#historical fashion vol 1

[artist-ellen]

Somehow more than 50 copies of the coloring book have sold!! 🥹❤️ I can’t believe it

I am the artist! Do not post without permission & credit! Thank you! Come visit me over on: instagram.com/ellenartistic or tiktok: @ellenartistic

Print copy of the book: https://www.amazon.com/B0CLYRQYT1/

Pdf version: https://ko-fi.com/ellenartistic/shop

#historically inspired #adult coloring book #historical fashion vol 1 #historical fashion #historical costuming #ellenart #lnart #costume design #ellen artistic #coloring book

[joleneghoul]

Everyone wants the jacket lore do not be silent

Okay obviously this is going to be me rambling on about my own headcanons but also the tiny canon reasons I have these headcanons.

Okay first I'll start off by saying the jacket I personally Always draw Rip in and the one from my design used to belong to Booster during Boosters (short lived) College days.

That being said, It's a jacket that's very...dated and old for the future, so I believe it was from a thrift shop before Booster owned it (so while being in a similar style to futuristic bomber jackets, it lacks that neon bright color scheme that seems to of been popular for Boosters generation.)

Here is just an example of Rip side-by-side to Michelle (who's outfit is based on her introduction in Issue 15 of BG vol 1- post Booster leaving, and post her mothers death). again, that 80s-escque big shouldered, large collar/lapel was in, but the colors are muted and off. I like to think about future fashion trends a lot, how staying on trend in the present is something Booster clearly cares about, how that probably wasn't as much of a possibility in his own past (the future).

Rip's design is based on a theoretical future fashion while having more earthy muted elements- augh its a whole meta thing I got going on in my head. Earth tones instead of neon primary colors, Silver/chrome accents instead of Gold, etc etc.

But anyway when it comes to canon I find it fun that in this arc of Vol 1 we get to see multiple reactions to Jack and Rip's clothing. They get the obvious "those are dated clothes" comments but nothing to say they are insanely out of place. They even use the excuse that they are just college students working on a play-their outfits are similar to something a student department would scrounge up at a minimal cost but still seeming off and inaccurate to the time frame they're trying to portray.

(now that's also because all historical documents of the past during this time were destroyed but- ykno. I like to imagine there's multiple reasons why people weren't like "NEVER SEEN CLOTHES LIKE THAT BEFORE!".)

It's clear to me that even in this arc, Rip's jacket is important enough to him that he makes Jack sell HIS jacket instead of his own. Now, Rip's a selfish guy and all especially at this time in his characters history, but with the meta context that Booster is Rip's father, and this arc being about Booster wanted for treason- the idea of Rip running around in his fathers old star quarterbacks jacket (while modded with red accents) just is fun to me. Not to mention even within this arc Rip is weirdly avoidant of anyone seeing him and looks EXTREMELY like a slightly younger Booster despite men in this series explicitly looking very different from each other.

aka: I think it would just add to the weird cycles that surround Rip's non-linear life.

Now I am someone who is Really into design elements that tell story, aka why I like drawing Rip's hands covered in scars because he wears improper gloves as someone who works with his hands, and why i like adding patches and scuffs to the leather jacket when I make it more detailed. It's old, It's older than Rip, It is something he cares a lot about because it's a piece of home and something that was his dads that he gets to have with him most of the time. I don't think Rip would ever call himself sentimental- i think these are things he holds onto nonetheless (similar to him literally clinging to the old family heirloom clock despite it being broken throughout time masters.) He is a character who cares so intensely but wont say it out loud, you have to show these things in the tiny details or what he surrounds himself with.

This becomes important when A lot of the paranoia he faces in time masters revolves around the triggers he experienced WHILE seeing the place his dad grew up in, what created it, how these family cycles started.

I think in a way to mirror his growth through the end of this, realizing there's things he can't change but he can change himself and how he treats others- look towards bettering his own future than fearing the lack of control he has in the (non-linear) past- I like to add the sunflower to the back of the jacket post this arc. this Arc has a lot of differences in my head with the addition of so much new lore/canon since the 90s and my own headcanons (time gardens- hence flower/bug/plant imagery so often in my shit), but still the theme remains the same really.

While Rip is a character i many times in my art associate with Daffodils ( a flower representing rebirth and such) and sunflowers are flower i associate with the likes of Wave & Booster I do think the meaning behind them of new opportunities through others and happiness is something that would both honor the history of the jacket while making it his own.

LASTLY 4th person who "owns" the jacket, and this is shown in my art a few times, is Jeff (occasionally) because I think that's the only person Rip would trust with it when he outgrows the jacket (bc I do think as Rip gets older he fills out more and its moreso a piece for someone a bit lankier). It smells old and reminds them of when they were younger. ugh. I just find the idea of sharing clothing with significant others/partners really fun ok? sap for it.

anyways sorry if this makes no sense its just one of those things i think about a lot and only i do bc its something i made up lol!!

AKA 1 stupid jacket means a lot to a few weird time travelers.

[vintagelasvegas]

The pool at Minsky’s, Las Vegas, August 1958. Photos by Allan Grant

Update: The women are unknown. The location was identified as the residence of Harold Minsky, 5712 Kelly Lane, which is now airport property. Our original article considers the history of another neighborhood known as “Naked City.”

The legend of “Naked City” – the neighborhood west of the Stratosphere – claims the area got its nickname in the 60s because of its sunbathing showgirls at various apartments.

The phrase “Naked City” was coined by photojournalist Weegee for a book published in the late 40s. It was turned into a movie, then a TV series – it became shorthand for a lawless inner city. The earliest this term was used in print for Las Vegas was consistent with this definition, a front-page Review-Journal story in 1982: “Crime is soaring in the once-fashionable area that is called ‘Naked City’ by Metro police …” 

Originally called Meadows Addition, platted in the late 20s, and built up with apartments in the 50s, the neighborhood became geographically isolated as Las Vegas expanded in the 60s-70s. The rise in crime and “Naked City” moniker kept it on the front pages of Las Vegas newspaper through the 80s. Metro formed a gang detail to work the area of Tam Drive where 29 murders were linked to gang activity in ’82-83.

Some who lived in this area in the 60s & 70s never heard it called Naked City before. Sahara hotel dancer Gail McQuary: “It wasn’t called that. We had a beautiful apartment on Boston Ave and I used to walk to work.”

Others insist the legend is real. Former city councilman Steve Miller, who did not live there, says, “We called it Naked City when we were in our teens [in the 60s] because we’d see suntanning showgirls. I didn’t come up with the name, it’s just what people said.”

There was an effort to rebrand the neighborhood as Meadows Village in the late 80s, and Miller was quoted telling the suntanning story to a reporter in 1989, insisting the “Naked City” nickname was not negative. The neighborhood now falls within the boundaries of a larger area which has been called the Gateway District. 

K. Lauer. "Naked City an LV Battleground,” Review Journal 6/20/82; L. Werner, R. Cornett. “For blacks, Latinos: A painful legacy,” RJ 9/4/83; “LV officials close park in Naked City,” RJ 10/17/87; D. Russel. “Naked city cleans up its act,” RJ 11/1/87; S. Whaley. “Naked City sheds its negative image,” RJ 3/8/89; M. Green. “Naked City program outlined,” RJ 1/13/93; W. Clayson. Cubans in Las Vegas. Nevada Historical Society Quarterly, Vol. 38, No. 1, Spring 1995; K. Zekan. "Tower rises from mean streets,” Las Vegas Sun, 4/26/96; Gail S. McQuary Interview (1997) by Joanne L. Goodwin, UNLV Oral History; F. Robles. ‘Marielitos’ Face Long-Delayed Reckoning: Expulsion to Cuba. The New York Times, 1/14/2017.

#1958 #Allan Grant #Showgirls

[rwby-encrusted-blog]

I've been thinking about how Ruby and Jaune are kind of opposites to some extent.

Ruby's a prodigy, taking on dangerous criminal, getting into Beacon two years early, her eyes LITERALLY petrify, if not disintegrate Grimm.

Her weapon is and over-the-top, as well as being historically pretty bad as a weapon. It's also a high caliber bolt action rifle. This, for any normal person is just a bad idea, but she works with it, and does so Well.

She's constantly moving, as her semblance allows her to fling herself all over the battlefield, to the point where she acts as bait for her team a lot, because she believes she can outrun most dangers, if not completely, she can outspeed them until her teammates show up.

Jaune I will say, wasn't a step behind everyone in beacon.

He wasn't even on the same goddamn staircase! He didn't know what aura was! I understand he was the audience stand-in to some degree, but it seems like a big detail for someone who lives on the planet of endless monsters to know!

His weapon? The most basic combo of sword and shield. the most unique things about it are that it's a shield-sheathe, and another, bigger sword! (And the vol 7 upgrades, but he still doesn't have a good ranged option.

He doesn't stand still while fighting, thats like fighting 101, but he doesn't exactly have movement options like the rest of his teammates. (Blake teleports, Yang, Ruby and Nora can launch themselves with their weapons, Weiss and Ruby use their semblances. Ren runs faster than Jaune can, I guess.)

These two are not really the same in many ways, except for how they handle their emotions, the biggest difference being Why they feel the way they do, and What they're dealing with. Ruby with her inadequacy as a leader in vol 1, Jaune and his ability to protect people after Vol 3, Ruby and Jaune don't hold back against those that threaten or have threatened the lives of their friends and family, unless not holding back actively endangers those people.

~~~

P.S. I will say that it has been a bit since I actually watched RWBY, so some of this is off, I know it is, but I don't think It's super far off for the most part, right?

~~~~

P.P.S. Also can people just give Jaune a gun, instead of taking away Crocea Mors and his shield? It really feels like you just want to change who Jaune is, rather than improve upon him, because his weapons are, well, His weapons, and are important to his character, his reason for fighting, how he fights. Just give him a pistol or something, and let him keep the Heirloom for gods sake.

I literally never see anyone else lose their weapons in fics, at least not nearly as often as Jaune does.

Ruby has CR, Weiss has Myrtenaster, Blake has gambol Shroud, Yang has ember celica, Nora has magnhild, Ren has storm flower, Pyrrha has Milo and Akouo, but Jaune constantly loses his sword and shield, or arguably worse he just doesn't use the shield ever, and all the focus is on him either accidentally killing something, or purposefully killing something, but doing so in an outrageous fashion.

#rwby #rwby meta #jaune arc #ruby rose #lie ren #pyrrha nikos #yang xiao long #weiss schnee #blake belladonna #nora valkyrie

[bonesinthemacabre]

midnight recommendations, by bones, vol.1

if you...

