#pants optional in this pantheon

[elodee]

Oooooooh the hair and the shine on the armor are gorgeous!!! I'm in love with your color choices!

Hermit a Day May: Day 2, Xisuma, Personification of Void!

I had SO much fun with this one!! The iridescent hair was inspired by @/Kingscourthouse's wonderful comic. And here's his full portrait without the text and background:

[thelocalscepticx]

the atlas paradox after thoughts

{SPOILERS}

- callum is so broken and i think hes such an interesting character to analyze. like the thoughts of 'if you could feel everyones emotions all the time, you would have to shut off your own or you would fucking shatter'

-tristan needs to get his shit together ngl

- NICO AND GIDEON FINALLY

- hc libby is a lesbian and belen deserved better

- libby is imo the most cruel and manipulative person of the six. it was true in the first book its true now

- tho we love a corruption arc

- ngl kinda hope ezra lives. like did he do shitty things? yes. should you kidnap ur ex to 'save the world'? probably not. did i disagree with some of his philosophy and reasonings.... next question. also the fact that i think that that interaction would be really fucking fascinating. (i just want to have him and atlas yell at eachother more so i can critique their relationship more)

- parisa is and always will be the queen of my heart. i want more callum and parisa moments im the next book because i think theyre so similar and seeing their banter cracks me up

- if libby and tristan end up together i will literally cry and throw up and shit my pants in rage they are AWFUL together.

- belen deserved better pt 2

- i think reina didnt do much this book (other than possibly draft a damn pantheon) so im hoping we see her research come to fruition in the next book

- suddenly i love dalton? like him and parisa burning it to the ground? mania? madness? im living for it

-callum x tristan supremacy. they remind me of those broken plates that you mend with gold and they become more beautiful

- does anyone remember all the shit callum said about the 6 in the first book?

"Libby Rhodes was an anxious impending meltdown whose decisions were based entirely on what she had allowed the world to shape her into. She was more powerful than all of them except for Nico, and of course she was. Because that was her curse: regardless of how much power she possessed, she lacked the dauntlessness to misuse it. She was too small-minded, too un-hungry for that. Too trapped within the cage of her own fears, her desires to be liked. The day she woke up and realized she could make her own world would be a dangerous one, but it was so unlikely it hardly kelt Callum up at night." (301)

"'Parisa is dangerous. She is angry," he clarified. "She is furious, vindictive, spiteful, naturally misanthropic. If she had Libby's power, or Nico's, she would have destroyed what remains of society by now...[she's here] to find a way to do it...Destroy things. The world possibly. Or control it. Whatever option suits her when she find it"'(305)

"Libby was a hero. Parisa was a villain. They would both be disappointed in the end." (300)

the way that all of this is being brought up again in TAP is beautiful

- callum is on his way to some sort of redemption/selfless arc i can TASTE IT and i crave it.

- everyone is hot. all the time. it hurts me

- blake is great at gaslighting me into making me think i understand any of the mathematic scientific bs they talk about at any given time

- theyre all so broken and in need of therapy

- i want callum to verbally destroy adrian caine

- i want all of them to succeed in their funky lil goals and become gods (except libby)

- speaking of libby- i think shed be a great villain

anyways. this series? owns my mf ass

[akihatohnoofficial]

did some oc writing btw. holds this up

(warning for cannibalism under the cut)

Shllk. Shllk. The knive slides across the flesh, removing the once-regenerating skin to make way for the meat underneath.

To kill a god is simple. All you have to do is aim for the heart. To become a god, however... you must still aim for the heart.

Crack, crack. These ribs are in the way. They must be removed.

Aim for the heart. That container full of divine essence, what scholars would call a "divine core." You are not a scholar, however. This is a heart.

Thump. Thump. The god is still alive. Even when pierced through the heart, if it is not removed they will eventually regrow.

It is said that every creature stores its soul within the heart. That cluster of magic representing its will. Does a god have a soul? If so, then this is it.

Pant, pant. There are two ways to become a god. Aim for the heart of the masses and win its worship, or aim for the heart of another god and consume it.

The latter option isn't nearly as appealing.

Munch, munch. It feels warm in your hand, the undulating flesh still continuing to move as you bite into it. It makes you feel sick. It makes you feel powerful.

What separates us from the beasts? Perhaps nothing does. As you tear into the heart with your teeth, you feel a kinship with the ravenous animals of the wild. Perhaps they too feel this power and desperation as they consume.

Slurp, slurp. Bright glowing blood covers your face as you soak in the divinity that splashes from the heart onto you. Some say it can be absorbed via the skin. It's not like you can just lick it off of you, so you can only hope that is the case.

You eat, and eat, and eat, and eat...

Until there is nothing left.

Welcome to the pantheon.

[tickldpnk8]

Season of Mists Reread Ch. 5

World building! world building! world building! This is my favorite issue in all of Sandman! There is so much going on and so much to dissect. Plus, some political maneuvering! So let’s dig in.

So why is Season of Mists my favorite? All of the mythology/pantheon tie-ins. We see so much world-building even just with Chapter 3. We see glimpses of Norse mythology, DC’s Order and Chaos, Japanese mythology, and Egyptian mythology. Plus, the hierarchy of angels but through DC’s Silver City with distinct Judeo-Christian undertones. Oh, and fairies! I’m here for all of it! But since my reread is specifically focused on Dream’s nature and clues about the ending of Sandman I didn’t see coming, I won’t focus on each of these characters. Instead, I’ll focus on how each interacts with Dream and how that affects their surroundings.

The room where it happens

Late at night, each delegation meets with Dream in the throne room (his chambers?) and each time it does, we see slight shifts in how the room is arranged and how Morpheus appears.

Going in order, we first see Odin from Norse myth:

Morpheus’ throne is what appears to be a short stool or stump on top of a tall boulder. Drapes are in the background and his throne sits on the floor surrounded by candles. Morpheus himself wears what appears to be a dark tshirt, black jeans or pants and likely boots.

Next to visit is Princess Jemmy, and the panels for her visit are very sparse. This could be a design decision considering how the action is on the page, but I wonder if Chaos brings a void to whatever space they are in. Morpheus has the same outfit as before with Odin.

After Chaos, comes Order (fitting?).

We don’t see his throne at all, but the candles are now elevated on sconces. The drapes remain in the background. Morpheus has donned his long collared coat/robe…presumably over his tshirt/jeans combo.

And then this is where things get really interesting, because the above could all be considered Western mythologies of a sort. We next have Susano-O-No-Mikoto:

Not only does the throne room change, but so does the art style: Similar to what we saw in Chapter 3 when introducing Order and Chaos. Everything flattens out into a comic book style of a woodcut print. The green curtains are now the foliage of a tree and Morpheu’s throne is almost a suggestion of a tatami mat on a raised platform. His coat/cloak are now traditional Japanese dress and his bedhead hair even seems to be tied up in a traditional hair do. Or at least it’s drawn differently. And in a close-up shot, we see that Morpheus’ facial features are now different too:

After him, we see Bast from the Egyptian pantheon and this one gets interesting:

Dream’s throne room again transforms into what can only be vaguely described as Egyptian as we see snippets of the yellow sandstone walls and this stone seat that seems to have suggestions of hieroglyphic panels or at least a sunburst. Morpheus is back in this all encompassing robe and in other panels we see his western-looking face.

But this panel caught my eye where Bast says that she prefers Dream in cat form because she can read his thoughts better than when he “wears a human head.”

Bast, of course, has a feline head on a human body. So I got the sense that she has the option of seeing either Dream’s feline aspect or his human one. It’s never explained if this is because she’s seeing him surrounded by other humanoid deities, because Dream can control which aspect she can see, or if it’s because she is leaning into her own humanoid aspect and not her cat one. It doesn’t seem to imply that Dream can shapeshift, but it doesn’t rule it out either.

And then we have Azazel: the majority of this conversation seems to take place in a hallway:

Which appeared to be next to the same staircase Odin took up to the throne room. I’m not sure what it says about their relationship or how demons view Dream, but by the time the conversation is at its end, they are back in the Egyptian view of the room:

As for Dream’s outfit, it appears to be the same peplum cloak he wore to hell, which might be the same cloak he was in for a while now.

A last note on all of these: notice how Morpheus subtly (or not so subtly) exudes power in each of these audiences. For the most part, he's above each supplicant and looking down on them. Or he exudes it in other ways (nothing says power like a series of peplums flapping in the breeze you conjured).

Uneasy lies the head that wears the crown

I was also struck by this scene:

Depending on your interpretation, he could either be dropping or throwing the Key to Hell down the stairs to his throne. I'm inclined to think he dropped it. It really reminded me of some of the scenes in the Lord of the Rings movies with the ring: there's a real weight to this key that makes it just plonk on the floor. This really helped to set the mood of how much the ring key is weighing on his mind at the end of all of these audiences.

