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1ddiscourseoftheday · 3 years

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Mon 15 March ‘21

FIRST TIME GRAMMY AWARD WINNING ARTIST HARRY STYLES!! From the bottom of the stairs to the top of the fucking world baby, get itttt!! He won Best Pop Solo Performance for smash hit Watermelon Sugar-- the other two categories he was up for went to others but he was a dark horse for any of them so getting one is awesome! Yeah the grammys are shit but I’m so happy for him to see him receiving validation and acclaim from the industry that has never appreciated what he (and his bandmates) are and can do as artists, it’s a fucking start you know? We can enjoy the moment! Harry did! His acceptance speech was short and it feels like he was blindsided and forgot everything (including not to swear on TV and as pro as he is you know that means he was absolutely reeling, I love that) but later he said “I want to thank my fans for giving me an environment to be free to make the music that I want to make and supporting me along the way the last ten years”, yes that’s right we have helped you find a place to feel good, and “this is an incredibly sweet icing on the cake of what I get to do everyday so thank you.”

But that’s not all! He also performed, and wore things! Say what you want about Harry (or better yet please DON’T at least to me but that’s a losing battle) we always get so hyped up about even just seeing his outfits and he does not let us down! BLACK LEATHER, TITS FULLY OUT, DICK BANANA CHARM, AND A MUPPET BOA? Yeah he did that! Shirtless under a patent leather suit, I mean: wow. Very glam rock, very… well listen it’s just very GAY in like so many different ways??? Harry Lambert said they wanted “something darker, sexier, and more unexpected” which is definitely about that look I’m assuming and not the pastel thrift store rummage bin hodgepodge he wore later, unless Harry(s) and I have very different ways of interpreting “darker”. (Harry L also said “free the nipple” and we can all see that he MEANT it.) Harry red carpet-ed and accepted his award in a lavender muppet boa, tits slightly less out but still cleavagey, and with a seemingly random collection of other garments YES BABY OKAY you just WEAR THAT THEN! About that Harry L said, “we wanted to do something that felt British and eccentric, a little bit rock ‘n’ roll and a little bit camp,” but the people have spoken and they said ‘we think he looked like Cher from Clueless’ so, sorry Harry(s)! Esquire struggling to describe the look-- “the kind of thing that Styles seems to make wearable” klasjdlk the doubtful ‘seems’ is sending me. Either way we can definitely all agree on the camp part, and that the matching face mask (as seen in the audience shots and in adorbs pics of him camping it up with Lizzo backstage) is amazing, love that (even if he does spend way too much time nervously pulling it on and off omg just LEAVE IT) and it even went also with outfit number THREE (or at least it did as well as any of his anything went together lol) which was a big floppy orange coat and plaid pants and a THIRD BOA, a dignified (haha JK NOPE it’s still a muppet) black number this time.

It seems the performance was filmed in advance rather than done live-- there were clues suggesting this might be the case, but the real giveaway was when a picture from it leaked before the broadcast, lol. Way to make it so we “can’t even tell if it’s live or not” Ben, and why is he STILL so obsessed with trying to gaslight us anyway my god just say what’s prerecorded it’s fiiiine. ANYWAY Harry played Watermelon Sugar and only WS; well after all it is his GRAMMY AWARD WINNING SONG. Plus it was a really nice version, all smooth and funky, with a highlight of the night being Harry’s full on 60s girl group choreo move with the backup singers, omg. Those backing vocalists were the duo G.A.W.D., and there was extra accompaniment by fellow nominee Devonte Hynes aka Blood Orange (who also directed the performance and no I do not know what that means) and “Spencer and Josh” on horns (the closest I can find to someone crediting them so, apologies guys). Anyway! All of them (regular HS band included) were decked out in matching gucci black leather too and looking good. And Harry looked so happy to be up there performing, just beaming like a lighthouse, so overall- good good stuff, I just keep on dancin!

The real bombshell of the performance though was subtle and needed confirmation after for the excitement to really hit-- it was Sarah drumming decked out in tight black leather and visibly pregnant!! That’s right, band drummer Sarah Jones is PREGNANT by (Grammy Award winning) guitarist Mitch, there’s a HARRY STYLES BAND BABY on the way!!!! WHAT A NIGHT! It wasn’t enough for Harry to find love in his own band, he’s somehow cupid-ing that energy all over the place and spreading it around, AMAZING!

And Liam comes through with not just a sweet congratulations for Harry (“what a huge moment, proud to be your brother” awwww) but also the final word on the performance look- goddammit it IS one of the rejected Best Song Ever video looks, LMAOOOO. But did he tag HSHQ instead of Harry directly in acknowledgment of how the awards system really works and that they are all to be congratulated or simply because it was easier? We will never know.

Additional tidbits-- bassist Hynes was apparently playing creative director Molly Hawkins’ dad’s bass- did we know her dad was a famous bassist who played with Fleetwood Mac and many other 70s stars?! If I did I had definitely forgotten! And more Molly news-- she’s also pregnant!! Harry will soon be surrounded by quarantine babies, dreams really coming true huh? Harry posted a pic of himself with Mitch and Devonte looking very cooool, we saw the ceramic watermelons label execs were sent for the WS release last year, and Rebecca Ferguson who knows 1D from way back when (and has recently drawn attention for talking frankly about how fucked up the industry is and about having seen unnamed boy band members literally slammed against the wall by their management) congratulated Harry and posted a couple of baby pop star Harry pics, cuuuute. Louis’ merch handlers, in response to no complaints whatsoever, sent out emails apologizing. They say they’ve run out of lanyards which were meant to be sent out so they will “be adding a freebie which we know you’ll enjoy” to affected customers’ orders. That is sucky about the lanyards but that’s customer care! Niall posted about his cool bright limited edition merch to remind that it will be gone gone gone tonight and also shared a pretty and touching picture from a the large anti violence rally held in London to protest the killing of Sarah Everard today. And finally some good advice from Bebe Rexha, loved by larries; she says she loves us right back but please don’t kill anyone for not streaming her new song! Yes good plan.

#grammy award winner #harry styles #liam payne #niall horan #louis tomlinson #CHASM baby (chaby)#also having a good day-- haylors! don’t begrudge them their excitement they haven’t been fed in like 8 years #let them carry on about Harry and Taylor actually sharing the same space and not being rude to each other especially if it continues to prod #the genuinely rofl hilarious analyses coming out of last night about them sending secret messages to each other in their performances #(which the other was definitely not present for whenever a celeb was present for another artists performance they did react cutaways)#15 mar 21 #harry lambert #molly hawkins #mitch rowland #sarah jones #ben winston #long post #sorrrrry

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phoenix43song · 4 years

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My Reviews and Thoughts on Little Women and the Many Adaptations

To start off I have been reading the Little Women series since I was 8 I think, and I’ve been watching the 1994 version since I was 6. It wasn’t until recently that I finally watched the 1949 and the modern 2018 adaptations ( I watched the BBC/PBS mini series last year, and I do re-watch it every now and then). I still have to watch the 1933 version, which I plan to do when I find the time. I have also been re-reading the books because I am excited for Greta Gerwig’s adaptation even though I am not a fan of some of the stuff she’s been saying about a couple of the characters (but some of my fears have been relieved! Yeah!). In this long post I will post my thoughts on the novel(s) themselves, Louisa, and the adaptations that I have seen.

I will start with the one I am very familiar with: the 1994 version! I have loved this movie since the first time I watched it. It’s a tradition to watch it multiple of times around the Christmas season with my mom, and every now and then I will watch it whenever I feel like it. Since I graduated as a theatre and film student watching films and analyzing characters, their world, decisions, the themes and motifs have been really eye opening. I’ve been devouring books since I was a kid, trying to write my own novels, and I’ve made a couple of short films. When it comes to adapting a screenplay from a book there are a lot of decisions to be made: what to keep, what to cut, what to condense, does the order of things need to be changed, and what original creative content can we put in? 1994 is a really, really good adaptation of the novel, with some minor flaws, a questionable original content decision, and how the screenwriter and director put Louisa into Jo. The cinematography and music is gorgeous, the house looks lived in, and the whole atmosphere screams late American 19h century.

The acting, for the most part, is right on character and Winona did such a great job as Jo! Trini did wonderful a Meg and I liked how we got more of Meg because she’s important too. Claire Danes was a fabulous Beth (though she looks older than 14; I always thought she was 16 or 17...), while Kirsten did a fun, spoiled Amy...but she did ham it up a bit too much at times. Samantha...I did not like one bit as older Amy. Laurie was great in the first 2/3 of the movie but once he hit Europe I didn’t like how they [tried] to develop his character. His romance with Amy fell flat, which I was sad to see. Gabriel was a really good Fritz...I just didn’t like how they made them date while Jo was in New York. I understand it because the proposal at the end of the movie makes it really romantic, but the whole purpose of Jo/Fritz and Jo falling in love was that she was blind to it: she falling in love with a man. They start off as boarding house neighbors, then student/teacher, which quickly turns into friendship of equals, and it’s not until Jo is at home missing Fritz that she begins to realize her feelings. And when Fritz comes to court Jo she blushes! Despite this I’m a sucker for romance and still love Jo/Fritz despite my feelings on the adaptation choices. Marmee and Aunt March were on point and I loved how the actresses were their characters.

Now moving onto the 2017 mini series. I like this adaptation, and have watched it a few times, but there are things that just bug me and drive me crazy, and moments that I love. This is the only adaptation that does not have have Jo’s plays or the Pickwick society. I hate this and it was a poor adaptation choice in my opinion. This series really should have been at least 6 episodes and not the measly 3 that it was. Despite this the series did include moments from the book that either haven’t been adapted before, or it was just mentioned. I love how we see Beth get the courage to go to Mr. Lawerence to play the piano and their relationship. They really should have gotten a young Amy and an older looking Beth: the girls look the same age from episode 1 to 3, which especially doesn’t work for Amy. Maya did a good Jo and it’s actually impressive for her first screen role, but she did lack some of Jo’s qualities (she is way better as Robin in Stranger Things). Emily did a good job as Marmee. Anne was another really great Beth, and I have to say her freckles seem to give the character substance. Kate’s Amy was good but like Elizabeth Taylor in the 1949 version, she was not believable as young Amy. (I’ve heard Florence Pugh is amazing and a scene stealer but even if she can act like young Amy (and based on the clips she can), her womanly body will not let her be believable).

