#tim street-porter

[patrocles]

FRIDAY NIGHT LIGHTS - 1.06 El Accidente

[rigginsstreet]

Well I think it’s interesting what the writers did for Street in that moment was let you know that Street was aware of much more around him than maybe you thought at first, and that’s what made him, I think, maybe a great leader. His friendship with Riggins, if you’re just looking at it from the outside you’re like “What is it about- why are these two guys-“ But Street knows something about Riggins that I feel like not everyone else knows, and he sees good in everybody. - But yeah, for me it’s like, the most interesting thing about this episode was watching everybody and how they dealt with grief. Riggins not being able to show up and visit his best friend, and why is that? Like, when there’s a drastic life change for one of your best friends why do we shy away- And that really starts to affect Street, you can tell. He’s like “Did Riggins sign it?” ‘Cause Riggins hasn’t been there yet. And Lyla brings it up later- Minka and Riggins, which is maybe the seed of something as well, that we’ll uncover more about, but you see their relationship and what that really is and how it hinges around Jason. -Scott Porter IT’S NOT ONLY FOOTBALL: FRIDAY NIGHT LIGHTS AND BEYOND

[headbandsandflats]

on this week’s episode of It’s Not Only Football:

Scott: “I just think it’s an interesting dynamic because, it’s like, the girlfriend is involved. What if you flip it and it’s Street and it’s Riggins and, you know, something...”

Zach: “Lyla gets hurt and they get together?”

Mae: “That’s hot.”

if you’re not listening to/watching this podcast, you should be.

[kiri-cuts]

A bid for Black Sabbath bravado in “Friday Night Lights”

Within the pilot episode of the masterful mid-’00s teen drama “Friday Night Lights,” we’re presented with two best friends. There’s the all-American, wholesome good boy, Jason Street (Scott Porter) -- the star quarterback of the Dillon Panthers, with little else but a bright future glistening in the crosshairs of his steely focus. And then, there’s his lifelong pal, Tim Riggins (Taylor Kitsch) -- a lovable party boy who turns up to practice with vodka on his breath, and who has seemingly accepted the inheritance of a dead-end future from his deadbeat dad. If Lux Lisbon would have survived “The Virgin Suicides” to have a kid with Trip Fontaine, it would have grown up to be Tim. 

Set in the small town of Dillon, Texas, the two teens occupy vastly different corners of the pigskin pressure cooker within which they exist. Nice guys like Street do well a place like Dillon, and he has everything going for him -- incredible career prospects, a head cheerleader for a girlfriend, and the entire town’s adulation. 

Meanwhile, Riggins is shown to be a reckless rogue, forgiven for his sins only because of how great he plays ‘ball -- and how much the ladies love him. You can see him souring between scenes and his burnout feels inevitable and overdue -- living with his brother amidst a blur of blondes and beer bottles, with nary an emotion in sight. While Street trains and studies and earns his place on the pitch, Riggins emerges with all the discipline of Iggy Pop on a stage full of broken glass -- raw and wounded, he takes whatever fire might fuel that inevitable burnout and pours it like kerosene onto the field. 

At a Panther’s Party hosted at Garrity’s Automobile -- the hottest ticket in town, folks! -- Dillon’s mayor, Lucy Rodell, squares up to Street to tell him some home truths. “You’re a nice boy,” she tells him. “And you got great manners.” And while he’s politely Yes ma’am-ing it up in response, she cuts to the chase. “Knock it off. You can't go into the game tomorrow night like that,” she proclaims. “Carpet bomb 'em, you understand? ...  Chew 'em up, spit 'em out.”

A closeted lesbian who clearly knows her way around unleashing a certain amount of repressed energy wherever she can, Rodell recommends that he listen to the early work of Black Sabbath, assuring him, “It’ll make you mean.” Boys can’t be soft and nice. Winners have to be mean and gristly. The survival of the town depends on this mentality: It chugs at a fountain of toxic masculinity and it lays waste to those who cannot swallow the broth and conform. 

During an episode of the podcast, “It’s Not Only Football: ‘Friday Night Lights And Beyond,” Porter revealed that the sequence wasn’t scripted. But it certainly sets up the tone for the rest of the episode, if not the rest of the show. After all, it was Black Sabbath who performed, “Killing Yourself To Live” in 1973, with singer, Ozzy Osbourne -- a good boy who arguably had to make himself mean to survive -- singing, “How people look and people stare, well I don't think that I even care. You rot your life away and what do they give? You're only killing yourself to live.”

