#united saints studios

[jaredgriffin2002]

Twilight (1960)

The First Animated Movie in United Saints

With a wicked stepmother and two jealous stepsisters who keep her enslaved and in rags, Twilight Sparkle stands no chance of attending the royal ball.

Coming Soon

#twilight #twilght sparkle #princess twilight sparkle #1960 #1960 movies #first film #united saints studios

[undoing-anobrains]

you bring me home

part five

series masterlist

wc- 3.4K

There truly wasn't a more rewarding feeling for Caroline than peeling off her scrubs at the end of a long day. During her time off where she had been apart of a large global research project investigating the possibilities of electron powered beams becoming more mainstream and not being restricted to highly specialised treatment sites, the thing she had missed most was interacting with patients. They were the reason she became interested in the career in the first place.

Getting to witness the difference she made in her patients lives was what motivated her to keep going everyday, no matter how stressful things got. That kind of feeling couldn't be matched in academic work where you didn't actually get to see the way your research could change somebody's prognosis. Knowing that her actions literally saved lives fuelled her, pushed her to keep advocating for her patients ensuring their needs were met.

On her way out of the hospital Caroline chatted idly to one of the other girls who worked on her unit, groaning internally when she caught sight of the rain pelting against the path staining it a deep grey with an unrivalled ferocity - so much for it supposedly being summer. She was not looking forward to walking back to the studio in this downpour without an umbrella. 

Somehow the universe must have heard the string of explicit insults running through her mind because suddenly, like a mythical apparition of sorts, Louis pulls up in a car she recognises to be Matty's and he comes to a startling halt at the side of the road. Offering a quick goodbye to Mara, Caroline doesn't hesitate to jump into the empty passenger seat of the car and get shelter from the torrent drenching her clothes.

"I would ask what you're doing here, but boy am I glad to see you so I won't," were the first words that left Caroline's mouth once she closed the door. 

"Matty sent me," Louis said bluntly, as if tossing a casual bombshell into the conversation. Caroline's heart gave an involuntary flutter, a reaction she quickly masked behind a raised eyebrow.

Louis was so brusque with his delivery sometimes. As if he isn't fully aware of how Caroline won't spend the rest of the ride home figuring out what his intention was. She doesn't want to read too much into it. To allow herself even entertain feelings she's trying to keep under lock and key. 

“Oh, really?" Caroline responded with a calculated nonchalance, though her mind was already racing, attempting to decipher the motives behind Matty's unexpected gesture. She mentally chastised herself for even contemplating the idea that it might be more than just a thoughtful offer.

Louis seemed unperturbed by her reaction, his fingers tapping a rhythm on the steering wheel. "Yeah, he wanted to come and get you himself when he noticed it had started pouring, but him and George have been stuck doing album promo all day. So, he thought he'd spare you the rain."

The sweetness of the gesture tugged at Caroline's heartstrings, but she quickly reined in her emotions. She had learned to keep her feelings in check, to guard her heart against the unexpected. "Oh, that was kind of him," she replied, her tone nonchalant, though a soft warmth settled in her chest. "I appreciate you coming, Lou. Even if it is extremely embarrassing that the kid I used to babysit is driving me home."

Louis laughed, a sound that was a blend of amusement and camaraderie. "Trust me, Caro, I'm getting a kick out of it too. Ten times right?"

Caroline smirked at the memory, it was genuinely impressive how many times she'd failed. Poor Hann had been an absolute saint and she was still making it up to him to this day by buying his drinks whenever they hung out. "Uncalled for," she shook her head playfully "you don't see me bringing up the November 2014 incident at any given moment do you?."

Louis paled "yeah no, let's repress that memory again thanks."

The drive continued in comfortable silence, the sound of rain pattering against the windows providing a soothing backdrop to their conversation. Caroline's gaze wandered out to the city streets, her thoughts a mixture of gratitude and confusion. She couldn't help but replay Louis' words in her mind, dissecting the intentions behind them.

"Actually, Lou," she began, her tone casual but laced with curiosity, "I've been meaning to ask...is there any particular reason why I've been coming home to dinner everyday. Not that I'm complaining or anything, it's actually pretty good."

Louis glanced at her with a sly grin, his eyes twinkling mischievously. "Oh, you mean aside from the fact that Matty seems to think you're incapable of eating or getting home without some sort of assistance?"

Caroline rolled her eyes, her cheeks flushing slightly. "Oh, come on. I'm perfectly capable of taking care of myself."

Louis chuckled again, a knowing look in his eyes. "I don't doubt that for a second, Caro. But you've got to admit, he's kind of got a point. You're a bit of a workaholic."

Caroline sighed, her lips curving into a reluctant smile. "Fine, I'll give him that much. But it's not like I'm incapable of cooking or getting home. He's just... being overly nice."

Louis smirked, a teasing edge to his voice. "Overly nice, huh? Is that what we're calling it now?"

Caroline couldn't help but laugh, shaking her head at Louis' playful antics. "You're a troublemaker, you know that?"

Louis shrugged nonchalantly, his grin unapologetic. "Someone's got to keep things interesting. And well, you guys have been very entertaining recently.

"How so?" Caroline quirked an eyebrow playing dumb.

He leaned back against the car headrest, his expression seemingly permanently mischievous now. "Well, I hate to break it to you, but you and Matty are starting to look a lot like an old married couple."

Caroline burst out laughing, her cheeks flushing slightly. "Oh, come on, Louis. Don't be ridiculous."

Louis grinned, clearly enjoying her reaction. "I'm serious! I mean, the way he's making you coffee every morning, late night chats,  cooking dinner for you... It's all very domestic, isn't it?"

Caroline shook her head, trying to suppress her laughter. "You're reading way too much into it, Louis. We're just friends."

"Sure, just friends," Louis replied, his tone dripping with sarcasm. "I've seen couples with less chemistry, that's all I'm saying."

Caroline rolled her eyes, unable to hide her amusement. "Louis, you're impossible."

He winked at her, his grin widening. "Hey, just looking out for my honorary and hopefully future big sister. Make me best man at the wedding yeah?"

Caroline couldn't help but chuckle at Louis' antics . "Trust me, there's nothing going on between us. Although in the hypothetical scenario that there was...you and G are probably fighting for that title."

Louis gave her a mock salute. "Rude, here I was thinking I was your favourite brother. But don't say I didn't warn you when Matty starts insisting on holding hands and sharing a toothbrush."

Caroline shook her head, laughing softly. "You're incorrigible."

Louis opened his arms in a dramatic gesture. "Hey, I'm just here to provide quality entertainment."

Upon their return to the studio they discover that Matty and George aren't home. Caroline is worried momentarily until she notices that Mayhem is also gone and since the rain has just cleared up she figures they've just brought him for a walk. Louis promptly busies himself with calling back his mum, leaving Caroline to eat dinner alone.

She's extremely touched when she unwraps the tinfoil covering a blue ceramic dish left by the stove for her. The boys seem to take turns with cooking meals but she can tell that this is Matty's handywork as soon as she unveils it. As much as he takes the piss out of her for constantly eating vegan dishes while not actually being a vegan he seems to make an effort and actually go out of his way to respect it when he is responsible for making dinner. And in perhaps the most surprising turn of events since the beginning of lockdown - he's actually turned into a half decent cook.

These altered dynamics and sudden domesticity was like finding the missing pieces of a puzzle she hadn't realised was incomplete. With every smile he offered, every inside joke they shared, a new piece fell into place, revealing a picture she had ripped up years ago and buried deep down. His presence filled the gaps she had never acknowledged, his laughter stitching together the moments of joy she had overlooked. Each stolen glance, each shared silence, they were like intricately carved fragments that slid seamlessly into the mosaic of emotions she held for him.

Her mind wandered back to the days when she was engaged, when she believed she had found her forever. The memories were tinged with a bittersweet taste now, as if a layer of clarity had been added to the recollections of her past. And as the pieces fell into place, she couldn't help but acknowledge the stark contrast between her past and her present.

It was a truth that, once seen, couldn't be unseen. Matty's reappearance in her life had been a revelation. One that had dug up her past affections and put them on display again. She had made such an effort once she finally realised that she was never going to be anything more than George's little sister and a fan to him to move on and get over him. Yet as fate would have it he had ambushed her heart once again. It was never overly grand gestures but Caroline had never been keen on overdramatic declarations of love, it was the little things, the daily acts of kindness that wove a tapestry of warmth around her.

