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maxwell-grant · 3 years

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Having asked your thoughts on designing Frankenstein's daemon, might I now ask your thoughts on bringing Count Dracula from the written word into illustration? (I'm definitely in favour of the 'Hairy Old Mountain Man of Horror pretending he's people' look from the original novel; one of the small tests too many Draculas fail to pass is an absolutely tragic lack of the Evil Beard and/or Wicked Moustache explicitly described by Mr Stoker).

Unlike with Frankenstein, where I think the design needs to be painstakingly thought out in order to achieve the best balance of the creature's traits for horror and tragedy alike, I think with Dracula you can actually just take an approach of "whatever works". Because as I mentioned before, I think much of the appeal and longevity of Dracula is how the character's both a layered villain as well as a shapeshifting narrative force that can be tailored to whatever you want to do with. Granted, there are bad or dissappointing Dracula designs, of course there are, but in regards to the leeway you get for reinterpretation, you get a lot more of it with Dracula than with other literary icons.

Like with Frankenstein, I'm gonna bring up how I'd tackle a less grim, more comedy-centric Dracula first, one that's less a force of horror and more of a charismatic villain, and I think to that end I definitely agree that people are sleeping a lot on the hairy old man barely-passing-off-as-humanoid of the original story. Despite very much loving these performers, I'm actually not a fan of takes that mold Dracula too closely to people who've portrayed him, like Bela Lugosi and Christopher Lee, partially because I think it's a waste of an opportunity to create your own Dracula design. Since I can't draw (yet), I'll do what I usually do and make a board of images to try and convey some of my thoughts on one way I'd design Dracula.

(Pictured: Kiwi's design for Dracula, Hotel Transylvania concept art, Nandor, Castlevania Dracula, Charles Dance in Dracula Untold, Vladislav, a Transylvanian rug)

I used the images in my other Dracula post and I’ll post it here again because I absolutely adore @kiwibyrd's designs for Dracula and it's main heroes, in particular I love the way it strikes a good balance at making sure Dracula looks distinctly separate from the humans, but not too much that he couldn't conceivably operate in society as just a harmless old man. I also adore the mustache and bushy eyebrows and pointy ears and I think these three are wonderful features to keep on any Dracula design. I'm also very partial to the Hotel Transylvania concept art, even if it makes me incredibly depressed to look at all the great designs they had for Dracula that they threw in the trash because they somehow decided making him look like Adam Sandler was the idea to go with.

I deeply adore What We Do In The Shadows, both the movie and the show, and Jemaine Clement's Vladislav is one of my favorite (maybe even my actual favorite) on-screen Draculas. But I also enjoy Nandor just as much, and I think it's really great that as a character he's completely different from Vlad while also being ostensibly a take on Dracula, and in particular I bring up his Jersey look because "Dracula in common clothing" is a criminally underrated concept for a joke.

As a character, I'm very partial to comedy takes on Dracula that play him up as a decadent aristocratic supervillain, the kind that can get away with talking in third person. I also have this idea for a version of Dracula who dresses ostentatiously in finely-broidered Romanian or Transylvanian patterns, maybe even wearing a rug as a cape, claiming that he's carrying the legacy of his people on his back. And of course he's lying, he's not Vlad Tepes and he's not even Romanian, he is just a parasite pretending to have a history to be proud of, but good luck getting him to admit that. And finally, I'd like this version to be played by Charles Dance, and I consider it a tremendous crime against humanity that he has yet to play Dracula proper even despite being in a film with the character's name on the title.

So that's kinda how I would design a take on Dracula for something more comedic or more based around him as this guest character and personality on-set. Now, if we're talking a more serious version, I think the possibilities increase, and I won't be getting into all of them because I may prefer to keep them to myself, but I'll elaborate a few ideas.