And while the song’s lyrics may be about the hollow nature of the music industry, the song could certainly apply to a small town community that rests all its hopes, fortunes, and futures on the score card of a teenage sports team -- no matter the cost. 

That certainly feels true when Street becomes paralysed after experiencing a catastrophic spinal injury during a tackle on game night. The Rodell scene might have been played for laughs, but it lurches back into focus like a harsh foreshadowing: Was Street too nice? Too polite? If he would have been tougher, meaner, nastier, would his body have experienced the impact of another body differently? Would he have been protected by the dark arts of Black Sabbath?

Obviously, the answer is no. As Coach Taylor (Kyle Chandler) reaffirms to Street, his team, and just about anyone else who needs to hear it, the tragedy was blameless. Unfortunate but unavoidable. Life is cruel. Unpredictable. Much of “Friday Night Lights” pivots around this problem -- like a coach drawing up the strategy of an upcoming game, you have to decide how you’re going to play against the obstacles of being alive. 

Alas, though apt, “Killing yourself to live” isn’t the mantra of the Dillon Panthers, but rather the searingly motivational, “Clear eyes, full heart, can’t lose.” Like much of the storytelling on “Friday Night Lights,” the team motto doesn’t just apply to football -- it’s also a sturdy life affirmation that just about anyone in need can scribble onto the desperation of their morning journals. It’s a statement that urges anyone who can pay attention to it to remain sweet and vulnerable in the face of adversity. You’ll be dealt tough tackles, the mantra insists, but don’t lose yourself in the pursuit to overcome them. 

Ultimately, it’s a mantra that suggests that softness, sweetness, and niceness can also create winners -- but it’s all about strategy. It’s no good being soft, sweet, and nice if you don’t how to apply those qualities properly. Alas, the universe -- and other people -- are generally not so kind. Make yourself too pliable, and life will contort and reshape you into something you may not recognise -- or at the very least, may not want to recognise.   As the show progresses, it becomes evident that much of “Friday Night Lights” also pivots around the “Can’t lose” aspect of that mantra. Say it isolated, without the eyes and the heart, and it sounds desperate -- almost deranged. For many of the male characters, their arcs in the show center around how they reckon with failure, tragedy, and defeat: What loss does to masculinity and how others perceive it. 

For Street, it hardens him. But it’s earned. 

During an appearance on “It’s Not Only Football,” the showrunner of “Friday Night Lights,” Jason Katims, revealed that in the development of the show, he was drawn to the idea of producing stories about marginalised people. “There were very few shows at the time -- or movies for that matter -- that really looked at real small town America [and that were] about people that weren’t privileged,” he explained. “Television, even the good television, was really about privilege.”

In the world of “Friday Night Lights,” all fortune is predicated on football. If you’re within the vicinity of the ball, then you wield a certain amount of privilege. Whether you’re a player, a coach, a financer, or a loved one of any of these people, then you probably have a little of power to leverage within Dillon. But that isn’t to say that this power is versatile or something that can be wielded within the real world.  After all, it becomes quickly apparent that being a part of the game doesn’t protect any of these characters from the indignities of prejudice. Nor does it salvage against the sort of failure that becomes of a person who isn’t equipped with the same access to opportunities as those with more privilege.

With the exception of a sacred few well-to-do, able-bodied white folk in the show, “Friday Night Lights” is populated by characters who are weighed down by obstacles related to poverty, abuse, race, gender, addiction, homophobia, and disability. However, part of the show’s charm is how it centers on these characters not so much overcoming these obstacles, but rather rising above the prejudice and bullshit of it all so they can figure out how to live their lives on their own terms. Even if that means leaving small-town Dillon, Texas -- and the team -- in the process.  

In the pilot episode, Street is presented as being perhaps the most privileged person in Dillon. His parents appear to be happily married and of a fair, stable income. He’s straight, able-bodied, athletically gifted, good looking -- and, impossibly, almost ridiculously humble about all of it. But with one injury, much of that changes. He’s forced to reckon with being paraplegic while watching his family’s savings and income be stripped to the bone due to medical expenses and rehabilitation. 