I like how Beth’s kittens made a lot of screen time (I love kittens!) and how they did the Hummel’s house: it was just like how the book described it. All of those little children did a great job at looking hungry, cold, and scared. Makes me wonder about Mrs. Hummel’s husband (I need to find that part and re-read it). I loved how the included Camp Laurie, Cousin Flo, and Laurie trying to kiss Jo. The wedding between Meg and John Brooke was sweet, esp Aunt March giving her the pearls. I crack each time I see Aunt March’s parrot (was that in the book? Man I haven’t gotten far into my re-reading of the whole book; it’s been awhile), and how we got to see how close Jo and Beth are. They tried their best in portraying Amy/Laurie, and Mark Stanley as Fritz: he was Fritz from the book! (He looks a lot younger without that bushy beard though; that’s the one thing about Fritz I can’t stand haha). It’s too bad that Jo/Fritz was so rushed in episode 3: their relationship and Fritz was barely developed. (Though they did include a lot from the book like the Weekly Volcano and Jo’s poem that brought Fritz to her). Laurie in general was not Laurie; maybe in the Laurie who wants to play all the time but that’s it. Not Laurie.

Now onto the 1949 version. I fell in love with this adaptation, flaws and all. It was very charming, had some great acting, however a lot happened off screen, some characters/moments were rushed, and I can’t believe June was 31 years old! And that Elizabeth Taylor was pregnant. It doesn’t bother me that they made Beth the youngest because Margaret did such a fabulous job as Beth. I loved all other scenes, her relationship with Jo and Mr. Lawerence in particular. This is the only version I’ve seen where the sisters buy Marmee gifts with their 1 dollar bill, and I liked how it was a surprise and quite moment. The actress who played Marmee was amazing and Aunt March cracked me up. I didn’t care for Laurie in this version either. And like I said with the 2017 mini series: they really needed to have an actress play young Amy. Elizabeth did a really good job, don’t get me wrong, but she definitely seemed way older. The hot Italian actor as Fritz was sure an interesting choice. I wish they would’ve just made Fritz Italian and just changed his name slightly (I believe Greta made Fritz French in her version since Louis Garrel is French), and I also wish he could’ve been in the movie more! Since he was close in age to June I just wanted to see them on screen more. Yes he doesn’t look one bit like Fritz in the book, and call me shallow, but I honestly don’t care in this version. Back then - and sadly to this day - Hollywood cares about looks. That’s why I love Mark Stanly as Fritz in the 2017 because he physically is Fritz. But still...anyways I am going slightly off topic.

So. The 2018 modern adaptation. This should have either been a Hallmark movie or a Netflix movie. This movie should have never been released theatrically and that’s why it bombed horrible. I mean it bombed horribly in a lot of aspects and areas, but it does have some great scenes! It’s all in the detail. They have their castle’s in the sky for one. All of Jo’s plays and the Pickwick society and how it changed to be of a platoon. I just love the attic scenes in this movie. I also love how Jo is writing fantasy stories and a fantasy novel and it’s sad that she can’t be taken seriously because there are great fantasy novelists! Tolkien, JK Rowling, G RR Martin for example. That really bothered me. I do like how Fritz is an actual professor at a university and becomes Jo’s editor and mentor, how that develops into friendship, but to me the romance aspect of their relationship falls flat somewhat. I like how they had a younger Amy and an older Amy, but I honestly got confused at first because there were younger versions of all the sisters (and it’s unbelievable that three of them would look the same with the 13 year gap). This version did a flashback style so it will be interesting to see how Greta did hers. The editing for this movie was all over the place and chaotic. I didn’t like Lucas as Laurie one bit, I get how they would go to parties but I hated those scenes (it was a good wake up call for Meg though). Beth fell short in this movie and so did Amy to an extent. You don’t really get to know John Brooke, or even their Marmee all that much. And really, Marmee? In a modern adaptation they should’ve just stuck with Mom. I did like how Jo buzzed her hair off in support of Beth (there is a good graphic novel that came out recently that’s set in the modern world and there are few similar choices. There’s also a book called Meg and Jo - Amy and Beth will come out later next year - that makes some interesting choices to say the least when adapting the novel into modern times. Anyways...), and how they had their father over seas in the army. I honestly need to watch this movie again to really critique it, but I honestly think it could’ve been a great movie...the script needed more rewrites, it needed a director who knew what they were doing, a better editor, and honestly some better actors. The potential was there, it has it moments, but it fell.

To conclude this rather blog like post (and kudos to all who have read the whole thing) I will take just a little bit on my views on Louisa herself and Greta’s version. Louisa didn’t want to write a book for children, and when she did she wrote a semi-autobiographical novel that she leaves on a cliff hanger. In my mind she meant to continue the story, but she wanted to see what the reader’s thought. She did put the story out of her mind for awhile, until the book had to go into reprints and she got hounded with fan mail and fans in general. Yes she didn’t want Jo to marry because she herself never did (from what I’ve read she did have one sided crushes and probably a few second romances that didn’t last long, but she also never saw herself as desirable; she comes across to be as maybe being aromatic asexual, demisexual, or bi). She was a bit of Germanophile, along with Europe in general, and that’s why from the first few pages of LW there’s German everywhere. Which this means that Friedrich Bhaer was probably planned in one way or another. Louisa never wanted Jo to be with Laurie because they were close like siblings and loved each other that way. Laurie thought himself in love with Jo, but Jo does bring up good points: they would quarrel and end up being unhappy because he honestly didn’t like her scribbling. Amy makes Laurie grow up and those two match each other perfectly. Fritz is a perfect match for Jo because he treats her like an equal, he helps with her writing, and she gets to be apart of a society she loves.

I have been relieved from my fears (for the most part) about how Fritz will be portrayed and the Jo/Fritz romance. We do meet him right away since we start in the present before going back and forth between past and present until the timelines match up. Greta is the only person to adapt the New Year’s Dance, which I am really excited to see. I haven’t been told if Fritz’s nephews are mentioned or seen. I know he gives her advice, but not if he teaches her his language (which I assume to be French in this version), that they do get into a fight, and that he comes to court her at her house. I was worried the umbrella proposal scene was going to be changed, but I’ve been told it’s in and it’s romantic. And then there’s Amy/Laurie! I am so glad that this relationship seems to be fully developed. I can’t wait to see everyone as their character and how Greta did the back and forth.

I am worried though about a few things: how if one isn’t familiar with the story they get confused at first with the back and forth, some of the costume choices, the acting in certain scenes, some scenes or moment being cut or condensed for time because this is a movie not a mini series, and I just wish that Fritz - Louis - could’ve been in the trailers more with more promotion. I understand why...at least Louis understands his character. Greta mentioned something that Fritz basically had to be a prize to be won and oh boy: no one is a prize to be won. And putting a lot of Louisa into Jo...I’m worried about that. Sure the 1994 version had a Louisa quote that Jo’s says about voting, but this seems like it might be too hammered in. I guess once I see the film I will finally know (and write my review and thoughts), because I can read all the critic reviews, interviews, Q and A’s I want but it’s up to me on whether or not I’ll like it or love, and I sure hope I’ll love it.

The is the end. Thanks for reading. Let me know your thoughts.

#little women

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there-for-him · 6 years

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A Look Into Tae’s Sexuality

Part one of my LGBTS analyses

Hello, it’s Charlie here again, and in this post I’m going to be sharing my opinion on Tae’s sexuality. Or in other words, why I believe he may be LGBT+.

Of course, I should start this by saying, yes, I do not in fact know what his sexuality is, the only way to truly know is if he says it himself. With that being said, I do think that we are allowed to speculate on the matter. If we weren’t, they themselves would have said so. And also, this is Tumblr so who gives a fuck. And we need to acknowledge the possibility of idols not being straight. Talking about this will only pave the way for a future where they would feel safer to be who they truly are.

Another thing I should add is that, if you are expecting this to turn into a t/k analysis, I apologize, but it won’t. I myself believe in Jikook, as those of you who already follow me know. In fact, this post won’t really talk about any ships in a way that is trying to prove their legitimacy. There will be a few moments that are mentioned but they will be used mainly to prove TH’s attraction to men. Who I ship and don’t ship won’t have anything to do with this. But I’d also like to point out that I love all ships (OT7 is the best) so I won’t be looking down on any of them here.

And of course, if you want to discuss any of what you said, feel free to drop into my ask. Just please stay civil, I want to keep my blog positive so if you’re going to be rude I just won’t answer you.

Now, let’s get onto the actual post:

I’m going to be building my case (I apologize for my dictionary, one of my hobbies is competitive debating so bear with me, I don’t take myself as seriously as it may seem) on a few things that are more obvious in of themselves and then a few that may not mean anything if look at separately but when put together make too much sense. Also, I’m only going to be mentioning only things I can analyze. There are things he has done that I, as a member of the LGBTQIA+ community myself, recognize as, well, gay culture (Won’t be me if I don’t use memes) but I cannot really explain (ex.: his whole kinky puppy on a leash thing he’s got going on with the other members) so I will be refraining from using those so people can’t come and say “tHaT dOeS nOt mEaN aNyThInG fUcK yOu”.

Let me start with one of the most obvious ones to me, which I know many others also agree on:

1. Stigma

Before we even play the song, the first thing we notice is the title – “Stigma”. The Cambridge definition of the word is “a strong feeling of disapproval that most people in a society have about something, especially when this is unfair”. We off the bat get the vibe that this song will be about something society tends to disapprove of without a real reason, such as being LGBTQIA+. Then we notice the melody and TH’s voice. We immediately understand that the song is a sad one, an emotional one, a deep one. Now let’s get onto the actual lyrics. I’ve been hiding it

I tell you something

Just to leave it buried

Now I can’t endure it anymore

Why couldn’t I say it then?

