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statusexile · 6 months

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Rip Off the Tag, Get Him Mad

Summary: Konig’s magnetic walk and mysterious mask make him a new darling in the fashion industry, and you manage to score an exclusive interview with him. You might not know what he looks like — but you sure do know what he tastes like.

Pairing: Konig x Reader

Warnings: afab!reader, dub con, dom!Konig, p-in-v, fellatio, mating press, dirty talk, brat taming, breeding kink, cum eating, creampie, badly translated German, reader goes by she/her pronouns, probably not very accurate in terms of both journalism and fashion but who cares I’m only here for sexy times.

Word count: 3,696 words

NSFW. MDNI!

a/n: Got inspired while listening to New Bottega by Azealia Banks and all I could picture in my head was supermodel!Konig for no reason lmao. As always, suggestion and feedback are always welcome along with reblogs and likes. Thank you for reading! ❤️

I put the boy in Galliano, now he’s a fuckin’ model

It was four in the morning and you had just landed in Vienna, your third destination for this week alone. Paris and Milan had taken their toll on your body, leaving you feeling so exhausted and jetlagged that you wondered if they had already become your permanent companions forever. Tired and bleary-eyed, you are ready for a break, but duty called.

You’re one of the most seasoned and notorious fashion journalists, never holding back on saying what everyone’s thinking, even if it means models walking out or crying during your interviews. It’s not personal though; you’re just doing your job, and damn, you’re good at it. Your knack for keeping it real and staying objective makes you stand out in the game.

You managed to sneak in a few hours of sleep before getting ready for Vienna Fashion Week. That afternoon, you rocked a cool vibe with an oversized black blazer that had this rad belt and chain combo going on. The vibe continued with a flowy, see-through black maxi skirt — the kind that made people do a double take. Toss in a mini bag swinging casually by your side, and you are ready to own the fashion week. Of course, the look wouldn't be complete without knee-high black boots, giving off major laid-back but put-together vibes. You kept your makeup minimal because you wanted your outfit to be the focal point of the entire look.

As you arrived at the event, fashion photographers and paparazzi started flocking to you, asking what you’re wearing and what you’re most excited to see during this fashion week. You posed for some photos and answered some questions. After navigating the sea of photographers, you made your way inside, where the atmosphere buzzed with the energy of influential figures in the fashion world, celebrities, and social media influencers. Greetings and compliments flowed as you mingled with the diverse crowd, exchanging smiles and posing for candid snapshots with some of the industry’s most notable figures.

You found yourself in the company of those who shaped the fashion landscape. The anticipation for the runway shows heightened as you took your seat in front row, surrounded by the pulsating energy of the fashion elite. The runway was set to unfold, promising a spectacle that would undoubtedly leave an incredible mark on this fashion week.

It was a runway showcasing the Fall/Winter ready-to-wear collection for men from one of the most prestigious high-fashion brands in the world. Anticipating a display of dark and muted tones, you were aware that the brand had embraced a theme this year focusing on leather. Getting a peek at this theme had you all hyped up, ready to see the slick and stylish gear they’re about to drop.

It doesn’t take long before the lights dim, signaling the start of the show. The sharp contrast between the dim lighting and focused spotlights heightens the dramatic atmosphere as models strut down the runway, showcasing the leather-themed collection. Stud appliques, dark makeup, and industrial styling add an edgy flair as they graze the runway. You’re making mental notes for your upcoming review, absolutely impressed with what you're witnessing. The collection has been really magnificent, surpassing your usual expectations.

The entire show lasted around fifteen minutes before the final model made his entrance. The man that has been the talk of the fashion industry for the last eight months. He strutted in wearing an absolutely grandiose leather coat, wearing a Swarovski-studded mask that covered his entire face. The confidence in his walk conveyed a commanding presence, making it seem as if the entire audience was under his control.

Konig, a native Austrian with real name, age and hair color unknown, stands six foot ten, weighing two hundred and seventy pounds and has piercing blue eyes. The man has been nothing but an enigma, seemingly appearing out of nowhere. Opening and closing runaways for prestigious high-end brands — a position that takes years for other models to secure. And what’s even wilder? He pulled it off within his first two months in the industry.

His social media has tens of millions of followers and zero following. The entire page is a curated showcase of his portfolios and videos of his runway walks, nothing more. It doesn’t seem like he’s the one handling his account either. Everything is perfectly set up, adding this extra layer of mystery to him.

You can’t help but wonder: Who is this man? Who’s behind his sudden meteoric rise? Is he a nepo baby? Is he some kind of industry insider pulling strings to get all these bookings without even having a single portfolio before? Could he be a pro basketball player doing a side gig in modeling? Or what if he’s an alien in human disguise? So many questions, but not a single answer. You’ve asked so many people in the industry about him, but it seems like nobody has a clue either.

You’ve seen his casting polaroids and test shoot photos, and even in those, he’s wearing a mask, revealing only his eyes. It really makes you wonder, because that’s the complete opposite of the purpose of taking those photos. They’re meant to showcase your bare face, not cover it up. Yet, somehow, he’s scoring bookings when practically no one has seen his face. How does he even manage to do that?

There are rumors circulating that just a very few high-profile figures in the industry actually know what he looks like, and they can be counted with one hand. Some claim he’s hiding an unflattering appearance under that mask, that’s why he insists on covering his face despite of his exceptional walk and stage presence. Others insist he looks like he’s actually sculpted by a Greek God himself, but he prefers recognition for his walk rather than his looks.

He’s also notorious for rejecting interviews and walking out on them. Even when he agrees to an interview, it's usually short and filled with vague answers. But one day, you send a proposal for an exclusive interview to his management and discover that he’s accepted your request, but he insists it should happen at his own home in Vienna. His request seems a bit unprofessional to you, but it’s your only chance to uncover who this man really is. So, you agreed on his term.

And fortunately for you, that lucky day is today.

After attending a handful more runway shows for the day, you’ve wrapped up your work and are heading back to your hotel. Now, you’re diving into drafting the upcoming articles slated for this fashion week, as you prepare to interview Konig, the man and the myth himself tonight.

Your heart is pounding with a mix of anticipation and nervousness, and you have no idea why. It’s been a long time since you’ve felt anything like this. You’ve interviewed dozens of models in your life, so what’s the difference between them and him? Usually, it’s them who are scared of you, not the other way around.