[partydecorationideas]

Amazing Captain America Kids Costumes for the Ultimate Cosplay Experience

Introduction

Cosplay, a fusion of "costume" and "play," has evolved into a vibrant subculture that allows fans to step into the shoes of their favorite characters. Among the pantheon of beloved superheroes, Captain America stands tall as a symbol of justice, heroism, and unwavering resolve. For the young enthusiasts eager to embody the spirit of this iconic Avenger, selecting the perfect Captain America kids' costume is a thrilling adventure in itself.

In this guide, we embark on a journey through the top Captain America kids' costumes, exploring a range of options that cater to various preferences and age groups. From classic designs that pay homage to the original comic book character to deluxe costumes that elevate the cosplay experience, this exploration aims to equip parents and young cosplayers with insights to make the most informed and exciting choices.

Whether your child dreams of defending the world with the iconic shield or simply desires to channel the charisma of Steve Rogers, we delve into the diverse world of Captain America kids' costumes, offering recommendations, tips, and inspiration to ensure an unforgettable cosplay experience for the youngest members of the superhero community.

Classic Captain America Kids Costumes

Classic Captain America kids costumes are popular choices for Halloween, costume parties, and other dress-up events. The design of Captain America's costume has evolved over the years, but the classic version typically includes the following elements:

Blue Jumpsuit: Captain America's costume is primarily blue. Look for a jumpsuit or a set of blue pants and a matching blue shirt. The jumpsuit should have long sleeves and full-length pants.

White Star and Stripes: Captain America's iconic shield is represented on the costume with a white star in the center of the chest and white and red stripes extending outward from the star. Make sure the star is large and prominent, and the stripes follow the pattern seen on Captain America's shield.

Red Waist Belt: A red waist belt is often a key component of Captain America's costume. It helps break up the blue and adds a splash of color.

Red Gloves: Captain America is often depicted wearing red gloves. Look for gloves that cover the hands and wrists.

Boots: Captain America typically wears red boots. You can either find red boots or use boot covers that go over your child's shoes to give the appearance of boots.

Mask or Hood: Captain America often wears a mask or hood that covers the top half of his face. This can be a separate mask or part of the costume hood. The mask should leave the eyes exposed.

Shield: Captain America's shield is his most iconic accessory. While it might not be part of the costume, it's a key element for the complete Captain America look. You can purchase a toy shield to accompany the costume.

When shopping for a Captain America costume for kids, you can find various options at costume stores, online retailers, and even in department stores during the Halloween season. Pay attention to the sizing to ensure a comfortable fit for your child, and consider any additional accessories like the shield to enhance the costume.

Age-Appropriate Captain America Costumes

When selecting a Captain America costume for kids, it's essential to consider the age appropriateness of the outfit. Here are some guidelines to help you choose a costume that is suitable for your child's age:

Toddler and Preschool Ages (1-4 years old):

Look for costumes specifically designed for toddlers or preschoolers.

Choose costumes made from soft, non-restrictive materials for comfort and safety.

Opt for costumes with easy-to-use closures such as Velcro or snaps.

Consider costumes that are one-piece outfits for simplicity.

Avoid costumes with small parts that could pose a choking hazard.

Elementary School Ages (5-12 years old):

Look for costumes that are age-appropriate in terms of size and design.

Ensure that the costume allows for easy movement, especially if your child will be active while wearing it.

Check the costume's sizing chart to find the right fit for your child's age and height.

Pay attention to the materials used to ensure comfort, especially if your child will be wearing the costume for an extended period.

Choose costumes with secure closures and consider any accessories, such as masks, to ensure they are comfortable and safe for extended wear.

Tween and Teen Ages (13 and older):

Consider costumes designed for older children, taking into account their preferences for style and design.

Look for more detailed and realistic costumes that align with your teenager's preferences.

Check sizing carefully to ensure a proper fit for a more mature body size.

Consider costume accessories, such as shields and gloves, to complete the look.

Safety Considerations:

Ensure that the costume materials are flame-resistant, especially for younger children.

Choose costumes with minimal accessories that could pose a safety risk.

Avoid costumes with pointed or sharp edges that could cause injury.

Remember to involve your child in the decision-making process to ensure they are comfortable and happy with the chosen Captain America costume. Additionally, consider the intended use of the costume, whether it's for Halloween, a costume party, or other events, to make an appropriate selection.

Deluxe Captain America Kids Costumes

Deluxe Captain America kids costumes are typically higher-quality, more detailed, and often come with additional accessories to enhance the overall look. Here are some features you might find in deluxe Captain America costumes for kids:

Quality Materials: Deluxe costumes are often made with higher-quality materials, providing a more authentic and comfortable experience for the child.

Detailed Design: Deluxe costumes tend to have more intricate designs and attention to detail, closely resembling the on-screen or comic book appearance of Captain America.

Additional Accessories:

Shield: A deluxe Captain America costume might include a more realistic or detailed replica of Captain America's shield.

Mask/Helmet: The mask or helmet included with a deluxe costume might have more details and a better fit.

Gloves: Deluxe costumes may come with gloves that match the character's look more closely.

Boot Covers: Some deluxe costumes include boot covers or even separate boots to complete the superhero look.

Muscle Padding: To give the costume a more superhero-like physique, deluxe costumes for Captain America may include built-in muscle padding.

Higher Price Point: Deluxe costumes are generally more expensive than standard ones due to the higher quality of materials, additional accessories, and attention to detail.

Licensing: Deluxe costumes may be officially licensed merchandise, featuring logos and branding from Marvel or the Captain America franchise.

When shopping for a deluxe Captain America costume for kids, be sure to check the product description and customer reviews to get an idea of the quality and features. Online retailers, specialty costume stores, and toy stores often carry deluxe costumes, especially during the Halloween season. It's also a good idea to check sizing charts and reviews to ensure that the costume fits well and meets your expectations.

Captain America Costumes for Group Cosplay

If you're planning a group cosplay featuring Captain America, coordinating the costumes can create an impressive and cohesive look. Here are some ideas for organizing Captain America costumes for a group:

Classic Avengers:

Coordinate with other Avengers characters such as Iron Man, Thor, Hulk, Black Widow, and Hawkeye for a complete Avengers lineup.

Ensure that each character's costume maintains a consistent birthday party theme and style.

Different Captain America Eras:

Represent various Captain America eras by selecting costumes that reflect different comic book or movie versions of the character.

For example, you could have a classic Captain America, a Nomad-inspired version, or a modern interpretation from the Marvel Cinematic Universe.

Civil War:

Recreate the iconic "Civil War" storyline by having some members of the group dress as Captain America while others dress as Iron Man or other characters involved in the conflict.

This allows for an interesting dynamic within the group.

Winter Soldier/Bucky Barnes:

Include characters like Bucky Barnes (the Winter Soldier) in the group.

This adds depth to the cosplay and allows for interactions between characters.

Falcon and the Winter Soldier:

If your group is open to including characters beyond Captain America, consider incorporating Falcon and other characters from "The Falcon and the Winter Soldier" series.

Gender-Swapped Captain America:

Experiment with gender-swapped versions of Captain America for a creative and inclusive approach.

This can add variety to the group and showcase different interpretations of the character.

Comic Book vs. Movie Versions:

Some group members can opt for costumes inspired by the comic book versions of Captain America, while others choose costumes based on the Marvel Cinematic Universe.

Varying Shield Designs:

Explore different shield designs, such as the classic round shield, the vibranium shield, or other unique variations.

This allows each Captain America in the group to have a distinct look.

DIY vs. Store-Bought:

Some group members might prefer creating their costumes from scratch (DIY), while others may choose pre-made costumes.

Ensure that the overall aesthetic remains cohesive despite different approaches to costume creation.

Consistent Color Palette:

Coordinate the color palette of the costumes to ensure a visually cohesive group appearance.

This can be especially important when incorporating different versions of Captain America.

Before the event, it's a good idea for the group to communicate and plan the overall theme, style, and level of detail for the costumes to achieve a unified and impressive group cosplay.

Where to Buy Captain America Kids Costumes

You can find Captain America kids costumes at various retailers, both online and in physical stores. Here are some popular options:

Online Retailers:

Amazon: Amazon offers a wide selection of Captain America costumes for kids, ranging from basic to deluxe versions. Make sure to read product reviews and check sizing information.

Walmart: Walmart's website features a range of Captain America costumes for children, including different styles and sizes.

Target: Target is another major retailer that carries a variety of Captain America costumes for kids. Check their website for online options.

Specialty Costume Stores:

Spirit Halloween: Spirit Halloween is a seasonal costume store that often has a wide range of superhero costumes, including Captain America for kids. They have both in-store and online options.

Party City: Party City is known for its extensive selection of costumes. You can find Captain America costumes for kids at their stores or on their website.