I have been hurting anyway

Really I won’t be able to endure it

It starts off with a person who has been keeping a secret from those close to him, a secret that has been eating him from the inside. He can’t take hiding it anymore. The song starts with a confession. Now cry

It’s only that I’m very sorry towards you

Again, cry because I couldn’t protect you

The secret he has just shared is hurting the one who he shared it with. They are crying and he is sorry for disappointing them, for hurting them. More often than not, when one comes out to their family, they are met with a negative reaction. Their family has lived their entire lives expecting their child to marry someone from the opposite gender and have a traditional family. All of a sudden, their fantasy is gone. They are faced with something they do not approve of coming from someone very close to them. Along with being disappointed they are also afraid for both their child and for themselves and what the future holds for all of them. They see it as a disgrace to the family. Deeper, deeper, the wound just gets deeper

Like pieces of broken glass that I can’t reverse

Deeper, it’s just the heart that hurts every day

(You) who was punished in my stead,

You who were only delicate and fragile The person who made the confession is deeply hurt. He is both sorry for himself and for disappointing his family. (I’m saying family as they are mentioned later on in the lyrics, clarifying who he has been talking to throughout the song).

Stop crying, tell me something

Try saying to me, who had no courage

Why did you do that to me then

I’m sorry

He continues on enforcing the idea that he is both hurt and apologetic. He’s sorry that he is the way he is both because he is hurting them by it and they are hurting him because of it.

Forget it,

what right do I have

To tell you to do this, or that

He believes he is not deserving of their approval, support and forgiveness. *chorus again*

I’m sorry I’m sorry

I’m sorry ma brother

Even if (I try to) hide it, or conceal it, it can’t be erased

Here is where he shows that he’s talking about his family. Here is where we also see that what he is sorry for is not something he did, which is what most people speculate, but rather something he IS. How could he hide, conceal or erase a past action. If he has DONE something which hurt someone else, that’s not something you try to hide, that’s not how it works, for one to hide something that thing has to be present for more than one moment. Like a trait, not an action. If something he has DONE has hurt someone directly, that person must have been there or at least be aware of it, hence it would not be a secret. And here also comes the fact that hiding, concealing and trying to erase is the very definition of what being in the closet is.

Are you calling me a sinner

What more do I have to say

That part pretty much speaks for itself. Homosexuality being a sin is the main argument homophobes have. People have been and still are being killed for being gay because it’s “against god’s will”. Not to quote the lyrics but like, what more do I have to say.

I’m sorry I’m sorry

I’m sorry ma sister

Even if (I try to) hide it, or conceal it, it can’t be erased

So cry

Please dry my eyes

For the first time in the song, conveniently near the end, he is asking for support. He is asking his family to dry his eyes even if they are also crying. Please don’t stop loving me.

That light, that light, please illuminate my sins

Where I can’t turn back the red blood is flowing down

Deeper, I feel like dying every day

Please let me be punished

Please forgive me for my sins

Please

The song ends with him begging to be forgiven. Begging to be accepted. He is hurting so much he wants to die and he just needs their love. Sin is once again mentioned, twice this time.

To finish off, Tae is the only member who has chosen not to share the meaning behind the song. The darkest song out of all seven of them, left without context. Because the context is already in it.

It is also interesting to note that we all know Tae went through some shit near the end of last year and the beginning of this year. I do know that his grandma’s passing is a big part of it. But the thing is, Stigma comes from a very deep place within him. Everyone who has read the lyrics can tell that the one who wrote them has been through a lot of pain. Something is so dark is bound to put you through hell for at least a while. It is a song that basically shows self-hate. I’m sure those of you who are also LGBT+ will recognize the feeling he described so well. I do believe he went through a serious path to get to a point where he accepts himself. And he does confirm he has gone through a lot in the letter he wrote to JM.

2. When he fell in love with the photographer in 2 hours

https://twitter.com/ironchim/status/917878874779848704 - here is the video of the moment I’m talking about.

Main thing I’d like to point out here is how shy he gets when YG makes fun of him for having a crush on the photographer. I’m sure this reminds some of you of that time JM fell for the helicopter pilot.

3. The reason behind his love for Gucci

Tae has said that one of his role models is Alessandro Michele, the creative director of Gucci. Here is one instance where he has said it - https://mimibtsghost.tumblr.com/post/161685823623/vs-taehyung-profile-eng-trans-name-kim . First, I’d like to point out the fact that Alessandro is an openly gay man with a long-term partner. He is also someone who has been very outspoken about LGBT+ issues, which can also be seen in one of his collection that directly challenges gender expression. Here we can also bring up Gucci’s rainbow love. The abundance of rainbow attire in Gucci is linked not only to colors but also to the gay flag. This may answer people’s questions about why some of us are making a big deal out of Tae’s Gucci phone case with the rainbow UFO and recently the same UFO as a pin on JK’s tie at 2017’s Gayo Daejun. Knowing that Tae’s role model is Alessandro conforms that he is aware of the meaning behind it.

4. Ryan McGinley

Another one of his role models is Ryan McGinley (as mentioned in the post linked above). Who is Ryan McGinley you may ask? Another openly gay artist. He is a photographer known for his nude pictures, many of which are of men and of gay couples. Here is what Tae has said about him:

5. This

6. Ante Badzim

*gasps* another gay photographer he idolizes. The two of them actually had a sort of collaboration (exchange of photographs) and Ante is the one who came up with the nickname Vante. Here is TH’s part of the exchange:

And here is what Ante gave back:

7. “I can understand now why people look at you and go ‘oh’”

Let us never forget the time Tae posted a series of picture he took of HS on fancafe and accompanied them with this poem:

8. Lack of boundaries with skinship

Now, we all know that SK is a lot more open when it comes to skinship between friends. But what we also know is that even in SK, there are some boundaries. Things that make people raise their brows. And Tae is very prone to those. Here are some examples:

https://www.youtube.com/watch?v=YKQu4v0Pyvo

As much as some may just want to say “he’s just a touchy person”, I as a very touchy person who is LGBT+ and has many LGBT+ friends, can tell you that there is a thing like skinship being platonic at the same time as there being no hetero explanation for what is happening. When LGBT+ friends are together touchiness and flirting takes on a whole new form, believe me.

9. That time he accidentally called a co actor handsome and got super shy about it

In an interview with him and two of his costars from Hwarang they were, I believe, reacting to the drama. At one point Tae reacted to Hyungsik by quietly mumbling “You are handsome” but the other actors and the staff heard him and started laughing and he got so shy he tried to disappear off-screen.

10. This

https://www.youtube.com/watch?v=UpLTlXAL-0Q

11. I mean….

https://www.youtube.com/watch?v=DpfTP3ibqh0&index=5&list=PLAw_Pp0vdPw1_TzREMD0J5pcXmtlwOTWK

https://www.youtube.com/watch?v=4ChR_wd2rHA&index=3&list=PLAw_Pp0vdPw1_TzREMD0J5pcXmtlwOTWK

– Someone please give me a straight explanation for this, I’m begging you

12. Checking guys out

We can’t just ignore how many times he has directly checked guys out (we all know how he has a habit of leaving his mouth hanging open when he’s amazed by something). Here is an example of this but if you do your own research you will find a lot more:

(Credit to the creator of the gif, I apologize that I couldn’t find who made it. If it’s you please contact me so I can give propper credit).

In conclusion, I am not saying Tae is definitely LGBT+ but you shouldn’t be saying he’s definitely straight either because there are reasons to believe he may not be.

Cheers!

#lgbts #th #i know you expect mainly jikook from my blog but bear with me #just because i believe in jikook doesn't mean i think all the others are straight

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wineanddinosaur · 3 years

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We Asked 10 Somms: What Are You Drinking in Dry January?

Whether plans to abstain completely or just drink a bit less have so far been successful this month, there’s still time left to partake in a Dry-ish January. Restaurants and bars have embraced low- and no-alcohol menu items, while an increasing number of brands now opt for creative booze alternatives. There’s never been a better time to give what remains of Dry January another shot.

To help inspire readers shake up their drinking routines, VinePair asked wine professionals which beverages entice them the most when refraining from their favorite boozy sips. From honey-based mocktails, to a non-alcoholic twist on a beloved classic cocktail, keep reading for inventive alternatives from the experts.

The Best Dry January Beverages Recommended by Sommeliers

Athletic Brewing’s Non-Alcoholic Beer

Brooklyn Brewery’s Non-Alcoholic Beer

Rambler Sparkling Water

A Honey Blackberry Mint Mocktail

Fluère Alcohol-Free Spirits

Killer Quail’s Sparkling Piquette

Seedlip Garden 108

In Pursuit of Tea Masala Chai

Ramona Dry Grapefruit

Rowdy Mermaid Alpine Lavender Kombucha

Salcombe Distilling New London Light

Homemade Honey Soda with Hector’s Honey

Seedlip Spice

Keep reading for details about all the recommended beverages!

“My wife and I have been on a big non-alcoholic beer kick recently. This used to be one of the gaping holes for spirit-free beverages; options were limited and lackluster, and most did not satisfy a true beer craving. It’s cool to see brewers really lean into this movement. We’ve tried a handful of different brews, but we tend to always have Athletic Brewing stocked in our house. They have a great IPA, as well as a lovely golden ale that I really enjoy. But I am also really looking forward to trying Brooklyn Brewery’s new non-alcoholic beer whenever we get our hands on it down here in North Carolina.” —Ashley Malinowski, general manager/beverage director, chef/owner Scott Crawford’s Jolie, Raleigh, N.C.