× are a victorian vampire

× likes to study dark historical facts

× was executed for witchcraft by the church

× thinks corsets are the height of fashion

× can't decide between wanting to live in a castle in the mountains or a cabin in the woods

× has an unusual love for haunted dolls

× are friends with ancient mythological creatures (or if you are an ancient mythological creature)

then you might like: Rasputina

#goth #goth subculture #goth music #victorian goth #vampire goth #goth bands #midnight recommendations #rasputina

[kamreadsandrecs]

Title: Ooku: The Inner Chambers, Vols. 1-19 Author: Yoshinaga Fumi (mangaka), Akemi Wegmuller (translator) Genre/s: historical, alternate history Content/Trigger Warning/s: rape, attempted rape, incest, murder, poisoning, physical and emotional abuse, natural disasters, starvation, fatal illness, parental death, death of children, miscarriage, killing of pet animals Summary (from publisher's website): In Edo period Japan, a strange new disease called the Redface Pox has begun to prey on the country’s men. Within eighty years of the first outbreak, the male population has fallen by 75 percent. Women have taken on all the roles traditionally granted to men, even that of the shogun. The men, precious providers of life, are carefully protected. And the most beautiful of the men are sent to serve in the shogun’s Inner Chamber… Buy Here: https://www.viz.com/ooku-the-inner-chambers Spoiler-Free Review: It's been years since I read the first three volumes of this series, but then I found out that the first season of the animated version was on N*tfl*x so I decided to give that a shot, as well as find the rest of the series. Took me a while to get all the volumes, but once I had them all it was easy to do a speedrun, so to speak, and finish it. One of the first things I need to say about this series is that it is bittersweet. Tragedy abounds in this series, as does heartbreak, and all manner of desires and goals remain unrequited and unfulfilled. That being said, I still thought this was a great read. I can understand why some people would choose not to pick it up because of the potential triggering content, or just because they don't want to read something that'll put them through the emotional wringer (as it were), but I found that I liked how tragic this whole story was - not for tragedy's sake, but because of the characters. They're a complex lot, and not all of them are good people, but I enjoyed reading about how the choices and decisions they made affected not just themselves and those around them, but the characters who came after them - a plot that's allowed by the long scope of the manga's story (from the reign of the third Tokugawa shogun, all the way to the dawn of the Meiji period some two hundred years later). if there is any other media I could compare this to, at least on the surface, I'd say it comes pretty close to Game of Thrones - up until Season 5, since the show infamously loses the plot after that point. Fortunately this manga has a much more coherent storyline, even as it features many of the same beats such as forbidden romance and court intrigue. The alternate history aspect, wherein Japan is ruled by women instead of men, is interesting not because it drastically changes the way the world works, but because it showcases how so many things actually remain the same. Women are still people, after all, and power is still power, and people in power do things in similar ways regardless of their sex or gender, with similar outcomes both for good and for ill. Overall, this was a pretty good read, even if it was heartbreaking in a lot of places, and even if there's plenty of content that made me flinch, and which will very likely trigger other readers. If there's one thing that I found a bit off-putting about this, and which other readers might find off-putting if the trigger warnings don't, was the use of Shakespearean-style English, especially in the first half of the series. I suspect it was an attempt by the translator to mimic the more old-fashioned Japanese in use during the 1600s-1700s, but it can be rather jarring in certain scenes. One gets used to it after a while, but it can take one out of the moment sometimes. Rating: four kimono and one uchikake (4.5)

#book review #book reviews #ooku: the inner chambers #ooku #manga #historical #alternate history #yoshinaga fumi #akemi wegmuller #books

[synchronousemma]

Thursday, 23rd June (Midsummer Eve; Harriet's birthday): The Donwell Abbey party takes place

Read: Vol. 3, ch. 6 [42]; pp. 234–240 (“Under a bright mid-day sun” to “before the following evening”).

Context

The Westons, the Woodhouses, the Eltons, Harriet Smith, and Jane Fairfax arrive at Donwell. Jane Fairfax leaves early. Frank Churchill arrives late.

This occurs at “almost Midsummer” (vol. 3, ch. 6 [42]; p. 234); the next day is “not [...] above six-and-thirty hours” (vol. 3, ch. 9 [45]; p. 254) before Frank’s return to Richmond on “the 26th” (vol. 3, ch. 14 [50]; p. 289), making this the 23rd.

Lionel Trilling notes that for “English culture” we ought to read “English agriculture” (p. 53). Per Kaythryn Sutherland, “[a]t the time Austen wrote, the older and more recent senses of the word ‘culture’ (as cultivation of land and intellectual work) still coexisted, and the division […] did not yet gape between physical and mental labour” (p. 50).

Note that the sections “Wearied Spirits” and “There’s No Place Like… Swisserland?” contain spoilers.

Readings and Interpretations

A Lecture on the Picturesque

The strawberry party marks the first time that Donwell Abbey is directly described, despite its having been referred to repeatedly in the preceding narrative. We see Emma considering the “respectable size and style of the building, its suitable, becoming, characteristic situation, low and sheltered—its ample gardens stretching down to meadows washed by a stream, of which the Abbey, with all the old neglect of prospect, had scarcely a sight—and its abundance of timber in rows and avenues, which neither fashion nor extravagance had rooted up” (p. 234). Ruta Kaufmann writes that Donwell is “one of the most significant dream homes” in Austen:

Donwell acquires its features of a dream home gradually as the narrative advances, although it never forms such a striking picture as Pemberley or Northanger Abbey. In a way, it is always in the background of the action and comes to the foreground only in a couple of passages. […] [W]e get a proper tour of the domain only in Summer, during the strawberry party, when all the guests get a chance to admire it. Symbolically, it is viewed on the Summer solstice—at the “highest” point of the year—surrounded by ripe fruit, which evokes fertility, self-sufficiency, and dream-house quality. (pp. 113–4)

Alistair Duckworth notes that the “distrust of fashionable improvements” expressed in this first description of Donwell is typical of Austen. It “not only reminds us of the theme in Mansfield Park, but comments, too, on the recent actions and intentions of the visitors to Donwell—especially, perhaps, on Mrs. Elton’s attempt to redefine what is ‘natural’ by coercing Knightley into giving an alfresco ‘gipsy-party’” (p. 175). Janet Todd similarly notes the unabashed old-fashionedness of Donwell, putting it into historical context:

For […] Mrs. Elton, the world has begun its unstoppable shrinkage into a series of described and packaged tourist spots complete with artificial, designated activities. Mr. Knightley’s putdown to Mrs. Elton is the putdown of a whole new manner of being and seeing, which is, despite his momentary power, about to triumph. Mrs. Elton tries to make the strawberry party a tripper’s day out, where Mr. Knightley insists on its being an old-fashioned visit to his country property. […] Mr. Knightley is against tourism, and his land is closed to sightseers. Village folk can have a right of way across it—and he insists that they do even when he has to move his path to avoid damage to the home meadows—, but he makes no effort to provide vistas for them. He is unperturbed by his house’s “old neglect of prospect” (389) and in no rush to “improve” the pleasure grounds; his avenue of limes leads to a wall and pillars framing neither house nor view. (pp. 21–2)1

Critics therefore tend to argue that Donwell presents an image of an idyllic, idealized, or even nationalist England. Alistair Duckworth writes that “the description of the view from Donwell,” coming as it does after the sense of “social disintegration” conveyed by the party’s splintering as they walk through the grounds, “posits an alternative hope in her description of the view from Donwell of the Abbey-Mill Farm, as if to underscore the contrast between the present fragmentation of the party and the enduring possibilities of an organic society” (pp. 174–5). Lionel Trilling argues that Austen presents Highbury as an idyll (a literary genre which presents an innocent and happy humanity), contrasting it with the outside world from which “insincerity and vulgarity come” (p. 58): “we cannot help feeling that ‘English verdure, English culture, English comfort, seen under a sun bright without being oppressive’ make an England perceived—if but for the moment,—as an idyll” (p. 57). For Trilling “Emma is a novel that is touched—lightly but indubitably—by national feeling” (p. 53). Per Deirdre Le Faye, here “Knightley and Donwell Abbey are both synecdochic of a larger national concept of Englishness, which itself carries overtones of provincialism, honesty and integrity” (2005, p. 26).2

Douglas Murray, however, questions whether “the novel as a whole endorse[s] this view of Donwell as metonym for the kingdom,” arguing that the text may “interrogate or even undermine that notion”:

I would like to argue that readers would be naive to interpret this passage as mere unreflective nationalist discourse, as Jane Austen’s unqualified, freestanding ode to post Napoleonic England. This passage, like most narration in the novel, adopts the technique of free indirect discourse and is filtered through the consciousnesses of all the visitors: the party ‘insensibly followed one another to the delicious shade of a broad short avenue of limes’ [p. 235]. […] [T]he primary perceiver of Donwell is Emma herself […]. In fact, almost the entire visit to Donwell consists of Emma’s impressions. (p. 956)

Thus, because it is focalized through Emma, “the description of Donwell Abbey presents a landscape which very much accords with Emma's personality and preoccupations,” including “a compulsive rage for order and, in a semiotic sense, purity”—but the code of values presented here is not Austen’s (ibid.). Similarly, Paul Pickrel argues that here Emma “is beginning to think of Donwell Abbey as her own future home,” which explains in plot rather than political terms why the description of the estate seems “excessive” (p. 305; see also Burrows, p. 108).

The view from Donwell also includes “what [Emma] has previously excluded from her outlook,” namely Abbey-Mill Farm (Duckworth, p. 175). For Trilling, the “almost solemn vision of England’s green and pleasant land” culminates in the “favourably placed and sheltered” Abbey-Mill Farm for a reason: “the little burst of strong feeling has the effect, among others, of pointing up the extremity and the large import of Emma’s mistake” (p. 53). “English culture, English comfort” is thus linked to moral improvement.