Costume Shops:

Check local costume shops in your area, especially during the Halloween season. These stores often carry a variety of superhero costumes.

Disney Store:

If you're looking for costumes inspired by the Marvel Cinematic Universe, the Disney Store may have Captain America costumes for kids.

Target, Walmart, and Other Department Stores:

These stores often carry costumes, especially during the Halloween season. Check the seasonal section or the children's clothing department for superhero costumes.

Superhero and Toy Stores:

Some specialty toy stores or shops that focus on superhero merchandise may carry Captain America costumes for kids.

When purchasing a Captain America costume, consider factors such as sizing, quality, and any additional accessories included. Read product descriptions and customer reviews to ensure that the costume meets your expectations. Additionally, check for any store promotions or discounts, especially if you're shopping during the Halloween season. Keep in mind that availability may vary, so it's a good idea to start looking well in advance of when you need the costume.

Tips for a Successful Captain America Kids Cosplay Experience

Creating a successful Captain America kids cosplay experience involves attention to detail, comfort, and ensuring an enjoyable time for your child. Here are some tips to make the Captain America cosplay experience a positive one:

Choose the Right Size:

Ensure the costume fits well. Check sizing charts provided by the manufacturer to select the appropriate size for your child. An ill-fitting costume can be uncomfortable and may affect the overall experience.

Comfortable Fabrics:

Opt for costumes made from comfortable, breathable fabrics, especially if your child will be wearing the costume for an extended period. Consider the climate and the event when selecting materials.

Test the Costume in Advance:

Have your child try on the costume before the event to ensure everything fits properly and is comfortable. This helps avoid last-minute adjustments and discomfort during the cosplay event.

Add Padding Wisely:

If the Captain America costume includes muscle padding, make sure it's comfortable and doesn't restrict movement. Adjust padding as needed to ensure your child can move freely.

Secure Accessories:

Ensure that any accessories, such as shields or masks, are securely attached. You don't want your child to constantly worry about keeping parts of the costume in place.

Practice Wearing the Costume:

Encourage your child to wear the costume at home before the event. This helps them get used to the feel of the costume and allows you to address any potential issues.

Consider Weather Conditions:

If the event is outdoors, consider the weather conditions. Make adjustments to the costume or choose appropriate layers to keep your child comfortable.

Pack Essentials:

Bring any necessary accessories or backup items to the event. For example, if the costume includes a shield, make sure it's easy to carry, and consider having a bag to store it when not in use.

Stay Hydrated:

Cosplaying can be active, and kids may get warm in their costumes. Encourage regular breaks for water and ensure your child stays hydrated throughout the event.

Coordinate with Others:

If your child is cosplaying as part of a group, coordinate with other participants to ensure a cohesive look. This can enhance the overall experience for everyone involved.

Encourage Confidence:

Remind your child to embrace their role and have fun. Confidence can enhance the cosplay experience, and enjoying the character they're portraying is the essence of cosplay.

Capture Memories:

Take plenty of photos to capture the memories of your child's Captain America cosplay experience. It's a great way to celebrate the effort they put into their costume.

Remember, the key to a successful Captain America kids cosplay experience is to prioritize comfort, plan in advance, and encourage your child to have fun embodying the character.

Conclusion

In conclusion, creating a successful Captain America kids cosplay experience involves thoughtful planning, attention to detail, and prioritizing your child's comfort and enjoyment. Choosing the right-sized and comfortable costume, testing it in advance, and considering weather conditions are essential steps. Securing accessories, coordinating with others in a group cosplay, and encouraging confidence in your child's portrayal of Captain America are also important factors.

Cosplaying as Captain America provides an opportunity for your child to embrace the spirit of a beloved superhero, fostering creativity and imagination. Remember to capture the memories with photos and celebrate the effort your child puts into their costume.

Whether it's for Halloween, a comic convention, or a themed event, a successful Captain America kids cosplay experience is not just about the costume itself but also about the joy and excitement it brings to your child. Enjoy the adventure and celebrate the superhero spirit!

[kyiratodoroki]

The results were kind of close, but since the "Yes" option is higher, I'm thinking about sharing some stuff on here. Maybe it's not the best idea for original content, but I'm desperate for motivation and curious to see if any of it catches anyone's attention.

I have a few (aka many) different WIPs. One is a very twisted Alice in Wonderland... sequel? Another is a reader insert that makes You the main character in the central story of my original universe, which is more extensive than it has the right to be since I haven't finished writing any of the stories. But I have worlds and races and languages... a pantheon. I've recreated the birth of our universe and the time that came before it... 😂😂 It's sad.

Alice in Wonderland sequel (no title yet):

Her hair was still the same bright gold as the summer sun and her eyes were still the endless blue of cloudless skies, but she had grown older. Older and more beautiful than words could convey.

"A-alice? Is that really you?"

A collective gasp rose from the court. It was known across Wonderland that prior to her ascension to the throne, the queen had been known by another name. A common name. An innocent name. A name she had gone to great lengths to bury in the annals of time. One did not refer to the Queen of Spades as "Alice" and expect to live, but it seemed the great lady was in good humor that day.

"You are either very very brave, traveller, or very very stupid. Which is it, I wonder?"

"Don't you recognize me? It's me. Vanesa." Her mind refused to acknowledge that her childhood friend did not know her. She had grown and changed in ways, but not so much that she'd become unrecognizable to her dear Alice.

The Queen wrinkled her nose. “Are you suggesting I should know you? Whyever would the Queen of Wonderland know such a tattered, filthy vagabond as yourself?”

The crowd snickered.

Those callous words sent the young woman reeling though she knew in her heart of hearts that her Alice would never say such things, and this Alice was certainly not *her* Alice. *Her* Alice had never worn an expression so cold.

🌟🌟🌟🌟

Catalyst (Where magic meets the mafia? 😂):

"This single soul will provide the catalyst, the key to unlocking the first seal."

🌟

Footsteps echoed in the alleyway with no effort to hide their approach. Definitely not your contact. People with the information you wanted kept a low profile and whoever was headed in your direction was singing Forbidden by Neon Desire.

 Loudly.

 And badly.

You pushed an earbud into one ear and grabbed your phone in an attempt to look casual while hiding out behind a dumpster in a dark alley.

"Hey now. What d'we have here?" The singer stopped short and cocked his head to one side. His gaze swallowed you up in one quick, greedy sweep from head to toe, and the grin that crossed his lips was ravenous. He stood several feet away, but his presence felt like an intimate invasion.

You tried to ignore him. At least he didn't sound like he was high. A video ad popped up on your phone, playing Forbidden - of all things- while a figure in black gyrated their hips to the beat. Neon blue smoke coalesced into the words:

☆ Forbidden ☆ Available Now for download @ NeonDesire.ssm

"Are ya blitzed out on somethin', sweetheart, or are ya just shy?" 

The voice at your ear caused you to jump. You'd only looked away for a few seconds and hadn't heard a sound, but the stranger was now leaning against the wall at your side. His violet and white hair was pulled into a ponytail beneath a silk tophat. He wore a loose black shirt and fitted pants with boots, typical city fashion. His eyes flashed in the light from your screen. 

"I'm just not in the mood for company, sweetheart." If your contact caught a glimpse of this guy, they'd bolt, and it'd taken weeks and a lot of cash to get them to agree to a meeting in the first place. They were your strongest lead to finding out where Aedryn was, and now this random idiot was going to ruin everything. "You can get lost now."

He gave a little hum and snatched the phone from your hands. "Someone's got an attitude this evening." 

"H-hey!" 

You tried to grab it but he easily caught your wrist with one hand and tucked your phone into a pocket with the other. His movements were so fast, you didn't realize what had happened until his lips were pressed against your palm. He drew back slowly, eyes locked on yours.

"Problem?"

[black-is-no-colour]

The Story Behind Hamish Bowles’s Maison Margiela Artisanal by John Galliano Met Gala Look

By Hamish Bowles, published by Vogue on 08 May 2019. Photography by Mehdi Lacoste.

John Galliano was always a star. When I started on my Foundation course in the early 1980s at Saint Martin’s School of Art, as it was then known, he was already a supernova of the fashion department, his exquisite drawings setting him on a sure path to becoming an illustrator. He inspired me to decide on a career in fashion rather than costume design (I had been torn), and after the Foundation course, I stayed on at Saint Martin’s to pursue just that. As John worked on his degree collection the following year, he holed up in the college library, hidden behind stacks of reference books that served a double purpose: They defined his private work space and helped to shield his jealously guarded sketches from prying eyes. As it turned out, John had taken inspiration from the Incroyables—the male and female dandies who emerged in the wake of the French Revolution with their own exaggerated versions of revolutionary style. He even burnt the edges of his drawings and dripped candle wax over them to create the illusion that they had been salvaged from an aristocrat’s ransacked mansion.