“Rambler sparkling water and cold-brew Thai tea for me!” —Matt Pridgen, wine director, Underbelly Hospitality, Houston

“Honey Blackberry Mint Mocktail: This has got all the feels of a refreshing Mojito, but none of the sugar and alcohol. The ingredients are simple: honey, fresh blackberries, fresh mint leaves (all muddled to a delicious pulp), lemon juice, water, and seltzer. It’ll have you resetting after the 2020 booze fest, and once you’re ready to imbibe again, skip the water and throw in a little vodka or rum.” —Nicki McTague, sommelier and president, The Infinite Monkey Theorem, Denver

“We normally participate in Dry January every year in our household, but this year is extra special because I’m pregnant! I was fortunate enough to get an early set of samples of Fluère [alcohol-free spirits] to play around with, and I was so excited to have new options to help elevate my non-alcoholic drink recipes after making the same kind of mocktails for months. I like Fluère because it is super versatile and has a great flavor profile and body, which make it comparable to mixing with a standard spirit. At all of the JK Food Group locations, we regularly include a selection of curated mocktails on our menus, and last year at Toro, we even hosted a spirit-free dinner with beverage pairings. I’m really looking forward to carrying Fluère and other products like this so we can continue to creatively expand and elevate these kinds of beverage offerings for our guests.”—Jodie Battles, beverage director, Toro/Coppa/Little Donkey, Boston

“As a proponent of a sustainable combination of both year-round indulgence and moderation, January is inevitably a time when the latter tends to weigh a little more heavily on our minds after the sustained indulgence of the holiday season. That being said, if my lucky stars align, I’m treating myself to a bottle of Killer Quail’s low-alcohol, high-impact Sparkling Piquette of Alder Springs Vineyard Chenin Blanc, which is exactly the sunshine in a bottle we all need right about now. Additionally, I often find myself reaching for a bottle of Seedlip Garden 108 to make either a low- or no-alcohol beverage (weather/mood/pandemic/political climate depending) with some citrus, some sugar, and a little something bubbly — like a splash of that Piquette, if I’m feeling frisky.” —Mary Allison Wright, owner, Yacht Club; wine director, The Proper Pour, Denver

“My go-to is Masala Chai tea in the mornings from In Pursuit of Tea (and if we are getting geeky, I love to simmer it with the A2 organic grass-fed milk from Amos Miller Farm in Pennsylvania). In the evenings, I crack open a RAMONA ‘Dry Grapefruit’ at only 5 percent ABV per serving.” —Jordan Salcito, sommelier and founder, Drink RAMONA Inc., NYC

“This Dry January, I have been enjoying kombucha-based beverages, since I started making my own kombucha in 2020. (It was a year for new hobbies, in case you didn’t hear.) Kombucha is a wonderful option for a low-ABV or no-ABV beverage, as it provides probiotics and antioxidants, plus a little caffeine to keep your day going! Kombucha also makes a great mocktail ingredient, since it lends acid and sweetness to a drink. It is also easy to flavor in whatever way you want by using an infused simple syrup. My favorite to make is lavender kombucha, but a nice local Colorado option you can use is Rowdy Mermaid Alpine Lavender. Try 4 ounces lavender kombucha, 1 ounce fresh grapefruit juice, topped with a splash of grapefruit seltzer for an easy, refreshing beverage.” —Julie Masciangelo, sommelier and general manager, Il Posto, Denver

“Even though it just hit the market, my go-to for no-ABV is now New London Light from Salcombe Distilling. It’s super aromatic and definitely achieves a spirited status, even with zero alcohol. I like to enhance its body with some simple syrup and verjus, which lets the fresh, citrusy notes of NLL speak out.” —Will Wyatt, owner, Mister Paradise and Electric Burrito, NYC

“This January, I’ve been enjoying homemade honey soda. I love the natural complexity that unadulterated honey has as a sweetener, and I’ve gone from using it simply to sweeten other drinks, to using it as the main ingredient in some of my non-alcoholic beverages. Sonoma County is rich with high-quality apiaries, and several delicious monoflower varieties can be had — from the delicate star thistle, to the complex eucalyptus. I have fallen in love with varietal honey this year. Until recently, I hadn’t fully appreciated honey’s ability to capture and express terroir. I like to make my honey soda with organic local honey, of which there are several great suppliers, but my favorite is probably Hector’s Honey, which is a third-generation producer making pure, raw varietal honey. Aside from the honey, itself, I will add a little acid to balance out the intense sweetness, making the drink refreshing and light instead of cloying. Depending on the variety of honey, I’ll sometimes add a sprig of thyme or rosemary for a little herbaceousness.” —Jon McCarthy, sommelier and director of beverage, The Matheson Healdsburg, Healdsburg, Calif.

“The Negroni is one of my all-time favorite cocktails. The bitter and herbal tones work wonders for kickstarting your palate before a great meal. For Dry January, I like to recreate those bitter tones and adapt to more winter flavors [by] using equal parts Seedlip Spice, pomegranate juice, and tonic water. Serve over a large ice cube with a lemon peel, and it also pleases the eyes.” —Darlin Kulla, beverage director and sommelier, KNEAD Hospitality + Design, Washington, D.C.

The article We Asked 10 Somms: What Are You Drinking in Dry January? appeared first on VinePair.

source https://vinepair.com/articles/10-best-dry-january-beverages-sommeliers/

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johnboothus · 3 years

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We Asked 10 Somms: What Are You Drinking in Dry January?

The Best Dry January Beverages Recommended by Sommeliers

Athletic Brewing’s Non-Alcoholic Beer

Brooklyn Brewery’s Non-Alcoholic Beer

Rambler Sparkling Water

A Honey Blackberry Mint Mocktail

Fluère Alcohol-Free Spirits

Killer Quail’s Sparkling Piquette

Seedlip Garden 108

In Pursuit of Tea Masala Chai

Ramona Dry Grapefruit

Rowdy Mermaid Alpine Lavender Kombucha

Salcombe Distilling New London Light

Homemade Honey Soda with Hector’s Honey

Seedlip Spice

Keep reading for details about all the recommended beverages!

“Rambler sparkling water and cold-brew Thai tea for me!” —Matt Pridgen, wine director, Underbelly Hospitality, Houston

The article We Asked 10 Somms: What Are You Drinking in Dry January? appeared first on VinePair.

Via https://vinepair.com/articles/10-best-dry-january-beverages-sommeliers/

source https://vinology1.weebly.com/blog/we-asked-10-somms-what-are-you-drinking-in-dry-january

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joshhutchsource · 7 years

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Josh Hutcherson shows his new face–

He tells us, exclusively, his plans to venture into the field of film directing, in addition to acting.

This article was translated for Josh Hutcherson Source by @vega-sheliak. Please credit if you repost.

I always wanted to be a director … It gives me the tools and space to create and it is something that is often more attractive than any paycheck, at least for me.“ - JOSH HUTCHERSON

Having starred in four ‘Hunger Games’ blockbusters; now, without Jennifer Lawrence or Liam Hemsworth, Josh Hutcherson finds a new way to stand out in the cinema. And to demonstrate the experience he has accumulated in more than ten years working, this young 24 year-old, is determined to cross the other side of the camera to follow the path of the greatest in film, as a director.

Have you gotten used to the title 'Josh Hutcherson, film director’?

I always wanted to be a director, and to mix with experienced people and to work with other young directors who I also admire.

Is it time to show the world that you really consider yourself a film veteran … at 24 years of age?

Since I was very, very young, they tried to keep me out of the movie studio, although I wanted to stay, which went against the schedule child actors had to follow. I wanted to learn all the elements of moviemaking. I was in the camera truck and nobody could find me, just because I was learning a little about the lenses or I was going to the scenery truck to learn how to build a studio, I was fascinated by the whole process. I was always a sponge, absorbing all the elements of a shoot. And now, I will be able to apply it.

Do not you feel too much pressure to sit in the director’s chair, being so young?

Yes, it’s a new challenge for me, to direct other people who I also have to act with, but it’s something I’ve always wanted to do. I’ve worked with many directors who also started as actors and those are also the directors that I like the most, because they always come with a story based on the character. And when I have to direct, I’m going to concentrate on the characters as well.

Read the full article under the cut. (This is a long one!)

Are you also going to work as an actor in the movie you are directing?

Yes. I’ll start with a short film, because they say it’s easy enough. You can act and direct at the same time. We’ll see what happens. But yes, I will act too. The title is 'Ape’, it’s a rather dark film, about a young man suffering from schizophrenia. It’s a very complicated story that ruins the family. It’s very dark, but it’s a genre that has always really attracted me.

Have you ever wanted to change the direction of any of your movies?

In any performance, one always wonders what would happen if we did something different, but we can’t say that because it’s disrespectful to the director. And now, I can say what I always thought, while still being respectful, of course.

With directing a short film, do not you also make much less than a real movie?

In this case, I have the opportunity to become the director so that I can add my voice to the project. It gives me the tools and space to create, and is something that is often more attractive than any paycheck, at least for me.

Does it mean that, at this point in your career you are choosing creative control over a million-dollar paycheck?

Exactly, yes. The good thing about film is to be able to make blockbusters to then have the opportunity to move away a little, and concentrate on something much more artistic that really matters to you, as a form of expression.

The idea is quite original, in Hollywood. Together with Indigenous Media, Josh Hutcherson plans to create a series of short films, with new directors, as an original way of presenting ideas to film studios about future films, instead of working only with the script and a list of possible actors. It is similar to television, where TV producers usually create a pilot episode so that after a TV channel gives the OK, they can produce the full series. And just as the idea of a movie, with a trailer, is being sold to us, Josh Hutcherson tries to sell to the big film studios the idea through the filming of the short version of the film.

Could you explain in your own words the idea of this new project?

I think it’s a very good concept. The idea is to take the script from a full-length and make a short version. And just after making it, the full-length would be produced, because it often takes years to develop a script, because people commit and then pull out. And after you realize it, ten years has passed since you got the script for a movie.

Is there an example of an important movie that has started with a short film first?

'Whiplash’ with Miles Teller (JK Simmons won the Oscar for Best Supporting Actor). They made a short film first. Only when people understood the idea, did they go forward with the movie. It’s also much easier to attract actors, producers, and get funding. It’s like an incubator to create a movie. I think it’s a great idea.

Is it also a way to find your own films to star in?

It’s hard to find roles that are interesting for my age range. I starve for them, that’s my Hunger Game. They keep offering me characters that are still in high school, or just fresh out of college, and I’m stuck in that bracket all the time.

Are you going to try to keep your adolescent fans or 20 year olds?

We definitely want to talk to that audience, which also exists in Turkey or Italy. It exists all over the world. We want to create human stories where people can identify beyond language and culture. That’s the good thing about film. Sometimes it works … but sometimes it doesn’t.

And from the point of view of a young director, what do you think about the debate about the lack of women like Jennifer Lawrence in the most important positions of the cinema?