Brushing aside that feeling, you started preparing for the interview this evening. After a refreshing shower, you got dressed and did your makeup. Wearing a silk white long-sleeve shirt paired with a black pencil midi skirt and black stilettos, you finished the look with a bold choice — ruby red lipstick. For some reason, you’re feeling especially bold for tonight’s interview.

He lives not far from your hotel as you reached your destination in less than fifteen minutes. Following the address provided by his management, you entered the building and found his apartment. Without hesitation, you rang on the doorbell.

He opened the door in no time. It caught you off guard as it was the first time you’ve seen him up close. Describing him as tall seems like a massive understatement; his presence is downright colossal as he stands right in front of you. Dressed in a balaclava, a snug black t-shirt accentuating his sculpted body, and green army-colored cargo pants. This is the first time you’ve had a close look at his eyes, and they are breathtaking — a gorgeous shade of steely blue.

“I’ve been expecting you. Please, come in.” Konig said as he gestured for you to come inside.

As you entered his home, you could see that this man has an exquisite taste in decor. His loft has high ceilings and large windows, making the space feel open and airy. The brick walls and exposed piping create a natural, industrial feel, while the rich, warm tones of red and orange add a cozy touch to the space. The walls are adorned with numerous photographs of his work as a model.

He gestured for you to take a seat on the couch and asked what you’d like to drink. You told him water’s fine, so he disappeared into the kitchen for a bit. When he came back, he placed a glass of water on the coffee table in front of you. He sits on the couch across from you afterward.

“Konig, thank you very much for agreeing to meet with me for this interview. Our magazine really appreciates your time and willingness to share your story with us.” You told him as you took your phone out of your bag, opening the recording app on it.

He leaned back on the couch, crossing his arms. “Anything I could do to help, miss.” he said. You could hear his deep voice with a thick German accent as this is first time you heard him speak.

“By accepting this interview, you consent to being recorded during our conversation today, alright?” you said to him as you pushed the ‘record’ button on your phone. He only nodded in approval.

You began your interview by asking him cookie-cutter questions, such as what inspired him to pursue modeling as a career, how he handles the challenges of balancing work and personal life, who his fashion icons are and how they influenced his personal style, how he stays fit and healthy while maintaining a demanding modeling schedule, and how he handles criticism and negative feedback from the fashion industry and the public. And of course, he answered them all with cookie-cutter answers too.

You could hear the cockiness and smugness in his tone, and you could feel that it annoys you a little bit. Despite being a relative rookie in the scene, his ego seems to radiate through his presence. However, that’s precisely the reason you’re here for this interview — to unmask who this man actually is.

You’re now ready to ask him a tougher question, intending to push his buttons slowly but sure. You’ve convinced yourself that it’s going to happen today. It has to, because this is your only chance.

“Can you explain your reasoning behind the mask? Usually models rely on their facial features as a part of their appeal, so covering it seems counterintuitive.”

Konig seems a bit caught off guard by your question. He stays quiet for a moment, clearly thinking how to respond. You can see that the question has ticked him off a little bit.

“Is that your attempt at a compliment? I’m flattered. I can do whatever I want with my appearance.” Konig answered sarcastically, but the annoyance in his tone was crystal clear. “Besides, I don’t think it’s interrupting my work. I showcase the clothes on the runway, demonstrating what they need to sell. At the end of the day, that's what matters as a model, isn’t it?” he continues.

You can’t argue with him because, well, he’s right. He did his job exactly the way they wanted, and he’s damn good at it. So, all you can do is nod at his answer.

You kept your composure as you continue with your interview, “It’s been suggested that your parents are highly influential figures in the fashion industry and that their connections may have contributed to your quick rise to fame. How would you respond to those allegations?”

Konig let out a scoff, his tone dripping with mockery in response to your next question. “I get it, there are some rumors going around that my parents are some moguls in the fashion industry and they have connections that helped me get where I am today, but let me set this straight: my parents have never worked in the fashion industry and all the success I’ve achieved is because of my own hard work and determination. Just because my career has taken off doesn’t mean it isn’t legit.”

Konig is clearly annoyed at this point, but he still manages to answer your question. You’re surprised he hasn't kicked you out of his home yet. But when you’re about to ask your last question but he suddenly cuts you off,

“You’re really nosy, aren’t you?”

“What can I say, it comes with the job requirement.”

You finally manage to talk back to him because his attitude is clearly getting under your skin, just like your questions seem to annoy him. While he might believe he can act however he pleases, he’s unaware that you’re a journalist. If it weren’t for your commitment to integrity and professionalism, you could easily run your thoughts about his attitude at this point.

“Look, one last question and I’ll be out of your hair,” you told him, you can see his patience is clearly running low at this point. However, what he didn’t know is that you’re about to drop a bomb on him.

“Did you earn your success through talent or hard work or did you have to do… other thing to get where you are today?”

His eyes narrowed into a fierce glare while he stares at you, he clearly doesn’t like the question at all. You could practically feel the tension in the air as he clenched his jaw, gritting his teeth underneath that mask as a silent display of anger.

“I don’t like what you’re implying.”

“And my question still stands.”

He leans forward on the couch, anger flashing vividly in his eyes and now you can almost feel the heat of his irritation as he growls in frustration.

“You can cut through the formal bullshit and just say what you want to say.”

You take your phone from the coffee table and press the ‘stop’ button, finally responding to him in a calm manner.

“Did you fuck your way up to the top, Konig?”

And that was his breaking point. He suddenly stands up from his couch as he walks toward you, anger intensifying in his eyes. He grabs your chin forcefully, making you meet his gaze.

“Not only nosy, but you also have a filthy little mouth, aren’t ya, maus?” you could feel his strong hand squeezing your face so hard that it feels like he’s trying to break your jaw. It was so painful that you couldn’t answer to him at all.

“But don’t worry, I’m gonna do something about it, so you won’t run your filthy mouth anymore, especially at me.” he growls at you while his other hand is unbuckling his belt and unzipped his pants, revealing this thick, enormous cock, already dripping with precum. He grabbed it and then started smearing the precum on your face, slapping his cock a few times on your cheeks.

“You need some serious disciplining, maus. Didn’t they teach you at school that it’s not nice to curse at other people, hm?” Konig started to tease the tip of his cock of your lips, smearing your lips with his precum.

