know I absolutely LOVE anything interiors related, especially if it’s bohemian. So, I couldn’t wait to get started.

Because I’m currently living in a rental unfortunately my bedroom was off limits for painting. So I quickly reached out to good friends Jenny Jorgensen and Kate Worum, the local mavens of She She, a hand-painted print and pattern design studio, to see if they were interested in receiving a little room refresh and luckily Kate Worum was all in! Kate, a local Minneapolis illustrator who recently turned 30, was looking for a fresh start and a little change of scenery in her life. We were happy to provide that to her with a fresh wall of paint in her bedroom, and we thought, why not help a girl out with a full-on room refresh! After kicking off the project I went over to her place right away and we began brainstorming how we could transform her sunny little apartment bedroom into a relaxing bohemian bungalow.

Before sitting down to paint, I worked with our designer Raquel to put together a little mood board inspo that really embodied my vision for this redesign project. I selected a handful of beautiful textiles from my personal shop Arden Trading Co. I then put together a collection of eclectic yet complimentary plants and planned to insert earthy elements into the space whenever I could. Which I think you’ll find a lot of that earthy feel in the Cavern Clay color itself. I also made a note of how important it is to include a little bit of cream, sand and ivory tones in with the darker/brighter pops of color. The lighter tones make the room feel fresh and clean; they balance the space out and don’t weigh the color scheme down with a heavy, dark feel.

This is Kate’s beautiful and busy room before we painted a fresh coat of Cavern Clay over this bluesy tropical She She landscape. To be safe we added a coat of primer first and because the whole W&D team was there painting the wall was done in a jiff.

We were thrilled to find the Emerald Interior paint by Sherwin-Williams went on smooth and thick. We only needed two coats of Cavern Clay to complete the look.

Cavern Clay, embodies renewal, simplicity and a free-spirited, bohemian flair, which seemed like the perfect way to start out a fresh season of life this fall.

When the W&D team got together at Kate’s house to paint her bedroom wall Cavern Clay, the She She girls were already dreaming up a whimsical and feminine pattern to paint over the Cavern Clay color to give the room a little more dimension, duality, and softness. They decided to accent the wall with a beautiful Origami White SW 7636 and Dark Clove SW 9183 paint by Sherwin-Williams. Jenny and Kate painted their designs in a free-flowing pattern that celebrates the strength and beauty of women and botanicals.

Next, Kate was in dire need of a new bed frame so she decided to purchase the Drommen Wood Bed from CB2 that complimented the room so nicely. I then brought in one of my baby blue cactus silk Moroccan rugs to give the room that true wanderlust feel. Kate had just visited New Mexico and I had recently visited Morocco so a lot of the inspiration you’ll find in her room refresh was based around our previous travels.

Toward the right of the bed, we created a little dreamy plant oasis. Kate and I went to a few different plant stores to find a wide array of greenery that felt unique yet still cohesive. We decided on a few little succulents, an Arboricola, a Ficus Decora, and a little Fiddle-leaf fig, we also added in a tall Marginata Dracaena that I loved because it reminds me of a Dr. Suess character in that book Oh, the Places You’ll Go!

To the left of the bed, we stacked quite a few large art books and I styled the nightstand with a few brass trinkets I picked up in Morocco, like that bookshelf-worthy golden camel and horse figurine. We finished this look off with a batch of white hydrangea picked fresh from Jenny’s garden that morning. The flowers made the room feel very Better Homes & Gardens which I loved.

We selected a sand-colored linen duvet cover for the bed which looked amazing. I bought this on clearance at Macy’s! It’s surprisingly soft and cozy. I then styled a handful of my Turkish kilim pillows near the bed frame to give the room that colorful pop of texture on top of the neutral-duvet base. Kate and I were so happy with how the final look came together. It truly felt like a brand-new space that was warm, tranquil, cultured and sophisticated! And we did this all in a matter of a couple days!

What do you think of the room refresh and the Sherwin-Williams 2019 Color of the Year? And curious minds are inquiring – what paint trends or colors are catching your eye lately?!

Photography by 2nd Truth  Art Direction by Judith Marilyn Styling by Stefani Hodzic

—

Ed. note: This post was sponsored by Sherwin-Williams®. The compensation received in exchange for placement on Wit & Delight is used to purchase props, hire a photographer, write/edit the blog post and support the larger team behind Wit & Delight.

While compensation was received in exchange for coverage, all thoughts and opinions are always my own. Sponsored posts like these allow for the development of additional dynamic content to be produced, unsponsored. Thank you for supporting our partners!

  The post When a Change of Season Calls for a Beautiful Room Refresh appeared first on Wit & Delight.

When a Change of Season Calls for a Beautiful Room Refresh published first on https://workbootsandshoes.tumblr.com/

[morrisbrokaw]

When a Change of Season Calls for a Beautiful Room Refresh

Autumn has always been my favorite time of year. Every August, just like clockwork, I find myself anxiously anticipating the change in season. It prompts me to refresh my wardrobe with yummy sweaters and find new and innovative ways to redecorate my home in preparation for the chilly yet cozier months of the year.