Paul Pickrel, however, argues instead that the description “shows how unconcerned with Harriet she has become”:

Trilling does not quote these words from the same passage: “There had been a time ... when Emma would have been sorry to see Harriet in a spot so favourable for the Abbey-Mill Farm; but now she feared it not” [p. 236]. She thinks that she no longer fears calling attention to the Farm in Harriet’s presence because Robert Martin is no longer a threat, but the truth is that by this time Harriet has turned out to be so much more trouble than she is worth that Emma would be glad to get her off her hands to almost anybody. (And by the way, the Farm is not the property of Robert Martin; he rents it from Mr. Knightley). (p. 305)

Delightful to Gather

Emma’s famous ‘strawberry monologue’ occurs in this section. It runs:

The best fruit in England—every body’s favourite—always wholesome.—These the finest beds and finest sorts.—Delightful to gather for one’s self—the only way of really enjoying them.—Morning decidedly the best time—never tired—every sort good—hautboy infinitely superior—no comparison—the others hardly eatable—hautboys very scarce—Chili preferred—white wood finest flavour of all—price of strawberries in London—abundance about Bristol—Maple Grove—cultivation—beds when to be renewed—gardeners thinking exactly different—no general rule—gardeners never to be put out of their way—delicious fruit—only too rich to be eaten much of—inferior to cherries—currants more refreshing—only objection to gathering strawberries the stooping—glaring sun—tired to death—could bear it no longer—must go and sit in the shade. (pp. 234–5)

There is much to notice in this passage. There is the gradual depreciation in the value of strawberries as the party grows tired (“always wholesome” to some varieties “hardly eatable” to “inferior to cherries”); the laconic “Maple Grove,” as though this reference is so frequent that the term may stand on its own in place of the entire discourse which Mrs. Elton must have given; (presumably) Mrs. Elton’s conspicuous show of her employment of and dealings with servants through her presumed knowledge of their temperaments (“gardeners never to be put out of their way”); and then, of course, there is the syntax that is used to relate the discourse, as though we are being presented with an index or chapter heading rather than conversation (e.g. “beds when to be renewed”).

Linda Bree writes that Austen uses “[f]ragmented syntax” such as this “to merge and summarise series of events into a single flow of expression”:

Mrs Elton’s comments at the Donwell strawberry party form a celebrated tour de force of condensed monologue, accounting for her whole strawberry-picking experience. […] The paragraph following this shows the versatility of Austen’s elliptical style for other purposes, as the narrator records Mrs Elton’s efforts to persuade Jane to take on an appointment as governess: ‘Delightful, charming, superior, first circles, spheres, lines, ranks, every thing’ – a tumble of words vividly evoking Mrs Elton’s almost hysterical insistence – ‘and Mrs. Elton was wild to have the offer closed with immediately’ [p. 235]. Wild indeed. (p. 99)

For Margaret Doody, the “wonderfully telegraphic monologue” on strawberries has the effect of bringing “the asinine bride [Mrs. Elton] back with a jolt into the physical” from the “painted pastoral” she had earlier imagined the party to be (see “Making An Ass of U and Me”): she “descends from pretentiousness to frank admission of being too hot.” Thus “[t]he corrective to the mind’s misrepresentation of the world lies in the senses’ contact with the physical realm” (2009, p. 181).

Lisa Hopkins does not read the passage as a monologue belonging to Mrs. Elton, instead calling it a “medley of unattributed indirect speech” with “individual voices […], as in the talk of Maple Grove, occasionally briefly discernible” (p. 66). However, she concurs with Doody’s assessment of the importance of the physical in the passage:

The very impersonality of the dialogue […] serves to emphasise the universality [as opposed to something mediated by cultural preconceptions] and inevitability of the movement it sketches, a cyclical one which takes the characters through a predictable progression from freshness to tiredness, eagerness to satiety, comfort to heat, and activity to rest. The brief interlude thus incorporates the text’s key issues: the wholesomeness of strawberries and their price both find a place in the conversation, linking the episode with the connections of food to health and finance, but this rare hands-on experience of crop-gathering, with its sharply realistic depictions of the pleasures and pains of strawberry-picking, is also situated firmly within the context of the seasonal progression of agricultural life. (ibid.)3

Ripe for the Picking

Margaret Doody argues for a Georgian association between strawberries and sexuality, reading the strawberry party and its surrounding incidents in this light:

Strawberries are traditionally the fruit of Venus. Mrs. Elton’s desire for a strawberry party intimates sexual desire. But it is Mr. Knightley who says suggestively, “Come, and eat my strawberries. They are ripening fast” (III, ch. 6). He is ripening fast and needs to make more haste in the service of Venus—though it is not with Mrs. Elton that he wishes to enjoy strawberries. (Mrs. Elton’s lack of staying power in berry gathering perhaps points to a deficiency in sexual stamina.) (2015, p. 348)

The motif of ripening, fertility, and sexuality runs through this section in another way: Nicholas Preus notes that Mrs. Weston, “by the time of the Donwell Abbey strawberry party, which she attends, is nine months pregnant” (p. 207; see “A Pregnant Silence”).

Bringing the Outdoors Indoors

The guests at Donwell, after picking strawberries outside, are treated to cold meat indoors. Hopkins recalls Mr. Knightley’s insistence that the meal take place indoors, arguing that food is “demarcated and subdivided in Mr Knightley’s terminology”:

[T]here are strawberries outdoors, and cold meat indoors. […] The strawberries belong to the outside world, which is precisely defined here as that which is not natural; inside, in the proper place of gentlemen and ladies with all their inevitably attendant servants and furniture, we find cold meat. This is presented to us, with Mr Knightley’s endorsement, as being in fact the simpler and more conventional of the two foodstuffs, and it is certainly ultimately experienced as such by the wearied strawberry-pickers, glad enough to seek the shelter of the house; and yet the processes involved in the preparation are far more laborious and complex than the mere plucking of fruit. Here, though, they are occluded, rendered invisible by the voice which glosses over the materiality of production in order to present the class structure as “natural”. (pp. 67–8)

Hopkins also points out that this is “the only time in the novel” when Mr. Knightley may “appear publicly as the squire” of Highbury:

Squire of Donwell Abbey but short of ready cash, [Mr. Knightley’s] social position is nevertheless preserved by his largesse with food, even though, as in the case of the apples he sends to Mrs and Miss Bates, it is at the expense of his own consumption and almost, arguably, his own reputation, since he has virtually lied about it: “To think of your sending us all your store apples. You said you had a great many, and now you have not one left” (p. 251). […] Beth Fowkes Tobin suggests that this foregrounding of Mr Knightley’s personal involvement with food production is a politically enabling strategy for Austen: “in linking Mr Knightley’s gentlemanly virtues with his owning land, and Emma’s moral inadequacies with her money and lack of property, Austen, acting as an apologist for the landed classes, was defending the ‘paternal system of government’” [p. 229]. (p. 32)

Wearied Spirits

Later in this section, Jane, “for the only moment in the novel until the dénouement, speaks openly to Emma” (Wiltshire, p. 114): “‘I am fatigued; but it is not the sort of fatigue—quick walking will refresh me.—Miss Woodhouse, we all know at times what it is to be wearied in spirits. Mine, I confess, are exhausted. The greatest kindness you can show me, will be to let me have my own way, and only say that I am gone when it is necessary’” (E pp. 237–8). Howard Babb calls this a “very untypical speech” of Jane’s:

Jane’s generalization about “we all know” makes an almost direct plea, though less for Emma’s sympathy, perhaps, than for the indulgence of a superior. And the major weight of what she says is still borne by the personal “I’s” and “me’s.” Most of the time Jane keeps herself at a much greater distance from her generalizations, characteristically speaking in her own person and reserving them, as it were, for the opinions of those above her. Her first report on Frank Churchill, for instance, is sprinkled with such phrases as: […] “He was generally thought so”; “She believed every body found his manners pleasing” [vol. 2, ch. 3 [21]; p. 109]. Jane talks in this way, I take it, not merely because she wants to hide her interest in Frank Churchill, but because her lack of position makes it improper for her to judge authoritatively. (p. 185)

For John Wiltshire, this passage is “[t]he most telling instance of [Emma’s] conflicted feelings” about Jane Fairfax:

Jane’s open appeal goes straight to Emma’s heart: she responds quickly and kindly, at her best. She ‘sees’ Jane’s situation with an intelligent compassion that breaks free of her ingrained prejudices. ‘She saw it all’, though, is not quite true, even at that moment. What Jane has been suffering is Mrs Elton’s railroading her into accepting ‘a situation, a most desirable situation’—made all the more intolerable because she is anxiously waiting for Frank to arrive—not the company of Miss Bates. Emma is quite ignorant of Jane’s feelings about Frank, but she has overheard Mrs Elton and wondered at Jane’s patience. In attributing Jane’s misery to her home, she is expressing her own feelings at the same time as she is picking up Jane’s. So her kindness doesn’t last—in fact in her reflections a few minutes later it turns into something else entirely. Her prejudices and antagonisms return. Once again, ‘such an aunt’ is the especial target of her dislike. The phrase ‘their just horrors’ is especially confronting. ‘Horrors’? ‘Just horrors’? She is praising herself for the snobbery she feels and momentarily attributes to Jane. So this passage displays Emma at her moving best and her dismaying worst, and the selfhood they each express is entirely coherent. (p. 114)

There’s No Place Like… Swisserland?

Only after Jane’s departure does Frank Churchill finally arrive. Rachel Brownstein writes that Frank’s conversation continues the national theme:

[S]ulky Frank Churchill, looking over views of remote “Swisserland” in the snugness of Donwell Abbey, says to Emma, “I am sick of England—and would leave it tomorrow” [p. 239]. The sour remark damns him as Byronic—he also promises a self-expressive effusion from abroad—before his character is revealed as thoroughly bad; the contrast between Frank the would-be wanderer and Emma’s own home-loving male relations could not be more dramatic. In the England of Emma tourists cut off from the Continent by the Napoleonic wars (they include an “Irish car party”) are pleased to explore the local beauties of Box Hill. The reader is invited to think that only a fool or knave like Frank would want to leave England: we recall that he is said to be “aimable” only in French, not amiably English, having “no English delicacy towards the feelings of other people” [vol. 1, ch. 18; p. 97]. (p. 215)

Deirdre Le Faye points out that Waterloo had occurred before the time period in which Emma is set. “Following the end of the war in 1814 the English were again free to visit Europe after being twenty years cooped up at home”: thus “Frank Churchill is able to talk of going abroad to ‘Swisserland’, a statement he could not have made at any earlier period of his life” (2002, p. 309).

Of course, in evaluating Frank’s statement it is important to remember that his movements, though freer than Jane’s or Emma’s, are at many points circumscribed or frustrated by the influence of his aunt. His poor mood, which Emma attributes to the hot day, has in fact resulted from an argument he has just had with Jane, after she left the party and before he arrived; thus he has just been reminded of what his aunt’s temperament is costing him.

Footnotes

On this passage see also Rehman (pp. 131ff); Wallace (p. 174).

For readings of this passage as nationalist see also Jordan (pp. 35–6); Barchas (pp. 132–3).

On this passage see also Brown (pp. 131–2); Davidson (pp. 23–4).