The realisation dawned on her with a quiet ache—the depth of effort Matty put into making her feel special was unlike anything she had experienced before. From the mornings when he ensured there was a steaming cup of coffee waiting for her to the evenings where they would bring Mayhem out on long walks along the winding, isolated country roads never shutting up, to the times where he did his interviews in the same room as her when she had time off work because he valued her company even if her mere presence did distract him constantly, he consistently showed up for her in ways that her ex-fiancé never did.

It wasn't just the material gestures, though. It was the late-night conversations that brought solace, the unexpected text messages that brightened her day, and the moments of shared laughter that became the soundtrack of their newfound relationship? If you could call it that - it was a difficult thing to define, her and Matty. In his own way, he had dismantled the barriers she had built around herself, her walls had come crumbling down for the very man she had built them because of in the first place.

And as she compared the two timelines—the emptiness of her engagement versus the fullness of her current interactions—it was impossible to ignore the truth. Matty had effortlessly become a pillar of support, an unexpected source of comfort, and a friend who genuinely cared. Of course there was the added support network of George who really couldn't have been a better brother to her during one of the hardest times in her life and Louis as well. Still she marvelled at the reality that he had done more for her in these few months than her ex-fiancé had managed in their years together.

The studio was bathed in a soft, warm light as Caroline pushed open the door later that evening. Matty and George had come home sometime in the last two hours but Caroline had been completely in her own world and deeply engrossed in a book so she hadn't heard them get back. She had decided to drop in to the studio where she could hear that either Matty or George or perhaps both were currently to personally thank Matty for the meal he had prepared earlier and for sending Louis to pick her up from work. She knew the band's new album was about to be released, and she couldn't help but be amazed by the fact that, despite the imminent excitement, they were apparently already immersed in creating new music.

As she walked further into the studio, her eyes fell on Matty, engrossed in front of a mixing board. His fingers danced across the buttons and sliders with a practiced grace, his head nodding to an unheard rhythm. He seemed lost in his world of sounds and melodies, a world that she was slowly learning to appreciate and understand.

"Hey," she called out, her voice breaking through his concentration.

Matty turned to her, a warm smile lighting up his features. "Hey, Caro. Didn't expect to see you here tonight."

Caroline shrugged, a playful glint in her eyes. "Thought I'd drop by and thank you properly for dinner and the ride."

Matty's smile grew, his expression sincere. "You're welcome. It's the least I could do."

Caroline's gaze wandered around the studio, taking in the equipment and instruments that had become so familiar to her. "You're already working on new music? Even before the album's out?"

Matty chuckled softly, a hint of mischief in his eyes. "Can't really turn off the creativity, you know? Besides, I've got all these ideas buzzing in my head."

Caroline nodded, understanding the sentiment. "Well, I don't want to interrupt your creative flow, but I just wanted to say thanks."

Matty walked over to her, his fingers brushing lightly against her arm. "You didn't interrupt anything, Caro. I'm always up for a break."

He led her towards the mixing board, encouraging her to take a seat. "Ever played around with one of these?"

Caroline shook her head, her curiosity piqued. "Not really. I'm more on the receiving end of music, not the creating part."

Matty grinned, his eyes sparkling with a mix of excitement and anticipation. "Oh come on, you're G's sister you're bound to be a natural. How about we change that tonight? I'll show you the basics."

As he began explaining the different controls and how they impacted the sound, Caroline found herself engrossed in his words. There was something entrancing about the way he spoke about music, his passion evident in every gesture and expression. She tentatively adjusted some of the sliders under his guidance, a sense of accomplishment filling her when she heard the subtle changes in the mix.

"See like I said, you're a natural," Matty praised, his gaze fixed on her.

Caroline shrugged modestly, a smile tugging at her lips. "I've got a great teacher."

Matty's eyes held a warmth that sent a flutter through her chest. "You know, Caro, you've got a real talent for this. Maybe you missed your calling as a producer. You could give George a run for his money."

Caroline chuckled, the compliment making her heart skip a beat. "I think I'll stick to radiation therapy, but this is definitely a fun change of pace."

Matty's playful smile turned more serious, his eyes searching hers. "What you don't want to give up saving lives to mess around with your favourite band? Shocking," his voice grew more teasing at the end.

The intensity in his gaze sent a rush of emotions through her, and for a moment, the air between them felt charged with unspoken words. "But enough of the technical stuff for now," he declared with a grin. "How about we take a break and I play you something?"

Caroline's face lit up, and she eagerly agreed. Matty reached for his guitar, his fingers moving with practiced ease across the strings. The melody that flowed from the instrument was hauntingly beautiful, each note woven into the fabric of the studio's atmosphere.

Caroline closed her eyes, allowing the music to wash over her. It was as if the melody held a story, an untold narrative that resonated deep within her. And then, with a delicate flourish, Matty transitioned into a different progression, the notes taking on a more uplifting quality.

As the last chord lingered, Caroline opened her eyes and looked at Matty with an appreciative smile. "That was amazing," she murmured. "You have a gift, Matty."

Matty's cheeks tinged with a faint blush, and he rubbed the back of his neck sheepishly. "Thanks, Caro. I'm glad you liked it."

But Caroline wasn't done yet. "Actually," she said, her eyes lighting up, "could you play that last part again? It just... it evokes something in me."

Matty complied, his fingers gracefully replaying the progression. Caroline listened closely, allowing the melody to fill her senses. And then, almost instinctively, her lips parted, and she began to hum along with the music.

Matty's eyes widened, captivated by the unexpected harmony that emerged. He watched Caroline with fascination as she hummed, her expression lost in the music. When she finally stopped, he was almost disappointed, as if a spell had been broken.

"That was beautiful," Matty said softly, his gaze locked onto hers.

Caroline blushed, feeling a mixture of vulnerability and excitement. "Thank you. The melody just... spoke to me."

Matty's fingers idly strummed the guitar strings as he considered her words. "You know," he began slowly, "there's something about the way you hummed along that triggered an idea."

Caroline tilted her head, intrigued. "An idea? What kind of idea?"

A thoughtful smile played on Matty's lips. "I've been struggling to find the right lyrics for this piece. But when you hummed along, a line popped into my head." He paused for a moment, as if testing the words. And then, he looked at her with a newfound excitement. "I want to get it right this time."

Caroline blinked, taken aback by the simplicity and depth of those words. They held a resonance that seemed to mirror their own journey, their growing connection that defied their initial expectations. It was as if Matty had captured the essence of their shared emotions in that single line.

She smiled softly, her heart swelling with a mix of emotions. "That's... perfect," she said, her voice filled with genuine admiration. "It encapsulates so much."

Matty's grin was infectious, a reflection of his own satisfaction with the discovery. "I think you just helped me find the missing piece, Caro."

For once it seemed that Matty was the one who was staring and Caroline was the one who kept meeting her gaze with a grin. There was something about the way in which Matty looked at her. It was tender, sweet and even loving? Matty made her feel like she deserved to be loved and to be worthy of such a man's attention was mind blowing to her. How he'd managed to creep his way into Caroline's heavily guarded heart she didn't fully understand but at the same time she treasured his position there.

“Why are you looking at me like that?" Caroline dared to ask.

Matty appeared confused for a moment before answering "like what?"

"Like I'm someone special."

"You are someone special though," Matty replied with an air of nonchalance "especially to me."

Caroline was in complete disbelief "I don't see why. I don't exactly have the best track record of having people believe that."

Matty paused briefly "that might be your opinion," he told her softly "but beauty is subjective and I think you're fucking stunning. You have this aura around you Caroline, one that puts everyone at ease but could simultaneously entrance everyone. You're the type of person people fall in love with even if you or your idiot ex don't realise that."

“You don’t mean that,” Caroline laughed “right?”

It seemed as though she wasn’t going to get an answer though because her brother happened to have the worst timing in the world as he walked in to join them. Normally he was quite clued into the energy of a room but thankfully he didn’t pick up on the way Caroline practically jumped out of her skin at his sudden arrival or the way they immediately went silent upon him opening the door and sitting in between them. But from the look Matty sent her when George was fixated on the mixing board in front of him, she knew one thing. This conversation wasn’t over.