He’s reconfigured by the community that once heralded him a hero, and he loses access to almost all the corners of the world and the people that meant anything to him: His game, his girlfriend, his best friend. 

While Street reconfigures his idea of masculinity -- featuring some bold declarations about simply being a cripple who wants to listen to Nirvana, moooom -- and toughens up in the process, Riggins stops fighting his emotions, and softens up, instead. When Street becomes paralysed, something inside his best friend breaks open and for episode after episode, he lets life pulvarise him into a tender steak of emotional frailty -- and it’s rare that he ever gets a swing in, himself. It’s a far cry from the beer chugging emo-void of episode one. Regardless, although Street accepts a tougher interior, he nevertheless maintains his heart. He might speak up for himself more now, but his actions are rarely cruel or without merit. 

The character arcs of “Friday Night Lights” lean against this same principle again and again -- the people who prevail aren’t necessarily the ones who give in to the impulse to strike back and be spiteful or seek vengeance. But rather, its those who allow themselves to be vulnerable -- who take the hits without striking back and who rise above, soft and strong. Clear eyes, full hearts, can’t lose. 

But there’s someone who can put this far better than I ever could. At the end of the pilot episode, Coach Taylor makes a rousing speech to his wounded team. They’ve just watched their friend and teammate be carried off the field, his parents and girlfriend screaming from the rafters. Pushing their feelings aside, they were forced to continue the game and not lose sight of the goal. 

“Life is so very fragile. We are all vulnerable. And we will all, at some point in our lives ... fall. We will all fall,” he tells them. “We must carry this in our hearts, that what we have is special. That it can be taken from us, and that when it is taken from us, we will be tested ... It is these times, it is this pain, that allows us to look inside ourselves.”

Crucially, “Friday Night Lights” hangs its cap upon the stern fist pumps of this speech. It’s a sentiment that offers the reminder that nothing is owed, and everything is earned. Mayor Rodell had it wrong when she encouraged Street to get mean and obliterate the opposition. What the show suggests is that the only path to true success and accord is to leave yourself open to being the one to get chewed up and spat out by life, not the other way around. The victory can be found in however you emerge from the other side. It takes courage to be vulnerable -- and to be vulnerable requires a period of transformation.  Even Black Sabbath dropped their meanness and bat-snacking to reckon with heartbreak via a piano-ballad, “Changes”  -- “The world had its evil way. My heart was blinded, love went astray.” Clear eyes, full hearts, can’t lose, boys. 

[batteredshoes]

Pico Boulevard (Los Angeles), 1985 | Tim Street-Porter

[indigokashmir]

Vibrant Vistas

From the book Casa Mexico: At Home in Merida and the Yucatan by Annie Kelly, photos by Tim Street-Porter. Published by Rizzoli books.

[no-quit-lucy]

I might write this as a fic but I want to share some thoughts here first. (oops it already is turning into a fic. Here’s the start, as a treat)

After the IA investigation, Tim knew his odds for salvaging his career weren't looking good. He would be in maintenance mode until enough fresh blood came through the station that he would be wiped from his sins and the bloodstains only remained faintly visable on his uniform.

The decision came down and it came down hard. Not only would he receive a formal reprimand in his file for harassment of a civilian, abuse of police resources for personal gain, and other serious violations of conduct, but Tim would also be reassigned from his position in metro and bumped back to Patrol Sergeant following two weeks of unpaid leave and recertification of all field fitness and skill requirements. His Watch Commander would need to then complete weekly evaluations of his conduct while on duty until IA deemed him reliable and trustworthy to remain in his role and thus removing a temporary probationary hold over his job. He’d be in career limbo for weeks, possibly months.

Overwhelmed by the decision, being brought back to his intense experience with Isabel’s IA investigations, his actions and decisions made when in the army, doubting himself and his internal moral standing, Tim truly believed he was doing Lucy a favor by breaking up with her. His intent was never to shatter her heart, but unfortunately, he was feeling so weak and small, that all his strength was relegated to keeping himself upright long enough to make it home and destroy a bottle of whiskey until his two weeks were up and he'd have to face seeing her on patrol every day, once again in her chain of command.