Discussion Questions

Can the attitude underlying the descriptions of Donwell throughout this section appropriately be called “nationalist”? To what extent does Austen participate in Emma’s ideas?

Who is speaking in the strawberry monologue? Why did Austen use fragmented syntax in this passage?

What is revealed about Emma and/or Jane through their conversation as Jane leaves the party?

What is the narrative purpose of Frank’s frustrated desire to leave England?

Bibliography

Austen, Jane. Emma (Norton Critical Edition). 3rd ed. Ed. Stephen M. Parrish. New York: W. W. Norton & Company, [1815] 2000.

Babb, Howard S. “Emma: Fluent Irony and the Pains of Self-Discovery.” In Jane Austen’s Novels: The Fabric of Dialogue. Columbus: Ohio State University Press (1962), pp. 175–202.

Barchas, Janine. “Setting and Community.” In The Cambridge Companion to Emma, ed. Peter Sabor. Cambridge: Cambridge University Press (2015), pp. 120–34. DOI: 10.1017/CBO9781316014226.011.

Bree, Linda. “Emma: Word Games and Secret Histories.” In A Companion to Jane Austen, ed. Claudia Johnson and Clara Tuite. Hoboken: Wiley-Blackwell (2009), pp. 133–142.

Brown, Lloyd W. Bits of Ivory: Narrative Techniques in Jane Austen’s Fiction. Baton Rouge: Louisiana State University Press (1973).

Brownstein, Rachel M. “Why We Reread Jane Austen.” In Why Jane Austen? New York: Columbia University Press (2011), pp. 195–236.

Burrows, J. F. Jane Austen’s ‘Emma’. Sydney: Sydney University Press (1968).

Davidson, Jenny. Reading Jane Austen. Cambridge: Cambridge University Press (2017), pp. 144–8. DOI: 10.1017/9781108367974.

Doody, Margaret Anne. “Turns of Speech and Figures of Mind.” In A Companion to Jane Austen, ed. Claudia Johnson and Clara Tuite. Hoboken: Wiley-Blackwell (2009), pp. 165–84.

_____. Jane Austen’s Names: Riddles, Persons, Places. Chicago: University of Chicago Press (2015).

Duckworth, Alistair M. “Emma and the Dangers of Individualism.” In The Improvement of the Estate: A Study of Jane Austen’s Novels. Baltimore, ML: John Hopkins Press, 1971, pp. 145–78.

Folsom, Marcia McClintock, ed. Approaches to Teaching Austen’s ‘Emma’. New York: MLA (2004).

Hopkins, Lisa. “Food and Growth in Emma.” Women’s Writing 5.1 (1998), pp. 61–70. DOI: 10.1080/09699089800200031

Jordan, Elaine. “Jane Austen goes to the seaside: Sanditon, English identity and the ‘West Indian’ schoolgirl.” In The Postcolonial Jane Austen, eds. You-Me Park & Rajeswari Sunder Rajan. London: Routledge (2000), pp. 29-57. DOI: 10.4324/9780203463031.

Kaufmann, Baublyté Ruta. The Architecture of Space-Time in the Novels of Jane Austen. London: Palgrave Macmillan (2018). DOI: 10.1007/978-3-319-90011-7.

Le Faye, Deirdre. Jane Austen: The World of Her Novels. New York: Henry N. Abrams (2002).

_____. “Letters.” In Jane Austen in Context, ed. Janet Todd. Cambridge: Cambridge University Press (2005), pp. 33–40.

Murray, Douglas. “Donwell Abbey and Box Hill: Purity and Danger in Jane Austen’s Emma.” The Review of English Studies 66.277 (November 2015), pp. 954–70. DOI: 10.1093/res/hgv046.

Pickrel, Paul. “Lionel Trilling and Emma: A Reconsideration.” Nineteenth-Century Fiction 40.3 (December 1985), pp. 297–311. DOI: 10.2307/3044759.

Preus, Nicholas. “Sexuality in Emma: A Case History.” Studies in the Novel 23.2 (Summer 1991), pp. 196–216.

Rehmann, Elsa. “Jane Austen and the English Landscape School.” Landscape Architecture Magazine 25.3 (April 1935), pp. 127–35.

Sutherland, Kathryn. Jane Austen’s Textual Lives: From Aeschylus to Bollywood. Oxford: Oxford University Press (2005).

Tobin, Beth Fowkes. “The Moral and Political Economy of Property in Austen’s Emma.” Eighteenth-Century Fiction 2 (1990), pp. 229–54.

Todd, Janet. “The Anxiety of Emma.” Persuasions 29 (2007), pp. 15–25.

Trilling, Lionel. “Emma.” Encounter 8.6 (June 1957), pp. 49–59.

Wiltshire, John. “The Heroine.” In The Cambridge Companion to ‘Emma,’ ed. Peter Sabor. Cambridge: Cambridge University Press (2015), pp 105–19.

#Jane Austen #Emma #Emma Woodhouse #Mr. Weston #Mrs. Weston #Mrs. Elton #Mr. Elton #Frank Churchill #Jane Fairfax #Harriet Smith #Mr. Knightley #e

[kamenstranger]

Review: Japanese Special Effects Cinema:Godfathers of Tokusatsu Vol. 1

Over the past Holiday season I was gifted a book I had been wanting to read since its release in April; Japanese Special Effects Cinema:Godfathers of Tokusatsu Vol. 1 by J.L Carrozza.

As the book's title suggests, it's a comprehensive guide on the history of Tokusatsu. Vol. 1 spanning from the early 1900s to the end of the 1970s, progressing in a linear fashion with each major release while also providing context when needed. The start of the book gives a general overview of the special effects landscape in cinema from the earliest days, with works from international filmmakers laying the foundation that would eventually lead to Japan's own contributions and unique visual styling developed in the 30s.

The book truly picks up in the second chapter spanning from the late 30s to the end of WWII, when the concept of scale miniatures was truly crafted into an artform all its own and early suitmation was coming to fruition. The general presentation is to give historical context and background information on an upcoming project, followed by a particular film including its title, director, the film's release date, and the production history of the film itself.  Carrozza then delves into his own general analysis and thoughts on the film or series, with a particular focus  on (but not limited to) the special effects quality. Finally ending with more information about the film when applicable; contemporary reception, if it was a debut director, or if the film was seen by and noted as a big inspiration by a well known person. Anno of course comes up a lot, but he's far from the only one. These analytical segments carry themselves with both a professional earnestness in examining the works, while also being fairly casual. One may even get a sense that Carrozza’s sanity is being tested by some of the later Gamera Films, probably some of the funniest moments within the book and one I find incredibly relatable.

Unsurprisingly,  a great deal of the book deals with Eiji Tsuburaya. The man simply was incredibly prolific and damn near everyone in the industry was either directly taught or inspired by him until his death- which even then his many proteges would carry on the tradition and inspiring others in turn, which is one of the most intriguing parts of the book, particularly the aftershocks Tsuburaya’s death had across the entire industry.

However, I do want to point out that the book doesn't pay much service to Tsuburaya's personal life outside of providing context or important details, nor should it. After all, Master of Monsters is already a deep dive into the man's life overall. So while details such as his change in name and conversion to Catholicism are mentioned, they're not the focus point; the movies are. And of course, as major of a player as Tsuburaya was, he is not the only one given the spotlight in regards to their contributions. The Yagi brothers are regularly mentioned for all their monster creations, Noriaki Yuasa of Daiei is regularly talked about, even Tomio Sagisu and his weird Cat obsession. And the list continues to grow and change as new talent emerges, becoming famous in their own right.

By and large Screen Writers, Producers, DPs, pyrotechnics, prop and set builders, and various other units are brought up and given background information whenever possible and always a name to those behind the magic. The information is detailed, yet concise. The sheer dense nature of the book comes from how much is covered and the broad scope of covering every notable Tokusatsu production until the end of ‘79. (I generally can read a novel in about 4 days, this took two weeks)

Quite frankly, it's refreshing to see so much condensed into one space for so many seldom talked about figures in the industry, where they got their start, ended up, etc.

Equally refreshing is a wider focus on not just DaiKaiju films or just one studio, but a plethora of Toku from various genres, production teams, and how the industry shifted over time– to say nothing of the influence major Hollywood films would have on the medium. War films, historical films, disaster movies, even Yokai films, occult films, space films, psychedelic horror, all are covered. And because the book goes in chronological order, the topic is always changing. 1965 kicks off with None But the Brave, then it’s The Retreat from Kiska, followed by Frankenstein Conquers the World, Zero Ace, and then over to Spy Catcher 13 on Television. It's not just about Godzilla, Gamera, and Ultraman. It's also Watari The Ninja Boy, Goke, Wind Velocity 75 Meters, The Bullet Train, Zero Fighter, ESPY, and Japan Sinks-- the film that inspired Shinji Higuchi. 

We’re not just focusing on monsters and Super Heroes, even if that will always be the bread and butter of the medium, nor is it even just Japanese films. As long as a Japanese crew was involved in some capacity, however limited (i.e. Inframan) it’s covered. 

This is by far the most appealing part of the book for me personally. Not only is its information a goldmine, but it can perhaps serve as an even broader introduction to more than just your typical idea of what Tokusatsu is.

The comprehensiveness and thoroughness of the information contained makes this both a captivating history lesson, and valuable resource to rely upon to gain a better understanding of Japan’s film history– at least in regard to the medium in question… With one exception that I have to get into, and boy do I really hate that I have to do this because 99% of this book is really great.

As mentioned, a large amount of the book revolves around Tsuburaya and those around him, those who could carry on his teachings, and those who would go even further with what practical effects can do. I'm very pleased to say the book doesn't just stop being engaging with Tsuburaya's passing, it's very much interested in where and how the industry gets on without such a prominent figure. Carrozza clearly has a deep love of miniatures in particular, you can tell by the enthusiastic writing this is his favorite aspect of Tokusatsu as it is with most people, and it plays a part in how much information is present. Because of that Tsupro, Toho, and even Daiei have a lot more readily accessible information to their history, just in general. It's why something like Spectreman can have four and half pages of production information, but you're lucky to get one or two on Ninja Arashi. What is there to say about something like that?

That's not to imply any of this information is easy to get, by no means. It's very hard work, particularly to sift through and condense everything- not to mention filtering possible contradicting stories or dated sources. But some things are easier than others. I will say it's impressive the amount of info that's presented for other studios, particularly P Productions and even Toei. They're given adequate attention, even in the early days. The back of the book features a full bibliography of all the sources and citations for this information, and a vast number of books pertaining to Tsupro, Toho, Daiei, even a few on P productions. Given their long and vast histories, it's not too surprising that there would be dozens upon dozens of books on the subjects. However, Toei and more specifically Kamen Rider are the odd ones out with the least amount of books, which also isn't surprising.