When Sherwin-Williams shared their 2019 Color of the Year, Cavern Clay SW 7701, Kate and I both agreed we loved the look and feel of this color tone and we jumped at the thought of doing a beautiful redesign story around it. I was drawn to the warm terracotta color because of its ancient, elemental roots and mostly by the way it made me feel. Cavern Clay is a blend of midcentury modern style and the rich and earthy American Southwest, which together create a kind of desert modern aesthetic vibe. Because I love and live in all things boho, Kate asked me to take on this makeover story, and if you know me just a little bit, you know I absolutely LOVE anything interiors related, especially if it’s bohemian. So, I couldn’t wait to get started.

Because I’m currently living in a rental unfortunately my bedroom was off limits for painting. So I quickly reached out to good friends Jenny Jorgensen and Kate Worum, the local mavens of She She, a hand-painted print and pattern design studio, to see if they were interested in receiving a little room refresh and luckily Kate Worum was all in! Kate, a local Minneapolis illustrator who recently turned 30, was looking for a fresh start and a little change of scenery in her life. We were happy to provide that to her with a fresh wall of paint in her bedroom, and we thought, why not help a girl out with a full-on room refresh! After kicking off the project I went over to her place right away and we began brainstorming how we could transform her sunny little apartment bedroom into a relaxing bohemian bungalow.

Before sitting down to paint, I worked with our designer Raquel to put together a little mood board inspo that really embodied my vision for this redesign project. I selected a handful of beautiful textiles from my personal shop Arden Trading Co. I then put together a collection of eclectic yet complimentary plants and planned to insert earthy elements into the space whenever I could. Which I think you’ll find a lot of that earthy feel in the Cavern Clay color itself. I also made a note of how important it is to include a little bit of cream, sand and ivory tones in with the darker/brighter pops of color. The lighter tones make the room feel fresh and clean; they balance the space out and don’t weigh the color scheme down with a heavy, dark feel.

This is Kate’s beautiful and busy room before we painted a fresh coat of Cavern Clay over this bluesy tropical She She landscape. To be safe we added a coat of primer first and because the whole W&D team was there painting the wall was done in a jiff.

We were thrilled to find the Emerald Interior paint by Sherwin-Williams went on smooth and thick. We only needed two coats of Cavern Clay to complete the look.

Cavern Clay, embodies renewal, simplicity and a free-spirited, bohemian flair, which seemed like the perfect way to start out a fresh season of life this fall.

When the W&D team got together at Kate’s house to paint her bedroom wall Cavern Clay, the She She girls were already dreaming up a whimsical and feminine pattern to paint over the Cavern Clay color to give the room a little more dimension, duality, and softness. They decided to accent the wall with a beautiful Origami White SW 7636 and Dark Clove SW 9183 paint by Sherwin-Williams. Jenny and Kate painted their designs in a free-flowing pattern that celebrates the strength and beauty of women and botanicals.

Next, Kate was in dire need of a new bed frame so she decided to purchase the Drommen Wood Bed from CB2 that complimented the room so nicely. I then brought in one of my baby blue cactus silk Moroccan rugs to give the room that true wanderlust feel. Kate had just visited New Mexico and I had recently visited Morocco so a lot of the inspiration you’ll find in her room refresh was based around our previous travels.

Toward the right of the bed, we created a little dreamy plant oasis. Kate and I went to a few different plant stores to find a wide array of greenery that felt unique yet still cohesive. We decided on a few little succulents, an Arboricola, a Ficus Decora, and a little Fiddle-leaf fig, we also added in a tall Marginata Dracaena that I loved because it reminds me of a Dr. Suess character in that book Oh, the Places You’ll Go!

To the left of the bed, we stacked quite a few large art books and I styled the nightstand with a few brass trinkets I picked up in Morocco, like that bookshelf-worthy golden camel and horse figurine. We finished this look off with a batch of white hydrangea picked fresh from Jenny’s garden that morning. The flowers made the room feel very Better Homes & Gardens which I loved.

We selected a sand-colored linen duvet cover for the bed which looked amazing. I bought this on clearance at Macy’s! It’s surprisingly soft and cozy. I then styled a handful of my Turkish kilim pillows near the bed frame to give the room that colorful pop of texture on top of the neutral-duvet base. Kate and I were so happy with how the final look came together. It truly felt like a brand-new space that was warm, tranquil, cultured and sophisticated! And we did this all in a matter of a couple days!

What do you think of the room refresh and the Sherwin-Williams 2019 Color of the Year? And curious minds are inquiring – what paint trends or colors are catching your eye lately?!

Photography by 2nd Truth  Art Direction by Judith Marilyn Styling by Stefani Hodzic

—

Ed. note: This post was sponsored by Sherwin-Williams®. The compensation received in exchange for placement on Wit & Delight is used to purchase props, hire a photographer, write/edit the blog post and support the larger team behind Wit & Delight.

While compensation was received in exchange for coverage, all thoughts and opinions are always my own. Sponsored posts like these allow for the development of additional dynamic content to be produced, unsponsored. Thank you for supporting our partners!

  The post When a Change of Season Calls for a Beautiful Room Refresh appeared first on Wit & Delight.

When a Change of Season Calls for a Beautiful Room Refresh published first on https://workbootsandshoes.tumblr.com/