I am very aware, and personally I want the film industry to represent a diverse group of people. And, at least one of the projects we have is by a woman. It’s good to have a woman’s voice, and it is necessary that the younger female screenwriters and directors have enough confidence to represent themselves in film and television. I say this, because it surprises me when I see that a female screenwriter or even on TV writer write a typical female stereotype, when there are so many interesting women in the world. The greatest achievements and also biggest mistakes…always have to do with a woman in your life.

Nothing can compare to the success of having played the role of Peeta Mellark in the 'Hunger Games’ series with Jennifer Lawrence.

Does it upset you when in Hollywood you hire a foreign actor for the role of an American character?

Well, there are enough Australians and British taking away my roles. But the accents are very difficult for any performance. That’s the truth. Having an accent doesn’t let you focus exclusively on acting. It is a challenge. And I think there are actors who do very well and others who don’t. I just think that the characters should be open to those who can interpret them the best way. If you are a British actor playing an American, or vice versa, whatever, what matters is that you feel authentic doing it.

Taking into account the idea of creating a short film to present a full-length movie script, have you ever finished one of your films and it’s turned out completely different than the original script?

I remember when we shot ’The Kids Are All Right’, we were at Sundance and when I first saw it, I was surprised when the audience laughed, because I thought we had made a dramatic movie. I had no idea that it was literally a dramatic comedy about a very strange family. When I read the script, it seemed like a drama on all sides. We filmed it as such, but when it was shown, the audience thought it was funny. I didn’t know if that was good or bad at the time, but I guess it worked.

What is the most fun thing about directing your own movie?

When the first scripts arrive. That’s the most exciting part, because there are so many. The Black List is an organization that collects these incredible scripts that have never before been produced and have an amazing library with great content from totally unknown filmmakers. I was surprised to see how good they were. And being a director for the first time, I also immersed myself into everything, calling my friends, people I worked with before, asking for favors to help me bring my vision to life. That part is really fun, too.

Now the actor stars in a half-hour comedy of 13 episodes, produced by Seth Rogen and Evan Goldberg. In the series, Josh Hutcherson is Josh Futturman, a depressed gamer who is strangely summoned to become a hero.

And the hard part?

The most difficult part is transforming the script of a feature film into a short film, keeping the tone and heart of the story, without the audience feeling unsatisfied.

Can we imagine a world of filmmaking where instead of paying fifteen dollars to see a two-hour movie, we can have a shorter version that costs much less?

I have many friends who literally don’t watch cable. They use other services like Netflix or Hulu. And when you can get that kind of content, you don’t need to spend too much money to generate a giant event where everyone has to go to the movies and pay $15 for a ticket plus another $3 for popcorn. It’s like getting to a new audience in a way, it’s interesting.

Does the emergence of new media like Snapchat or YouTube, turn the short films into a new system of cinema?

Short films, for me, were always a platform for true artistic expression and the best way to discover filmmakers. That’s the good thing. If I could get people to pay attention to young, fresh voices, that would be the biggest success of my life.

If this is a good way to reduce the risks, how come the film industry didn’t use this system before?

I don’t know, it’s interesting. I guess it’s because everything is still new, like Netflix or Amazon, so it’s something we’re also learning to use.

Are Netflix or Amazon the new film competition?

I know people in parts of the United States who love movies, but they don’t live near a movie theater. So they are forced to jump in the car and drive an hour and a half to watch a movie, when they can view Netflix at home. A few years ago, I had a movie that never had a huge release beyond 'On Demand’ (on cable TV) and some movie theaters. And in my mind, I thought it was a failure, but not because the subject wasn’t interesting, but because it didn’t really get exposure.

Josh’s popularity came in 2005, when he starred in 'Zathura: A Space Adventure’

What movie was the one that never got to theaters?

’Escobar: Paradise Lost’, the story of Pablo Escobar.

How big is the gap between the artistic side of cinema and the commercial profile, where today they make a film with the sole objective of raising millions?

Without being too philosophical or annoying, cinema began as pure art. They didn’t care about the money made…they filmed exclusively as a form of artistic expression. But when filmmaking became more popular, big companies realized they could make fortunes, like the Marvel world that is so lucrative, but in the end, it’s pure business. And now that there are new platforms, it feels like we can go back to the big reason why the films originally came out, trying to get a true artistic expression. That’s very cool.

So does media like Netflix and Amazon that charge less than the cost of a movie ticket to see an unlimited number of movies per month, help or hurt the film industry?

The reality is that there is no business model. And basically what we say, is that if we do something good, people will watch it. And now, that there are so many options, we will always be able to do that.

[source]

#josh hutcherson #ape #future man #article #side note–the author ages him at 23 #we updated that to reflect his age at the time of publishing

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memoistore · 4 years

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Clare Waight Keller’s Most Memorable Moments For Givenchy

Back in early 2000s I used to work at Pringle of Scotland when Clare Waight Keller was the creative director, so I have followed her journey from the office she used to design the collections from in Sloane Street, London, to Paris for Chloe and Givenchy.

I was shocked to learn that the Clare – the first woman to be the Artistic Director of this legendary Givenchy Maison – was stepping back from her position as artistic director.

Mostly because she made me fall in love with Givenchy again. I did like Givenchy under Riccardo Tisci, but I love how Clare brought the elegance back to the fashion house.

Her occasional ode to Hubert de Givenchy archives received rapturous applause.

Rosamund Pike, Julianne Moore and Rooney Mara proved to be the perfect brand ambassadors. I just wish Angelina Jolie had worn more of the brand.

So with Clare’s gracious exit, here is a look back at my favourite red carpet looks from Clare’s reign at Givenchy, which started back in October 2017, when she presented her first Spring 2018 collection.

Rosamund Pike In Givenchy Haute Couture – ‘A Private War’ London Film Festival Premiere

I often like to do these list in date order, but I wanted to start with my favourite Clare Waight Keller for Givenchy Haute Couture look, and that was presented by Rosamund Pike. The class, elegance, sex appeal and modernity still give me goosebumps two years on.

If ‘The Matrix 4’ was casting a female lead. Rosamund would get the part in this outfit

Rosie Huntington Whiteley In Givenchy Haute Couture – The Fashion Awards 2018

Speaking of goosebumps. Rosie Huntington Whiteley’s Haute Couture moment at The Fashion Awards 2018 runs a close second. Yep. It’s another cape. But they always bring so much drama to a red carpet look.

Cate Blanchett In Givenchy Haute Couture – ‘Blackkklansman’ Cannes Film Festival Premiere

There are a lot of Cate Blanchett in Givenchy moments I could’ve listed.

The 2018 British Academy Britannia Awards is one of them, but the ‘Blackkklansman’ Cannes Film Festival Premiere was my ultimate favourite, as the Australian actress looked so statuesque in her proud moment of being jury president, and Queen of Cannes Film Festival 2018.

Rachel Weisz In Givenchy Haute Couture – 2019 Oscars

As we all know Rachel Weisz’s style is pretty straight-laced, so when she hit the red carpet at the 2019 Oscars wearing this red Haute Couture hybrid between a superhero costume and a sophisticated gown, we were all mesmerized.

Lady Gaga In Givenchy Haute Couture – ‘A Star Is Born’ LA Premiere

You might not have expected this one, but it was one of my many highlights from Lady Gaga’s promo tour for ‘A Star is Born’. If only she had kept this same energy for her awards season run.

Emma Stone In Givenchy – Netflix Original Series ‘Maniac’ New York Premiere

We don’t get enough of Emma Stone in Givenchy. But this was a shining example of why she should wear the brand more often.

Rihanna In Givenchy Haute Couture – 2019 Diamond Ball

It was between her Ocean’s 8 world premiere look, her 2020 NAACP Image Awards look, and this stunning creation from the 2019 Diamond Ball.

Ruffles would usually win in most situations, but this silhouette, and the fit on Rihanna still makes me swoon.

Jordan Roth In Givenchy Haute Couture – 2019 Tony Awards

It would’ve been a crime had I not included this iconic moment from producer Jordan Roth in this mixed media, joyous outing.

Leather, ruffles, floral appliqués?

YES, yes, yes.

Zendaya Coleman In Givenchy Haute Couture – 2019 InStyle Awards

We’ve had butterflies. Afro wigs, and plenty of feathers, but Zendaya let elegance stand at the forefront in this Haute Couture creation.

Zhang Ziyi In Givenchy Haute Couture – ‘La Belle Epoque’ Cannes Film Festival Premiere

Yes, my thirsty for all thing shiny draws me to this elevated princess gown, but I stayed for the classic/modern cross-over, and Zhang’s flawless beauty.

Diane Kruger In Givenchy Haute Couture – ‘The Operative’ Berlinale Film Festival Premiere

There was lots to admire about this Givenchy Haute Couture look. So many elements that only someone of Diane’s stature could deliver with such elegance.

Julianne Moore In Givenchy Haute Couture – ‘Rocketman’ Cannes Film Festival Premiere

Like Cate Blanchett, Julianne could’ve had a lot of inclusions in this list, (her red Haute Couture look from the ‘Everybody Knows’ Cannes Film Festival screening being one of them, but this was the most unexpected in terms of style and delivery.

Mena Massoud In Givenchy -‘Aladdin’ Paris Screening

Sharp and elegant. Who doesn’t love a Disney moment with a twist?

Michael B Jordan In Givenchy – Just Mercy’ Toronto Film Festival Premiere

The statement jacket/coat, was definitely a hit with sharply dressed men in Givenchy on the red carpet. And Michael B Jordan proved that sometimes it’s all one needs to stand out.

Chadwick Boseman In Givenchy – ‘Black Panther’ London Premiere

I couldn’t do any Givenchy menswear tribute post without shouting out the man who made the Givenchy statement jacket/coat so very appealing.

Where Chadwick leads, others follow.

Of course this wasn’t his only memorable Givenchy outing. His 2018 and 2019 Oscars looks deserve honorable mentions.

Ezra Miller In Givenchy Haute Couture – ‘Fantastic Beasts: The Crimes Of Grindelwald’ London Premiere

The actor appeared to be paying homage to ‘Harry Potter’s’ Hedwig. A Haute Couture version of course.

It may have been too costumey for some. But I’m sure JK Rowling approved.