But this does lead to what is quite possibly the most egregious part, which is Kamen Rider '71's segment.

Now, just to be clear, I don't wanna dunk on Carrozza. What he's done is truly magical and I am deeply appreciative of all that's here. But this part is flawed, and it's putting wrong information out there.

There are some good aspects. The book mentions early production concepts that are often glossed over, like how Tiger Mask was partially the inspiration, and even early concept names like Maskman K, Kamen Tenshi: Masked Angel, and Cross Fire. It covers Masaru Igami, Shinichi Ichikawa, and Shozo Uehara being brought on as writers. Although there's no mention that both Ichikawa and Uehara left to work on Return of Ultraman due to conflicts with Producer Toru Hirayama, while Masayuki Shimada and Hidetoshi Kitamura would take their place.

What is noted is that many of the concepts under Cross Fire were maintained, which is true. The Scars that show up when angered, Ruriko Midorikawa as the daughter of a dead professor, the Spiderman. All of that was under Crossfire-- Shocker as a villain organization goes back even further. A surprising amount of the concepts were attributed to Toei's creative department, even the scars which ended up only appearing in the manga.

Now the book doesn't get into all those fine details, it starts and stops at "Many concepts from Cross Fire were maintained" which is fine. Gotta keep things condensed and a lot of that information is superfluous for this type of book. We don't need to get into Crossmask: Kamen Rider or Hopper King. That's too much of a deep dive.

Where things take a turn is in regards to the design aspects. A popular and incorrect over-simplification of the story involves  Toei wanting a Skullman show or something like it, but then it was decided that would be too violent so Ishinomori came up with the Grasshopper look. Another is the inverse where Ishinomori wanted a Skullman show and Toei said no to the premise/design.

Both of these are wrong with an inkling of truth in them. But the book presents a tale I've never heard. The way it's told here is that Toei wanted a Skull motif to replace Crossfire, but Ishinomori felt it was redundant since he just worked on the Flying Phantom Ship in '69. He created over 50 designs and his son Joe picked the Grasshopper, which played well into some environmental themes Ishinomori was pushing for. There is ZERO mention of Skullman made just a year earlier, which is such a bizarre missing piece and the only version of Kamen Rider’s creation that I know of with no Skullman.

As with the others, there are true parts in there.

The actual tale is that Ishinomori wanted something downright grotesque and felt that Crossfire's design was limiting. Ishinomori proposed the Skull motif to Toru Hirayama, who in turn relayed it to fellow Producer Yoshinori Watanabe, who despised the proposal. Watanabe felt it was too derivative of Skullman and wanted something original, while the Broadcast Station, MBS, felt it was too scary for their family friendly time slot. Ishinomori made over 50 designs, liked a Grasshopper one best because it was still creepy and helped play into an environmental theme of nature fighting back that Ishinimori was fond of.

There was still doubt around the design, but Ishinomori's son, Joe, went through the designs and picked the Grasshopper, so it was sent for approval.

Now, this book mentions that Hirayama felt the insect design was weak as bugs are small, but eventually came around. Although it's claimed by Hirayama in his own book that it was MBS' Tetsu Shouno, who felt the insect design was weak, while Hirayama defended it. Hirayama did however have some reservations about the design possibly scaring children. When the helmet was finished, it was shown to a little girl, nearly driving her to tears, much to Hirayama’s horror. But it was too late to change. The rest of the book’s segment is largely what seems speculative, like The Hulk being an inspiration because...transformation? One part also mentions that they originally wanted the character to Grow a la Ultraman, but Ishinomori talked them out of it- I've not been able to find anything to support that. The closest I know of off hand was many years later in Kamen Rider J, which Ishinomori was supposedly against with exception to if it was treated like a one off miracle at the end of the movie. That doesn't mean it’s not true to ‘71, mind you, but I can't say that's an unheard of gem of information, given the flaws elsewhere.

What's weird is everything following is fine. The analytical section doesn't really get into the human themes of the series, but it rightly points out the grittier overall tone and appearance of the series, noting the first 13 episodes are among the best of the era. Specific designers at Equis are also mentioned, including Akira Takahashi, Tsutomu Yagi, and Masamitsu Sakuma. Information like that isn't often discussed, it's just a shame that so much the preceding info is garbled if not outright wrong.

But it's also not all too surprising as information on Kamen Rider has always been extremely muddled, and there aren't a ton of solid resources in comparison to other productions, despite how notable the franchise is. I think the best example of that might be that goddamn Zone Fighter has more detailed information on the production side than Kamen Rider does (Though it doesn't hurt that Zone Fighter is more effects focused than Rider to begin with).

In stark contrast with the rest of the book's well researched material, Rider feels like the information is half remembered and lacking the details of other productions. Even when we get into V3 which has much more readily available information thanks to airings in Hawaii and a DVD release, it has a fairly sparse section on the production end.

And there may be some truth to the half remembered details part. One of the books listed as a source is Fujioka's The Truth about Kamen Rider and Takeshi Hongo, published in 1999. And I would not be shocked if some of the information contributed to not only the odd information contained here, but the general murky history overall. There's a solid chance Fujioka's recollection may have forgotten some details, or gotten some wrong. I would've hoped that another book cited; Toei x Ishinomori would've corrected that, but there's no telling how detailed that book gets.

Regardless, other works like 2007's The Men Who Made Kamen Rider tell the story above, in addition to Toru Hirayama's 2012 bio: Crybaby Producer's Last Words - 50 Years of a TV Hero's Steps. Neither of course are in the bibliography. Even if we were to very generously assume that Hirayama's book was incorrect or embellished, I think it would be worth mentioning and getting into the varying scenarios instead of relying on a limited source when the information is out there, just not utilized.

It's a shame because I do truly feel this is an invaluable book with solid information, especially for lesser known productions, one that also gives a look at how trends would shape the industry. Hell, I finally have a name and photo for the damn machine Toei used for all its composite shots; the Totsu ECG system.

I still highly recommend the book to anyone interested in Japanese special effects, a ton of love was poured into this. But I also can't overlook that a major franchise has a mess of garbage information that only further clouds the murky waters. I hope this is corrected in a 2nd edition or at least updated info is mentioned in Vol 2 due in March. As is, do not cite or rely on this as a source for Rider history, it's the one spot I can definitively say is bad.

#Tokusatsu #kamen rider #Ishinomori #Ultraman #Tsuburaya #Toei #book review #daiei #Gamera #toho #Godzilla

[90363462]

Just a reminder that Johnny Depp and Rihanna are survivors of domestic violence.

And yet there’s more criticism for Johnny Depp because he’s a MALE survivor of domestic violence.

msm I know that you hate domestic violence victims when they are men, I know that you do

Rihanna Criticized For Including Johnny Depp in ‘Savage x Fenty’ Fashion Show

Source: Savage X Fenty / Savage x Fenty

Controversial actor Johnny Depp is slated to appear in the upcoming Savage X Fenty Show Vol. 4, creating controversy for the brand’s founder—Rihanna. 

According to Variety, Depp will have a featured “star” moment and will be the first male celebrity to have such a high-level cameo in the show. 

Depp’s appearance comes after the highly-publicized trial against his ex-wife Amber Heard. Depp sued Heard for defamation after she penned an opinion piece for the Washington Post in 2018 where she alluded that she was a victim of domestic violence at Depp’s hands. 

The sensational trial ended on June 1 when a seven-person jury found that Heard defamed Depp. He won all three claims and was awarded more than $10 million dollars in damages. Heard won a countersuit against Depp and was awarded a $2 million judgment—which, according to People, the Pirates of the Caribbean star is appealing. 

The Savage X Fenty show is another in a line of public appearances as Depp tries to redeem his public appearance after the verdict. In August, he appeared at the MTV Video Music Awards as a Moon Person and has also joined friend Jeff Beck for several live concert appearances. He will soon direct a biographical drama about Italian artist Amedeo Modigliani, produced by Al Pacino and Barry Navidi. Depp will also star as King Louis XV in French filmmaker Maïwenn’s upcoming film Jeanne du Barry, a historical romance drama about a royal’s concubine. 

Despite his efforts to redeem himself, Johnny Depp still invites controversy to the Savage x Fenty show which will also feature appearances by Rihanna—as well as Black Panther: Wakanda Forever actor Winston Duke, Abbott ElementaryEmmy winner Sheryl Lee Ralph, Marvel’s Shang-Chi star Simu Liu, Empire star Taraji P. Henson, Irina Shayk, Marsai Martin and performances by Burna Boy and Anitta.

Writer and activist Drew Dixon tweeted, “Johnny Depp has been embraced as a hero by unhinged right-wing misogynist extremists, and now he’s been invited to appear in the @SavageXFenty show. Never expected such a powerful woman to succumb to the #MeToo  backlash. Really disappointing @rihanna” 

Another post went viral criticizing the “Lift Me Up” singer for helping Depp rehab his image. 

The posts are not all critical. Depp has had supporters since the trial—in fact, one commenter tried to explain his appearance in the show saying, “Just a reminder that Johnny Depp and Rihanna are survivors of domestic violence.” 

Savage X Fenty Vol. 4 will be released on Prime Video on Nov. 9.

[duardius]

b&r no.1

d.b. updike’s advice on acquisition of material for a printing office: «A third type (which originated with Binny & Ronaldson of Philadelphia over a hundred years ago) is in design transitional between old style and modern face. For books where the old-fashioned air of Caslon would be to obtrusive, and yet which call for a letter more interesting in design than the somewhat bald Scotch face, there is nothing better. I should not advise the purchase of this transitional series at the expense of the first two types chosen, but it will frequently do the work of either. … It is called ‘Oxford’ by the American Type Founders Company, from whom it may be had. I have used it for this book [first illustration]. It seems to me a type of real distinction.» [Printing Types, 2nd ed., vol ii, oup, 1937, p231].  a.f. johnson confirms: «The roman which Updike used for the text of his Printing Types, called ‘Oxford’ and originally cut by Binny and Ronaldson of Philadelphia, seems to have some affinity with Austin’s¹.» [Type Designs, grafton & co., london, 1959, p74].  in the same year as the 1892 merger that constituted the american type founders company [atf],  joseph warren phinney, atf vice-president & former partner in one of atf’s original constituents, the dickinson foundry of boston, advocated revival of the b&r no.1: repaired & augmented with additional sorts, b&r no.1 was reissued as atf «oxford» (but what has this face to do with oxford—presumably the university? ² ). «oxford» is not shown in atf specimen books of 1897 or 1923 (nor do i find b&r no.1 material in the huge mackellar, smiths & jordan book of 1892 ), but was available for special order into the 1960s. the atf oxford matrices (what of binny’s punches? [✓]) now repose in the smithsonian institution.   in 1946, in order to provide historically allusive faces for planned publication of The Papers of Thomas Jefferson [princeton unversity press, 1950], p.j. conkwright, then art director of the princeton university press, advocated adaptation of atf oxford for the linotype; c.h. griffith, then a vp at mergenthaler linotype, designed a b&r no.1 revival: linotype monticello, named in reference to the publication of its first showing. in 2003 linotype issued a digital version of monticello, based not upon the earlier linotype revival but on matthew carter’s redrawing, afresh from the atf oxford material [cf. ‹Monticello Typeface›]. for an allusive composition set in monticello vide ‹perdita›.