Instead of finding comfort in the woman he loved, and the woman who loved him, he was so numb to everything, he couldn't bare the thought of seeking solace in her touch, her supportive words, her sickening optimism allowing him to hide from himself and hide from his inevitable truth. He wasn't worth the risk anymore.

Two days before he was set to return to work, he received an email instructing him to report to his new Watch Commander, Sergeant Stella Porter at Hollywood division. Not only was getting reassigned stations a further consequence for his actions, but it was a stark revelation that his personal connection to mid-Wilshire was officially severed.

It was the neighborhood he lived in when he came back from Iraq and started at the academy, where he adjusted back to the quasi-safety of civilian life, the house where he and Isabel planned their future, the precinct where he had trained as a rookie, where he found his footing as an officer and took the plunge to seek out the TO role, where he met his friends Angela and Talia, where he trained countless of his own rookies, where he met Lucy, where she helped him become a sergeant and took her on as his aide, it was where he fell in love with Lucy, where he lost Lucy countless times in countless ways. It was his home, his safe place, his sanctuary, and now, he was cast away from the place like an insidious evil set out to poison the nucleus of all that was good.

And to boot, his new watch commander, his new subordinates, his new captain, all strangers in his life, only knowing him of his reputation, his now stained, tarnished, damaged reputation. He was the cop with an ex-addict for an ex-wife, the cop who was investigated by IA about her addiction and failed to save her job, the cop who had rookies drop like flies because of his harsh and old-school cop ways, the cop who dated his last rookie, the cop who once again found himself tangled up in a mess of lies and accusations, reprimanded to nearly the highest degree. He was a cop no one wanted to trust, a cop who wasn't safe on the streets.

On some level, Tim knew the kind of reaction he would receive at his new home base. Whispers growing quiet the second he stepped in the room, stuck with shit details doing the grunt work no one wanted to do, receiving a cold shoulder from the officers around him, namely the cops who didn't look like him, the ones who were younger, more morally aligned than he was at the moment.

What he didn't expect was the fierce loyalty to anyone but him and namely a certain dark-haired, hot-shot, reliable, kind, and all together stand-up cop from his old station. It seemed he had started a war, and most people chose to stand on Lucy Chen’s side, backing the green officer who got taken advantage of by her senior officer. He couldn't say he didn't deserve it, but he could say Lucy deserved to be chosen not for the position he put her in, but instead because in the face of all that he had done to her, despite all the rumors and speculations floating in the air, she remained steadfast in her confidence on the streets and her ability to kick ass at her job. Without him there to loom a dark shadow over her future, she shone bright like the star she was and continued to build for herself a bulletproof reputation far superior to materials he had used in his own.

He was reaping the seeds of what he sowed, painstakingly harvesting the dilapidated crops in order to till the land and allow it time to heal before resowing fresh seeds and cultivating a healthier, more sustainable future yield. It could take years before the land produced a harvest fit to consume, but with dedicated maintenance and care, Tim held hope that his field would once again welcome both rain and sunshine to reflect the prosperity of a life worth thriving.

[shewhoworshipscarlin]

Ernestine Wade

By Life Magazine via Google Images-Photographer Loomis Dean., Fair use, https://en.wikipedia.org/w/index.php?curid=28885998

Ernestine Wade (August 7, 1906 – April 15, 1983) was an American actress. She was best known for playing the role of Sapphire Stevens on both the radio and TV versions of The Amos 'n' Andy Show.

Born in Jackson, Mississippi, Wade was trained as a singer and organist. Her family had a strong connection to the theater. Her mother, Hazel Wade, worked in vaudeville as a performer, while her maternal grandmother, Mrs. Johnson, worked for the Lincoln Theater in Baltimore, Maryland.

Ernestine grew up in Los Angeles and started her acting career at age four. In 1935, Ernestine was a member of the Four Hot Chocolates singing group. She appeared in bit parts in films and did the voice performance of a butterfly in the 1946 Walt Disney production Song of the South. Wade was a member of the choir organized by actress-singer Anne Brown for the filming of the George Gershwin biographical film Rhapsody in Blue (1945) and appeared in the film as one of the "Catfish Row" residents in the Porgy and Bess segment. She enjoyed the highest level of prominence on Amos 'n Andy by playing the shrewish, demanding and manipulative wife of George "Kingfish" Stevens. Wade, Johnny Lee, and Lillian Randolph, Amanda Randolph, Jester Hairston, Roy Glenn (and several others) were among the Amos 'n' Andy radio cast members to also appear in the TV series.