Lily Collins In Givenchy Haute Couture – 2018 Met Gala

Met Galas can often lead to disappointment when celebrities don’t stick to the theme.

Lily Collins’ Givenchy Haute Couture look perfectly embodied the ‘Heavenly Bodies: Fashion & The Catholic Imagination’ dress code back in 2018.

This was one of her better outings in Givenchy. As her 2019 BAFTAs look was met with a lukewarm reception.

Nicole Kidman In Givenchy Haute Couture – 2018 Golden Globe Awards

One word. Sensational. This is the type of movie star glamour I craaaavee.

Zoe Saldana In Givenchy – ‘Avengers: Infinity War’ LA Premiere

This list would not be completed without one Zoe Saldana look. The two I had in mind funnily enough were both from ‘Avenger’ premiere’s.

The ‘Avengers: Endgame’ LA Premiere, and the ‘Avengers: Infinity War’ LA Premiere.

The latter stood out as more of a classic Zoe Saldana look, plus the necklace on the ‘Endgame’ dress threw me off a little.

Hunter Schafer In Givenchy Haute Couture – 2020 Vanity Fair Oscar Party

This is easily my favourite Givenchy Haute Couture look of 2020. I hope we get to some more before the year ends.

Rooney Mara In Givenchy Haute Couture – 2018 Met Gala

Now Rooney Mara had more Givenchy moments than most (or tied with Rosamund Pike), but she was the hardest person for me to narrow down one look.

I feel like I selected this 2018 Met Gala look because it didn’t have that déjà vu feel that the majority of her all black and all white looks conjured up.

The runner up will be her 2020 BAFTA gown. But perhaps that because it’s the most recent.

Meghan Markle Weds Prince Harry In Givenchy

I wouldn’t class this as one of my faovurites, but Meghan, Duchess of Sussex’s wedding dress was worthy of an inclusion as it was an iconic fashion moment for the wearer, designer and brand.

Credit: Getty

from Red Carpet Fashion Awards https://ift.tt/3bbA7Xz via IFTTT

#IFTTT #Red Carpet Fashion Awards

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michael-radi-the-glamorous-life · 4 years

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The Creative Corner - Guest Blog #1: Jennifer Arfsten

The prodigal blogger returns! …not sure that label really works here…oh well! Onward!

I would like to introduce you all to the next of my fulfilled promises for this new year of blogging with a segment I’m calling The Creative Corner.

“But Michael, what is this Creative Corner? Don’t you already write about ‘creative’ things?” An astute observation, dear reader.

The Creative Corner is my new, just-out-of-the-packaging Guest Blog segment, where I ask friends and colleagues in the creative field to write about a topic they are interested in or passionate about, which connects to either the business or their personal creativity.

I hope to have a Creative Corner post once per month so you can hear some lovely thoughts (other than my own) on the beautiful craziness that is the business of making art.

Our first guest is Jennifer Arfsten. I met Jenn last year as part of the Bristol Valley Theater callback process for their 2019 summer season. She’s a wonderful performer and an absolute delight in the room. Jenn made an impression right away with both her talents and her humor, and I was delighted when she was cast to play Anne Boleyn in the premiere production of The King’s Legacy. Her performance was beautiful and nuanced, and she was a joy to work with this summer. Jenn has become a good friend of mine in a very short period of time, and I look forward to watching where this friendship and our continued work will take us!

And now, without further ado, The Creative Corner #1: Jennifer Arfsten - Where Are All The Women?

Where Are All The Women?

“This is just....so weird.”

It was the thought that I couldn’t shake as I stood in a room full of gorgeous, statuesque, barely clothed women, while four white men ran a critical eye over them.

While this might sound like the start of a questionable fantasy to some, for a woman in musical theater, specifically a dancer, this scene is utterly commonplace. Dressed in our finest black lingerie, trying to be both darkly seductive and balletically refined, we prepared to dance our legs off and potentially earn a spot in this production of “Chicago”.

Every morning they can, dedicated and hopeful NYC non-Equity female performers wake up before dawn, do their makeup, pack their dance shoes, and wait in line for hours for the mere chance to be seen and considered for a show.

Though I am intimately familiar with this grind and have been in a similar room dozens of times, on this particular day I could not take my eyes off the casting team: The older bald choreographer, who kept giving barely perceptible shakes of his head to the young (male) dance captain; the bearded casting director who leaned against the mirror with his arms crossed, engaged yet aloof; and the academic-looking casting director shuffling our headshots as fast as possible. Undoubtedly, all of these men are accomplished professionals in their respective fields with years of knowledge and experience. But as I watched them watching us, casually making decisions that could alter the next year of our lives, I wondered why, when casting a show centering around two iconic female musical theater roles, is there not one woman behind the table?

When it comes to musical theater writ large, creative teams are predominantly male. In the words of Kathy from The Last Five Years, “When you walk in the room there’s a table of men, always men, usually gay, who’ve been sitting like I have and listening all day to 200 girls belting as high as they can”. (These seemingly relatable lyrics come from the musician/lyricist Jason Robert Brown...ironically, yet another man behind the table). It seems this continues to be the accepted industry status quo, and the problem goes all the way from creation to casting. In the shows that opened on Broadway in 2018, 37% of the principal roles were for women; 19% of the new plays/musicals were directed by women; only 16% of these new works were written by women. All of this consumed by audience members who are 66% female.

Why is this problematic? Though many theatrical writers are brilliantly prolific in portraying the human condition, there are certain unique experiences only expressed by those who have lived through it. Culturally, we seem to be grasping this concept when it comes to ethnic diversity: no one is keen on art portraying a minority experience or story written by a white person, and rightly so. But in the same way, why do we continue to accept stories of women that have been created and sculpted by the male experience? Why are we, as women, content with looking at ourselves through their eyes?

On the encouraging side of things, there is a definite upward trend in representation (see graph at bottom of page for data from 2019). But we need to be asking more of our theatrical leaders, and more of ourselves when it comes to the media we consume. A small but meaningful solution I live by: I almost solely read narratives by female authors with female protagonists. Some might find this sexist, or seemingly unnecessary. But these are the stories I’m interested in supporting and absorbing: women as the heroes of their own stories, with full, vibrant, nuanced lives. And in a world where a woman as successful as JK Rowling still had to publish under a pseudonym, I’d argue the necessity is obvious.

We get more stories of diversity when we have diverse people in creative and authoritative positions. We need more women at the helm in theater. We need more people who are already successful under the current system to care about elevating women. With the reality that men are still overwhelmingly the majority in positions of power, I believe they should be cognizant of and responsible for asking what they are actively doing to include more female voices; further, male and female, we should all continue to demand it.

Thinking back to Chicago (a musical originally created with an all-male creative team, source material from a female playwright) I’m reminded of an old meme I saw, sporting a picture of more scantily glad women hitting almost impossible poses, with these words emblazoned across the front: “Only one man should tell a woman what to do with her body, and that’s Bob Fosse.”

Ha. A sensible political/theatrical joke. Sure. But...who adapted and perfected his technique to fit the female anatomy? Gwen Verdon. And she was a celebrated, Tony-Award winning actress long before Fosse arrived to bless and mess with her life.

I welcome and honor the tradition and contribution of most men to musical theater. But often, as I observe an art form that prides itself on inclusivity and diverse storytelling, it’s unfortunate that I still have to ask: Where are all the women?

(Disclaimer: This whole discussion is built around current heteronormative gender labels, with respect to the fact that the conversation regarding representation of LGBTQ and gender-nonconforming individuals is also important and necessary in the further evolution of theater.)

Sources:

Geier, Thom. “Broadway Gender Gap: Women Had 37 Percent of Principal Roles in Last Season's New Shows.” TheWrap, 4 June 2018, www.thewrap.com/broadway-gender-gap-women-37-percent-principal-roles/.

Miller, Julie. “Inside Bob Fosse and Gwen Verdon's Unconventional Marriage.” Vanity Fair, Vanity Fair, 16 Apr. 2019, www.vanityfair.com/hollywood/2019/04/gwen-verdon-bob-fosse-fx-marriage.

Weinert-Kendt, Rob. “This Year's Gender & Period Count: The Best Numbers Yet.” AMERICAN THEATRE, 19 Sept. 2019, www.americantheatre.org/2018/09/25/this-years-gender-period-count-the-best-numbers-yet/.

Jennifer Arfsten

Jennifer Arfsten is a New York City based performer and barre instructor. She is passionate about politics, feminism, and empowering others through mental and physical fitness. She recently performed as Anne Boleyn in the premiere production of Michael Radi’s The King’s Legacy at Bristol Valley Theater.

(IG) @jenniferarfsten

#glamorous life blog #Jenn Arfsten #guest blog #blog #blogger #the creative corner #glamorous life #women #inclusion #theatre #theater #theatre artist

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animator19 · 6 years

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Interview with Alex Hirsch from after he had finished Gravity Falls

https://www.themarysue.com/alex-hirsch-interview/

Alex Hirsch: My main goal after Gravity Falls was finished was to take a vacation a BIG one and I spent about a year doing everything I couldn’t do while I was serving solitary confinement at Disney. I visited Hawaii, Japan, Portland, Burning Man. I did conventions in New York, Russia, Rio. My goal was to say “yes” to anything that wasn’t work. Sort of like Grunkle Stan on his worldwide boat tour with Ford, I needed some time away from the shack. But GF is a weirdness magnet after all and I can’t resist its pull forever. When Disney asked if I’d want to do Journal #3 I said yes immediately. It’s the number one thing I’d want to read if I was a fan, so I couldn’t pass up the opportunity.

Kaiser: Was the Journal done in stages? i.e. was the original draft for the black light version, or did you have to come back and do that once the sales proved viable?

Hirsch: Definitely stages, the very first thing I asked when they brought up the possibility of doing a journal was whether we could include the black light messages, but we were told that it would be way too expensive and to just try to forget about it. Then when the book came out and was topping the NYT bestseller list, Disney Publishing agreed to release a special edition for the superfans and give me my dream of black lights.