#i hate writing dialogue im so so brave guys #you bring me home #the 1975 #the 1975 fanfic #matty healy #matty healy fic #matty healy x reader #matty healy x oc #george daniel #ross macdonald #adam hann #abby writes #matty healy fanfic

[cozyaliensuperstar7]

Brittney Spencer 👑🤠

Brittney Spencer (born September 8, 1988) is an American country singer–songwriter. Spencer received notable attention following a viral Twitter video showing Spencer singing a cover of a song by the Highwomen. The video drew praise from fellow country artists and prompted the release of her first extended play (EP) titled Compassion (2020). She has also released several singles, including 2021's "Sober & Skinny". Spencer has since performed on the Country Music Association Awards and has embarked on a world tour.

Spencer is a native of Baltimore, Maryland. She developed an interest in music from singing in church. "Church, for me, was very cultural. It’s spiritual, but also very cultural. Families like mine, we couldn’t really afford singing lessons or anything like that, so I just sang in the church all the time," she told Baltimore magazine. She was raised as an African Methodist Episcopal. Spencer also came from a musical family. Her father was part of a quartet band. A friend from church got Spencer interested in The Chicks, which developed her interest in country music. From there, she developed interest in artists like Taylor Swift. She attended magnet schools in her teen years, including the George Washington Carver Center for Arts and Technology. During this time she learned to play guitar and piano. Spencer also took vocal lessons from a coach who taught her how to sing in a recording studio. She began by singing background vocals for R&B and gospel artists including Jason Nelson. In February 2013, Spencer moved to Nashville, Tennessee to pursue country music full-time.

Tanner Adell 👑🤠

Tanner Adell is an American country music singer-songwriter. Her debut album, Buckle Bunny, was released in 2023.

Adell was born in Lexington, Kentucky, and was adopted and raised in Manhattan Beach, California. She spent summers growing up in Star Valley, Wyoming. She learned to play piano and taught herself guitar, then studied commercial music at Utah Valley University. She was raised in the the Church of Jesus Christ of Latter-day Saints and completed two years of missionary service in Stockholm.

Tiera Kennedy 👑🤠

Reyna Roberts 👑 🤠

Reyna Roberts is an American country singer-songwriter and pianist. She is known for her July 2020 debut single, "Stompin' Grounds" as well as multiple appearances on NFL's Monday Night Football.

One of the few visible Black women in country music, Roberts is known for advocating for "acknowledging the past" of country music, which includes acknowledging Black artist mentors such as Lesley Riddle, and learning the history of the banjo and the term "Music City" for Nashville.

Roberts was born in Alaska and raised in Alabama and California. Both of her parents were combat engineers in the Army. She was born two months premature, weighing two pounds; when her family heard that she might have cognitive, physical, visual and vocal developmental issues, they used music to aid her brain development.

The first time Roberts performed music was at the age of three, when her mother took her to a karaoke bar in Alaska. When she was 10 years old, her family lost their home but paid for a storage unit to store her piano so Roberts could continue practicing the instrument. She continued playing in the family storage unit for three years.

Throughout high school Roberts competed on her high school wrestling team, and she began songwriting to woo the captain of the team. She recorded the resulting song, "Lying to Myself," in 2014. In 2016, she released the EP "The Beginning," which included the song "I'm Coming For Ya" and went on the Spring High School Nation Tour. She toured around the U.S. and opened for the Plain White T's.

#brittney spencer #tanner adell #tiera kennedy #reyna roberts #black country queens #beyoncé #blackbiird #act ii #Spotify

[dreamings-free]

Harry Lambert is the man who put Harry Styles in a dress. The stylist talks to Morwenna Ferrier about fame and how men’s clothes are changing

The Guardian | 26 May 2022

Walking down the narrow corridor towards stylist Harry Lambert’s studio, I can’t be the first person to wonder if Harry Styles – Lambert’s most famous client – has trod the same blue carpet. Not that Lambert would tell me. Getting him to talk about Styles is like getting blood from a stone. “OK, look,” he says. “When it comes to questions about Harry, I just consider our relationship too private to go too deep. You have to remember I am there in the most intimate times with people I work with. I’m often the last person they see before they go on stage. It’s an intimate space! I’m aware that a lot of the attention I get is because of him, but I want to be very careful. But let’s try. OK. Go.”

Harry met Harry around the time of One Direction’s 2014 album, Four. Rumours of a solo career were circulating, and Styles was going through his “Jagger period”, wearing black Saint Laurent suits, Chelsea boots and leonine hair tamed by bright bandanas – fashion filtered through NME rather than GQ.

Lambert was mostly styling magazine shoots and fashion shows when they were introduced to each other. He presented a wardrobe (“playful stuff, Gucci and JW Anderson, stuff like that”), and Styles agreed to give it a whirl. What emerged is best described as 1970s man, resurrected – flares, with a side of camp. Styles was always game, he says, “but when it happened, it was still like: ‘Fuck, this is wild.’”

The fashion industry gobbled it up. From the sheer black blouse and single pearl earring at the 2019 Met Gala, to the tight crimson Arturo Obegero jumpsuit in the video to As It Was, Styles became mainstream pop’s most determined subverter of gender stereotypes.

Lambert has been central to this, a sort of Thomas Cromwell to Styles’s Henry VIII, but dissolving binaries instead of monasteries. Not that that’s how he sees it: “Look, when it comes to this [gender stuff], I wish I could be all: ‘I wanted to change the world!’ But it’s more that it’s a byproduct of what we’re doing,” he says. “If you look at pop icons over the years, fashion is such an integral part of their image, like Björk in the swan dress, Britney in the schoolgirl outfit. I’m aware that what I do is having an impact, but is that top of the agenda for me? No.”

We’re sitting on a bench in the communal garden behind his two-room studio in Hoxton, east London. In one room, platform shoes spill out of an Ikea Kallax unit. In the other, rails of clothes sit. Lambert, 35, is warm and chatty, with a gentle East Anglian accent and short bleached hair. He’s wearing wide-legged Marni trousers in chequerboard brown, large black pearls and a T-shirt lightly stained with breakfast.

Celebrity stylists are relatively new. In Hollywood’s golden age – Lambert’s favourite era – actors were styled by costume designers from the studios. By the early 70s, the studio system was over, so stars dressed themselves, which didn’t always go well (Google any Oscars ceremony in the 1980s).

It wasn’t until the mid-00s and Rachel Zoe – who turned her cadre (Paris Hilton, Lindsay Lohan) into avatars of her stick-thin self, and is rumoured to have commanded $10,000 a day – that stylists became as famous as their clients.

Today, the red carpet is an economy unto itself, built on the (often false) idea that what celebrities wear is an extension of their personality rather than, say, a mutually beneficial marketing tool brokered between label, celebrity and stylist. No one knows how much money changes hands, but given that many celebrities require stylists as much off stage as on (the walking-to-the-car-holdinga-juice outfit can be as considered as what is worn to the Grammys) the celebrity stylist has never been more powerful. Which explains why some of the big Hollywood ones – Law Roach, say, who put Zendaya in a hot pink breastplate, or Karla Welch, who put Justin Bieber in extra-long sleeved T-shirts – are household names, if you live in that sort of home.

Unusually for a stylist, Lambert has just four clients: Styles, Everton footballer Dominic Calvert-Lewin, and The Crown actors Emma Corrin and Josh O’Connor (each of whom has a body double who tries on outfits the day before). Lambert gets approached a lot, but usually says no. “I only style people who – sorry to sound all LA – I connect with, or who I can transform. I once styled Kylie [Minogue] – but what do you even do with Kylie?”

It’s reasonable to say that O’Connor’s look is the most conventional. Standouts include a navy double-breasted sailor suit with ceramic buttons by SS Daley, worn to last year’s TV Baftas, “but there’s always a little twist, or flourish”, says Lambert. “It can never be conventional – I hate that.”

Corrin, whom he met through a friend, came out as queer last year, and uses clothes to communicate this. “There’s a pressure on girls in acting to be sexy, to be a bombshell, to have [their] boobs out. Emma is sexy, but it’s about playing with people’s perceptions of what is beautiful,” says Lambert. I say the Loewe dress and balloon bra she wore to the Olivier awards in April certainly felt like an in-joke. “The Oliviers are a bit stuffy, so we thought: ‘Let’s do something that most people aren’t going to get,’” he says with a laugh. “It’s a

Back in the day if you were into clothes you were gay. Now caring about your look is almost normal

conversation, but in a dress. Even the Daily Mail loved it.”