The collection was sensational—Joan Burstein, who ran Browns, London’s most fashionable boutique, bought it in its entirety. John couldn’t afford a taxi to transport it, so he wheeled it on a dress rail all the way to South Molton Street, where Mrs. B put it in her window and Barbra Streisand and Diana Ross bought pieces right out of it: They were his very first clients. John turned down a job offer to become an illustrator in New York and instead set up his eponymous brand there and then on a wing and a prayer.

I wore pieces from that first collection—waistcoats made from patches of 18th-century-style upholstery silks and sprigged cottons, jersey long johns, and vast organza shirts tying at the throat with a huge jabot. (John has re-created one of these looks to complete an ensemble built around a coat from this collection that the Metropolitan Museum of Art’s costume department has recently acquired and that is showcased in Andrew Bolton’s brilliant “Camp: Notes on Fashion” exhibition.)

The following season, John didn’t have the money to stage a fashion show, so he did a presentation instead in an old artist’s studio off the King’s Road. This collection was based on a 1920s cartoon in the satirical British weekly Punch titled Afghanistan Repudiates Western Ideals, and it explored a collision of Occidental and Afghan dress in John’s characteristically intriguing way. One of my ensembles from this collection—including a knee-length skirt that caused a sensation in Paris when I wore it to the collections that season—is now in the Boston Museum of Fine Art’s exhibition “Gender Bending Fashion.”

As soon as I heard the theme of this year’s Costume Institute show, I thought it would be the perfect moment to work again with John, who has found expression for his unquenchable creative force once more at the Maison Margiela. John had already made me a bias-cut black satin evening suit that evoked Shalom Harlow’s look from his unforgettable Fall 1994 show in Paris socialite Sao Schlumberger’s empty Louis Seize mansion.

To my great delight, John was soon on board. I sent some inspiration images of my eclectic pantheon of camp icons, including Mrs. Slocombe, the character with the Elnett-hairspray-bottle hair in ever-changing pastel hues, from the British sitcom Are You Being Served?; Quentin Crisp; Barbara Cartland; and Jazz Age aesthete Stephen Tennant. Together with John’s partner, Alexis Roche, we looked at looks from the Martin Margiela Artisanal Men’s Spring 2019 collection and isolated some silhouettes that we thought could work for me.

Source: Maison Margiela

At Saint Martin’s, John and I shared an inspirational mutual friend in the indubitably camp form of David Harrison, who was studying in the Fine Art department, had once improbably been scouted to front a punk band to be called the Sex Pistols (Johnny Rotten got the gig), and worked a Teddy Boy look that he accessorized with white winklepicker shoes, a peroxide quiff, and a pom-pom clipped white poodle dyed shocking pink who often appeared in his artworks. John’s studio had produced a frenetic collage print that was worked not only into the clothes but the runway itself, and that incorporated an Yves Klein blue poodle in everything from jacquard to tufted embroidery. I wondered if the poodle couldn’t go pink in homage to our camp friend?

Meanwhile, John’s studio sourced a jacquard cravat in mauve from Charvet, the storied Parisian men’s outfitter, and a selection of textiles in shades of grape and wisteria. (Charvet also made the shirt, and I found some Pepto-Bismol pink cufflinks in my own closet that the sculptor Andrew Logan had made for the John Waters high-camp superstar Divine in 1987. These would be my talismans for the night.)

When I went to Paris for my first fitting, after an initial visit to take measurements, John wasn’t in town, but Raffaele Ilardo, Margiela’s inspired head fitter, and his associate Jung A. Park were there to attend to all the finer points. There was already an amazing sample of the jacquard with the electric-pink poodles, and of the ostrich trim that John had instructed be embellished with metallic lurex threads to catch the light on the red (pink) carpet. (“Invisible to the naked eye but will pop in pictures, trust me,” he said.) Ilardo apprenticed with the legendary tailor Paquito (who carved Karl Lagerfeld’s most amazing suits at Chanel Haute Couture in the ’80s and ’90s), and he had made the most beautiful toiles, with a jacket that sat perfectly on my shoulders without adjustment and had a beautifully constructed rising roll at the top of the sleeves. The cape was constructed like a Victorian visite, with openings for the arms and subtle shaping in back. It was so perfectly constructed that I could have worn the toile itself.

Raffaele Ilardo working on the toile. Photographed by Alexis Roche.

“I advise that cape is rehearsed up and down steps if you can,” said John after he reviewed the fittings videos from afar. “No angle must be left to chance but still must look spontaneous. Every swish must be ingrained in the subconscious, and always imagine that Avedon is following you. A sudden knock at the door works wonders for that frozen-eyes-to-the-left look. Never forget Avedon is your focal point.”

A little over two weeks later, with the clock ticking before the Gala, I returned to Paris for a final fitting with John in the house. To my amazement, the entire ensemble had now been made, including the wide-toed Mary Jane shoes, shown in patent but specially remade for me in violet satin. There were two options of subtly different lilac, for a sheer sock dotted with a point d’esprit effect that was faintly obfuscated by the crushed hairs on my legs and would definitely be showcased, as the short pants hovered only a little below the knee. John gave my lower calves a long, hard look. “You’ll wax them just before the gala,” he instructed firmly. (“Always better when viewed through sheer, tons of moisturizer 15 mins before socks are put on,” he advised nearer the day.)

“It’s unbelievable,” I said when I saw the cape arranged on a tailor’s dummy in John’s light-flooded Margiela atelier. “It’ll only become unbelievable when you start to wear it,” said John. And, sure enough, when I put on the cloak and began walking up and down the studio and it caught the air in its massy volumes, it lifted up like a cloud, and, despite the thick feather fronding, seemed almost as light as one. “La légèreté!” John proclaimed exultantly, “It looks like a canvas, like you’re coming out of a painting.” I used the Margiela staircase to rehearse maneuvering the cape up and down the pink carpet, and I tried to work it from every angle, thinking by turns of Dietrich and Dovima and Proust’s beloved Comtesse Greffulhe. (“I love that little coyness!” said John. “It’s a Dorian Gray moment!”)

I’d asked John’s longtime collaborator and my great friend Stephen Jones for thoughts on something for the head (he concocted the custom top knots for the “Camp” exhibition mannequins) and he designed a wonderful tiara bandeau made of Swarovski crystals that were custom-produced in the required lilac hue and, like those lurex fronds, would add some pink carpet dazzle. John pronounced it a “very cool touch” and suggested “surfer pink” hair to match.”

On the eve of the gala, I submitted to leg waxing and sundry other beautifications (“Lymphatic drainage on face the night before always refines,” John had counseled, and thank you, Tracie Martyn, skin alchemist). On the morn, I went to the Greenwich Hotel to be ministered to by the brilliant Teddy Charles and his assistant Satoshi Ikeda, alongside Amber Valletta, and then I hied up to the St. Regis in a white Maserati to meet John, Alexis, and Raffaele and practice some more swishing and strutting in the hotel’s ballroom under their watchful eyes. “The Japanese kids are going to go mental for it,” said John of my Savile Row meets School Boy meets Comtesse de Castiglione lewk. Stephen fitted the tiara, which perfectly framed those Teddy-tweaked waves.

“Command your space!” said John as I headed out, “Hamish, it will be a riot!” How right he was.

Hamish Bowles at a fitting for his first custom Margiela look in 2018, photographed by Alexis Roche.

Source: Vogue.com

[selenelavellan]

For the Unusual Inheritance meme, 8, 9, or 10?

10. “you died and left me on the hook for a hereditary marriage contract”

how could I not

The Evanuris family is based on @feynites writing.

Selenehesitates, standing still in the late afternoon heat before twoover-sized and over-decorated wooden doors. The imagery bears aresemblance to some of the stories she's grown up with, of gods andtricksters and cities in the sky, but it still feels just slightlyoff. Like some version of herpeoples pantheon has been bastardized for the sake of some weird formof propaganda.

Surely, asign of good things to come, shethinks sarcastically.

Shepresses the almost hilariously small in comparison doorbell, andwaits.

Herfather had been a pain in the ass in life; somehow it seems onlyfitting that he continue the trend after his death. Selene had nearlytrekked back to Var Bellanaris to dig him up and turn him to ashherself when they had uncovered his lingering debts. Some remnantfrom Elrogathes days before he joined clan Lavellan; when he wasstill young, and hot tempered, and impulsive. When he had promisedhis first born in some ridiculously long contract to what is, to thebest of her knowledge, some sort of mob-like family.

Notthat he had ever toldher about it.

Twentythree years and never so much as a 'hey, you should probably know Itraded you for an apprenticeship once, so that might come back aroundfor you one day. Sorry!'

Witha little luck, these people will see what a ridiculous idea ahereditary marriage contract is, and she can go on with her life.