Ernestine began playing Sapphire Stevens in 1939, but originally came to the Amos 'n' Andy radio show in the role of Valada Green, a lady who believed she had married Andy. In her interview that is part of the documentary Amos 'n' Andy: Anatomy of a Controversy, Wade related how she got the job with the radio show. Initially there for a singing role, she was asked if she could "do lines". When the answer was yes, she was first asked to say "I do" and then to scream; the scream got her the role of Valada Green. Ernestine also played the radio roles of The Widow Armbruster, Sara Fletcher, and Mrs. Van Porter.

In a 1979 interview, Ernestine related that she would often be stopped by strangers who recognized her from the television show, saying "I know who you are and I want to ask you, is that your real husband?" At her home, she had framed signed photos from the members of the Amos 'n' Andy television show cast. Tim Moore, her TV husband, wrote the following on his photo: "My Best Wishes to My Darling Battle Ax from the Kingfish Tim Moore".

Wade defended her character against criticism of being a negative stereotype of African American women. In a 1973 interview, she stated "I know there were those who were offended by it, but I still have people stop me on the street to tell me how much they enjoyed it. And many of those people are black members of the NAACP." The documentary Amos 'n' Andy: Anatomy of a Controversy covered the history of the radio and television shows as well as interviews with surviving cast members. Ernestine was among them, and she continued her defense of the show and those with roles in it. She believed that the roles she and her colleagues played made it possible for African-American actors who came later to be cast in a wider variety of roles. She also considered the early typecast roles, where women most often were cast as maids, not to be damaging, seeing them in the sense of someone being either given the role of the hero or the part of the villain.

In later years, she continued as an actress, doing more voice work for radio and cartoons. After Amos 'n' Andy, Wade did voice work in television and radio commercials. Ernestine also did office work and played the organ.

She also appeared in a 1967 episode of TV's Family Affair as a maid working for a stage actress played by Joan Blondell.

Ernestine Wade is buried in Angelus-Rosedale Cemetery in Los Angeles, California. Because she had no headstone, the West Adams Heritage Association marked her grave with a plaque

[dollypopinspiration]

8hollandstreet The iconic home of 20th century Mexican architect Luis Barragán, photographed by California-based photographer Tim Street-Porter for his 1989 photo book 'Casa Mexicana' documenting every house Barragán designed in Mexico. ⁠

[stylecouncil]

“From left to right, Zandra Rhodes, Tim Curry, Paula Yates, Bob Geldof and Janet Street-Porter attend a performance of 'The Pirates of Penzance' at the Theatre Royal in London, July 1982. Used on the cover of 'The Sunday Times Magazine', pub. 11th July 1982.” 📸: David Montgomery

[cynsualc829]

The 4th of July celebration continues, and the Chef has a smooth jazz musical delicious menu for the occasion. Please tune in for The Smooth Jazz Kitchen Radioshow - She's The One Rebroadcast. Beginning at 1 pm EST, 12 pm CST, 10 am PST, 7 pm UK time on WPUR-DB PULSE INT'L RADIO The Listening Experience.

Bon Appétit!

🇺🇸 🇬🇧 🇩🇪 🇮🇹 🇬🇷 🇸🇩 🇿🇦 🇨🇦 🇧🇶

𝐖𝐏𝐔𝐑 - 𝐏𝐔𝐋𝐒𝐄 𝐈𝐍𝐓'𝐋 𝐑𝐀𝐃𝐈𝐎

www.pulseintlradio.com

#4thofjulyweekend #4thofjulycelebration #thesmoothjazzkitchen #brucebuege #Wisconsin #deliciousmusic #deliciousrecipes #newmusic #smoothjazzmusic #contemporaryjazz #radio #radioshow #pulseintlradio #radiostation

The Smooth Jazz Kitchen Radioshow - She's The One

00:00 Mark Mixx feat James Gibbs III & MARK MIXX FEAT. THA STREET JAZZ CARTEL - Shane's Thang