As with all stylists’ muses, there is an obligation to wear designers if they are linked with them – Corrin was the face of Miu Miu, Styles of Gucci and O’Connor of Loewe. But in using vintage pieces as well as pushing smaller designers such as Daley, Edward Crutchley and Harris Reed, whose gender-fluid designs have since ended up at the Met Gala, Lambert is attempting to redress the power balance.

Earlier this year, he turned down the chance to appear on the cover of the Hollywood Reporter. “I didn’t get into this job to be on a cover. Fashion is scary, fashion week is scary,” Lambert says. “There are ‘faces’, like Anna Wintour, and then there are people like me.”

But because of his job – and because of social media – he is a face of sorts. “Someone took my picture on the bus and tagged me this week. So I’m famous to a particular group of people.” The Harrys have nicknames for each other (Lambert is Susan, and Styles is Sue) and the internet has fun with their relationship, with Reddit threads devoted to unpacking what these names mean. Again, Lambert won’t comment, but it seems an efficient way to differentiate between two people called Harry.

I want to be remembered for men being able to wear necklaces and it not be a thing

Growing up in Norwich, Lambert was into clothes, not fashion. He cycled through trends familiar to a millennial (the skateboarding emo phase, the Abercrombie & Fitch ripped loose jeans phase) and, at school, drifted towards art. He studied photography at Rochester University and while he loved the narrative side, he tripped up on the technicalities, and instead spent his summers interning at various magazines.

He then moved to east London, just at the end of nu-rave. “I got into the industry right at the end, just after [the recession], when everyone had money, but also just before styling became a thing,” he says. He got work as a commercial stylist – including a stint at fast fashion “factory” Asos, and later Topman, but his Damascene moment was “bejewelling Little Boots’ roller skates on a shoot”.

His most recent client is CalvertLewin, one of the few footballers who doesn’t dress as if he has been vomited on by a bank. Last winter’s Arena Homme+ cover, in which he wears a flared short suit and a glittery pink Prada handbag, was a blue-tick Lambert look – high fashion with an androgynous twist. Is Lambert a football fan? “No. I had to do half a season at Norwich City – Delia Smith’s team – when I was a kid, but only to escort my little brother.”

You only need to look at Little Richard, David Bowie or Prince to see that androgyny has been part of pop since the beginning. Yet in football, outward expressions of so-called femininity are few and far between. Is Lambert trying to drive a conversation about gender by introducing this fashion to the Premier League? Lambert laughs again. “I didn’t bring the handbags to Dominic. He has three or four Chanel handbags of his own. But just because someone is a masculine straight guy in the football community, and has a handbag, it shouldn’t be a big deal.” But it is a big deal, I say, in a good way. “OK, yeah, I understand how toxic the [football] industry can be, so to see a man with a Chanel handbag is … something. But everyone is trying to tap into that market,” he says of fashion and sport. “Back in the day, if you were into clothes you were gay. Now caring about how you look – it’s almost normal.”

It’s unsurprising then that Gucci recently signed pomade-loving footballer Jack Grealish to front a future campaign. At the mention of his name, Lambert shifts around, then denies all knowledge of the signing. I’d put a tenner on him being involved.

“I think how men dress is changing,” he says. “The Loewe aesthetic is going to be the next super-brand for youth in the way that Balenciaga and Vetements [two of the brands responsible for luxury logo streetwear] rewrote what was cool. You can see it happening.” To translate, Lambert means clothes that are pretty and surreal, logo-free knitwear and lots of colour. Like Styles’ famous rainbow cardigan – effeminate and fun. “It’s the vibe shift, yeah.”

“When I’m gone,” Lambert says, “I just hope it’s silly things such as putting Harry [Styles] in pearls and that men can wear necklaces and it not be a thing – that’s the stuff I want to be remembered for. That and when people dress up as Harry for Halloween.” He claps his hands. “It means that we’ve done something that has had cultural impact. It means we’ve got through.”

#this was great #love it when non annoying people talk abou the boys :) #harry lambert #harry styles #harry's fashion choices #article #the guardian #26.05.22 #harry #mine #m

[abstracteddistractions]

Pierre Soulages (24 December 1919 – 26 October 2022)

Known as “the painter of black and light,” Pierre Soulages has forged a career remarkable not only for its rigorous invention, but for its longevity. Since the postwar period, the artist has evaded participation in such movements as Abstract Expressionism, tachism, and informel—rather contextualizing his paintings in terms of vitalism, classicism, and prehistoric forms. 

Already in 1948, he refused the terms of lyrical abstraction: “Painting is not the equivalent of a sensation, an emotion, or a feeling; it is the organization of colored forms, on which is made and unmade a meaning that we impose on it.”

Mr Soulages has explored such contingency predominantly with the color black, arriving at tactile canvases which might recall nocturnal landscapes or charred earth. Since 1979, he has pursued his series Outrenoir, whose title is a portmanteau Soulages defines as “beyond black.” With these variously gouged, scraped, and slicked tar-like surfaces, he transforms the spatial and temporal dimensions of painting. 

Critic Donald Kuspit once described the abstractions as “negatively sublime”—they inflect obdurate materiality with the mercurial aspects of light, achieving the effect of the immeasurable.

As a child, Soulages was drawn to the prehistoric menhirs found in his hometown of Rodez and the Romanesque architecture of the Abbey Church of Sainte-Foy in nearby Conques, and he would paint winter trees in black on a brown background, rendering branches in such a way to suggest movement in space. These early influences and endeavors would go on to shape his work for seven decades. 

In 1938, he moved to Paris to train as a drawing teacher and take the entrance exam for the École Nationale Supérieure des Beaux-Arts. Though he was accepted, he declined the offer, dissatisfied with the school’s mediocre standards. He returned to Rodez newly inspired after visiting exhibitions of work by Cézanne and Picasso. He was soon conscripted into French military service, but he forged papers to avoid mandatory labor for the Nazi party and spent the occupation in central France working as a wine producer.

In 1946, Soulages returned to Paris to devote himself to painting, and he eventually settled into a studio on Rue Schoelcher near Montparnasse. He first exhibited his paintings—bold, flat marks of walnut stain on paper—in the Salon des Surindependents of October 1947, where he caught the attention of Francis Picabia. The following year would prove significant to Soulages’s exposure throughout Europe and the United States: He was the youngest artist to be included in Grosse Ausstellung Französische Abstrakte Malerei (Grand Exhibition of French Abstract Painting), the major traveling exhibition of abstract art organized by the Württembergische Kunstverein in Stuttgart; and James Johnson Sweeney, the future director of the Solomon R. Guggenheim Museum in New York, made a visit to Soulages’s studio after hearing talk in Paris of a painter who worked in black with broad brushstrokes.

In 1949, the artist mounted his first solo exhibition at Galerie Lydia Conti in Paris, and his paintings were included in a group exhibition at Betty Parsons Gallery in New York, where his work was received as a French analog to that of the New York School artists. In 1950, his paintings were juxtaposed with those of Franz Kline in the acclaimed exhibition Young Painters in the US and France, curated by Leo Castelli at Sidney Janis in New York. 

Three years later, Sweeney included the artist in Younger European Painters at the Guggenheim, alongside Karel Appel, Alberto Burri, Hans Hartung, and Victor Vasarely, among others. Before the exhibition closed, Soulages had signed with the legendary Samuel Kootz Gallery, where he had his first solo exhibition in New York just two months later. 

Mr Soulages’s first retrospective was presented in 1960 at the Museum Folkwang, Essen, followed by iterations at the Gemeentemuseum, The Hague, and Kunsthaus Zürich. His first American retrospective was held at the Museum of Fine Arts, Houston, in 1966. There, he suspended his paintings, back to back, from cables attached to the ceiling so that they appeared to float freely in space. The following year, the first retrospective dedicated to Soulages in France was presented at the Musée National d’Art Moderne at the Centre Pompidou, Paris.

In 1979, Soulages debuted his “mono-pigmented” black paintings at the Centre Pompidou, inaugurating Outrenoir, the body of work which would dominate his practice for the decades to come.  “These paintings were first called ‘Black Light,’ thus designating a light that was inseparable from the black that reflected it,” Soulages has said. “In order not to limit them to an optical phenomenon, I invented the word ‘Outrenoir’ beyond black or—across black—a light transmitted by black.” Soulages received the Grand Prix National de Peinture in 1986, and the following year he was granted a major commission from the French state to design 104 stained-glass windows for the Abbey Church of Sainte-Foy. Over eight years, he expanded his engagement with light and architectonics to produce one of the great site-specific projects of the postwar period. In 1992, he received the Praemium Imperiale for Painting from the Japan Art Association.