“You’re lucky that I’m here, maybe I can teach you a thing or two about how to behave towards other people. Now open that filthy fucking mouth.” his other hand squeezed your mouth open and he thrusted his cock inside your mouth, forcing you to engulf his entire length in one go, making you violently gag as you could feel his tip touched the back of your throat. And now, he moved his hand from your face to your hair, grabbing a handful of it as he rapidly fucking your mouth.

Tears began streaming down your cheeks, mascara and lipstick began to smear across your face. It’s getting hard for you to breathe because he shoved his cock so deep and slamming it on the back of your throat, pounding over and over again mercilessly. His grip is so strong; it feels like he’s going to rip your entire scalp off.

“Fuuuuck, this mouth of yours is so fucking tight and warm. You should consider leaving your current job and become my personal fuck toy, maus. I would love to use this filthy mouth however and whenever I want, it seems like it’s the only good use for it.” he snickers with a devilish gleam in his eyes while he keeps fucking your mouth relentlessly. You started choking on his length, but he didn’t seem to care, in fact, it made him slam his cock even faster.

It feels like this has been going on forever, and you’re afraid you might get lockjaw anytime soon. But you could feel he’s so close to orgasm as his cock starts twitching in your mouth.

“Oh fuck, I’m gonna cum. I hope you’re ready, schatz, because I’m gonna fill that filthy mouth real good,” he grunts as his thrust becoming more and more erratic. It only takes a couple more thrusts before he came, coating you’re the walls of mouth with his thick seeds.

Konig finally pulled his cock out from your mouth. His cum tastes so bitter, but when you’re about to spit it out, he forcefully grabbed your face again, now facing his face directly.

“You’re not allowed to spit it out. I want you to swallow it but only when I said so. Now be a good girl and keep it in your mouth, but if you didn’t, I can promise that you won’t like the punishment at all. Understood?” he snarls at you but your mouth is so full of his cum you so can only nod at his words.

“Good, because I’m not done with you,” Konig suddenly pushed you back down to the couch as he pulls your legs up forcefully, ripping the side of your tight skirt and yanked your panties, also ripping it in the process. He puts your legs around his waist as he put his cock on top your stomach, seeing how deep it’s gonna go inside of you.

“Hmmm, I don’t think the entire thing is gonna fit. But don’t worry, schatz, I’ll make it fit. I know you can do it, you’re a big girl after all.” Konig lightly taps your cheek, he’s trying to sound sweet but you hear the venom in his tone. You know at that moment he’s definitely going to destroy you.

“Are you on the pill?” he asked again. You can only shake your head, hoping that he’ll go easy on you. “Heh, good.” he suddenly pulled your legs up over his shoulder and titled towards you, he then whispers in a husky tone,

“Weil ich dich so hart ficken werde, bis du mich zum Papa machst.”

His cock suddenly dipping into you, makes you nearly chocked on his cum. You can feel the tip of his cock stretched your cervix thin, slamming the same spot repeatedly as he folds your body like an origami. You feel like you’re going to sprain your neck if you stay in this position for a long time, but of course he didn’t care. He keeps using your body like you’re his personal cum dumpster.

You’re trying to protest but you can’t open your mouth, otherwise you’re gonna spill out his cum and you definitely don’t want that. Only a stifled whimper escapes your lips. He chuckled in response to your failed attempt at protest.

“Not”—thrust—“so”—thrust—“nosy”—thrust—“any”—thrust— “more”—thrust—“aren’t”—thrust—“you”

He’s pounding you hard and fast with each syllable of his words. Your eyes rolled back to the back of your head. Your mind went numb at the intense pleasure.

“Your pussy is so fucking tight, and it’s all mine to use.” he growls at you as he keeps fucking you mercilessly. You’re not on the pill and he’s not using a condom, so there’s a chance he’s going to get you pregnant after this, but they way he’s fucking you so hard and so good makes you not want him to stop until both of you are satisfied.

You can feel he’s close to orgasm again and so are you. Just a couple more thrusts, he finally came inside of you as both of you reached your climax at the same time. Filling you with his thick, milky white cum. Your cheek throbs with pain, your mind feels foggy, and your vision blurs into static.

Konig finally put down your legs, as he seeing his thick cum oozing from your now sore, puffy cunt. He gazes at it, amusement and desire dripping from his eyes. “Now swallow my cum, maus. Stick your tongue out when you’re done, I wanna see you swallow it all.”

You obey him as you swallowed all his cum and sticks out your tongue as a prove. “What an obedient girl.” he said, you can see him smiling through his mask.

He pulls up his pants and plop down next to you on the couch, while you’re still catching your breath and trying to gain your composure.

“I’ll be in New York in two days, and I assume this interview isn’t over. I will tell my manager to send you the hotel address where I’m staying and the room number. I’m expecting to see you there.” he said softly as he caresses your hair gently.

You replied, “I will come, but with one condition: I want to see your face. Otherwise, it's not going to happen.”

He chuckled at your request, “If you play your cards right, that request is not off the table,” he said as he keeps caressing your hair, “But only if you’re a good girl, okay, beautiful?”

He scooches over towards you, leaning as he whispers in your ear,

“Otherwise, I’ll use you just like I use the rest of them.”

#whew this took forever to write ngl #konig #könig #konig x reader #konig x reader smut #könig x reader #könig x reader smut #call of duty modern warfare 2 smut #call of duty #call of duty smut #call of duty warzone #cod mw2 x reader #cod mw2 smut #cod smut #shaf writes #tw: dubcon

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vs120shound · 6 months

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Jennifer from Colight Productions in Oklahoma City, Oklahoma lighting-up and dangling a Marlboro Lights 100s cigarette!

JENNIFER DANGLING A MARLBORO LIGHTS 100s!

Not shot in high definition for that was yet to be invented and/or hit the market many years after this was shot for Coherent Light Photography (Colight Productions) in Oklahoma City, Oklahoma (U.S.A.)! Jennifer has the technique down solid . . . and she's not scaring off too many folks with her looks!