00:05 Jhavali - Let It Flow

00:10 Will Donato - Dream Maker

00:14 d'Z feat Sandra St. Victor - Freedom

00:19 Blake Aaron - She's The One

00:24 Rohan Reid Music - Morning Kisses

00:27 Skinny Hightower - Goin Up Yonder

00:31 Michael Broening - The Way She Moves

00:37 Thasaintmusic - Vibe

00:43 George Benson feat The Robert Farnon Orchestra - A Song For You

00:46 Bill McGee II - Song For My Father

00:52 Tim Bowman - Ocean Breeze

00:56 Art Porter - Lakeshore Drive

01:03 Elan Trotman - Runnin' Hot

01:06 Plunky & Oneness - A New Fantasy

01:11 Cindy Bradley - Promise

01:15 Bryard Huggins feat B. Thompson - In Your Arms

01:21 Charles Langford - Big Sur

01:25 Eliane Elias Music - At First Sight

01:30 Quintin Gerard W - Tell Me Something

01:36 José Antonio Rodríguez feat Michael Lington - Qué Más Da

01:40 David Bach - Gymnopedie (Live)

01:44 Big Mike Hart feat Boney James - Cigar Lounge

01:50 The Crusaders - Street Life

[amazingarchitecturewebsite]

Moon Over Modernism Honors John Lautner, FAIA Read more: Link in bio! Tours of Two Stellar Lautner Homes Benefit Preservation and Documentation of Modernism Saturday-Sunday, April 22-23. LOS ANGELES: Moon Over Modernism® features tours of the Harvey House and Silvertop, two homes that exemplify the experimental modernism of architect John Lautner, FAIA. Benefitting USModernist®, America’s largest open resource for Modernist architecture, the weekend event occurs April 22-23, 2023, and includes opening night party on Saturday and timed tours on Sunday. Event-goers may select either day or attend the entire weekend; there’s even a special VIP option. Every participant receives one free year’s USModernist membership in the Mod Squad ($120 value), which affords members discounts to USModernist activities… Images: Sara Essex Bradley (Harvey House), Tim Street-Porter (Silvertop) #usa #california #losangeles #архитектура www.amazingarchitecture.com ✔ A collection of the best contemporary architecture to inspire you. #design #architecture #amazingarchitecture #architect #arquitectura #luxury #realestate #life #cute #architettura #interiordesign #photooftheday #love #travel #construction #furniture #instagood #fashion #beautiful #archilovers #home #house ‎#amazing #picoftheday #architecturephotography ‎#معماری (at Los Angeles, California) https://www.instagram.com/p/Cpv0Iy9MnsV/?igshid=NGJjMDIxMWI=

[exitmurderer]

SNM #36-38 19-20 Aug 2023

(Funny to me, how few times I've seen this show compared to some folks who started right before or during the pandemic. So it goes.) Well, there I was, back in the hotel on a quickly planned trip thanks to some Extremely Swell Folks.

Dora Wolfe in the red dress! She was making really interesting choices, esp. the lip sync.

The newer cast member I most appreciated was Andrew Robinson on as Porter. Nice to see someone of a certain age in that role, knocking it out of the park emotionally and physically, dancing like a mofo when the time came to dance.

And then I followed full loops of folks I knew I'd appreciate, even if I hadn't seen these particular full loops before: Marija Obradovic as Lady M, Aliza Russell as Bald, Jessica Smith's Danvers and Nurse. I cannot overstate how beautiful and moving their work is.

Speaking of the aforementioned people, it's great to see performers who are just Going For It. In boxing there's the saying "let your hands go" and I guess for dance it would be "let your whole dang self go" and it's so cool to see when people are doing exactly that, they just DGAF and all the knobs are cranked to 11. I didn't loop them but Tim Heck and Nate Carter as Macbeth, they go under this heading too.

Extremely cool to see Emily Oldak show up at work in the hut. Knitting!

Great as always to see Karen Marie singing. New singer Isla (sp?) is also doing top shelf work.

I met dear friends on purpose at the show, at Gallow Green, at Ovest, and elsewhere. I ran into dear friends on the street. Friends are about the best thing there is, y'know?

[allthereistolove]

12/9/23

My final visit, from memory. It’s foggy due to the fact that I’m writing this down now, and this visit was weeks ago. I’ll try my best!