For example, the edition of Dracula I personally own comes with these really scratchy, really creepy B&W illustrations related to the story, that I can't find scanned online so I'm uploading them here so you can look at. They don't necessarily depict the scenes but rather some of the story's moments, like Van Helsing staking Lucy, Renfield in a straightjacket, Dracula as a coachman, and they are more focused on conveying the horror of the concepts at play.

Dracula never looks the same way in any of the illustrations, in fact you kinda have to piece him out of them by trying to find teeth or capes or eyes or bat-features to see where he's hiding this time. In the first, it's the half-man half-bat, in the 2nd, he's the shrieking bat silhouette next to Renfield, and in the latter, he's the gaping jaws and eerily humanoid eyes in the wolf. The effect to me almost feels like if you were to look at a bunch of tv static and then see a humanoid shape form for a split second before everything went back to normal, something like you'd get from Slender Man or other modern creepypastas, and I’ve argued before that Dracula’s form of horror is a very modern one.

In terms of illustrations of Dracula that keep up the original traits while still pulling off horror, I definitely have to hand it to the one at the left of the image above, drawn by regourso on Deviantart (account deleted at present). Going back to Castlevania’s many takes on Dracula, two in particular that stick out to me would be Castlevania: Judgment’s armored dress Dracula, who’s got this great twisted heart/rose motif going on in his outfit, and Dracula’s final form in SOTN where he just sits in his throne and his cape twists into all these monsters, particularly how it’s depicted by witnesstheabsurd’s depiction.

I’m not particularly a fan of how Dracula’s “final form” in these games is usually just some big demon, and part of what I like about his final form in SOTN instead is that, while it’s not a particularly challenging final boss, I do find it interesting the idea of us never actually getting to see what Dracula’s true final form looks like, only an ever-shifting pitch-black torrent of teeth and claws and bloody veins pouring out because that’s ultimately what Dracula is and brings to the world.

On the flip-side of the rotten old monster, we have the charming seductor Dracula, and while I’m really not a fan of how various adaptations have convinced people that “the point” of Dracula is that he’s a seductive force and an allegory for Victorian xenophobia and I’m reeeally even less of a fan of adaptations that make Dracula some misunderstood tragic hero (and I think I’ve made rather violently clear my feelings on interpretations that play up a romance between him and Mina), that the seductive force part exists is impossible to deny, so conversely, while on one hand we can have Dracula as the gargantuan whirlwind of predatory violence, we can also go for Dracula as the tantalizing lover.

I’ve seen a lot of opinions proclaiming Frank Langella as the best Dracula because he was the best at actually being seductive while still playing Dracula, although I haven’t yet seen his performances. If I had to point at one picture I look at and do buy for a second the idea of Dracula as a romantic character, it would be that particular still of Raul Julia in the left of the above image. And it’s strange for me to think of Raul Julia as attractive because I mainly associate him with his brilliant comedy performance of M.Bison (I know it’s far from the highlight of his career but, look, I grew up with Street Fighter, I can’t help it) but those eyes are definitely looking pretty convincing to me, if nothing else.

And I’ve included this still of Sebastian Stan in the right because, during a conversation between me, @krinsbez and @jcogginsa about who could be a good fit for Dracula, jcog suggested Sebastian Stan, partially because he’s Romanian, and I’ve learned recently that Stan was actually interested in playing the character in Blumhouse’s upcoming remake. And you’d think I’d hate this idea considering how much I don’t care for tragic anti-hero Draculas, but who says that’s what he’d have to play?

Do you have any idea how much actors, who are traditionally known for heroic or supporting roles, usually LOVE it when you give them a chance to cut loose as the main villain?

I’d want Sebastian Stan to put all of his charm, all of his talent, all of his good looks and etc, into playing the absolute most vicious, bloodthirsty and irredeemable Dracula put on screen. Someone who is exceedingly, eerily good at being a lovable protagonist, who’s all smiles and charming eyes and politeness mannerisms and maybe even a funny accent, and then it isn't as funny when he's flying through your window intent on kidnapping babies to feed to his brides, except he may take a moment or two to do so because he's feeling pretty hungry himself right now.