Mr Soulages has been honored with two additional retrospectives in France, at the Musée d’Art Moderne de la Ville de Paris in 1996, and at the Musée National d’Art Moderne in 2009. In 2001, he was the first living artist to be given a full-scale survey at the Hermitage Museum, Saint Petersburg, and in 2014, the Musée Soulages opened in the artist’s hometown of Rodez, housing five hundred paintings spanning Soulages’s career. 

More than 150 of his paintings are in public collections around the world, including the Centre Pompidou, Paris; Solomon R. Guggenheim Museum, New York; Harvard Art Museums, Cambridge, Massachusetts; Montreal Museum of Fine Arts; Musée d’Art Moderne de la Ville de Paris; Museu de Arte Moderna, Rio de Janeiro; Museum of Modern Art, New York; National Gallery of Art, Washington, DC; Philadelphia Museum of Art; Tate Modern, London; and Walker Art Center, Minneapolis.

On the occasion of Soulages’s centennial birthday in December 2019, the Musée du Louvre paid homage to the artist with a survey of his seven-decade career, concurrent with an exhibition at the Centre Pompidou. Before Soulages, the Louvre has honored only two other artists with an exhibition during their respective lifetimes: Pablo Picasso and Marc Chagall. To shed greater light on the French artist’s presence in the United States, Lévy Gorvy presented the major survey Pierre Soulages: A Century in New York from September to October 2019. This exhibition was accompanied by a publication, featuring essays by Brooks Adams and Alfred Pacquement as well as poems by Sy Hoahwah and Virginie Poitrasson.

Peinture 81 x 60 cm, 3 décembre 1956, oil on canvas signed and re-signed, dated 12-56-1-57, 81 x 60 cm (approx. 31.8 x 23.6 in). © Adagp, Paris 2020.

#art #paiting #abstract art #abstraction #abstract #black #grey #pierre soulage #rip #rippierresoulage #centre pompidou #the louvre #peinture #texture #light #black&light #tatemodern #hermitage museum #rodez #france #outrenoir #art informel #tachism #abstract expressionism #iconic

[yama-bato]

Andre Brasilier

https://archive.org/details/11155370Fullsize/rober.jpg

André Brasilier (1929 - )                                                                          

André Brasilier was born into an artistic family in Saumur, France. His father, Jacques Brasilier, was closely affiliated with the Symbolist movement, joining the studio of the celebrated Alphonse Mucha. His mother, Alice Chaumont, was a graduate of the Royal College of Art in London. At the age of twenty, André Brasilier went to Paris to study at the École des Beaux-Arts. In 1952 he received a grant from the Florence Blumenthal Foundation, and in the following year, when he was only 23, won the Premier Grand Prix de Rome, entitling him to study at the Académie de France in Rome. His first solo exhibition of paintings, focusing on music, was held at the Galerie Drouet in 1959. Over the years Brasilier has exhibited in numerous exhibitions all over the world including France, Germany, Japan, Switzerland, Canada, the United States, Russia, The Netherlands, Korea and Hong Kong - over one hundred solo exhibitions in twenty different countries. His travels have inspired several series of paintings, as well as ceramics, mosaics, theatrical sets and book illustrations. He had his first retrospective of one hundred artworks from 1950 -1980 at the Château de Chenonceau in 1980, and a retrospective exhibition at the Musée Picasso - Château Grimaldi in Antibes, the French Riviera, in 1988.He has since been honoured with major retrospectives both at Russia’s renowned State Hermitage Museum in Saint Petersburg in 2005 and at the Museum Haus Ludwig für Kunstausstellungen Saarlouis in Germany in 2007. Across the globe and for the last five years, we’ve been the witnesses to a revival in the appreciation of Brasilier’s work.

#Andre Brasilier

[lamaisongaga]

LADY GAGA IN REALISATION PAR & SAINT LAURENT IN THE STUDIO WITH THE ROLLING STONES

In a thrilling and unexpected collaboration, music legends Lady Gaga and The Rolling Stones recently united in the studio to create musical magic. The result? A highly anticipated track titled "Sweet Sounds of Heaven," set to drop tomorrow and already generating immense excitement among fans and music enthusiasts alike.

For this momentous occasion, Gaga arrived at the studio donning an ensemble that was nothing short of iconic. She sported the striking Realisation Par Alexandra red mini dress. The dress featured charming small stars printed on it, and its frilled trims added a touch of whimsy to the ensemble. Priced at $210, it was a casual fashion choice that showcased Gaga's innate ability to make a style statement even with the simplest pieces.

To add an extra edge to her ensemble, LG paired the dress with her Saint Laurent Fall/Winter 2016 black leather biker jacket. This jacket was no ordinary piece; it boasted metallic silver asymmetrical collar and cuffs that caught the light in the most captivating way. The combination of the leather biker jacket with the starry dress created a look that was both fierce and glamorous, perfectly encapsulating Gaga's artistic spirit.

Shop:

Realisation Par "Alexandra" Dress ($210.00)

#April 2023 #jackets #YSL #dresses #Realisation Par

[pensat-i-fet]

12 Days of Christmas: Day 6 (Scott McTominay)

Day 5  l  Day 7

Masterlist

Wattpad

"Come on, darling. We are going to be late”.

“I hope we are late so I don’t have to do this”, muttered Scott under his breath, but his mum still heard him.

“Stop being a child. It’s just a couple of photos”.

The family had decided to do a Christmas photo shoot to send to their family and friends on their Christmas cards. Scott couldn’t be less excited about the next few hours. He even tried to use the excuse of not wanting any embarrassing photos to leak to the press and his mum shushed him immediately. 

“Being with your family can never be embarrassing, Scott. This is the last complaint I want to hear from you”.

So now they all found themselves in a little studio in Manchester, where the shoot was going to take place.

“Hi, please come in. We have everything ready”, you said. But Scott couldn’t see who the voice belonged to since his dad was blocking the view.

They all got up to get inside the room and when he saw all the decorations and costumes, he tried really hard not to groan. This is going to be ridiculous. 

“Uncle Scott, I want you to sit next to me”, said his little niece. 

“Of course. But your mum and dad will want to sit next to you too”.

But she didn’t seem too convinced and just took his hand to walk him to the little bench that had been set up for them. 

“Hello sweetie. Are you and your dad ready for the photos?”, you said, and Scott recognize you as the same voice he had heard before. When he lifted his head, he couldn’t stop staring. 

“Uncle”.

“Excuse me?”, you said, finally looking at him.

“I’m her uncle. Not her father. I don’t have children. I…um…”, what was he saying? 

“Ok…uncle”, you responded, trying not to laugh. 

Great, he thought, she thinks you are a weirdo. 

You had already planned where everyone was sitting for every photo and even got a Christmas theme for each time. 

“Here you go”, you said, giving Scott two elf hats. “For you and your niece, mister uncle”.

“Thank you”, he said, looking down so you couldn’t see him blushing with embarrassment. But it was too late. You loved teasing the clients, always while remaining respectful.

Instead of grabbing the camera, as Scott expected you to do, you knocked on a door.

“Joe, they are ready”.

Your brother came out and introduced himself as Joe, the photographer. He was acting normal until he saw Scott.

“You…you are Scott McTominay”, he said, struggling to get his words out.

“Who?”, you asked. “A United player”, he told you and you couldn’t help but roll your eyes. Of course, it was something about football.

But Scott didn’t know you, so his mind went through all the worse possibilities. Does she not like football?? Or worse, does she hate United?

Everything was going well until one of the babies got restless and started to cry, making the other one cry in solidarity.

Scott’s sister tried to get them away to calm them down when she noticed it was the nappies that needed a change.

“Both at the same time, great”, said his sister.

You got there quickly to help her. “Don’t worry, you can change one and I’ll do the other. That way they can still do some of the photos that won’t involve you three”.

“Oh God, you’re a saint. But you don’t have to, really”.

“I’ve had to deal with way worse than a dirty nappy in this job, believe me”, you laughed. And it was the truth. Some clients were extremely weird. 

“Scott, go get one of the babies. That poor girl has already done more than she should have. Help her a bit”, you heard Scott’s mum say to him.

“Oh, it’s alright. I’m here to help”, you said with a smile.

But before you could finish the sentence, Scott was already next to you.

“I think this one belongs to you, uncle Scott”, you told him, giving him one of his nephews.