The challenge then was to try to fit the new messages over the old pages as though they always belonged. But these are fun challenges. Probably the hardest part was on the “Floating Eyeballs” page—there’s a spot where you see text coming from under a Polaroid. But in the Special Edition Journal, the polaroid is finally removable, so I needed to think of sentences that would credibly end with the words you’ve already seen

Kaiser: On that subject, Disney never seemed particularly keen on releasing much GF merch. Has the success of Journal 3 re-opened the conversation on things like the BluRay set?

Hirsch: The day that Disney bought Star Wars (AFTER buying Marvel) was the day I knew my merch dreams for Gravity Falls were basically toast. The company is too huge and we’re barely a blip on the radar to their consumer products division. Luckily the enduring popularity of the show has resulted in a few departments within the company sticking their neck out and trying cool experiments like journal 3. Everyone was surprised by the success of the journal except the fans. Their appetite for more continues to impress even this long after the end of the show. I’m hoping those numbers increase our likelihood of getting a DVD but I can’t make any promises.

Kaiser: Were you involved in getting The Mystery of Gravity Falls (@TheMysteryofGF) permission to do what is (according to them) small batches of sanctioned merch like the stone Bill figure and Grunkle Stan bobbleheads?

Hirsch: That guy is like my guardian angel. He’s some kind of brilliant, crazed super-fan who understands the show better than Disney ever did. Honestly, I don’t know how he contacted Disney and got the sanctioned merch—he’s some kind of wizard. I hope he runs the company one day.

[Note: I reached out to @TheMysteryofGF to check on this. Turns out I was slightly incorrect in my question. They have worked in conjunction with Disney on at least one occasion, but for the most part the merchandise they’ve made available has been of their own initiative, sometimes with help from an outside contractor. They also work with Bioworld, who provides the GF license to Hot Topic, in creating certain items.]

Kaiser: How did you approach fan interaction during the series? The codes are obviously built into the show from the get-go, but did you think it would catch on like it did? Did the response require you to adjust planned fan engagement on the fly?

Hirsch: The scope, size, influence and presence of fandom culture has gone through a complete and total revolution between now and when I first pitched Gravity Falls in 2011. Keep in mind- my first job was on Flapjack back in 2008-ish. Back then, you would release a cartoon into the ether, and it would basically disappear into a black void after airing. There’d be maybe two drawings on DeviantArt, maybe a message board with a few comments, and that was it.

That was the entirety of online feedback between cartoons and creators at the time. (And even those paltry scraps of feedback were still huge compared to fandoms when I was growing up. There was nobody in 1991 willing to die to make sure that their ship of Tommy Pickles and Reptar came to fruition. At least no one with a way of getting that opinion in front of Klasky-Csupo)

Tumblr’s rise happened just around the same time as Gravity Falls‘s premiere in 2012, so I was totally unprepared for the level of passion and engagement and fan art that would happen. I had to evolve along with all this in real time as it happened.

Kaiser: I always found it curious that you’d hold Twitter Q&As, but then delete the answers within a day.

Hirsch: Probably the best formats for answering questions were Reddit AMAs—I enjoyed doing two of those—and interviews. I occasionally answer questions on twitter when the mood strikes me, but Twitter is a TERRIBLE place for meaningful discourse.

Twitter has an ephemeral conversational glibness built into its core, but it ironically also has this incentive to cast every word said in bronze and isolate it from its context. It’s like if everything you said at a dinner party with every guest was carved into the wall and permanently became part of the house decorations. I’ll frequently prune my twitter posts to keep my feed clean from the residue of 100 little back and forths. Even if I tried to leave everything up, it disappears into the feed anyway. No matter how many times I say “There is no Season 3” people will never stop asking.

Kaiser: Obviously, that’s got to be a trial and error process. Any regrets?

Hirsch: I honestly don’t have many regrets from my engagement with fans, because everything that happens, positive and negative, is a learning experience and teaches me something about our world and the culture we live in. And overwhelmingly it has been positive. Back in the pre-fandom-culture days I never could have imagined I’d get such an overwhelming tidal wave of creative, kind, validating responses to my work. It’s every creator’s dream. It’s absolutely worth any weird prickly trolls or growing pains that come along with it and I’m insanely grateful.

Kaiser: The Cipher Hunt had to be an enormous undertaking to put together. How’d you go about organizing it? Did you ever take part in any ARGs (Augmented Reality Games) yourself that inspired you?

Kaiser: The Cipher Hunt was the most fun thing I’ve ever done.

I’ve never been part of any real-world treasure hunts, but as someone who grew up with games like MYST I love puzzles; the idea of doing one in the real world was too tempting to pass up.

The entire thing was organized by me and my buddy Ian Worrel, Gravity Falls‘ Emmy-winning art director. I’m a restless idea guy and he’s this master executor/craftsman—we were both totally in love with the idea of using our newfound free time to put something together totally for the fun of it, to build this strange Rube Goldberg Device and then watch how the fans would interact with it in real time.

Kaiser: Did you split up duties as far as where to put what? Who made the statue?

Hirsch: The statue was made by a brilliant props/effects fabricator in LA, Fon Davis of Fonco, a friend of a friend who was willing to make something weird for a price. Ian did most of the intellectual legwork in terms of figuring out which clues would lead to where, and I wrote all the actual codes. We took a road trip up to Oregon together to hide some of the final clues and had a lot of fun.

I hid the clue in Russia personally, which was a little terrifying. I knew if I got caught trying to hide a tiny magnetic capsule with a code scroll rolled up into it, Putin might not take to kindly to the optics of that. But Bill Cipher was smiling down on me that day and it went without a hitch.

Kaiser: Shifting a bit to the series itself: I recall you mentioning that the writing for season 2 had to be somewhat rethought because so many people had figured out the Author’s identity. Did that change how you wrote Ford’s arc? Were there other things you wanted to explore in general, given more time?

Hirsch: The truth is, no matter how many grand plans you have in your head, no matter what tentpole plot points or ideas you imagine, everything changes when you actually sit down to write. You discover what the show is as you make it through collaboration, trial and error, and what feels right.

In your question, you say season 2 had to be “rethought” but that implies that there was this already finished season 2 totally written out in our minds. But that’s not the case. All we knew after Season 1 was over was “Ford comes out of the portal. Bill probably creates the apocalypse. Dipper & Mabel complete their arcs. Fun stuff happens in the meantime.”

Figuring out how it all fits together in the writers’ room, discovering new things and surprising yourself—that’s the fun part of writing. We didn’t really know who Ford was, from a personality perspective, until we sat down to try to write him. The same is true of Dipper, Mabel, Grunkle Stan, and Bill. You learn as you go.

Kaiser: Fascinating! I suppose I must’ve heard about very early discussion, and extrapolated … as GF fans are wont to do. How embarrassing.

Hirsch: Casting also hugely affects a character. You have an idea of what a character is like in the writing room, but then when the actor comes in, everything can change. We cast JK Simmons as Ford late in the process. He was instantly perfect, but changed how we thought about the character. Regarding things I would love to explore if I could go back in time, I would definitely add a full episode about Wendy if I had the chance. We always wanted to give her more, but we never quite cracked a story that worked for us. But I do think she deserved more!

I deliberately tried to give her more of a role in Mabelcorn and Weirdmageddon Part 1 to make up for the lack of Wendy elsewhere. Linda Cardellini was amazing to work with. She gave the character such a grounded performance. Really was exciting to watch her work.

Kaiser: One of the issues around the show was representation/diversity, and there were a lot of rumors about what Disney would/wouldn’t allow—the little old ladies falling in love in “The Love God” is probably the most famous example. Any comment?

Hirsch: Definitely. If you’ve been following me for a while you’ll know I’ve never been shy about discussing my frustrations with Disney’s censors and this was one of the most frustrating incidents of all. Back on “Love God” there was a scene in the script that described a few random couples in a diner falling in love in through the power of cupid’s magic.

When one of our storyboard artists presented the scene to me, she’d made one of the couples two lovable old ladies. It was sweet and casual and I knew INSTANTLY that it was going to turn into a huge fight with Disney. So naturally I left it in. The note came back immediately “The scene of the two old ladies kissing in the diner is not appropriate for our audience. Please revise.” I responded with a one word answer: “Why?”

This basically broke the censors. The couldn’t think of a single way to phrase an answer to that question so they made me talk on the phone so there would be no paper trail. They were terrified of sounding like bigots—but I honestly don’t think they were bigots, I think they were cowards. They basically admitted that there was no good reason why I should change it, but that they get complaints about this stuff from various homophobic parents and would rather avoid the headache, and couldn’t I just drop it?

I said that if we did that we were basically just being held hostage by bigots and screw that, lets rise above this crap and just pull the trigger. The worst thing that can happen is that we get some letters. Who cares? Disney’s a giant company, we can survive some letters from some cranks. I don’t think they necessarily disagreed—but there’s no incentive in their job to say yes to things. But I kept going back to them.

We probably had 6 or so conversations about it. It’s one of the only times I had a face to face meeting with the censors. I didn’t want to go back to my board artist and tell her that I lost this fight. I wanted to win, and I wanted to set a precedent, and I argued that little things like this could mean the world to people and that anyone who was pissed off deserved to be pissed off. But despite my greatest efforts it finally came down to “change the scene or we’ll cut it out of the episode ourselves.”

I felt awful reporting to the artist that I’d lost this one. But I didn’t stop trying. In the last episode, I had the two police offers, Blubs and Durland, flat out say they loved each other, and I didn’t get a single note. I think the censors were finally less scared of complaining parents than they were of having to deal with how annoying I am again.

Since then, times have thankfully changed. I hear that Disney has allowed same-sex couples in Star Vs the Forces of Evil, and the Nickelodeon has done the same in Loud House. Both studios are way behind CN and what they’ve done with Steven Universe, but progress, slowly but surely, is being made. I would love to see a new Disney animated show have the guts to show a proper same-sex kiss on air. One of these networks is going to do it—I encourage Disney to keep growing and be the first.

[Note: We now enter the portion where I completely gave into my fannish id for a second. I hope you’ll all forgive me.]

Kaiser: Two things, purely to satisfy my curiosity as a fan: A) did Pacifica stay with her parents post-series? It seemed like a seriously bad situation, guardianship wise. B) what WOULD Bill have done if Ford had decided (that is, been dumb enough) to take him up on his offer?