There are two other versions of this classic SF video and they each run longer than the 38 seconds of duration for this clip. Jen shines here. Clearly, she is familiar and experienced at dangling, handling the tricky dangle-drag, dangle-inhale and dangle-exhale with aplomb, grace and enjoyment.

thelibrarian120 did feature Jen in its series on beautiful women who smoke More 120s (Red and Green packs, not the all-whites). "The Librarian" package of Mores was 51 videos long -- and No. 52 featured a "cocktail" cigarette in which the paper wrapper beyond the filter is colored and not the brown color of a More -- and few of the BHYSWs stood out more radiantly than Jennifer, yet there were perhaps a handful. There were two hand fulls of models/actresses from Colight within the production!

'The Librarian' Captures Jennifer with More 120s!

From thelibrarian120 on November 20, 2023 . . .

In each clip -- Marlboro Lights 100s and More 120s Red Pack -- SF aficionados can see just how beautiful Jennifer is and what a wonderful smoker she is with her style and power as well as her hunger for nicotine! And what a great head of hair. Jennifer has an exotically beautiful look. Kind of difficult to ascertain exactly why her star did not rise to meet Colights' showcase SF models/actresses, namely Nadja and Maddie as the co-leads. But Jennifer, whose best color might well be red, made her contribution in her limited way. Just left us hungry to see more of her. Few other SF models/actresses within Hall of Fame pioneer and the site's web-master/web producer Ed Luisser's not particularly deep stable were able to handle the assignments that called for highlighting the elegant, sophisticated, glamorous, stylish look better than Jennifer did. It will be our goal to find the longer version of our Centerpiece video and to share it with you at that time.

#SF #Hot women who love smoking cigarettes #Smoking cigarettes #Smoking #Jennifer of Coherent Light Photography (Colight Productions) from Oklahoma City -- Oklahoma U.S.A.!#thelibrarian120 “The Librarian”#More 120s and Marlboro Lights 100s!

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britsyankswheels24 · 2 months

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🇺🇲 Step into the glamour of the 1950s with the iconic Chrysler New Yorker of 1957—a symbol of luxury, style, and innovation in the automotive world!

👉 The year 1957 marked a pinnacle moment for Chrysler as it unveiled the stunning New Yorker model, captivating enthusiasts with its bold design and advanced features. The 1957 model year Chrysler cars were redesigned with Virgil Exner's "Forward Look" at the cost of $300 million when Chrysler took on a loan in 1954 from Prudential Insurance to pay for expansion and updated car designs.

🚘 As one of the flagship models in Chrysler's lineup, the New Yorker exuded elegance and sophistication, setting new standards for the automotive industry. Boasting a sleek and aerodynamic body, the 1957 New Yorker captivated onlookers with its distinctive grille, chrome accents, and sleek lines that epitomized the spirit of the era's automotive design. Inside, passengers were treated to lavish comfort and opulent amenities, making every journey a luxurious experience.

🛞 Under the hood, the New Yorker showcased Chrysler's commitment to performance and innovation. Equipped with powerful V8 engines and advanced engineering, the 1957 model delivered a smooth and exhilarating driving experience, earning accolades for its exceptional performance on the road.

👑 Beyond its stylish exterior and impressive performance, the 1957 Chrysler New Yorker represented a symbol of status and prestige. As a favorite among discerning drivers and automotive enthusiasts, it left an indelible mark on the automotive landscape, solidifying its place in history as a timeless classic.

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techtimechronicles24 · 3 months

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🇺🇲 Embark on a nostalgic journey through the fascinating history of the IBM Aptiva. Introduced by IBM, a global leader in technology innovation, the Aptiva series represented a bold leap forward in home computing, combining cutting-edge technology with user-friendly design.

💻 The IBM Aptiva made its debut in September, 1994, as the replacement for the IBM PS/1. With its sleek and stylish design, intuitive user interface, and powerful performance, the Aptiva quickly became a favorite among home users.

⌨️ Rooted in IBM's legacy of innovation, the Aptiva series showcased the latest advancements in hardware and software technology. The first Aptiva models were based on the Intel 80486 CPU. Later models used the Pentium and AMD CPUs. First-generation models came with DOS 6.3 and Windows 3.1. Pentium-generation Aptivas came with Windows 95 and OS/2 'select-a-system' (PC DOS 7/Windows 3.1 and OS/2 Warp) on selected models. Most models included a modem and a standby/hibernation feature called "Rapid Resume".

🌟 The IBM Aptiva was known for its innovative features, including built-in CD-ROM drives, sound cards, and modems, which were cutting-edge technologies at the time. Its user-friendly design and robust performance made it a popular choice for both work and play. From its state-of-the-art processors and expansive memory options to its vibrant graphics and immersive multimedia capabilities, each iteration of the Aptiva pushed the boundaries of what was possible in home computing.

⚙️ Over the years, the IBM Aptiva evolved to meet the changing needs of consumers, adapting to the rapid pace of technological innovation. From compact desktop models to sleek all-in-one designs, the Aptiva series offered a diverse range of options to suit every lifestyle and budget.

💔 The last Aptiva system was withdrawn from sale in May 2001 without a direct replacement when IBM decided to exit the home market. Customers were directed to the IBM NetVista, which was more targeted to business desktops.

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lexluth0r · 3 months

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Poststructuralism and Postmodernism

PART I: Freedom! '90" George Michael

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The music video for "Freedom! '90" by George Michael is a visually iconic and cinematic piece directed by David Fincher. Released in 1990, the video is known for its stylish and memorable scenes. The video does not feature George Michael himself; instead, it showcases five of the era's top supermodels: Naomi Campbell, Linda Evangelista, Christy Turlington, Cindy Crawford, and Tatjana Patitz. The supermodels lip-sync the lyrics of the song and perform various scenes. The video is a departure from Michael's earlier image and marks a significant moment in his career. It symbolizes his decision to step away from the spotlight and let his music speak for itself. The models, who were at the peak of their fame, are shown mouthing the lyrics, highlighting a transition from the image-driven phase of George Michael's career to a focus on his music and artistic expression. The video has a chic and glamorous aesthetic, combining visually stunning scenes of the models in rooms of an abandoned house, posing through streaks of sunlight and hues of blueshimmering on their faces, glimpses of water, and modern means for musical transmission.