Thedoors swing inward, revealing an older elven woman with bright yelloweyes and well-earned wrinkles in her brow, who looks at her asshrewdly as if she were some sort of unwelcome dog defecating on herporch.

“Hello,”Selene tries anyways. “I'm here because of a contract my fathersigned around thirty years ago. If I could just get the head of thefamily to sign off that it's forgiven, I can go ahead and get out ofyour hair.”

Thewoman's countenance changes immediately as she holds out a handexpectantly. Selene quickly rifles through her bag and pulls out theslightly crumpled bundle of papers to deposit them in theoutstretched palm. She shuffles awkwardly from foot to foot while theolder woman skims through the papers before clicking her tongue.

“You'reElrogathes child?”

“That'scorrect.”

“Youare late,” She tsks, motioning for Selene to finally enter themansion. She presses a button in the entryway, and moves further intothe house. “Half of my children are already married. You will haveto marry one of my sons. Do you have any siblings?”

“No,but-”

“Ashame, but one we will contend with.”

Selenecan hear the shuffling of footsteps as they come to a stop at thebase of a large staircase, the motifs from the door clearly carriedthrough to the interior decorations, and she turns to the olderwoman, with a slight note of panic in her voice. “So-here's thething, I don't want to marry any of your kids.”

Thewoman raises one perfectly groomed eyebrow up as she glances up at Selene, the look from theirfirst meeting bleeding back into her expression.

“Notthat I mean any disrespect,” Selene quickly backpedals. “I'm surethey're grea-er, fine.But I don't have anything to offer you. There's no money, my wholeinheritance was this ridiculous marriage contract so really, its abad business decision on yourend to carry it out, if you think about it. How about instead oftying one of them down to some unknown dalish girl, I just pay forlike, a year of membership to a professional dating service. What doyou say? IHarmony? OKMythal?” the sound of footsteps is gettinglouder now, whoever she called nearly upon them. Her voice cracks asshe continues her plea “...AndrastianMingle?”

Threemore elves descend down the stairs. One has arms covered in ornatelydone tattoos that resemble the wings of an owl, with thick rings laidover most of his fingers. Long blonde hair that is currently pulledover his shoulder, covering a part of his leather jacket andfake-faded band tee. His eyes remind Selene of the elven woman stillstanding beside her, though the lecherous feeling he leaves as theyrake over her form are more reminiscent of the wolves in the woodsback home. The next has shorter black hair, floofed up slightly ontop of his head, and has most of his skin hidden beneath what looks toher to be a suit jacket hastily thrown over a pair of high-endpajamas. The third is practically lounging over the shoulder of thesecond, his own hair long and sleek and black, skin peppered withfreckles and a slightly bent nose, staring at her expectantly.

Theolder woman next to her makes a shooing motion at the third man, whomakes a dramatic pout before skipping down the remaining stairs andstanding just behind Selene. She has the distinct impression thathe's staring at her ass and legs, but her already heightened anxietyin the situation is preventing her from speaking up about it.

“Selene,these are my sons,” the woman states, gesturing to the two elvenmen still on the staircase. “Falon'din, and Dirthamen. One of themwill be your husband.”

“I'lltake her,”The blonde one speaks, pretending to seem disinteresteddespite the fact that his eyes haven't left her since he entered. “I'm the oldest, and the old man keeps bitching about me settlingdown anyways. Those legs open, right?”

Selenesshoulders raise at his comments, her own impulsiveness finallybreaking through her wall of nerves. “Not for you! No one is'taking' me!” She turns to the woman beside her, glaring down infull fury. “This whole situation is ridiculous; I'm not marryingyour sons because of some awful contract my awful father signedbefore I was even conceived! I do not know them, and I will not bespending my life with someone whom I have never even had aconversation with! Whatever game you may think this is, I'm notplaying it!”

Theman behind her snickers, and she thinks for a moment she sees himgive a thumbs up to someone.

“...Isuppose it is unfair to make you choose when you have no priorknowledge of my children,” The woman relents. “Very well. Youwill stay with us for a month, and in that time you will get to knoweach of my sons. At the end of the month you will make your decision,or I will find another way for you to repay your fathers debts; wecould always use more 'helping hands' at the Tevinter estate.”

Thewoman dismisses herself without another word, leaving Selene alone atthe bottom of the staircase with the men of the family.

“I'mimpressed you got so much wiggle room,” The freckled man behind herspeaks up. “Mythal's not really known for leniency.”

“Sure,'wiggle room',” Selene gripes. “Marriage to a stranger orenslavement; such great options, really. Who could resist.”

Theman snickers again, tossing an arm over her shoulders. “You'regonna be fine,” he assures her. “My names Des, and I think we'regonna be great friends. Word of advice though? Try not to spend toomuch alone time with Falon'din; he really isthat bad.”

“Fuckyou!” The blonde yells, quickly hopping down the stairs andgrabbing Selenes ass through her pants before making an approving noise.

Sheslaps the hands of both men away, and starts walking backwardstowards the doorway she came in from; maybe if she just runs,they won't be able to follow her. But as she does, she finds herselfstopped by another form behind her, as two dark hands settle over herhips.

Shescreams, flames igniting around her as she spins to light up the newstranger. The shorter, older man grabs her wrist before she cansummon a true fireball and laughs, seemingly thrilled by this turn ofevents.

“SPLENDID!”He announces. “WHAT WONDERFUL FLAMES! AND CHILD BEARING HIPS-YOU'LL MAKE A FINE ADDITION TO THE FAMILY! PLEASE; IF THERE ISANYTHING I CAN DO TO ENDEAR YOU TO MY SONS, DO NOT HESITATE TO ASK!”

“...Youcould let me leave,” Selene tries, pulling her wrist out of hisgrip.

Hefrowns at that, and shakes his head before booming “YOU HAVE NOTEVEN SHARED DINNER WITH US! WE ARE NOT SO STRANGE; EXCEPT PERHAPSDIRTHAMEN, BUT YOU WILL COME TO LEARN OF SUCH THINGS YOURSELF! TELL ME SELENE;HOW MANY CHILDREN DO YOU HOPE TO HAVE?”

Twosurprisingly strong hands grasp onto the sides of her shoulders, andguide her through the living room and towards the kitchen. She turnswith pleading eyes towards the only person still around who hasn'ttouched her against her will, and mouths a silent 'HELP ME'to the dark haired, silent elfstill standing on the stairs. His brow furrows, and a moment later heis gone, Des chasing after him.

Well,she thinks. This is hell. My father died and dragged me tohell with him.

Asshole.

[yourbcshop-blog]

Essential sleepwear for men

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Robes are in the pantheon of loungewear. They can be worn on their own or over your pyjamas to add warmth or to add dimensions and layers to your sleepwear. While robes come in all types of colours, prints and fabrics, the most flattering robes come in dark, solid colours such as black, grey or navy blue.

When it comes to fabric, several options are available. Robes typically come in terry, waffle weave or cotton. Cotton is absorbent and the best material for bathrobes, while terry and waffle are best for lounging. Terry is thick and fluffy to keep you warm in colder months and waffle weave is slightly more lightweight.

Pyjama Bottoms and Tank Tops

Some men prefer to sleep wearing just their pyjama pants or sleep shorts. Loungewear bottoms come in a variety of materials, colours and styles and the type you choose should be one which you find comfortable and expresses your personal style. Most men prefer bottoms made from loop-back cotton and microfibre, which are both soft and breathable. Pyjama bottoms are frequently available in cashmere, wool and silk as well.

[backofthebookshelf]