Loop 2

I was only able to get the latest time slot, so I entered with a 13. My memory is not great for this part, but I believe I caught the 2nd loop ballroom happening after some wandering around high street, catching DLP Speakeasy on the phone in the detective agency. My plan was that I would loop Boy Witch, my favorite character. I was excited to see Aaron on for him, as he was my first Boy Witch back in June. I followed Boy out of the ballroom and into the lobby, where I got to see the phone booth scene between him and Andrew R’s Porter, one of my favorite scenes. I forgot just how jarring that scene was, having not remembered much of it from when I looped Porter in June.

I followed Boy Witch out of the lobby, excited to see the pool table scene, which I had been wanting to see for a while. Most of the crowd stuck around with Porter, (it was a sold out night, absolutely huge crowd) so it was easy to follow Boy back to the speakeasy. This scene was incredible, it made me jump several times. As soon as Speakeasy shoved Boy in the box, I knew the rave was coming up. I decided to go to the rep bar and hang out there until the rave started so I could get a good spot before the huge crowd arrived.

Gabrielle’s Hecate arrived and I watched her prepare for the rave. It was really intriguing to see Hecate perform a spell to begin the lights and music. I got a good spot right next to Hecate’s little table and enjoyed my second and final viewing of the rave.

The second I left the rave, I saw Tim J Malcolm and Elias Macduff, my first Malcolm and Macduff from June! This touched my heart so I followed them into the interrogation scene. Absolutely amazing. Tim J is one of my favorite performers. I love his expressions and everything about his Malcolm, so much intention behind every decision he makes.

I followed them back to the detective agency and then to the banquet. I watched Malcolm for the whole banquet and it was my first time noticing that Duncan gives his son a little kiss on the head during this scene. This made me emotional, because I am a sucker for their character dynamic.

Loop 3

I went to floor three to look around the Macduff residence while the reset was happening (although I wish I went to the lobby to see the reset scene instead) and I caught a bunch of cool details I had never seen before! Loved reading Macduff’s unfinished letter to Malcolm. I also adored the Christmas decorations and tree in their living room.

I was excited to see Stephanie on as Lady Macduff…I didn’t realize it was her during the ballroom/banquet due to my views. It was cool to just witness what seemed to be an ordinary start to the day for Lady Macduff. She is one of my favorite characters, and it made me so emotional to be able to watch her simply getting ready for the day in her bedroom. Stephanie is such a fantastic performer. I loved her as Lady Macbeth back in June, so it was super special to catch her as Lady Macduff, one of my favorites. It was extra refreshing because the crowd was smaller here, after being surrounded by huge crowds all night.

Catching her scene with Macduff on the shelf was amazing. I had heard about this scene, but never got to see it until now. I was very emotional throughout, seeing Lady Macduff’s struggle and desperation. I am so intrigued by the Macduffs’ story. I wish we got more scenes of them together, showcasing their relationship. I do understand that Macduff abandoning her is part of Lady Macduff’s story, as she is abandoned, ignored, and pushed aside by everybody…even Malcolm, who she resorts to for help. Her story hits hard and one thing I wish is to visit one more time and loop her.

After this scene, I returned to high street. Entering through the back entrance of the Taxidermy shop, I saw a familiar figure…Tim C Taxi, my first Taxi from June. I nearly cried. I knew I was going to be following him for the rest of the loop.

Everything about Tim C’s Taxi is compelling and interesting. There was never a moment there I was not 100% in this strange man’s world. He was a total freak, bored out of his mind and entertaining himself with his animals. Every choice he made when alone and idle in his shop was darkly comedic. From making the birds talk to each other, to putting them in a…certain position, I had to resist laughing out loud. His fascination with sharp tools was very apparent, and he often used pliers to take things in and out of the moose behind the counter’s nostrils. I also appreciated that the moose had a wreath around it.

He went into the speakeasy for a minute and did something with the little salt charms, before walking back to his shop and punching the Virgin Mary statue in the face.

When he entered the tailor shop to receive his coat, this would be my second time viewing this scene. I was much more interested this time around, (not that I wasn’t last time) seeing Taxi’s ominous behavior in a much better view. Upon entering the shop, he was super infatuated with the sharp ends of the scissors on Fulton’s window.