Thinking in terms of Deleuze’s theory on repetition, multiple mediums of audio transmission can be seen throughout the music video. At 0:0:14, one of the models uses a laser to turn on a futuristic vinyl stereo setup, then the shot pans to a vhs tape player. The shot switches between these two music playing set ups and turns to a cd cover of george michael’s album “Listen Without Prejudice”. This emphasis on the continued auditory media as a means of communication suggests the duplication of the same ideas transcending generations of innovation, as well as creating and distributing music throughout multiple mediums to send a message. This evolution of technology containing an evolving idea of transmitting auditory media to the masses represents Deleuze’s idea that replication is a means to transform the meaning of an idea. The more these technological devices evolve, the more efficient and optimized listening to music can be, the more capabilities are possible and the more people can be reached via music.

Through the perspective of Baudrillard, it can be interpreted that Michael is creating a new hyperreality for himself in the video. By using specific signs throughout the development of the shots, Michael distorts and solidifies new meanings of objects within the space. For instance, at 0:2:18, a motorcycle jacket is seen burning on its hanger. Delving into the meaning in real life, the BSA jacket shown in the video was an iconic piece that Michael wore during the Faith tour, where he experienced huge commercial success as a pop star. By burning the jacket, Michael metaphorically sheds his old identity and embraces a new sense of freedom and authenticity. The act of burning the jacket serves as a symbolic rebirth and a declaration of independence from the expectations of the music industry. Using Baudrillard’s terms, the burning of the jacket, as a form of simulacra, denotes the destruction of the reality Michael was currently in, and the creation of simulation through Michael’s autonomy of creative direction. Through another analysis of the signs in the video, the different forms of electronic mass media, Baudrillard’s theory suggests these signs maintain the illusion of reality.

At 0:0:45, Naomi Campbell is seen listening to the song through headphones, on top of the other mediums of media transmission previously mentioned. In addition, the main feature of the video is all of the models lip synching the song instead of Michael himself. Baudrillard’s theory applies to how mass media, especially in the form of electronics, maintains the illusion of reality. These auditory devices in essence “control” the models in this hyperreality, using them as the means to convey the message of the song. The video begins with them turning on the devices, and ends with them conveying the same lyrics that were being played by the electronics.

Finally, examining the video utilizing the theories of Jameson’s postmodernism, the video can be interpreted through symbols used of the shallow nature of commercialization and consumer culture. Jameson's criticism of postmodernism includes the notion of "empty signifiers," where cultural products lack depth and critical engagement. In the video, the glamorous and stylish representation of supermodels, although visually striking, may be seen as lacking in substantive content. The emphasis on aesthetics and surface-level appeal aligns with Jameson's critique of the shallowness in postmodern cultural production. Though this may be true just looking at the visual elements in the video, the lyrical message behind the song tells another story. Famousky, Michael sings the line “sometimes the clothes do not make the man”. Meaning that one may be satisfied with a material means of happiness, but they are a shallow representation of the individual beyond their capitalistic idealization. The use of models in the video highlights the need to use commercially accepted visions of beauty and glamor to convey messages to the masses, because this is used by the ruling class. The main theme of the song is Michael’s desire to distance himself from the highly commercial pop star image of himself, singing “But today the way I play the game is not the same, No way, Think I’m gonna get myself happy”. He rejects the emptiness of his previous images, and wants to pursue genuine happiness through feeling genuine in his artistry. Models are often used as surface level vessels to promote brands and corporations, it can be interpreted that Michael uses them to convey the messages of “Freedom” to encourage people to break free from the shackles of consumer culture and pursue happiness outside of material gain.

Through Deleuze's theory on repetition, the use of multiple mediums for audio transmission symbolizes the evolution of technology and the transformative power of replicating ideas across generations. In Baudrillard's lens, the video becomes a narrative of Michael creating a new reality for himself by distorting and solidifying meanings of objects, especially through the symbolic act of burning his iconic jacket. Baudrillard's hyperreality concept is evident in the models being controlled by electronic mass media, maintaining the illusion of reality. Furthermore, Jameson's postmodernism critique unveils a juxtaposition between the visually glamorous representation of supermodels and the song's deeper message, revealing the emptiness of commercialization and consumer culture. The video challenges the superficiality of postmodern cultural production by using models as vessels to convey a message urging people to break free from the constraints of a consumerist society that controls them.

Discussion Questions:

What scenes in the video stood out to you in terms of commercialism/consumerism, how does Michael portray this?

Do you think George Michael is truly breaking free from a commercialized pop star when he continues to release music within the culture industry?

PART II: "1979" The Smashing Pumpkins

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The music video for "1979" by the Smashing Pumpkins, a popular 90s Rock song depicts the lives of suburban youth in the 1970s. It features a series of seemingly random and disconnected snapshots that capture the experiences of teenage life, including house parties, driving around town, and various interactions. The video conveys a sense of nostalgia and the carefree spirit of youth, emphasizing the themes of rebellion, friendship, and the search for identity. The visual style is characterized by a documentary-like approach, with a mix of intimate moments and energetic scenes, reflecting the diversity and complexity of youth culture, along with an idealization of being young. The scenes are depicted in snapshots like memories that fill the viewer with a sense of yearning for a time gone by. Overall, the video complements the song's themes and provides a visual narrative that resonates with the song's exploration of the teenage experience in 1979.

Fredric Jameson in his article “Postmodernism and Consumerist Society,” delves into the transformations in social, economic, and cultural realms instigated by postmodernism. It challenges the conventional idea of a 'post-industrial' phase and underscores the heightened dominance of capitalism. Jameson critiques the perspectives of thinkers like Daniel Bell, contending that capitalism has solidified its influence. The reading explores how shifts in capitalism's mode of production align with novel forms of cultural expression. It characterizes postmodernism in literature, music, film, and environments by its emphasis on surface, pastiche, and paranoia. Jameson examines pastiche in postmodernism, defining it as a neutral form of aestheticism devoid of parody's satirical impulse. This reflects a move towards stylistic diversity and heterogeneity. Additionally, he addresses the "death of the subject" in postmodernism, challenging the notion of unique personal identities and individualism as central tenets of classical modernism. Through this perspective, the music video for “1979”, complemented with the lyricism, engages with nostalgia coupled with an idealization of consumer culture associated with youth culture. For instance, the video features several scenes of teens driving in a vintage car (first seen at 0:0:23). The car is associated with teenage freedom and a sense of identity, leading to endless possibilities and activities that the teens take advantage of. It's also the very function of the fleeting nature of youth itself The suburban setting also provides an easy showcase for consumerist culture. According to Jameson, while talking about the movie Body Heat, he explains “One begins to realise after a while that the small town setting has a crucial strategic function: it allows the film to do without most of the signals and references which we might associate with the contemporary world, with consumer society - the appliances and artifacts, the high rises, the object world of late capitalism (170)” (1). All of the images shown throughout the video, the cars, the long streets to cruise, the band, and the parties are placed among a suburban setting, as the singer sits in the back of a car reflecting and longing for the image of a “simpler time”. This simplicity however, encourages the material exchange of money for experience, dimming the sense of uniqueness that is commodified by the feeling of youth. Thus, youth culture and consumer culture go hand in hand. Youths think that their experience is shaped by a series of unique memories, but really the subconscious influence of materialism is showcased right in front of their eyes. Overall, the video and lyrics depict a constructed, simulated representation of youth culture and nostalgia, reflecting the influence of media and cultural simulations on our perceptions of reality.