WisCon Day 3

Sunday, despite being hung over and not going to bed until 4am the night before, I staggered up early enough to catch the end of the 10am panel slot "How Lazy Writing Recreates Oppression." There were some really good thinky panels at that slot, but I knew I wasn't going to be up for anything more than listening to Tempest and Nico and Mark yell about stupid stories and stupid characters, and I was right. It was pretty great though. I did not take notes in this panel, which on reflection is a goddamn shame, but the Twitter hashtag gets a lot of the highlights. (Tempest made Mark blush with her description of the male ejaculation story arc, which alone was worth the price of admission to the entire con.) I needed some vegetables for lunch, so we walked all the way around the square to the remodeled Brocach, which used to be an Irish pub and is now a super-trendy restauraunt that serves a lot of Jaimeson. Food was good, but I can't see going there as often as we used to (even if I were in town). I'd intended to go to the "creating alien sex organs" panel at one, but the general atmosphere in the room beforehand was putting me off just slightly (nothing super offensive, just being a mildly sex-repulsed asexual person means there are some atmospheres I'm not really comfortable in), so I went to a reading instead - "AIs, Wendigos, and other Teenage Worries." Theo Nicole Lorenz read from her YA-novel-in-progress Wendigo Summer, Marianne Kirby read from a story narrated by a ghost who lives in a mall and falls in love with a mannequin (and talked up her Dustbath Revival series, which I then had to go into the dealer's room and purchase), and Naomi Kritzer read from the YA-novel-in-progress followup to her Hugo-award winning story "Cat Pictures, Please," narrated by a teenage girl and by an AI who set up a social network whose price for entry is pictures of cute animals. Because the AI likes cat pictures. Wound up spending more money in the dealer's room, because of course there were many books I was interested in, once I went looking for one, and also Dylan Edwards's feeping creatures are exactly my monster aesthetic (I recommend them to everyone). At 2:30 I went to a panel on Moral Ambiguity in Fiction, which turned out to be the followup to the villains panel I'd been to last year, where we ended up talking about the difference between moral ambiguity and "this person is evil but I'm attracted to them." There was some of that in this panel, too, but also on the difference between a text that is morally ambiguous (like, say, Watchmen, where the ending gives you several options for how to interpret an event but doesn't actually encourage you to lean toward any one of them) and a text that is morally chaotic (where the hero can do whatever he wants because he's the hero, which makes all his actions morally acceptable *coughSGAcough*). There was also some discussion of what kinds of characters are interesting when morally ambiguous (characters who grew up without a moral compass and attempt to build one; characters who do bad things in service of a higher good) and what characters are painted, either by canon or by fanon, as morally ambiguous despite not really deserving a redemption arc (Snape, Loki). (I mean, I might fight you on Loki-in-the-text, but Loki fandom really is the worst sometimes.) Sadly, no one mentioned the next logical step: people whose actions are hardly morally ambiguous but who you have a hard time arguing with anyway (see: The Ballad of Black Tom). Lots of good examples in this panel; check the book list when I get it up. At four I went to another monster panel, which turned out to be a horror panel instead: "When the Monster Isn't the Monster," which despite the panel description turned out to be a lot about how horror works and how it doesn't. Most of what I have written down is an endless list of recommendations, but a lot of the discussion wandered around the general idea of otherness (which is what monsters are about) and ways things get projected onto that and how it's handled. There was a lot of talk about some of the big recent horror movies - The Babadook, It Follows, The Witch - and what exactly their monsters are doing. The most interesting point that was brought up was about universality - while the idea of monsters generally is a universal one, individual monsters are culturally and even personally very specific, which is one reason why American remakes of foreign horror can be so bad. And some stories can't be universalized - Get Out is a movie about the experience of being Black in America, and while it might give white audiences a taste of what that's like, it's not the same thing. (We didn't talk much about Get Out, because the whole panel was white, and I appreciated that. Also, I still haven't seen it, which I need to fix.) After that it was time for dinner and getting ready for the big event! We ran back to Hattie's apartment because she'd accidentally left her dessert ticket there, came back and had Ian's Pizza for dinner, then got all fancy. (Last year I went super-girly to the Dessert Salon, the one semi-formal-if-you-want-to part of WisCon; this year I didn't get to go as butch as I wanted to but I did wear pants and the General Leia vest I'd bought on Friday, which was pretty good). Dessert Salon is always amazing; they have a good pastry chef at the Concourse. Kelly Sue DeConnick gave an amazing speech about taking your place in the pantheon of feminist writers, and about the debt owed by people with privilege to those who have less of it; Amal El-Mohtar gave an amazing speech about being strong enough to be kind, coming together and understanding one another in good faith, and Steven Universe (which I really need to suck it up and watch). The Tiptree award was presented to Anna Marie McLemore for When the Moon Was Ours - and look, the Tiptree ceremony is my absolute favorite award ceremony in all the world. The award is a tiara to wear all weekend, a check, a box of chocolates, and a piece of art inspired by the work (this year a gorgeous glass sculpture), and then we all sing a parody song based on the winning work. "And that's how you present a dignified award," Pat Murphy said when it was all over. It's the best. And then they announced next year's guests of honor, which I have yet to be less than overwhelmingly excited about, but next year it's Tananarive Due!!!!!! and Saladin Ahmed!!!!!! which is incredible, I am so excited, this is going to be amazing. After the celebrations I tried to party again, this time slightly more successful, not least because I've been following Alexandra Erin on twitter for months and had already managed to talk to her on Friday night, so I was much less intimidated. Also, they were doing virgin cocktails, and I was not going to miss a party with virgin cocktails. The party was semi to celebrate the ten-year anniversary of her first major serial, Tales of MU, and mostly to launch her new one, The Secret Sisterhood of Superheroes, featuring realistic elements such as happy queer femme superheroes, and fantasy elements such as competently evil presidents. Everyone read it, it should be great, I got a promotional button with the title of the first chapter, "Only G*sh Can Judge Me." And then I came back to the room and took a shower and went to bed. (Monday and wrap-up thoughts later tonight; hopefully book lists by next Monday.) comments from the wicked king of parody http://ift.tt/2rZetlV via IFTTT

[tripstations]

Tourist Alert! 10 Things NOT To Do When in Rome

Tutte le strade portano a Roma — All roads lead to Rome.

This is an ancient Italian saying, and if it is true, then you’ll be visiting Rome sooner or later!

Roman people are quite used to tourists, who are looked upon as if they are almost a different typology of human beings altogether. Well, isn’t it true that we all change a bit when on vacation in a different country, after all?

Romans are generally welcoming, but it is wise to pay attention to some things that they find it hard to accept. The basic idea is “Don’t do what the Romans don’t.” This is because some tourist habits are somewhat funny, while others are just plain offensive.

  Let’s see some suggestions:

1. Do not throw coins into every fountain you see. Coins go into the Fontana di Trevi only.

Living in Rome, it’s so easy to spot coins in almost all the fountains. This always makes people smile, because every Roman knows that the only one in which you should actually throw a coin and make a wish is the Trevi Fountain, and the Trevi Fountain only!

  2. Don’t get a lot of single-fare public transport tickets. Get a 3-day, 7-day, 30-day pass instead.

Public transport tickets cost around 1€ (but the prices are most probably going to go up starting from June) and allow you one single metro trip or a 75 minutes trip by bus. If you’re going to use public transport a lot, you’d better get a pass that allows you to use buses, metro and trams as much as you want.

BTI ticket costs 11€ and lasts 3 days; CIS pass costs 16€ and lasts 7 days; a monthly pass costs 30€ and is valid for the calendar month. You must validate the pass on the first use using one of the small yellow machines at the entrance of the metro stations or in the buses, and keep it with you at all times, in order to be able to show it to the ticket inspector if needed.

  3. Cling to your stuff. Do not keep your money in the most accessible pocket of your backpack.

If this is your habit, Roman pickpockets will just love you. This is a basic rule! Be travel-savvy and keep your documents and money in separate purses and check on them every now and then. Do not put valuables in an external pocket. Do not leave anything unattended even for a few minutes. I-phones and MP3 players are now the most targeted and stolen items, so take good care of them.

  4. Fountains are not for washing your feet, and no, you can’t dip them in “just for a minute.”

Rome is so hot in the summer, and your feet will be tired of walking on the hot sanpietrini, the typical Roman cobblestones. So it is just normal to desire to dip your feet in fresh water, but even if you really want to, resist the urge to sit on the border of a fountain and dip your tired feet, as it is forbidden and locals find it disrespectful.

You can use one of those small public drinking fountains called nasoni (big noses) instead. It’s very easy to find one and nobody will blame you.

  5. Avoid tourist menus as much as you can and get some proper food.

This looks like an easy one, even if there are many tourist-trap menus in the center of Rome, so many that it isn’t really easy to avoid them, especially when you don’t know where to go. If you prefer a quick snack, it’s also nice to get a look in a supermarket or in an open air market, where you can get fresh ingredients for a panino and some fruit, just like a local.

Also, it is a good idea to try avoiding what you can get at home; you’re in Italy after all! Be curious!

  6. Don’t divert your attention!

Always beware of pickpockets, especially when travelling on buses, metros and public transport, but also when in line for something and when shopping in crowded places.

Some bus lines are especially famous for the high number of robberies that happen there every day. For example, the 64 line is one of them. Thieves do not always look seedy—they actually look pretty normal and friendly—but they’re expert scammers. You may get bumped or approached by someone when walking on the street or pushed when in line or while you’re window-shopping. An old trick that usually works is to cling to your bag. For example, get your backpack or bag on your belly and hug it with nonchalance. Even Romans do it, so it’s definitely all right.

  7. Avoid entering a church, a place of culture or a museum in a very summery (as in, skimpy) dress.

It is a good idea to keep a big scarf or spare clothes in your backpack, so you can quickly wrap them around your shoulders or legs when visiting some buildings. There is a dress code for many of them, and sometimes the janitors just don’t let you in if you are not covered enough.

So check your tops, short pants and skirts; if they show too much skin, there are chances that somebody will stop you from entering. This applies to both men and women. 