“Yeah, thanks”.

“I want to apologize for anything my brother might say to you”.

“What do you mean?”, he asked you, while bouncing the baby in his arms. They looked adorable.

“He’s a big United fan and is obsessed with all of you. He’ll embarrass himself at some point, of that I’m sure”, you laughed.

“That’s ok. If he wants me to sign something, I’ll be happy to…”.

Hearing that Joe was your brother, and not a potential boyfriend, had put him in a better mood. Also, if he had to sign the chairs and tables to impress you, he was going to.

“Oh please don’t tell him that. I want to finish work before midnight”, you said, causing him to laugh. 

“A selfie, then?”

“It sounds harmless now but…who knows?”, you faked grimaced.

You both walked back to the photos area and while he was sitting down, you grabbed the next props.

"Who wants to wear the reindeer headband?"

"Uncle Scott!"

You could tell he was internally debating whether that was a good idea or not, so you put it on his head and while adjusting it behind one of the ears, you whispered. "Remember who you are doing this for and it'd be less painful".

But looking at your smile, he wasn't so sure who he was doing this for.

                                                          **

"Thank you so much", said Scott's mum to you and your brother. "It was such a lovely time. And you are so good with kids. I worried they would get restless too soon".

"It's all her", said your brother, pointing at you. "I just take the photos. She makes sure everything else goes right".

"Oh, absolutely. We were all impressed by her. Well, maybe some more than others", she said, and you saw her looking at her son.

You weren't blind and had noticed him looking at you and trying to find excuses to talk to you. But there were only so many times he could offer to sign things for your brother. And you didn't mind his attention at all.

"Hey, Joe!", you heard Scott say. "How about I thank you with some tickets for the next match?"

"Wha…what? What?", oh God, here comes when he embarrasses himself.

"Yes, for you and your sister".

"She doesn't like football".

If you could punch him right now, you would have.

"Maybe seeing Scott play will change my mind", you said, smiling at the United player and letting him know you were interested too.

"I'll see you there then", said Scott before leaving and joining his family.

                                                      **

The next day, a bouquet of flowers was delivered to you. And with it came an envelope with the tickets for the match.

"Right. So I only got those tickets because of you", said Joe, finally realizing what was going on.

"You're welcome, big bro".

#scott mctominay #scott mctominay one shot #scott mctominay imagine #scott mctominay x reader #scott mctominay fluff #scott mctominay fanfic #footballer imagine #footballer x reader #footballer fluff #footballer fanfiction #foootballer fanfic #footballer one shot #12 days of christmas #christmas fanfiction

[mybeingthere]

Farhad Ostovani was born in Lahijam in northern Iran. He started painting at the age of twelve.  In 1970 he entered the Art School of the Teheran University. Four years later, after a BA in visual arts he joined the École nationale supérieure des Beaux-Arts in Paris.After long periods of travel in the Middle East, Egypt, Italy and the United States, he decided to come and live in Paris, first in a studio in Faubourg Saint Antoine, and then in the rue de Bagnolet.

Gardens, trees and flowers, mountains and horizons are among the painters preferred motives.

https-//iranian.com/Arts/2000/May/Ostovani/index.html?site=archive.jpg

[industrial-horror]

Ernest Thesiger

(15 January 1879 – 14 January 1961) as Dr. Septimus Pretorious.

Thesiger was a British stage and film actor. His early ambition was to be a painter, but after serving and being wounded in World War I, increasingly traveled in literary and theatrical circles. George Bernard Shaw wrote the role of The Dauphine for him in the play “Saint Joan”.

Thesiger made his film debut in 1916, and appeared in several silent films. He befriended director James Whale, who was hired to direct the screen adaptation of J. B. Priestley's novel Benighted as “The Old Dark House” (1932), starring Charles Laughton in his first American film, together with top-billed Boris Karloff, Melvyn Douglas, Gloria Stuart, Raymond Massey and Lillian Bond. Whale immediately cast Thesiger in the film as Horace Femm, launching his Hollywood career. The following year Thesiger appeared (as a Scottish butler) with Karloff in a British film, “The Ghoul”.

When Whale agreed to direct Bride of Frankenstein in 1935, he insisted on casting Thesiger as Dr. Septimus Pretorius, instead of the studio's choice of Claude Rains.

Thesiger made several appearances on Broadway, notably as Jacques to Katharine Hepburn's Rosalind in the longest-running production of “As You Like It” ever produced on Broadway. Later films included “The Horse's Mouth” (1958) with Alec Guinness, “Sons and Lovers” (1960), and “The Roman Spring of Mrs. Stone”, with Vivien Leigh and Warren Beatty (1961). That same year he made his final stage appearance—a mere week before his death—in “The Last Joke” with John Gielgud and Ralph Richardson.

In 1960, Thesiger was appointed a Commander of the Order of the British Empire (CBE). His last film appearance was a small role in “The Roman Spring of Mrs. Stone” (1961). Shortly after completing it, Thesiger died in his sleep from natural causes on the eve of his 82nd birthday. He is buried in Brompton Cemetery in London.

BRIDE OF FRANKENSTEIN opened wider in the United States on 20 April 1935, after premiering 19 April, 1935 in San Francisco and in Seattle.

Universal Pictures. Starring Boris Karloff, Colin Clive, Valerie Hobson, Elsa Lanchester, Ernest Thesiger, E. E. Clive, O.P. Heggie, and Una O’Connor.

Directed by James Whale. Screen story by William Hurlbut and John L. Balderson. Screenplay by William Hurlbut. Inspired by the novel “Frankenstein” by Mary Shelly.

Music by Franz Waxman.

Black and White. 75 minutes.

[jaredgriffin2002]

Spider-Man (1999)

"Spider-Man" centers on student Jim Hawkins who, after being bitten by a genetically-altered spider, gains superhuman strength and the spider-like ability to cling to any surface. He vows to use his abilities to fight crime, coming to understand the words of his beloved Uncle Prince Charming: "With great power comes great responsibility."

@sony @marvelentertainment

Coming Soon

#spider man #spider man 1999 #columbia pictures #20th century fox #marvel #united saints studios #jim 2 #joseph gordon levitt #village roadshow pictures #1999 #1999 movies #superhero #jim hawkins

[modorama]

fashion |  DES CHEVEUX ET DES POILS at MAD Paris

   Following the success of the exhibitions La mécanique des dessous (2013), Tenue correcte exigée ! (2017) and Marche et démarche (2019), the Musée des Arts Décoratifs continues its exploration of the relationship between the body and fashion with an exhibition on hair styles and body hair grooming. Des cheveux et des poils (Hair & Hairs) exhibition, which runs from April 5 to September 17, 2023, demonstrates how hairstyles and the grooming of human hair have contributed to the construction of appearances for centuries. Hair is an essential aspect of one’s identity and has often been used as a means of expressing our adherence to a fashion, a conviction, or a protest while invoking much deeper meanings such as femininity, virility, and negligence, to name just a few.

The exhibition explores through 600 works, from the 15th century to nowadays, the themes inherent in the history of hairstyles, but also the questions related to facial and bodily hair. The trades and skills of yesterday and today are highlighted with their iconic figures: Léonard Autier (favorite hairdresser of Marie- Antoinette), Monsieur Antoine, the Carita sisters, Alexandre de Paris, and more recently studio hairdressers. Great names in contemporary fashion such as Alexander McQueen, Martin Margiela, or Josephus Thimister are present with their spectacular creations made from this unique material that is hair.

The exhibition is presented in the Christine & Stephen A. Schwarzman’s fashion galleries of the Musée des Arts Décoratifs. The scenography will be created by David Lebreton of the Designers Unit agency.

In an atmosphere where shades of blond, brown and red evoke the main hair colors, the course, divided into five themes, questions what makes hair, in Greek- Roman and Judeo-Christian cultures, an attribute of the animal and wildness and explains why hair had to be constantly tamed to remove the woman or man from the beast.

FASHION AND EXTRAVAGANCE

The first part of the exhibition opens with the study of the evolution of feminine hairstyles, a real social indicator and marker of identity. In the Middle Ages, obeying the command of Saint Paul, the wearing of the veil imposes itself on women until the 15th century. Gradually, they abandon it in favor of extravagant hairstyles that are constantly renewed. In the 17th century, the hairstyle “to the Hurluberlu” (dear to Madame de Sévigné) and “to the Fontange” (after the name of Louis XIV’s mistress) are emblematic of real fashion phenomena.