Gilles Deleuze's "Introduction: Difference and Repetition" provides a foundation for his philosophical exploration of difference and repetition. Deleuze challenges traditional philosophical concepts by emphasizing the primacy of difference over identity and repetition over representation. He critiques the way Western thought has historically focused on identity and homogeneity, arguing for the significance of diversity, multiplicity, and differentiation. Deleuze introduces the idea of "difference in itself" and explores how difference operates as a creative force, generating new possibilities and forms. He also investigates the concept of repetition, not as a mere duplication of the same but as a transformative and generative process to shape new meaning out of reproduction. The introduction sets the stage for Deleuze's intricate analysis of these themes throughout the rest of the work, challenging conventional philosophical paradigms and paving the way for his unique philosophical perspective. Deleuze's concept of repetition as a transformative process rather than a mere duplication resonates with the themes in "1979." The song and its video capture the repetition of certain experiences in youth culture, such as parties and social interactions. Deleuze's idea of repetition as a creative force that generates novelty. It’s important to note that the video and song was written in the year 1997, yet the video takes place, like the title suggests, in the year 1979. Thus, the video is a repetition of the representation of youth culture in the 1970s. Although not identical, this representation allows for interpretation of what this time period looked like, and develops new meaning from the spectatorship of the viewer. Deleuze emphasizes that repetition of signs, especially relating to the concept of the “self” are not what signs are, but rather their transformative properties of what they can become. Deleuze challenges fixed identities, and the music video portrays a fluid sense of identity within the youth culture it represents. The diverse scenes and interactions showcase a multiplicity of experiences and personalities, resonating with Deleuze's call for an understanding of identity that goes beyond rigid categories. Due to the diverse experiences in the music video, throwing chairs into the pool (0:2:35) and bowling with bottles in the grocery store (0:3:53), these ideas are representative of the heterogeneous culture centered around youth, though unified under one concept of being carefree. All in all, Gilles Deleuze's philosophical theory serves as a philosophical groundwork that challenges conventional notions of identity, emphasizing the transformative nature of difference and repetition. This resonates with the themes in the Smashing Pumpkins' "1979'' music video, where the repetition of youth experiences becomes a creative force generating new meanings. Despite the video being set in 1979, its repetition serves as a representation of the era, allowing for diverse interpretations and emphasizing Deleuze's idea that signs transform and generate novelty. The video's portrayal of fluid and heterogeneous identities aligns with Deleuze's call for understanding beyond rigid categories, showcasing a multiplicity of experiences within a unified concept of carefree youth culture. Through scenes of unconventional activities, the video captures the transformative properties of repetition, illustrating Deleuze's philosophy in the context of youth identity and cultural representation.

Jean Baudrillard's "Simulacra and Simulations" delves into the concept of hyperreality, where simulations and copies come to dominate and replace the original reality they represent. Baudrillard argues that in contemporary society, signs and symbols no longer point to an underlying reality but instead create a self-referential system. He introduces the idea of simulacra, which are copies without an original, and suggests that simulations have become more real and influential than the reality they mimic. Baudrillard explores the impact of media, technology, and consumer culture on shaping our perceptions, challenging traditional notions of reality and representation. The essay delves into the dissolution of boundaries between reality and simulation, questioning the authenticity of experiences and identities in a world increasingly saturated with signs and images. Putting this lens over the analysis of “1979”, a hyperreality is created by the setting of the music video. This simulation capitalizes off of the simplistic nature of youth and creates a feeling of nostalgia and longing for a carefree version of life. Even the lyrics suggest this love of a time gone by coupled with the dread of growing up. “That we don't even care as restless as we are. We feel the pull in the land of a thousand guilts. And poured cement (0:2:08)”. Baudrillard notes this certain draw towards simulations stating that “When the real is no longer what it used to be, nostalgia assumes its full meaning (153)” (2). The music video was made in the 1990s, but about the 1970s, emphasizing that the meaning of the song and music video is a means to cope with the loss of the carefree days of youth. Baudrillard would argue that the video is not a direct reflection of reality but a simulation created by media representations, contributing to the construction of a hyperreal youth culture. Baudrillard's concept of simulacra suggests that in a hyperreal world, identities become fluid and constructed, influenced by media and cultural simulations. The portrayal of youth in the video reflects a simulation of identity influenced by cultural representations rather than an authentic expression of individual experiences. The video itself follows snapshots of youths and experiences reminiscent of memories, from signs like parties to joyrides. However, the simulation created through the music video itself lacks depth, and is a generalization and idealization of youth culture rather than unique experiences. Baudrillard explained the nature of the hyperreal and simulacra, noting “It retains all the features, the whole discourse of traditional production, but it is nothing more than its scaled-down refraction (159)” (3).

The video, set against the backdrop of suburban youth in the 1970s, becomes a centerpiece that showcases both an idealized past and a constructed representation of youth culture. Jameson's critique of postmodernism's emphasis on surface, pastiche, and the "death of the subject" resonates with the video's depiction of fragmented memories that present a shallow and idealized version of youth.

Deleuze's philosophy of difference and repetition aligns with the diverse and tokenized aspects of youth experiences depicted in the video. The repetition of the aura of the year 1979 becomes a creative force, generating new meanings and contributing to a fluid and heterogeneous sense of identity, specifically around youth culture.

Baudrillard's concept of hyperreality and simulacra further deepens the analysis. The video, portraying an idealized version of the 1970s, becomes a hyperreal simulation that blurs the boundaries between reality and representation. The nostalgia felt by the viewer is not for a historical reality but for a carefully constructed and simulated past.