Hirsch: I think a lot of fans read more than I meant into the awfulness of Pacifica’s parents. I never imagined them as being abusive, just very controlling—living vicariously through their daughter, treating her like a prize more than a person. I grew up in a town with some rich families and it was something I witnessed more than once—parents trying to make their kids extensions of their own reputation. Pacifica is still only a kid, so I think she’d continue to live with them, but I think she’d start to have a very needed rebellious phase to discover who she is outside of her family name.

I definitely imagined Pacifica getting a side job at Greasey’s Diner working with Lazy Susan after the family lost their mansion. I think learning the value of a dollar and having to interact with the town riff-raff would be good for her.

Re: What Bill might have done, like all things that happen off camera, that question has no true canon answer. But if I had to speculate, in my gut I think Bill would have incinerated Ford on the spot the moment he got the formula to shut down the barrier. I don’t see Bill as a romantic, sweet, or charitable character. He’s a psychopath who takes what he can get. He sees people as toys and when he gets bored of playing with them tosses them aside. I think at that point he was done playing.

Kaiser: Makes sense. There’s a decided inclination to read Bill as being sincerely impressed with Ford on some level because that’s the trope (i.e. Q in Star Trek), but it’s not quite in keeping with how things shook out, is it?

Hirsch: That’s not how I imagine Bill. I see him as a serial manipulator. While he’s “seducing” you with flattery his brain is somewhere else imagining playing ping-pong with a severed head. But people are free to imagine any headcanon they like! I’m genuinely excited by other people’s interpretation of the characters–but I never forget my own.

Kaiser: Is there a story behind that doodle you and Roiland (the creator of Rick & Morty) did of Rick and Stan? That’s a crossover that’s never coming, I’m sure, but I love the cross-show elements.

Hirsch: There’s been a lot of hay made out of the little winks about Gravity Falls in Rick & Morty, and vice versa, the truth is just that we’ve been friends since before we had TV shows, and enjoy messing with people. Although if we WERE planning something big we’d definitely deny it—so I guess you’ll never know!

Kaiser: You left one seriously huge plot thread open with Bill’s coded message in the finale and then the secret Axolotl page of the Choose Your Own Adventure book. Is that something you might come back to, or just a mystery for the fans to chew on?

Hirsch: In terms of Bill’s secret message … I like stories that complete their emotional arcs, but still leave some lingering threads to chew on. It gives the fans something to theorize on, and it gives me a window back into that world if I ever choose to return to it.

Kaiser: Do you have a medium you’d prefer? Or would it just depend at the time?

Hirsch: All depends on my schedule—and the creative urge. I’m involved in a number of projects right now, so it’s hard to say. Comics are definitely a possibility. And maybe a special one day. Honestly my dream would have been to do a Gravity Falls theatrical feature—Disney discussed it with me for a while, but ultimately (and probably rightfully) determined the show wasn’t big enough to warrant it. But if some lunatic wanted to give me 50 million dollars to make a Gravity Falls movie I’d probably do it!

Kaiser: Is there anything you can say about your other project (the one you publicly announced for Fox, or anything else), or is it too soon?

Hirsch: It’s too soon to say anything specific. I will say that Gravity Falls opened a huge number of doors and opportunities for me but I’m being careful not to announce anything until the time is right. (And most of the announcements and leaks you’ll see online about various things I’ve been involved with have been either inaccurate or premature) I can say that I have been working on a feature project that hasn’t leaked online (if you think you know what it is, you’re wrong!) that I’m very very excited about, but owing to the nature of the parties involved I can’t say anything. I’m counting down the days until I get to announce what it is.

Kaiser: As a closer, you published a series of tweets not long ago about the stigma against being allowed to fail that animators face. Do you have any advice for them?

Hirsch: Haha! Oh, that. My latest tweetstorm was specifically about a trend I see in animated series development, where executives will “develop” a show to death and waste time, money, and goodwill trying to come up with a risk-proof TV pilot. But every creative act is inherently risky. The key is to create an environment where risk is encouraged, and failures have as small a cost as possible. I believe failure is the first step to success. The key is to fail as quickly as possible and try again. To treat failure not as a terrifying ending but rather as an opportunity to learn something.

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char27martin · 7 years

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So, You Want to Work in Publishing: The Role of a Publicist

For aspiring authors everywhere, getting a publishing deal is a dream come true. They’ve slaved away at their manuscript to find that someone else also believes in their dream and wants to help it come to fruition. Beyond this crucial goal, there is often a shroud of mystery surrounding the process for the path to publication, and it has been my pleasure throughout my career to be a part of many steps an author takes on this journey.

But what about those of us that love books but perhaps do not want to write them? How can we work around literature and engage in an industry that many do not understand very well?

This is a guest post by Sara Wigal. Wigal began her literary career peddling her original illustrated stories at age 6 to her parents’ patient coworkers. She studied literature at the University of California, San Diego as an undergraduate and went on to receive her M.A. in Writing, Literature and Publishing at Emerson College. She’s worked on the agent side, in publishing houses, and with private publicity firms, and she brings her varied perspectives about all aspects of an author’s writing career to the team at JKS as a Senior Publicist. A friend to writers both personally and professionally, she enjoys reading most genres and loves channeling her creativity to spread the news about each wonderful book she encounters. Authors are inspired by her ideas and high-octane energy!

As a college student studying literature and a lifelong avid reader, I was always asked whether I wanted to be an English teacher (no), a journalist (no), or a novelist (no). I knew I loved reading books and writing essays for my major, but beyond that I really had no idea what shape my career might someday take. I didn’t know the publishing industry even existed, frankly, and had never heard about how books came to be, other than through the grit of each individual author. The network of supporting roles wasn’t glamorized to me, and I simply had no knowledge about what was out there.

In the last quarter of my college career, I was lucky to have had an academic internship with Writers House, a prestigious literary agency I had never heard of before. Working at an agency, I learned that querying an agent to find someone to represent him or her to publishing houses was often the first step for many writers seeking a traditional publishing deal. When I joyously shared my newfound career path (of course, I would be an agent too, one day!) my friends asked me if I was a book editor. “No,” I would respond, “I work for a literary agency.” This should have been my first clue that no one has any idea what any job titles are other than editor in the publishing universe. After all, I hadn’t known either!

Agents definitely do edit manuscripts—their job is to work with the authors to create the best possible version of a draft to showcase to editors at various publishing houses who will then present the author with a contract to publish their book. Then the agent negotiates that contract and advocates for its best implementation. I loved my time on the agency side and was honored to work on many books that have become bestsellers!

When my internship ran its due course, I worked for a small arts magazine publisher, and this time, I really was an editor. I realized quickly that magazine editing was not for me—long days writing and rewriting, choosing my writing assignments with good sales in mind, tweaking text, and checking for formatting issues … it rings a lot of peoples’ bells, but not mine. But when asked what my job was, people seemed to understand my job title, at least!

I moved along to work on my Masters in Writing, Literature and Publishing at Emerson College, where I could create publishing industry contacts and learn more about the various aspects of this befuddling industry that created the books I so loved being around. I was a magazine editor yet again as part of my graduate work-study, and enjoyed this job much more, though I knew it still was not for me. I began interning with a major publisher in their Children’s Book Marketing & Publicity department … and found my niche. Working with authors to cement their brand identities, communicating with the news media, and designing fun, supporting materials to catch the eyes of consumers and reviewers made my heart sing. I knew I loved agent work, but here was something else that was equally fun! And still, I was not an editor.

I had an opportunity to become a literary radio publicist while I was in school, working with Open Book Publicity for many years scheduling radio tours for authors. As a publicist, I crystallized my job description to what I firmly believe is the point of the job—to tell people about wonderful books. As a niche media publicist, I began forming relationships with radio producers and hosts, feeding them guests for their shows to entertain the masses and spread the good news about books to come. I had many conversations with friends and family who introduced me as a book editor, which as we all know now, is the only publishing job title people know about!

I am now a comprehensive media literary publicist, which means that I work with all forms of the media to attract coverage for my clients. After they’ve gotten the agent, accepted a publishing deal, worked with their actual book editor to finish revising the book, and it’s gone to print … that’s where the publicity team comes in. At the firm I am now a Senior Publicist at, JKS Communications, we hand tailor our campaigns for each author. Some want to do lots of bookstore events on top of radio interviews, TV coverage, and online and print media attention. Some come to us for assistance with their branding or digital marketing needs, like running Facebook ads. Still others come to us because they want to independently publish their book—they are embracing the growing sector of indie authors who have foregone the traditional route with an agent and publishing deal in order to connect with their fans directly.

My day-to-day varies dramatically depending on who my clients are and what stage of their campaign we are in. I stay engaged and keep boredom at bay by learning the author and his or her work, writing press kits, designing media tours, and choosing which contacts I will approach in hopes of gaining coverage, following up with these outlets, attending conference, assisting in acquiring new clients, planning creative projects like unique postcards and special book-themed swag, and so many other dynamic tasks. It’s public relations, but specialized to a literary client base, and it’s challenging and rewarding, every day.

My career arc has brought me firmly into an area I love, and it didn’t require me to be either an editor or an author. If you are thinking about entering the industry, some of the jobs you might consider include …

Agent

Editor

Marketing Associate

Publicist

HR Representative

Publisher

Sales Representative

Graphic Designer

Art Director

Accountant

Web Developer

Inventory Manager

Audiobook Narrator

Bookseller

… the list goes on!

The publishing industry has roles similar to those of most major types of companies and needs for many different skill sets beyond being an author or editor, so if you love books and want to work with them, you can do so in many of these “supporting” roles that are satisfying careers for book lovers all over.

The biggest literary agent database anywhere is the Guide to Literary Agents. Pick up the most recent updated edition online at a discount.

If you’re an agent looking to update your information or an author interested in contributing to the GLA blog or the next edition of the book, contact Writer’s Digest Books Managing Editor Cris Freese at [email protected].

The post So, You Want to Work in Publishing: The Role of a Publicist appeared first on WritersDigest.com.

from Writing Editor Blogs – WritersDigest.com http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/want-work-publishing-role-publicist

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