  8. Do not leave your trash on the streets, in somebody’s bike basket or on the steps of a building.

If you can’t find a bin near you, then keep that rubbish in a plastic bag or in your pockets until you find one.

Rome is such a beautiful city, but just too often visitors don’t care enough about keeping it clean. Many places are littered with rubbish such as food leftovers, cans, wrapping paper, and broken umbrellas.  Romans always wonder bitterly if tourists do it in their home cities as well…!

  9. You don’t have to pay for everything you’re going to visit. There are so many free places!

While it is true that some museums and palaces are worth the ticket, it is a pity to limit your visit to those places. Gather some useful info before going to Rome! For example, the Pantheon is free, and the Vatican Museums are free on the last Sunday of every month.

Besides, it is nice to visit some not-so-touristy places…You will have a taste of “real” Rome. What about wandering through the small streets, or taking a walk in the most beautiful quarters of Rome, like Trastevere, Testaccio or Coppedé?

Moreover, Basilicas are usually free to visit and contain so many works of art. The big city parks (usually called “Villa-something,” like Villa Pamphili, Villa Borghese, Villa Ada or Villa Torlonia) are free too. You might also like to visit the Appia Antica Park, both walking and biking.

  10. Do not accept flowers, toys or anything else from strangers. Refuse firmly and keep walking.

You will definitely meet people who will try to scam you, putting stuff like roses, small toys, bracelets or even little holy pictures in your hands, offering it to you as if it were a gift, or for “good luck in Italy” or because they “need help,” or because “you’re beautiful.” They will then ask for money and give you trouble if you refuse or give them just a few coins. This is when it can help to learn to speak Italian before you travel so you can provide a quick response.

So a firm No grazie (no, thanks) is in this case the best answer. If they approach you while you’re walking, just keep going and pay attention to your belongings in the meantime. Sometimes one person will approach you, while a partner takes away your stuff while you’re distracted. Never let your guard down!

  Looking for a place to stay? Check out our Rome Accommodation Guide for a few options.

  EXTRA: Do not forget a good travel insurance before you go.

I highly recommend to get a good travel insurance as most likely your standard health insurance won’t work abroad. We at Travel Dudes recommend the awarded Travel Insurance by WorldNomads which you can easily purchase online for the exact time needed.

The post Tourist Alert! 10 Things NOT To Do When in Rome appeared first on Tripstations.

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[escaperail1]

How one Southern theater won a culture battle but lost the culture wars.

Twenty-five years ago, Tony Kushner’s Angels in America premiered on Broadway, swept the Tony Awards, won the Pulitzer Prize, and changed the way gay lives were represented in pop culture. For a 2016 Slate cover story, Isaac Butler and Dan Kois assembled an oral history of Angels. Now Butler and Kois have expanded that story into a book, The World Only Spins Forward: The Ascent of Angels in America, out Tuesday. Through more than 250 interviews with actors, directors, playwrights, and critics, the book tells the story of Angels’ turbulent rise into the pantheon of great American storytelling—and explores the legacy of a play that feels, in an era when freedom and civil rights still feel under siege, as crucial as ever.

Much of Angels’ impact was in scores of ambitious productions across the country, far away from the bright lights of Broadway. Putting on the epic two-part drama has become a rite of passage for theaters in cities large and small across America and around the world. In this exclusive excerpt from The World Only Spins Forward, actors, administrators, and journalists tell the story of one such theater that went to court to fight a local government that wanted to shut the play down—and won.

Keith Martin (producing and managing director, Charlotte Repertory Theatre, 1990–2001): We got the rights to Angels in America in 1994, but we produced it in 1996.

Tom Viertel (producer of the Angels in America national tour, 1994–95): We intended to tour in Charlotte and the Charlotte Rep begged us not to come, to let them do it themselves.

Steve Umberger (director of Angels in America at Charlotte Rep, 1996): We were growing. We had done some challenging work, we had just started doing collaborations with the Charlotte Symphony: Midsummer, Romeo and Juliet, The Tempest, full text, with orchestra, working on a big canvas. Expanding our audiences.

Perry Tannenbaum (founder and editor, Creative Loafing Charlotte): There were only six theaters in the United States that were being allowed to do the show that near to the Broadway production. It was a big deal.

Viertel: They were so passionate about this that we agreed to let them do it. And they did it, and they were all fired. They literally dissolved Charlotte Rep.

Doug Wager (artistic director, Arena Stage, Washington, 1991–98): The 1990s were the peak of the culture wars that broke out with the assault on the National Endowment for the Arts.

Brian Herrera (assistant professor of theater, Princeton University): The culture wars were a tipping point. Up until then, even though there was contestation with the NEA, there wasn’t a sense that it was going to go away.

Wager: The NEA imprimatur is the thing that gives the foundations their incentive. So the absence of that imprimatur gave funders some really good reasons to avoid anything too sticky or controversial, in general.

Herrera: Queer people and people of color became poster children for what conservative America doesn’t represent, like Robert Mapplethorpe and Piss Christ. It was a way of using particular artists to mark a line in the sand and say we therefore do not support the arts. And using the shock of the artists and their work and their identities as proof that they were corrupt and thus unworthy of funding and, by extension, not good Americans.

Wager: All of that was giving politicians—putting them into a cold sweat, and giving them a justification for suppressing, diverting, or cutting federal funding for the arts.

Greg Reiner (director, theater and musical theater, National Endowment for the Arts): In 1992 we had $172 million. And then in ’96 that’s when we lost 40 percent of our funding. This year our funding is $150 million, which is close to what it was in pure dollars, not counting inflation, in the mid-’90s.

Umberger: We didn’t do Angels to create any sort of political sensation. I think Tony Kushner felt … we were the smallest of the companies, and I think he had some sympathy for that. He was also certainly aware of the political climate, and Jesse Helms.

Kevin R. Free (Belize at Charlotte Rep, 1996): There were all these discussions about the New South versus the Old South. Charlotte was supposed to be the New South. The New South was supposedly progressive, more inclusive of gay inhabitants, people of color. The attitudes were supposed to have changed.

Umberger: Charlotte is the largest city in either Carolina. So you have this strange tension between an aspiration to be a “world-class place,” a phrase that’s been thrown around a lot in Charlotte, and a very small-town way of thinking that’s always been at the core: a Southern, conservative, churchgoing sensibility.

Lawrence Toppman (arts reporter, Charlotte Observer, 1980–2017): The boosterish talk about “a world-class city” didn’t reflect reality then or now. Even more than Atlanta, a city Charlotte leaders alternately mocked and emulated, Charlotte was an odd conglomeration of Northern transplants seeking warmer climates, workers imported by banks from other cities, and natives who still thought of it as an overgrown small town.

Martin: It was our due diligence that got us into trouble.

Tannenbaum: Part of what had been recommended was this sort of community outreach.

Martin: We created a series of communitywide education and outreach activities in hopes of shedding light on the difficult issues of the play, rather than heat.

Umberger: All of the events happened so quickly, a week or less.

Martin: The Charlotte Observer went Page A1 with the following headline: “Theater Aims to Avert Storm Over ‘Angels’ Drama.”

Tony Kushner’s seven-hour epic, which Charlotte Repertory Theatre opens March 20 in the North Carolina Blumenthal Performing Arts Center, has been hailed as the play of the decade, the winner of one Pulitzer Prize and two Tony Awards as best drama.

It also contains nudity, a simulated homosexual act and adult language—elements that have caused trouble for Charlotte’s cultural organizations in the past.

In one scene, a young man with AIDS takes off his shirt so a nurse can check his lesions. “Only six. That’s good,” she pronounces. “Pants.” The young man drops his trousers so she can continue. He is as naked as the day he was born.

—Tony Brown, “Theater Aims to Avert Storm Over ‘Angels’ Drama,” Charlotte Observer, March 6, 1996

Tannenbaum: The head of the so-called Concerned Charlotteans, the Rev. Joe Chambers, sent a fax to City Council asking for a roll call about who supported this homosexual event and who didn’t.

Tony Kushner: Rev. Chambers was nuts. He had declared Barney the Dinosaur an agent of the devil. I mean, he was a hideous person.

The popular PBS kids’ show character is “straight out of the New Age and the world of demons and devils,” warns Rev. Joseph Chambers, who runs a four-state radio ministry based in North Carolina.

Barney, adored by millions of toddlers and preschoolers, is yet another sign that “America is under siege from the powers of darkness,” adds the politically active Chambers.

And for a donation to his 25-year-old Paw Creek Ministries in Charlotte, Chambers will send you a booklet explaining it all: “Barney the New Age Demon,” recently retitled “Barney the Purple Messiah.”

—Cox News Service, Nov. 25, 1993

Tannenbaum: After the fax was sent out, the Blumenthal Performing Arts Center, the City Council, the local attorney general, all enjoined the Rep from opening.