Discussion Questions:

Can people who weren’t living in the 1970s still feel nostalgic about this time? Why or why not?

Are our experiences, especially in youth, a result of consumer culture, or is youth culture detached from consumerism?

Works Cited:

Jameson, Fredric, ““Postmodernism and Consumer Society”(New York, NY, Pearson Education Limited: 1992).

Baudrillard, Jean, “Simulacra and Simulations” (New York, NY, Pearson Education Limited: 1992).

Deleuze, Giles, "Introduction: Repetition and Difference" (New York, NY, Columbia University Press: 1994)

@theuncannyprofessoro

#oxyvisualanalysis #discussionleader #Youtube

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adititarachand · 1 month

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Big vs. Small: Why Size Matters in Product Photos

Ever wonder why online clothes always seem to fit differently than expected? It might be the photos! Great product pics show not just what something looks like, but also how big it is.

Why Size Matters

No Surprises: Clear photos prevent you from getting a tiny hat instead of a stylish wide-brimmed one.

Imagine it in Use: Seeing a backpack next to a water bottle shows how much it holds. Planning a trip? Photos with a suitcase next to a phone let you compare sizes.

Tell a Story: A miniature car next to giant keys hints at fun adventures. Showcasing a phone case with a phone inside lets people picture using it.

Simple Tips for Sizing Up Your Photos:

Show it with Stuff: Put your product next to everyday objects like pens or mugs for easy size comparison.

More Than One View: Take pictures from different angles to give a better idea of the full size.

Models Help Too: Use models wearing clothes or holding items to show real-world size.

By showing scale, your photos become way more helpful. People will know exactly what they're getting, leading to happier customers and fewer returns!

For product photography visit https://www.brandfinity.in/

#product photography #editing #website #ui ux design #Brandfinity

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mushroooooooooom · 2 months

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List 5 things that make you happy, then put this in the askbox for the last 10 people who liked or reblogged something from you! Get to know your mutuals and followers

Love youuuu <333

Awwwwww <3

Anthropology - I love learning about how humans have always been humans. It helps us better understand how people solve problems.

Times that animals solve human-caused problems - ie. The maggots that eat styrofoam and the orcas that destroy the yacht rudders.

Old forms of entertainment that contain simple machines - ie. All puppets, automata, praxinoscopes, kites, etc. They showcase how creative and ingenuitive humanity has always been. And that they had free time to do things they loved and weren't always just trying to survive.

Genre Movies that go all out with their genera - A lot of the time movies are put into genres for advertising purposes or just cus that genera happens to fit the story and theme. I love it when movies are made in a certain genre for the love the creators have for it and its tropes. I love it when Genre moves are hammed up to almost the point of uncomfortability. It's the creator unapologetically depicting their love for the experience of viewing a movie in their favorite genre.

THEIRRY MUGLER - He is an entirely underrated fashion designer at least in the online sphere. He's who designed Zendeya's robot red carpet look for the Dune Part 2 premiere. His designs were extremely stylish and extremely campy which can be something very hard to pull off at the risk of tackiness. He pushed every idea to 1000%. His fashion shows were an experience and he let his models have personality because he wasn't afraid of being overshadowed. He let the two work to enhance each other.

#theirry mugler #genre movies #anthropology #asks

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terrence-silver · 10 months

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Any random 80s Terry headcanons please :)

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― Undoubtedly fell into the (in)famous aerobic craze of the 80's, or rather, was the aerobic craze of the 80's, where he appeared in multiple extremely high-end, glossy, legitimate and very stylish articles concerning body wellness. Not of the neon spandex variety that was fresh and hip. I mean, truly elegant stuff that only aided his image of a positive benefactor that 'cares about the role models young people consume'. If Kreese had his life-size cardboard cutouts of himself on the entrance of the Cobra Kai dojo, Terry Silver had entire exclusive Men's Health type periodicals detailing how he balances high-powered Yuppie corporate work as CEO and maintaining an immaculately trimmed physique (humbly speaking).

― Relished in having an All-European staff at the time (an English secretary, a Czechoslovakian butler...a Swiss pool cleaner for the laughs and gags, for all we know.) because it was a personal showcasing of wealth on his part and served to cement the idea that America's an exceptional World power during that particular decade, and that he, by extension of money being that plenty and that exceptional, can have a handful of classy, Old World employees and all the status symbol and traditionally associated 'mystique' that entailed as being their Boss (and not the other way around). Economy was booming. He was booming all around. He wanted to show off, simply because he could. So, he did.

― Was possibly embroidered and secretly or not so secretly in cahoots with multiple corrupt governments Worldwide going through the tumultuous transition from dictatorship to an unstable democracy during the 70's and 80's, which tactically allowed Terry (and Dynatox, by extension) to, yes, you guessed it, dispose of toxic materials with ease in the Global South and in Third World Countries as a whole. Toxic materials that would be deemed illegal and absolutely out of the question in any developed ones, but were passable if you knew the right people and officials in (throws dart) Nicaragua. Or hey, case and point, in Borneo. Basically, I am convinced Terry Silver had some very questionable and bizarre names marked down in his phonebook.

― Case and point; to keep it properly 80's --- drugs. Cocaine! He got all of his substances and narcotics right from the source, directly from the people that produced it just for him. Cleanest, purest, highest of quality, because his organism and taste palette deserves the best. Same as his Cuban cigars, which were deemed illegal due to a trade embargo with Cuba at the time. Generally, if one keeps their brain open, again, just envision the type of acquaintances and contacts Terry knew and was connected with during the decade to get ahold of all of these goods. I don't know, it is hilarious (and a little frightening with the right context involved) how plausible and easy it is to imagine a crossover between The Karate Kid III and Narcos, for example.

― On a slightly lighter note, I feel that all throughout the decade, Terry Silver had the tendency to disguise himself; as various things, yes. A hobby all of his own. Hard done by dojo owner, regular Joe Schmoe at the club downtown, struggling martial artist, blue collar guy of the most ordinary variety or just another nameless stranger on the street. You name it. Pre-Internet era, when it was infinitely more difficult to recognize someone, look them up or photograph them in public, he enjoyed going about unbothered and just observing things. People. Situations. Being a bit of a voyeur and a prankster of his own variety, he liked seeing and experiencing how people treat him when they think he's just some nobody and playing with their mind through it for his own amusement.