1st illustration: excerpted from Printing Types [updike, op. cit., p241]; oxford types.

2nd illustration [iphone photo]: showing of long primer no.1 roman & italic [Specimen of Printing Type, from the Letter Foundry of James Ronaldson, successor to Binny & Ronaldson. | Cedar, between Ninth and Tenth streets, | Philadelphia. | 1822. [Am 1822 Ron 17455.O.1]. for the largest size of no.1, long primer, binny cut a variant, more cursive, italic p; & note the dollar sign—binny was the first to engrave this famous symbol.

with thanks to the library company of philadelphia for permitting my examination of their extremely rare binny & ronaldson material.

⎯⎯⎯⎯⎯⎯ ¹ johnson refers to the types cut by richard austin of london for london publishing pioneer john bell—vide ‹the letters of john bell›. the roman also shares affinity with baskerville’s—e.g. unclosed loop or bowl of g. updike affirms bell’s type but has no knowledge of bell: «The two upper sections in our plate (fig. 367) are set in a transitional font, which is, both in roman and italic, a fine and workable letter.» [updike, op. cit., p.243].

² latterly i discovered, harry carter posed the same question in his review of The Specimen Books of Binny and Ronaldson, 1809-1812, in facsimile [introduction c. p. rollins, the columbiad club, connecticut, 1936] in The Library [volume s4-xviii, issue 1, june 1937, p118].

#typography #binny & ronaldson #american type founders #daniel berkeley updike #theodore low de vinne #linotype #c.h. griffith #p.j. conkwright

[ankulometes]

The Travellers, Vol 5, Pt 2: The First Pass

By the autumn of 1899, the crew had settled into their new homes in Marylebone. It was a fashionable address, within striking distance of Hyde Park, Regent’s Park, Lord’s Cricket Ground, and the clubland of Mayfair and St. James’ as well as being an easy hansom cab ride into the financial centre of the square mile. However, their houses were neither the newest, largest, nor most expensive. The square was predominantly occupied by the very upper echelons of the educated urban middle classes, among whose company the variants were nouveau riche parvenus. The team made a few friends and contacts but mainly minded their own business and, in the teeming heart of Britain’s empire, most were content to pay them no more mind than everyday courtesies demanded. They settled into their new lives and, between 1902 and 1905, both young married couples in the team gave birth to a gender mirrored pair of children.

[[MORE]]

This situation suited the variants. On their first pass through the 20th century, they had no plans to become famous. They met regularly with their brokers and gained entry to various social circles, both through them and by virtue of becoming involved as investors in several companies. Despite their lack of society credentials, the growing wealth and investment success enjoyed by William Delaney and John Moore endeared them to their money-grubbing social superiors.

The team’s capital was guaranteed to grow by at least 20% per annum since they could always simply buy bullion and turn it into cash to earn this kind of margin on the seigniorage. Obviously, that was a rather tedious way to make money. Given that they had a complete data set from the ‘Investors Monthly Manual’ and other historical sources, it was also unnecessary: there were plenty of good options around for generating a significant alpha if you knew which way the markets were going ahead of time. By 1910, a combination of the rapidly increasing value of their stocks and a plentiful supply of dividend payments meant that they were doing very well for themselves. A growing circle of connections within the worlds of business and finance also meant that they felt ready to take the next step.

William Delaney purchased Brinsop Court and Rotherwas Court in Herefordshire. They repaired the fire damage at Rotherwas, restoring the house to its former glory, and set about modernising and extending Brinsop Court (and doing a far better job of it than Hubert Astley had done in MOT). The purchases propelled them straight into the top tier of society in the county, not least because the fate of the Rotherwas estate had been a matter of considerable concern in the region over the past few years.

Brinsop Court became their family home. It was big enough for both the Delaney family and the Moore family, especially seeing as how their offspring were approaching an age where they would be packed off to boarding school at Malvern College or Cheltenham Ladies College. They developed the estate as a working mixed farm with a few side ventures involving meat, dairy, grains, fruits, and seed oils in the manner they had long since become very familiar with. Rotherwas on the other hand they turned into the primary business.

The whole team, especially the younger male variants, were acutely aware that World War 1 was fast approaching. They had a few strategies for dodging conscription, among which were their farm at Brinsop and their Irish heritage. However, they wanted to do everything they could to ensure that they would not be called up and packed off to the front, even if it meant being somewhat unethical. From their perspective, it was very much the case that they figured that, without drastically changing the course of the timeline (which was something they wished to avoid for now), they could hardly make the impending conflict much worse than it was going to be.

With this in mind, John Moore and William Delaney had begun to submit a number of patents for key design elements in a few armament systems and brought a small number of investors on board from among their new contacts. Their new venture was called “Precision Arms Limited”, or “PAL” for short. The company existed initially to develop a couple of ideas that the crew had nicked from what would be the very near future in MOT: the Lewis gun, or light machine gun, and the Stokes trench mortar.

These new weapons were in the hands of the British armed forces by 1912. PAL would become an important supplier for the army over the course of the next six years. The government had also constructed a Royal Ordnance factory next to PAL’s factory during the war, much as they had done in MOT. As a result, William and John, as the chief executive and engineer of the firm, were exempted from military service. Meanwhile, their clone parents were too old by the start of the war, and their offspring still too young by its end. Of course, they also made a great deal of money from the venture even though they made a patriotic point of selling with very low margins to avoid accusations of war profiteering.

When the war ended, the crew disavowed themselves of the armaments industry and sold all of PAL’s intellectual property to Vickers. Having carefully kept their property assets separate, they established a new company called Delaney & Moore on the Rotherwas estate and retooled their facility to turn out products for the domestic heating, cooking, homewares, and appliances markets. They also spawned a new construction and building materials concern which they called ‘Red Bull Construction’, much as they had done on the previous mission. Their agricultural sidelines likewise went through a process of expansion after the Moore family acquired Hampton Court Castle and its attached estate on the banks of the River Lugg.

Their companies, both those that were newly established and their longer running agricultural concerns, did reasonably well but were rarely spectacular. They made William and John important figures in Hereford, but little more than that. Meanwhile, they continued to pursue their investment strategies which led to them having an increasingly comfortable and enjoyable existence in the past.

Their children, who had not been substituted in this timeline, grew up and went to university or got married. They would all eventually become involved in the family businesses during the 1930s having spent some years idling away their youth. During the same period, having nominally entered their seventh decade, their clone grandparents began to die from natural causes. Meanwhile, their variant parents continued to quietly cultivate various social, business, and political connections in several places throughout the world. In addition to their homes in London and Hereford, they acquired property in New York which. They spent a great deal of their time travelling for both business and pleasure.

They went to watch Donald Bradman bat on several occasions, saw Bix Beiderbecke perform in concert, played at being in an Agatha Christie novel on the Orient Express and on a Nile cruise, went on safari in Africa and India, and attended the very first years of Glyndebourne. They met, and even occasionally played host in their home, to many of the leading figures of the day, including Churchill, Mosley, and Hitler.

However, they were never regarded as being anything more than somewhat anonymous and rather uninteresting businesspeople and investors, albeit ones who had enjoyed a good deal of success over the years. Rarely were any of them heard to proffer an opinion that ventured much beyond the conventional wisdom of the day. Although they did tell Hitler that, personally, they were rather fond of Jews and that his whole conspiracy theory sounded like utter bunkum to them.

The years between their arrival and the start of the Second World War had often been difficult for the variants. They had needed to hit the ground running, and there were many facets of daily life and interactions for which their extensive research had not prepared them. The lack of many technologies could be frustrating at times and the pervasive prejudice and bigotry was a challenge. Moreover, the absence of computer technology and the paucity of digital data meant that Cassiel’s ability to support their efforts was far more restricted than it had been on previous missions.

It had been particularly hard for the team to watch the disintegration of the situation in Ireland, Miles’ ancestral home. However, they were in no position to change that on this mission. They noted with interest the arrival of a certain Patrick McCarthy to Manchester in 1920. Miles’ great grandfather had proceeded to marry another protestant Irish emigre named Rosie Quinn who had likewise come to the industrial north of England looking for work and fleeing the war of independence in their homeland. It was an uncanny experience for the team members whose only real memories of Patrick and Rosie came from photographs, family stories, and the half-remembered fog of infancy. They all steered well clear of the young couple though, not wanting to alter the course of their lives in any significant manner.

Overall, on the positive side, they had met and befriended plenty of lovely people who were on the right side of history. In many other ways, life was more civilised and the pace far more congenial. As much as the members of the team themselves had contributed to the timeline, they had learned from their new surroundings and those who inhabited it.

Naturally, as the dark clouds of fascism began to descend over Europe, the variants did their bit, despite being in their sixties. They supported the Kindertransport and took in several evacuees for the duration of the war. Among a variety of services they performed, William and John joined the Home Guard, while Cara and Alice signed up for the Women’s Voluntary Service. Meanwhile their daughters, Florence Delaney and Anne Moore, looked after the farm and many of the two families’ business concerns.

By the time the Second World War started, their children were between 34 and 37 years of age. Despite being no spring chickens, their boys, Charles Delaney and Henry Moore, both signed up for the RAF immediately and were both far too old to be told “No”. The variants blamed themselves: both had fallen in love with aeroplanes when they were young and had been indulged by their parents with flying lessons. They even had their own light aircraft: a Bristol “Brownie” and a de Havilland “Humming Bird”. As qualified pilots, they were in great demand. Sadly, Charles died during the Battle of Britain. Henry was also shot down during a bombing raid. He managed to parachute to safety, but spent most of the war in a German POW camp. It was an experience following which he would never be quite the same again.