Around 1770, the high hairstyles known as Poufs are undoubtedly the most extraordinary of Western hair modes. Finally, in the 19th century, women’s hairstyles − whether inspired by ancient Greece, or known as “the giraffe,” in curls or “the Pompadour” − are just as convoluted.

TO BEARD OR NOT TO BEARD

After the hairless faces of the Middle Ages, a turning point occurred around 1520 with the appearance of the beard, symbol of courage and strength. In the early 16th century, the three great Western monarchs: Francis I, Henry VIII, and Charles V were young and wore beards, which were then associated with the virile and warrior spirit. From the 1630s until the end of the 18th century, the hairless face and the wig were the hallmarks of courtiers. Facial hair did not reappear until the early 19th century with the mustache, sideburns, and beard: this century was by far the hairiest in the history of men’s fashion. A multitude of small objects used (mustache wax, brushes, curling irons, wax, etc.) testify to this enthusiasm for mustaches and beards.

During the 20th century, the rhythm of bearded, mustached, and smooth faces continued, until the return of the beard among Hipsters in the late 1990s. The maintenance of hairiness among these young urbanites has given rise to the profession of barber, which had disappeared since the 1950s. Today, the thick beards tend to give way to the mustache that had deserted faces since the 1970s.

The choice of keeping, eliminating, hiding, or displaying hair on other parts of the body is also a subject of history that the exhibition addresses through the representation of nude bodies in visual arts and written testimonials. Hairiness is rare, or even absent from ancient painting. The hairless body is synonymous with the antique and idealized body, while the hairy body is associated with virility, or even triviality. Only enthusiasts of virile sports such as boxing and rugby, as well as erotic illustrations or medical engravings, show individuals covered in hair.

Around 1910-1920, when women’s bodies were exposed, advertisements in magazines touted the benefits of hair removal creams and more efficient razors to eliminate them.

In 1972, actor Burt Reynolds posed naked, hairy body for Cosmopolitan magazine, but fifty years later, an abundance of hair is no longer in fashion. Since 2001, sportsmen being photographed naked for calendars like Les dieux du stade (The Gods of the Stadium) have had rigorously controlled hairiness.

BETWEEN TRUE AND FALSE

Hair styling is an intimate act. Moreover, a well-born lady could not show herself in public with her hair down. A painting by Franz-Xaver Winterhalter, dated 1864, depicting Empress Sissi in a robe and with her hair untied, was strictly reserved for Franz Joseph’s private cabinet. Louis XIV, who became bald at a very young age, adopted the so-called “bright hair” wig, which he then imposed on the court.

In the 20th century, Andy Warhol had the same misfortune: the wig he wore to hide his baldness became an icon of the artist. Nowadays, hairpieces and wigs are used in high fashion, during fashion shows or, of course, to compensate for hair loss.

The natural hair colors and their symbolism are studied along with what they convey. Blonde is said to be the color of women and childhood. Red hair is attributed to sultry women, witches and some famous stage women. As for black hair, it would betray the temperament of brown and brunettes. From the experimental colorations of the 19th century to the more certain dyes from the 1920s: artificial colors are not forgotten. The work of the hairdresser Alexis Ferrer who makes digital prints on real hair is also presented.

TRADES AND SKILLS

The exhibition reveals the different hair professions: barbers, barber-surgeons, hair stylists, wigmakers, ladies’ hairdressers, etc., through archival documents and a host of small objects: signs, tools, various products, and the astonishing perming machines and dryers of the 1920s.

In 1945, the creation of haute coiffure elevated the profession to the rank of an artistic discipline and a French savoir-faire. 20th century hairdressing is marked by Guillaume, Antoine, Rosy and Maria Carita, Alexandre de Paris styling princesses and celebrities. Nowadays, great hairstyling is mainly expressed during the fashion shows of prestigious fashion houses. Sam McKnight, Nicolas Jurnjack and Charlie Le Mindu were invited to the exhibition to create extraordinary hairstyles for top models and show business personalities.

A HAIRY CENTURY

Finally, a special focus will allow us to evoke the iconic hairstyles of the 20th and 21st centuries: the 1900 chignon, the 1920s garçonne haircut, the 1930s permed and notched hair, the 1960s pixie and sauerkraut, the 1970s long hair, the 1980s voluminous hairstyles, the 1990s gradations and blond streaks, not to mention afro-textured hair.

The arrangement of hair in a particular form can reveal the belonging to a group and manifest a political and cultural expression in opposition to society and the established order. More ideological than aesthetic, the Iroquois crest of the punks, the neglected hair of the grunges or the shaved heads of the skinheads are strong moments of hair creativities.

Wearing the hair of another, known or unknown, has an eerie dimension, and this superstition seems well-entrenched. Despite these apprehensions, some creators choose to transcend this familiar material into fashion objects. This is the case of contemporary designers such as Martin Margiela, Josephus Thimister and Jeanne Vicerial. The question of identity, treated lightly or more deeply, is often at the heart of the reasoning, whether the hair is real or fake.

The Musée des Arts Décoratifs has benefited from exceptional loans from the Château de Versailles, the Musée des Beaux-Arts d’Orléans, the Musée du Louvre and the Musée d’Orsay. till 17 sept. 2023 madparis.fr Andrei S.

[brian-in-finance]

https://goldentrailer.com

Content run between April 4, 2021, and May 31, 2022, was eligible to enter.

Nominations announced 2 August 2022

Best Drama

A Journal For Jordan, Sony Pictures Entertainment, Trailer Park Group

Belfast “Everlasting”, Focus Features, GrandSon

House of Gucci “Legacy”, United Artists Releasing, Wild Card

King Richard “Greatness”, Warner Bros., Wild Card

The Many Saints of Newark, Warner Bros., Buddha Jones

Video from https://grandsonla.com/work/belfast/

Best Drama TV Spot

Belfast “Discover”, Focus Features, GrandSon

CODA “Family”, Apple TV+, GrandSon

Respect “Rise”, United Artists Releasing, Trailer Park Group

The Many Saints of Newark “Simple”, Warner Bros., Wild Card

The Northman “Remember”, Focus Features, AV Squad

Best Voice Over TV Spot

Belfast “Discover”, Focus Features, GrandSon

CODA “Groundbreaking Review”, Apple TV+, Grandson

Free Guy “It’s Been A While”, Walt Disney Studios, Tiny Hero

Hitman’s Wife’s Bodyguard “Cursed”, Lionsgate, Project X/AV

Nightmare Alley “Beast”, Searchlight Pictures, Mark Woollen & Associates

https://variety.com/2022/awards/news/golden-trailer-awards-2022-the-batman-top-gun-maverick-1235330834/amp/

Remember the three Golden Trailer Awards nominations?

#Tait rhymes with hat #Good times #BelfastMovie #Awards #Nominations #Golden Trailer Awards #GTA22 #2 August 2022 #Variety #Belfast #Worldwide 2022 #YouTube #My screenrecording #RIP JJB #Campaign To Shorten Awards Season

[heavenboy09]

Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊 To The Most Successful & Youngest Music Artist 🎶 🎨 Of All Times To This Day

Hailing All The Way From Barbados 🇧🇧

Born on February 20th 1988, St Michael & Raised In Bridgetown, Barbados 🇧🇧

She is a Barbadian singer, actress, and businesswoman. Born in Saint Michael and raised in Bridgetown, Barbados, She auditioned for American record producer Evan Rogers who invited her to the United States to record demo tapes. After signing with Def Jam in 2005, she soon gained recognition with the release of her first two studio albums, Music of the Sun (2005) and A Girl Like Me (2006), both of which were influenced by Caribbean music and peaked within the top ten of the US Billboard 200 chart.

Her third album, Good Girl Gone Bad (2007), incorporated elements of dance-pop and established her status as a sex symbol in the music industry. The chart-topping single "Umbrella" earned  her first Grammy Award and catapulted her to global stardom. She continued to mix pop, dance, and R&B genres on her next studio albums, Rated R (2009), Loud (2010), Talk That Talk (2011), and Unapologetic (2012), the last of which became her first Billboard 200 number one. 

Aside from music, She is known for her involvement in humanitarian causes, entrepreneurial ventures, and the fashion industry. She is the founder of the nonprofit organization Clara Lionel Foundation, cosmetics brand Fenty Beauty, and fashion house She under LVMH; she is the first black woman to head a luxury brand for LVMH.