I loved Gabe’s Fulton. He was so distrusting of Taxi and was constantly shrugging him away when Taxi tried to get uncomfortably close to him. (The tension was real.) Gabe’s Fulton from this scene alone seemed a lot more brave and in control, contrary to my initial idea of Fulton’s characterization; I always have been a Coward Fulton truther.

After following Taxi out of the tailor shop, I followed him up to five. I was GAGGED. I had no idea Taxi ever went to five! He went to the gate and performed his dance by the woods. Everything about it was so interesting and breathtaking, it quickly became one of my favorite scenes. It reminded me of Boy Witch’s pool table from earlier; a new insight into Taxi’s character. Every second of it seemed torturous for him. It was so intense.

I followed him back down to his shop where more funny Taxi shenanigans ensued. Lady Macduff entered and he threw the note at her with pliers and a scoff, an expression of total indifference. He then pulled for the 1:1 so I left.

I went to the speakeasy and watched DLP Speaks shuffle some cards, preparing for the card game. Eventually, the others entered and the card game began.

Having already seen this scene, Taxi was still on my mind so I went back to find him. I didn’t realize that he was in the Macduff residence, so I was sad upon not finding him back at his shop.

I wandered for a while before Taxi finally returned. I followed him down to the final banquet where I was perplexed to see a Porter that wasn’t Andrew R from earlier (I later found out that this was Milo Mannheim.)

An interesting end to my final visit was seeing the non-hanging ending. My eyes nearly popped out of my head when I saw that Macbeth was now Omri and not Nate anymore.

After

I finished up in the Manderley and watched a little bit of Will’s show!

I will say, the audience etiquette during the show wasn’t great that night. I saw someone with their mask off, as well as plenty of people standing too close to performers or crowding around an area, making it difficult for the performers to get through. There were also a lot of people talking out loud.

However, that didn’t take away from having a good time. I wish other people would realize that you can have a good experience and be a respectful audience member at the same time.

[fashionbooksmilano]

POPHIPOP Collections Jean-Charles de Castelbajac

Christie’s, Paris 2003, 103 pages, 123 lots, 26,7 x 21 cm

euro 120,00

email if you want to buy :booksinprogressmilano@yahoo.it

Jean-Charles, marquis de Castelbajac (also known as JC/DC, born 28 November 1949 in Casablanca, Morocco) is a fashion designer. He has enjoyed international success with some of his creations, including a coat of teddy bears worn by pop star Madonna and by supermodel Helena Christensen in the film Prêt-à-Porter and a sequin jacket for Beyonce, and a Donald Duck costume for Rihanna. During his career he has befriended and worked with artists such as Andy Warhol, Keith Haring, Jean Michel Basquiat, Malcolm McLaren, Robert Mapplethorpe, M.I.A, Cassette Playa, Curry & Coco, The Coconut Twins and Lady Gaga. His fashion archive was showcased in preparation for his retrospective "Gallie Rock" in Paris by photographers Tim and Barry, modelled by Cassette Playa, M.I.A., Jammer, Matthew Stone, Slew Dem Crew, and more. As well as his imaginative clothing collections, the designer creates home furnishings and has designed a watch inspired by the childhood favourite, Lego. He also has collaborated with Swatch, Weston, Ligne Roset, Petit Bateau, Citroën, Tecnica, Kway, Coca-Cola, Vilebrequin, Aigle and Palace skateboards. As Keith Haring initiated him to street-art, Jean-Charles de Castelbajac uses chalk to leave his poetic mark on the walls of the world’s capitals. His career as a fashion designer started in 1968 alongside his mother, when he created Ko & Co. The first ‘manifesto’ piece of clothing he produced was a coat he made, using the blanket he used when he was at boarding school. He founded maison Jean-Charles de Castelbajac in 1978, which he left in 2016. Between the 70’s and the 90’s, Jean-Charles de Castelbajac was also the artistic director of prestigious fashion houses like Max Mara and Courrèges and he co-founded Iceberg in 1974. In 1979, in consonance with pop art, he designed cartoon pullovers that have since become iconic.

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23/02/23

[rewindandbekind]

Frank Gehry’s kitchen (ca. 1976). Photo by Tim Street-Porter via @cindygreenenyc