After the war, the variants themselves retired and their children took over the running of the trusts that owned and ran all their business concerns. It was Florence and Anne who mainly continued to take care of the day to day running of affairs. ‘Red Bull’ and ‘Delaney & Moore’ continued to do well under their guidance. They were intelligent women although, having been raised in a loving family environment by indulgent parents, perhaps a little too soft-hearted at times.

Having gained de facto control, they gave places on the board of the trust to their rather less intelligent husbands who proceeded to ignore all female advice and make some ill-informed decisions. They over-leveraged Red Bull during the postwar construction boom. By the time the variants’ grandchildren began to take over in the 1970s, the whole thing had degenerated into squabbling, divorce, and unmanageable debt. They were compelled to sell off many of the stable, high-quality Delaney & Moore brands to international conglomerates in a futile bid to service debt payments before ultimately losing Red Bull too in the early 1980s.

It didn’t have all that much of an adverse impact on their grandchildren personally. The trust was still in a very healthy state, and they still had the Brinsop and Hampton Court estates along with some of the associated side ventures that the team had spawned over the years that hadn’t yet been sold off. Financial deregulation and the ensuing stock market boom of the early neoliberal period would eventually propel the variants’ great-grandchildren into the realms of the super-rich.

However, the team members themselves would never get to see that stage of this timeline. Over the course of the 1950s and early 1960s, they began to fake their own deaths from a variety of causes associated with old age. Those who went first pulled the usual trick of proceeding to hide out in an alternate form in New York while awaiting the others. Alice Moore was the last to go in 1967.

After Alice’s funeral, they all met up at the appointed rendezvous and called upon Cassiel. They then proceeded to jump back to the summer of 1913. That year, they had all travelled to the United States where, after sailing over in first class on the RMS Olympic and done some business in the big city, they had enjoyed a delightful holiday in the wilds of upstate New York, going hiking and swimming in the lake next to their cabin in the woods. Aside from their clone nanny and private secretary, they hadn’t brought any of their servants with them or anything like that. It had all been a big adventure for the kids during which they had got to spend lots of time with their usually very busy parents. It had been a time they had all looked back on with great fondness later in life; a blissful summer before the breaking of the dam and the onset of the war in the months before the first of them were packed off to boarding school. In the new timeline the team had now created, the children would return seemingly far more mentally mature, having been substituted during the vacation.

William, Cara, John, and Alice would continue to play out their parts just as they had done before. There was no need for them to change anything. Similarly, the girls, Florence and Anne, would live broadly similar lives. However, Florence would eventually marry Henry Moore while Anne would hook up with Charles Delaney. They would all do very well at school and go off to university, even Florence and Anne. However, whereas previously Charles and Henry had rather conventionally opted to study classics and law, the boys now became fascinated by science and engineering.

After graduation, Henry and Charles continued to work in academia while also expanding the family business interests into the still emerging field of electrical engineering, spawning a couple of subsidiaries. The first, which they called ‘Mercury Electrical Industries’, produced wirelesses and gramophones, among other things. The second, called ‘Chepstow Appliances’, entered another emergent market, manufacturing a range of household appliances including vacuum cleaners and washing machines. When the war started, Henry and John were recruited into the Department of Scientific and Industrial Research.

After the war, the two couples simply continued to foster their various business concerns in agriculture, construction, and manufacturing while bolstering their private wealth through their ever-growing investment portfolio. Although there were many challenges, they were quite successful on the whole as strong postwar growth led to an expansion in the market for consumer goods. Over the course of the postwar decades, they also began to move into the hospitality business, buying up several bankrupt estates and turning them into luxury hotels targeted mainly at American and Japanese tourists or outdoor activity holiday parks for the masses.

Their activities did have a significant impact on postwar Britain, especially through Red Bull’s construction activities. However, the variants themselves remained decidedly non-famous and, just as they had hoped, they produced almost no significant divergence from MOT.

Much as they had done while in the form of their now ageing parents in the initial timeline, the younger crew members regularly took the opportunity to do a bit of time tourism. They went to see Thelonius Monk during his legendary Five Spot Cafe residency as well catching the likes of Dizzy Gillespie at the Newport Jazz Festival. Then they’d gone to see Fats Domino, Chuck Berry and others in the Biggest Show of Stars in Pittsburgh in 1957 and saw The Beatles playing at The Cavern Club in Liverpool. It was all stuff the variants had done before but, from their perspective, that had all been quite a long time ago.

Over the course of the 1960s, the variants began to hand over control of the family trust and its associated business concerns to their unsubstituted children, who had been born in the early 1930s. Unfortunately, they were eventually compelled to relocate most of the firm’s core business and manufacturing interests overseas due to the failings of industrial and monetary policy in the UK during the postwar and neoliberal eras and a few of their firms and brands were sold to large multinationals.

Ultimately, as per their intent, the team had had almost no impact on the timeline. A lot of people lived in some different looking houses which might be filled with appliances and homewares with labels that didn’t exist in MOT. The crew had generously supported several environmental and public health campaigns, some of which they had even been proactive in initiating, so there had been some marginal beneficial shifts in these areas. The city of Hereford looked rather different and rather lovely, as they had spent a great deal of money on the place over the years. However, overall, matters had proceeded as they had always done in MOT.

Charles, Henry, Florence, and Anne had begun to die off during the early 1980s. Florence would be the last to go in 1990. They had long been retired, living comfortably in Herefordshire, during which time they had noted the arrival in the county of a family from Manchester who had recently moved into Willow Lodge in Hampton Bishop. The second-generation variants didn’t live to see what became of Miles in this timeline though. They checked up on his progress before departing, at which time he had just finished his fourth year at the Cathedral School. They had bumped into him on a couple of occasions while visiting the school as patrons and governors and taken the opportunity to impart a few sage words of advice, but had no more involvement either with him or his family. As had been the case at the outset of the previous mission, they regarded him as little more than a potentially useful substitution target.

They all met once again back at the rendezvous in New York in 1990. Completing all the usual rituals, they packed the things they needed, prepared the jump routine, donned the time robes, entered the tent, and jumped away never to be seen in this horizontal again.

[artist-ellen]

The cover is nearly complete!!

Putting this physical book together is stressful.... it's why it has taken so long. But things are moving steadily! It won't take too much more to get this baby launched!! It’s frightening how close it is to launch!!! In related news kdp doesn’t let “low content” books have a scheduled launch day so… keep a look out for sporadic gremlin productivity hours. Let’s see if your copy arrives before mine can?

Thank you for your patience!

I am the artist! Do not post without permission & credit! Thank you! Come visit me over on: instagram.com/ellenartistic or tiktok: @ellenartistic

#historically inspired #redesigning heroines #historical costuming #coloring book #ellenart #historical fashion #historical fashion vol 1 #it’s a boring title but it’s working #no more delays #getting this done before gift-buying season arrives is my one goal #wish me luck

[ninaathompsonn]

Blog Post 1 - Sources and Significance

In the class of transmedia and intertextuality I’ve thought in fan cultures and Japanese media franchises affords a charming observe of modern-day media dynamics. In fan cultures, as I was doing my reader I had to explore some articles such as "Shared Narratives: Intermediality in Fandom,"  and there may be a dynamic convergence of numerous media paperwork inside fan communities. Fans creatively engage with media texts, remodelling and reinterpreting them across extraordinary platforms, creating a wealthy tapestry of shared narratives, the Japanese animation community even create social media just for anime fans, such as " anime amino" website

This highlights the role of fandom as a area for creative expression and social interaction, significantly contributing to the broader media panorama. The idea of transmediality illustrates how narratives and subject matters fluidly pass throughout special media paperwork, enriching the fan experience and expanding the universe of the unique text. The effect of digital media in revolutionizing fan interactions is also amazing. Similarly, "Beyond the Horizon of the Possible Worlds" analyzes the evolution of Japanese media franchises, focusing at the transmigration of characters and narratives across a couple of media systems. This fashion of pass-media franchising in Japan, in which characters traverse various platforms and as an example we have Hatsune Miku, that is a virtual anime singer, and she has games, anime, music videos, action figures and way more things that evolves her universe, and this creates expansive and interconnected story worlds.

This gives historic context and examines the shift from audio-visible to textual content-primarily based media, highlighting the extended significance of narrative in diversifying story characters and increasing story worlds. It underscores purchaser participation and immersive studies throughout specific media systems, in conjunction with the impact of digital media intake on media content material introduction and dissemination.  The transmedia and intertextuality show a fan cultures and media franchises, underscoring the dynamic and evolving nature of fandom and its significance in current media and cultural dynamics.

references:

Lamerichs, Nicolle. “Shared Narratives: Intermediality in Fandom.” Productive Fandom: Intermediality and Affective Reception in Fan Cultures, Amsterdam University Press, 2018, pp. 11–34. JSTOR, https://doi.org/10.2307/j.ctv65svxz.4. Accessed 8 Jan. 2024.

Saito, Satomi. “Beyond the Horizon of the Possible Worlds: A Historical Overview of                    Japanese Media Franchises.” Mechademia: Second Arc, vol. 10, 2015, pp. 143–61. JSTOR, https://doi.org/10.5749/mech.10.2015.0143. Accessed 8 Jan. 2024.