 She has also ventured into acting, appearing in major roles in Battleship (2012), Home (2015), Valerian and the City of a Thousand Planets (2017), and Ocean's 8 (2018). She was appointed as an ambassador of education, tourism, and investment by the Government of Barbados in 2018 and was declared a National Hero of Barbados on the first day of the country's parliamentary republic in 2021, entitling her to the style of "The Right Excellent" for life.

Now She is Happily Married 🥺😭 & Now Is A Mother of 2

Please Wish This Most Amazing Music Artist 🎵 / Actress / Businesswoman Of Barbadian Descent A Very Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊

You Know Her & You Are Always Gonna Love Her 💘

The 1  & Only

MS. ROBYN RIHANNA FENTY  Aka RIHANNA 🇧🇧

HAPPY 35TH BIRTHDAY 🎂 🥳 🎉 🎈 🎁 🎊 TO YOU MS. FENTY 

#Rihanna #Spotify

[jonathanferraragallery]

LISA SANDITZ was born 1973 in St. Louis, MO. In 1994 she studied at the Studio Art Center International in Florence, Italy. In 1995 she received her BA from Macalester College, St. Paul, MN and in 2001 graduated with an MFA from Pratt Institute in Brooklyn, NY. In 2005 she was selected by Creative Time and United Technologies to participate in an outdoor mural project where three commissioned artists, also including Alex Katz and Gary Hume, have painted site-specific paintings to be repainted on billboards in lower Manhattan. She is a 2008 Guggenheim Fellowship Recipient and currently lives and works in New York.

Recenet solo shows include Huxley Parlour Gallery, London, UK, 2020, with a show entitled, “Mud Season,”and at Jonathan Ferrara Gallery, New Orleans, LA 2019, with, “Deep Woods”. She has had multiple solo shows at CRG Gallery, New York, NY, Acme Gallery, Los Angeles, CA and Rodolphe Janssen Gallery, Brussels, Belgium.

Sanditz’ work is in a number of private and public collections, including The Fogg Museum, The Saint Louis Art Museum, The Dallas Museum and The Herbert Johnson Museum, Ithaca, NY. Her work was included in Landscape Painting Now, Barry Schwabsky, edited by Todd Bradway, DAP, 2019.  She has been reviewed in a number of publications including, The New York Times, Art Forum, Hyperallergic and in an interview with Kanishka Raja in Bomb (2017).

Recent special projects include, a community mural project done at Mill Road Elementary School, Red Hook, NY and The Amazing Pollinator Guide, done in collaboration with artist and fellow pollinator lover, Emily Sartor, published by the Thomas Cole Site and Olana Historic Site.

#lisa sanditz #women artists #oil painting #oil on canvas #art #contemporary art #jonathan ferrara gallery #jfg artist

[onenettvchannel]

FALSE: Televised Movie Special for a FINAL 3rd Season of Amphibia will not happen in mid-June 2022

FROG VALLEY, AMPHIBIA ISLAND REGION -- Almost a month after the 3rd and Final Season ended in mid-May this year in 2022, a single animated Twitter insider (Debbie) from Malaysia (not an actual real name) releasing a few of the still images, fresh and direct from the studio of Disney Television Animation (DTVA), which is not to be released anywhere to the public.

Debbie spreads a tweet like wildfires Thursday morning (June 2nd, 2022 -- Pacific local time) that the Animation team have wrapped up for the upcoming final touches in post-production, even after the said series ended. A 42-minute televised movie special, in celebration of its 3rd anniversary of Amphibia will air this year by June 18th starting at 8am (Eastern local time).

Additionally, a British singer songwriter named Edward Christopher Sheeran will feature as a guest star who was voiced per male pastor in a historic 3-way marriage event of SashAnnArcy (Sasha Waybright, Anne Savisa Boonchuy & Marcy Wu) before departing all the way back to Los Angeles, California, United States of America (U.S.A.). The new voice of Sprig Plantar was undetermined as she notes a source to our news team.

One unofficial synopsis obtained exclusively with a drafted movie special on television: *Back to Amphibia -- "Former students of Saint James Middle School (SJMS) accidentally activated a source which teleports them to the Amphibia Island Region while revisiting a place where it all once started".

The movie special claims for a Disney Channel cartoon show leads to an extensive sequel of Episode 1 back in mid-June 2019, several months before the Coronavirus Disease-19 (CoViD-19) pandemic worldwide.

Here at OneNETnews, we furtherly debunk the said Twitter insider for a televised movie special, in partnership with Tegna Inc. and WPMT-TV's FOX 43: Central Pennsylvania.

Our sources gathered the following: *A deleted tweet of one Show Creator (Dana Terrace). *The Cable Forum, as first obtained from a Forum Administrator named KyL416 (which is matched and verified with TVPassport listings in America's Eastern schedule). and *A Question and Answer Panel, moderated from a Los Angeles YouTuber via ZOOM named DeepCut who mainly owns Cartoon Universe.

The official schedules of Disney Channel as Kyl416 reported, it airs most of the show reruns until a new episode showned with "The Ghost and Molly McGee" at 9:30am (Eastern local time) by June 18th.

While on June 4th this weekend as according thru TVPassport and a deleted tweet with 'The Owl House' show creator (Dana Terrace), the episode marathon focuses a lesbian couple between Luz Noceda and Amity Blight (known as LuMity for short).

And, a YouTuber in Los Angeles named DeepCut, who moderate a panel of Question and Answer on Cartoon Universe meets one show creator (Matt Braly) and the casts of Amphibia.

Speaking to Braly via Cartoon Universe, the movie special is less likely and to be discussed at DTVA's production point: "I think about a movie a lot, and I think about the kinds of things that I would want to see and sort of like where the story is and what we have done. And I'll just tell you right now, the movie would be time traveled, the reason being that I want to see Leif Plantar and Barrel in her act with our modern day characters. I feel like, it would be the best way to kind of create a satisfying new story, even though we have this time skip, something that is felt satisfying conclusive. It will be a great way to give chaos to something you didn't even know you wanted it".

He adds during a Zoom meeting panel, he was focusing behind the scenes for its origins of the Plantars before officiating with a presumptive presidential captain of Newtopia (Andrias Leviathan): "The Plantars meeting their first descendants or Barrel getting more screen time. That stuff excites me, so if that's something you wanted to see... I'll never say, never I think to make a noise and that's interesting. It can happen. Movies are different than special, because it's not for continuation of these 3 seasons' arc. So that would be kind of the perfect way to see these characters again on this show".

So in conclusion, NO. The movie special in sequel to Amphibia's extensive first episode will not eventually aired on June 18th to Disney Channel in America. Instead, 'The Ghost and Molly McGee' regularly airs smoothly with a new weekly episodes on Saturday morning (Pacific local time).

The production team and guards will soon beefing up the security in advance, ensuring all the unauthorized persons remain off-limits for now, due to lack of informative media and trusts.

The Malaysia police turned into custody between the infringement and false information on its said movie special of Amphibia. DTVA will receive personally a monetary reward and certification per concerned if Debbie pleads guilty in Malaysian court and sentenced to 6-9yrs. in prison.

It is quite too soon to make it happen for a movie special of Amphibia by debunking all of this situation for its production company to respect and support the animated officials of DTVA.

SPECIAL THANKS to the Anonymous Facebook netizen for sending us a news tip.

PHOTO COURTESY: Twitter Insider for Disney Television Animation

SOURCE: *https://twitter.com/i/web/status/1532287743912382465 [Referenced Tweet Post from Animated Insider #1] *https://twitter.com/i/web/status/1532287747590803457 [Referenced Tweet Post from Animated Insider #2] *https://twitter.com/i/web/status/1532752513018892289 [Referenced Tweet Post from Animated Insider #3f] *https://www.tvpassport.com/tv-listings/stations/disney-hd-eastern/6112/2022-06-04 or https://archive.is/z81xu [Referenced TV Listing from the TVPassport] *https://cabletvt.powerrangermail.net/index.php/topic,6935.0.html [DC June 2022 Premieres via The Cable Forum] and *https://www.youtube.com/watch?v=ojBjF8-lBP4 [Q&A Panel with Show Creator and Cast of Amphibia via Cartoon Universe]

-- OneNETnews Team

#entertainment news #frog valley #amphibia island region #los angeles #california #season 3 #the final season #movie special #amphibia #amphibia spoilers #animated #sashannearcy #verify #malaysia #cartoon universe #OneNETnews