― At the height of 80's consumerism, there was no need to downplay his wealth, quite the contrary; if Terry lived in a mansion, it was the biggest, most gigantic brutalist bit of property overlooking all of LA from Beverly Hills. If he dressed rich, he wore a red silky ascot like he's a character straight off of Dynasty (and he knew it too!) If he drove around in a car, it was a chauffeured Rolls Royce, of all things. He trained in a white satin Gi as peak decadence. It was only the coming decades that he, as I see it, choose to strategically go about the route of a bit of stealth-wealth, because it became the new acceptable way of being a member of the 1%, and chameleon that he was, he went and adapted. Flew under the radar. Downsized on purpose. Means, that when the 80's ended, the tenure of him dwelling at the Ennis House ended too. And everything that went along with it as well. Times change. Terry (seemingly) changes with them. The earring in his ear had to go too (once it went out of fashion.)

#terry silver #kk3 #80's terry silver #random headcanons #character analysis #terry silver headcanon #terry silver headcanons #cobra kai

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machinemademuscle · 1 year

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Bold, Athletic Style: The latest Adidas underwear collection brings together sport and fashion like never before. Our models, with their perfectly sculpted physiques, showcase the sleek lines and stylish design of the collection. Discover how to make a statement with your underwear, and elevate your everyday look to the next level with Adidas.

#midjourney #gpt4 #ai muscle

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lgcmanager · 1 year

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MODELING GIG 002 ( MODEL BRANDS UPDATE )

all of the MODEL BRAND OWNERS ( HAN JISOO, KIM JINYOUNG, KIM JINSEO, LIM SANGHYUN, and OKADA TAIYOU ) were called to a meeting by the staff members in their creative teams. during the meeting, the staff members inform the brand owners information regarding the final details of their upcoming campaign, which are listed below:

AURORA ( BRAND OWNER: HAN JISOO )

MODELS: ahn yein, han jisoo, shin jieun, yamashita ichika

KEYWORDS: mysterious, mystical, aloof, alluring, whimsical

PRODUCT(S) FROM THIS COLLECTION: a necklace with moon and optional star pendant, and an anklet with similar charms. necklace and anklets come with different components - either a drop format, or a singular long chain for layering. it can be showcased differently depending on preference, for buyer / variation with models.

BABYLON ( BRAND OWNER: KIM JINYOUNG )

MODELS: han noeul, kim jinyoung, zheng amelia

KEYWORDS: comfortable, refreshing, colourful, adventurous, energetic

PRODUCT(S) FROM THIS COLLECTION: 1 bikini with the top doubling as crop top, 1 swimming trunks that can be used as shorts, 1 pair of shorts for females as well, 1 unisex summer shirts (one with one without sleeves), a one piece swim suit, the smiley bucket hat, 1 crop tops, 1 rashguard that can also be worn as normal shirts

ELYSIUM ( BRAND OWNER: KIM JINSEO )

MODELS: jo sunhwa, kim jinseo, seong byungho, yang aeri

KEYWORDS: mysterious, mythical, elegant, powerful, creative

PRODUCT(S) FROM THIS COLLECTION: 4 unisex fragrances named after the four gods of ancient asian mythology: cheongryong (qinglong in china, seiryū in japan, thanh long in vietnam), jujak (zhūquè in china, suzaku in japan, chu tước in vietnam), baekho (baihu in china, byakko in japan, bạch hổ in vietnam), hyeonmu (xuánwǔ in china, genbu in japan, huyền vũ in vietnam)

SOLA ( BRAND OWNER: OKADA TAIYOU )

MODELS: bae nathan, kim yujin, lee minji, okada taiyou

KEYWORDS: unique, stylish, cool, elevate, flourish

PRODUCT(S) FROM THIS COLLECTION: LUN.r : dark gray transparent frames with garnet lenses ( x ). SOL.r : gold framed with round lenses. unique ‘retro-futuristic’ details. comes in two lens colors: dawn (brown) and wave (blue) ( x x )

TIMEBOX ( BRAND OWNER: LIM SANGHYUN )

MODELS: ahn jaesun, lim sanghyun, son eunho

FIVE KEYWORDS: nature, reliable, visionary, confidence, exploration

PRODUCT(S) FROM THIS COLLECTION: three items; one evergreen solar powered watch (forest), one light brown survival/paracord watch (terrain), and one pastel yellow carabiner pocket watch (sun)

due to everyone’s busy schedules, filming for the mood videos and photoshoot will be done sometime around late MAY and JUNE. the campaign will be set to launch around JULY-AUGUST and will last until the end of 2023. the staff members will also add that the promotions for this campaign will be included in this year’s LGC FAMILY CONCERT! more of that will be revealed in Q3 along with MODEL MISSION 015.

since all of the pertinent information regarding this campaign has been submitted ( products, moodboard for the video, etc. ) there will be no writing requirements for this and instead all of the muses involved in the campaigns will be rewarded points! for completing the model brands form and being a part of the campaign, all of the MODEL BRAND OWNERS will receive +10 MODELING and +10 NOTORIETY while everyone else chosen for this upcoming collection will receive +5 MODELING and +5 NOTORIETY! to make it easier for everyone, here’s the list of rewards:

AHN JAESUN ( TIMEBOX ): +5 MODELING, +5 NOTORIETY

AHN YEIN ( AURORA ): +5 MODELING, +5 NOTORIETY

BAE NATHAN ( SOLA ): +5 MODELING, +5 NOTORIETY

HAN JISOO ( AURORA ): +10 MODELING, +10 NOTORIETY

HAN NOEUL ( BABYLON ): +5 MODELING, +5 NOTORIETY

JO SUNHWA ( ELYSIUM ): +5 MODELING, +5 NOTORIETY

KIM JINSEO ( ELYSIUM ): +10 MODELING, +10 NOTORIETY

KIM JINYOUNG ( BABYLON ): +10 MODELING, +10 NOTORIETY

KIM YUJIN ( SOLA ): +5 MODELING, +5 NOTORIETY

LEE MINJI ( SOLA ): +5 MODELING, +5 NOTORIETY

LIM SANGHYUN ( TIMEBOX ): +10 MODELING, +10 NOTORIETY

OKADA TAIYOU ( SOLA ): +10 MODELING, +10 NOTORIETY