[aggermccoy53]

Black Gold Jacquard Pearl Logo Accent Hair Claw

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By signing up you agree with this and confirm that you are over thirteen years of age, or have the consent of a parent or guardian. Your preferences may be updated at any time as outlined in our Privacy Policy. This top selling FMB brand within the US convenience store is on the market in bold, refreshing flavours and at 8% ABV, HARDER is for people in search of a little more kick. We are committed to excellent efficiency, genuinely caring about our customer, offering services in a novel and honest manner, which is delicate to their needs. White Claw Hard Seltzer, the exceptional Hard Seltzer brand that revolutionised the US alcohol market. Following a May 2020 launch, White Claw has since turn out to be the #1 Hard Seltzer Brand and #2 RTD can brand in Ireland. The iconic, international model has proved to be America’s most profitable new alcohol product in a technology, disrupting the alcohol trade with what is being coined as “the hard seltzer revolution”. In reality, in 2021 alone, White Claw has bought 147 million cases with +10% in growth within the US hard seltzer section. White Claw® Hard Seltzer is the main brand throughout the hard seltzer category. White Claw® Hard Seltzer is made utilizing a blend of seltzer water, our gluten free alcohol base, and a hint of fruit flavour. Available in quite lots of flavours, each 12oz Can accommodates a hundred calories, 2g carbs and 5% alc/vol. Brand Forum Q&A with Davin Nugent, CEO of Mark Anthony Brands International. We will continue to revise insurance policies and implement further security features as new technologies become obtainable. Where we've given you a password which enables you to entry certain elements of our methods or sites, you may be liable for keeping that password confidential. We’ll never ask for your secure private or account knowledge by an unsolicited technique of communication. 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We do that to serve you adverts that we imagine you will be most excited about and stop you from seeing ads which might be unlikely to be of interest to you, or for products that aren’t available in your space. Musgrave Group is dedicated to respecting your privacy and complying with knowledge safety legislation. We would like our customers to learn the next discover which explains your privateness rights and units out how we, as a Data Controller, collect, use, process and disclose Personal Data relating to you and your interactions with us. And different Personal Data supplied by you that's related to the supply of our services together with our analysis of the info referred to above. Our tradition is unapologetically quick paced, entrepreneurial, and outcomes driven. Each team member has the ability to make an impression on a business that is constructing a lasting legacy in the alcohol beverage business. Our folks have a relentless drive to all the time elevate the bar, a genuine entrepreneurial spirit, a ardour and love for what we do, to all act like owners, and to continuously innovate. We act with a sense of urgency, do everything potential to at all times over-deliver and deal with each other with humility and authenticity. The Hard Seltzer class in Ireland is now value in excess of €8m, with White Claw leading the way in which. In Ireland and the UK, there is one more beverage that's quite in style among the clients other than the White Claw and that's the Hard Seltzers. However, in this context, it's relevant to add that Hard Seltzers are often thought of a drink for the ladies. This is a case research that not just discusses the history of this alcoholic beverage, it additionally discusses the industry in Ireland that's responsible for manufacturing such drinks. For one thing further special, we offer to have your field wrapped, added in a present bag with a personalised message for that crowning glory. white claw drink . This is chaired by the Spirits Business publication and assessed by a panel of main spirits specialists who, via blind tasting, assess every category towards a stringent set of standards. Since its launch in the US in 2016, White Claw has expanded into Canada, the UK, Ireland, The Netherlands, Germany, Belgium, Austria, Finland, Sweden, Switzerland and Australia; with a selection of world market launches deliberate for 2022 and beyond. Regardless, the hard seltzer market remains rebel, with 80m instances anticipated to be sold in North America this year, and White Claw its dominant force with a 60% market share. The company stated consumers conversant in the drink's recognition stateside demanded that White Claw be 'introduced house' and that retailers have been clamouring to stock the drink in time for the upcoming Bank Holiday.

#white claws drink #white claw drink #what alcohol is in white claw #white claw ireland #whiteclaw drink #hard seltzer #what is white claw #white claw #white claw alcohol #hard seltzer ireland #white claw flavours #white claw hard seltzer #white claws #white claw logo #white claw ingredients #whiteclaw #whiteclaw ireland #irish white claw

[notaschoolblog]

Face Filters (Week 8)

The usage of augmented reality filters began on Snapchat in 2015 (Barker 2020, p. 208) and has since had a major role in self presentation online, especially on Instagram (Rettberg 2014, p. 1). The way this has actualised tends to promote narrow, exclusive and unrealistic body standards that are often recognised by users as unattainable but nonetheless ‘necessary to achieve in order to obtain social acceptance’ (Coy-Dibley 2016, p. 6). Through this comes an obligation and expectation of aesthetic labour (Elias, Gill & Scharff 2017, p. 5) to reach these impossible standards. This ideal is deeply Eurocentric: historically, photography has only been considerate of white appearances (Rettberg 2014, p. 28), making it even more inaccessible to non-white, non-Western users (Miller & McIntyre 2022, p. 7).

As the usage of filters is largely focused on beautification, it has become thought of as a feminine practice. This is riding off the expectation of women to ‘enhance’ their natural appearance, previously this was solely achieved through make-up and plastic surgery—which has, in a sense, been digitised through face filters. For men, using face filters (which have been deemed feminine by society) calls into question their presumed heterosexuality and masculinity (Lavrence & Cambre 2020, p. 9). Thus, if men are in earnest using face filters, they are opening themselves to ridicule by mainstream, hegemonic society. This is relevant to the concept of the ‘digital-forensic gaze’, in which online pictures are scrutinised to ‘negotiate their implicit authenticity claims’ (Lavrence & Cambre 2020, p. 2)—as in, users scouring images posted on social media for evidence that they’ve been edited in some way. When users recognise the usage of a ‘natural-looking’ filter, they call it out like its usage is inherently deceptive and lesser than if the image was unedited. However, if an image was posted to social media unedited, it’s either deemed lower quality or it becomes the special focus of the image.

Face filters aren’t all negative though, they can be used to positively explore digital identity. They are an accessible form of personal expression, and can help users easily cultivate how they want to be seen online. While face filters are ‘arguably still firmly embedded and created within the confines of the oppressive [patriarchal] pressures…women are not ignorant to their own oppression, they see through their oppressive conditions even as they may comply with them’ (Coy-Dibley 2016, p. 6). It is ultimately a voluntary participation into this culture around face filters. …Mostly. What about when face filters are automatically added to someone’s digitised appearance without their consent or awareness?

>REFERENCES ARE UNDER THE CUT<

Barker, J 2020, 'Making-up on mobile: The pretty filters and ugly implications of Snapchat', Fashion, style & popular culture, vol. 7, no. 2-3, pp. 207-221. Coy-Dibley, I 2016, ‘“Digitized Dysmorphia” of the female body: the re/disfigurement of the image’, Palgrave communications, vol. 2, no. 1, Palgrave Macmillan, London, 16040. Elias, AS, Gill, R & Scharff, C 2017, Aesthetic labour rethinking beauty politics in neoliberalism, AS Elias, R Gill & C Scharff (eds), 1st edn, Palgrave Macmillan UK, London. Lavrence, C & Cambre, C 2020, ‘“Do I look like my selfie?”: Filters and the digital-forensic gaze’, Social media + society, vol. 6, no. 4, SAGE Publications, London, England, p. 1–13. Miller, LA & McIntyre, J 2022, ‘From surgery to Cyborgs: a thematic analysis of popular media commentary on Instagram filters’, Feminist media studies, Routledge, pp. 1–17. Ohlheiser, A 2021, ‘TikTok changed the shape of some people’s faces without asking’, MIT Technology Review, 10 June, viewed 26 April 2023, https://www.technologyreview.com/2021/06/10/1026074/tiktok-mandatory-beauty-filter-bug/. Rettberg, JW 2014, ‘Filtered reality’, Seeing ourselves through technology, Palgrave Macmillan Limited, United Kingdom. Tate, V 2021, A Reckoning with Photography’s Exclusivity, Getty, viewed 26 April 2023, https://www.getty.edu/news/a-reckoning-with-photographys-exclusivity/).

#face filters #mda20009 #essay #analysis

[arwainian]

Reading This Week 2023 #6

Testing out colorful text this week for my thoughts on the readings, to better seperate it out visually. What do you think? The default yellow text looked kinda ugly so I went with orange

Finished:

Pride and Prejudice by Jane Austen

i very nearly cried at the second proposal scene. to have this moment between Lizzie and Darcy, where they are completely alone together, with no secrets between them and so all that follows it total comfort and absolutely adorable banter.... AUGH

Beastars, Vol. 4 by Paru Itagaki, translated by Tomoko Kimura

Started and Finished:

"Embodied Knowing: An Experiential, Contextual, and Reflective Process" by Mimi Sodhi

"Fashion and the Fleshy Body: Dress as Embodied Practice" by Joanne Entwistle

Beast Complex, Vol. 1 by Paru Itagaki, translated by Tomo Kimura

I feel like i've said most of what I have to say about Beastars and this connected anthology series Beast Complex already, so what am I supposed to do when I'm going to keep reading it and it's going to keep coming up in these roundups? well I shall just deliver this phrase for now: delightfully fucked up!

two tall mountains by misspickman on ao3

(moss if you are reading this i will come back and comment on your wonderful fic on ao3 itself later, suffice to say i thought it was quite good)

"A Woman's Place is in the Nation" from Britons: Forging the Nation 1707-1837 by Linda Colley

Death of a Sorcerer by Jeannie Lin

fuck. I forgot that Jeannie Lin's work is very enjoyable to read despite being so SO heterosexual in nature. Need to add "chinese historical fiction" to my list of things to seek out to read more of

"Regimental World: Interpreting the Experience of British Soldiers during the Napoleonic Wars" by John E. Cookson in Soldiers, Citizens and Civilians: Experiences and Perceptions of the Revolutionary and Napoleonic Wars, 1790-1820 edited by Alan Forrest, Karen Hagemann, and Jane Rendall

"Fashion, Disability, Freedom of Choice" by Heather Watkins

Lavender House by Lev A.C. Rosen, narrated by Vikas Adams

enjoyable queer murder mystery! I did not spend the novel trying to figure out the murderer until the very end, and then in the last couple of chapters I guessed completely wrong because the correct answer seemed too obvious, also I listened to the entire 10 hour audiobook in a single day thanks to my excellent skill of listening to things on times 2 speed (i have a friend that teases me for listening to things for leisure at double speed, and i have nothing with which to defend myself)

Started and Ongoing:

Frequency by cryptocism on ao3

Tea is for Teacher by Recipe on ao3

tbh considering abandoning reading this one even though I've gotten pretty deep into it. i have to constantly coach myself through my DNF policy, which is: there is so much to read out there, so unless a work is extraordinarily short, or mandatory for something, i should only read things i actually enjoy, and not just don't-dislike. since I'm kinda meh on this fic, the policy is coming to mind

Ongoing:

The City of Brass by S.A. Chakraborty

and once again the DNF policy is starting to rear its head as I reach the middle of the book. I'm hesitating on putting it down because my dad really really likes this series and wants to talk about it with me, but what I've enjoyed most about this book is the action sequences, and i'm kinda meh on the characters themselves

War and Peace by Leo Tolstoy, translated by Constance Garnett, narrated by Frederick Davidson

while I've been enjoying this, you won't see it on the weekly log for roughly a month because my due date for the library loan came up and I had to return it. I will read it more diligently when it's back in my hands, i promise

Sam Patch, the famous Jumper by Paul E. Johnson

"Base and Superstructure in Marxist Cultural Theory" by Raymond Williams

#cal reading log #bookblr #arwainian princessoid decrees #how do we like the thoughts in colorful text? #i think it's a good way to seperate my thoughts when I dont have something to say for everything read