Scott Belford (director of public relations, Arts and Science Council, Charlotte, 1995–2000): It became a rallying point to question freedom in the arts.

Martin: Their lawyers tried to shut us down using the North Carolina obscenity law. But they couldn’t. Works of “intrinsic artistic and literary merit” were excluded from the law. The only legal option they had was North Carolina’s indecent exposure statute, because of the roughly eight seconds of full frontal male nudity.

The cease-and-desist order constituted prior restraint, because we had yet to break any laws. It also constituted an imminent threat, because I was named personally. That allowed me to seek judicial relief from the court in the form of a restraining order, which later was made into a permanent injunction. In six hours I had to find a lawyer, file a formal request, find precedent, a sympathetic judge, request a court hearing, deal with my staff, my board, the cast, the crew, the media, and get process servers.

Umberger: We all knew there was a chance the show wouldn’t open. There we were, at 5 in the green room before first preview, wondering, “What’s going to happen next?” We had worked for a year—were we going to be able to do the play?

Martin: At 4:58 p.m., two minutes before the clerk’s office closed, the judge’s order was signed and filed with the clerk, and process servers fanned out across the county to serve notice.

Umberger: At 5:15 or something, we found out we were doing it. The show was at 7:30, I think. So it was close!

Martin: We served the Performing Arts Center board and senior staff, the police chief, city police department, the county sheriff, the sheriff’s department, the DA and all of his magistrates, even the local and state alcohol and beverage control board, because we had a full bar at the theater and you can’t serve alcohol at a premises with full nudity. Anyone who had the legal authority to shut us down, we got an order against them. We were painting with a shotgun, not a rifle.

Angus MacLachlan (Louis at Charlotte Rep, 1996): We were warned there might be bomb threats, or that during the nude scene people might try to stop the show.

Tannenbaum: It turns out that the Concerned Charlotteans showing up en masse to protest the opening numbered 15 or thereabouts. And the number of people picketing in favor of Angels numbered between 150 and 200!

MacLachlan: It felt like two different factions, like what’s happening now in America. What Trump is doing, what the conservatives in America are doing, but most people didn’t vote for him. We had tremendous support from the community.

Kushner: They tried this direct assault, actually stopping it, and ran right into the First Amendment. I mean, it didn’t work, and in fact made it a huge thing, and everybody with a conscience in Charlotte felt they had to go and see it.

Martin: Opening night, I said, “Good evening, ladies and gentlemen, and welcome to Angels in America,” and there was a standing ovation. We hadn’t even done the show yet!

Be splendid tonight, be focused, have fun, make theater: That’s our way of repudiating the bullies, the killjoys, the busybodies and blowhards. We know the secret of making art, while they only know the minor secret of making mischief. We proceed from joy; they only have their misery.

—fax from Tony Kushner to Charlotte Rep, March 20, 1996

MacLachlan: That night was so electric, and so supportive, it was really about what you wanted it to be about: Kushner’s words, the events onstage. The feeling, the connection from the audience, was everything you want in a theater. That’s what was happening, not the little noises from outside.

Martin: The headline in the papers the next day was “Judge: Let ‘Angels’ Play.” It was a bigger typeface than Kennedy’s assassination.

A last-minute court order Wednesday secured opening night for the tense cast and crew of the Pulitzer Prize-winning epic, which played without protest in city after city until it reached Charlotte. A group of Christian conservatives tried blocking the show over scenes of nudity, profanity and simulated sex.

Even after the legal victory, some expected an outburst during the nude scene, but when Charlotte actor Alan Poindexter dropped his blue slacks and for seven seconds faced the audience naked, no one said or did a thing.

—Tony Brown, Gary L. Wright, and Paige Williams, “Judge: Let ‘Angels’ Play,” Charlotte Observer, March 21, 1996

Belford: The show sold out and extended because it was in the headlines every day and there was so much discussion around it. A lot of people felt they had to see it to see what the fuss was all about.

Toppman: Charlotte Repertory Theatre never did a more accomplished show.

MacLachlan: Tony Kushner came down and saw it. I remember him saying this play has been done all over the world, in very conservative countries, and nothing like this had ever happened.

Kushner: They stopped the plane on the runway and suddenly all these policemen came on, and the stewardess asked me if I was me, and they helped me off the plane because they were worried about a death threat or something. It was nonsense, but it was exciting.

Martin: They picketed every one of the play’s 30 performances. They even showed up Monday nights. The first time that happened, they told the media they had successfully stopped the show. The police had to tell them we were dark on Mondays.

Tannenbaum: We were all very euphoric at the time. It remained, until the company folded, the most staggering hit they had. Eleven thousand people saw that show in Charlotte.

Umberger: The next season, we had a 20 percent increase in subscriptions, and when we polled people, they said it was because of Angels.

Tannenbaum: There was a tremendous feeling that this was a huge opportunity for Charlotte theater to expand. This is [laughs] obviously not the scenario that played out.

Free: I can’t talk about Angels without talking about Six Degrees.

Umberger: We had chosen [John Guare’s] Six Degrees of Separation for the next season. Joe Chambers or someone seized upon that as proof that we were continuing to violate standards, that it was bigger than Angels. We tried to defuse that, say that wasn’t what the play was about.

Free: It wasn’t nearly as good, but it became “Why is Charlotte Rep doing all these gay plays?” Six Degrees isn’t even really a gay play.

Martin: It’s available in the comedy section at Blockbuster.

Kushner: They did what these people always do: The next year they realized a full-frontal assault on civil liberties and freedom of speech wasn’t gonna work, so they defunded the Rep.

Martin: In November of 1996, the Mecklenburg County Commission became dominated by Republicans who had a stealth mission to defund the arts. The “Gang of Five,” led by Hoyle Martin.

Umberger: I think it was on April first. April Fools’ Day. It was a vote to defund the $2.5 million Arts and Science Council. It was funny, because they wanted to defund us because of Angels. But they wouldn’t say, “Well, we can’t give money to organizations that do gay material,” so they had to defund the whole thing, the 30-odd groups that got money from the council. That meeting started at 6 in the afternoon and went until 2 in the morning. There was an overflow crowd. It was a very tense and raucous seven or eight hours that had many speakers for and against. The head of the commission was not part of the Gang of Five. He voted against. Right before the vote he said, “Watch us, and forgive us.”

Belford: It was a 5–4 vote.

Umberger: That was 2½ million out the door.

Belford: The Arts Council funded programs for kids. The symphony. The opera. Just because this one group funded by the council did one play with a gay character in it.

Martin: Hoyle Martin went so far as saying we should ban all works that include the word homosexual, works created by artists who were homosexual. One minister railed from the pulpit about the works of Leonard Bernstein. One said they should ban The Nutcracker because Tchaikovsky was gay. I was “outed” myself, by Republican County Commissioner Bill James, the only one of the Gang of Five who is still in office. This was a surprise to my wife and teenage daughter.

Belford: It was a real wake-up call to the community. A black eye to Charlotte. We’re trying to be a very progressive, forward-thinking city.

Martin: Four of the Gang did not survive the next election cycle.

Belford: After the elections, the funding was returned and increased.

Tannenbaum: There was a dampening effect. It ushered in an era of extreme caution. They actually convened—the Arts and Sciences Council—convened a task force where all sides would be represented and would issue guidelines for arts events in Charlotte. And of course any compromise would preclude events like Angels in America.

Umberger: I was on the task force. Also on that task force was Joe Chambers. Everyone had been invited to the table. All sides.

Tannenbaum: The appeasement from beginning to end of these wackos is really just startling.

Toppman: Charlotte Rep fomented controversy, wittingly or unwittingly, by responding clumsily to the negative comments. Self-righteousness, even when one is righteous, doesn’t convert or engage enraged people. Cowardly, confused politicians didn’t help.

Tannenbaum: It pretty much reaffirms what we’re seeing today in Charlotte. Some little thing, like a bathroom and who is supposed to go in it, stirs up a national furor.

Umberger: A lot of people assume that Angels is the reason Charlotte Rep closed. That wasn’t the reason. It was a supporting factor. People were tired. The theater staff was tired. The city was tired from all of the fighting. I was gone in 2002, and it lasted until 2005, but it happened when the economy was beginning to fail. Charlotte Rep needed another million bucks to keep healthy, but that money was nowhere to be found.

Toppman: No one came out of this mess covered with glory, except the actors and technicians.

Martin: I have almost one and a half file drawers from Angels. Of the thousands of articles, there’s one that’s my favorite, an editorial from March 24, 1996, in the Charlotte Observer. The headline is “Bravo Charlotte Rep.” “In this conservative city, on this matter, that took guts. Bravo.”

Excerpted from The World Only Spins Forward: The Ascent of Angels in America by Isaac Butler and Dan Kois. Published by Bloomsbury USA. Portions of the book first appeared in Slate.

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