Now, admittedly this is kind of a lot to juggle in regards to a single character, which is why my answer for questions like these inevitably has to be “depends on what I’m going for”. That being said, if I was going to try and cast someone who I think could both look the part of Dracula, as well as respectively, play “cartoon aristocrat” Dracula, “mercurial embodiment of evil” Dracula, as well as realistically be an attractive, even seductive performer who can charm viewers even as the character descends into horrible villainy, and juggle these performances even?

I think I’d have to go with Mads Mikkelsen. Not specifically because of Hannibal (I actually haven’t watched it yet), although it’s definitely a factor, the thing that actually made me pick him specifically is, other than his looks, his voice, his reputation for playing sinister characters, the fact that he loves the role and wants to play it, or how many people are deeply in love with this man, or that people already joke that he looks like a vampire, was watching him in Another Round, and specifically that glorious final scene where he’s just dancing to his heart’s content and just, moving with such spring in his step and such joyful vitality even though he’s past his mid-fifties, and that was the moment where, in regards to how much you all love this man, I went

And now I am going to add “casting Mads Mikkelsen as a dancing Dracula” to The List of Reasons Why I Became a Filmmaker.

#replies tag #dracula #horror tag #bram stoker #charles dance #sebastian stan #mads mikkelsen #castlevania #raul julia #wwdits #what we do in the shadows #vladislav #nandor

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thebooksaidthat · 4 years

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5 Fantasy Book Recommendations with WLW relationships!

Here are five of my favorite books which have FF centered pairings! Thought I would share them so you guys can expand your TBR’s with some sapphic goodness :) They’re not arranged in any particular order because they’re all equally enjoyable for me. I hope this post might help you in any way and I might do another one but for contemporary reads instead soon so stay tuned

1. Priory of the Orange Tree by Samantha Shannon Link to book: https://www.goodreads.com/book/show/29774026-the-priory-of-the-orange-tree

Synopsis:

The House of Berethnet has ruled Inys for a thousand years. Still unwed, Queen Sabran the Ninth must conceive a daughter to protect her realm from destruction—but assassins are getting closer to her door. Ead Duryan is an outsider at court. Though she has risen to the position of lady-in-waiting, she is loyal to a hidden society of mages. Ead keeps a watchful eye on Sabran, secretly protecting her with forbidden magic. Across the dark sea, Tané has trained all her life to be a dragonrider, but is forced to make a choice that could see her life unravel. Meanwhile, the divided East and West refuse to parley, and forces of chaos are rising from their sleep.

--> The book is written in multiple perspectives, switching between Ead, Tane and Niclays. I found the story extremely engrossing and the FF couple was just a really nice added bonus! Seriously though, Ead and Sabran’s relationship was fairly slow burn but extremely rewarding to read. Would recommend this wholeheartedly to those who enjoy fantasy and dragons. Did I mention DRAGONS?

2. Girls of Paper and Fire by Natasha Ngan Link to book: https://www.goodreads.com/book/show/34433755-girls-of-paper-and-fire

Synopsis: Each year, eight beautiful girls are chosen as Paper Girls to serve the king. It's the highest honor they could hope for...and the most demeaning. This year, there's a ninth. And instead of paper, she's made of fire. In this richly developed fantasy, Lei is a member of the Paper caste, the lowest and most persecuted class of people in Ikhara. She lives in a remote village with her father, where the decade-old trauma of watching her mother snatched by royal guards for an unknown fate still haunts her. Now, the guards are back and this time it's Lei they're after -- the girl with the golden eyes whose rumored beauty has piqued the king's interest. Over weeks of training in the opulent but oppressive palace, Lei and eight other girls learns the skills and charm that befit a king's consort. There, she does the unthinkable -- she falls in love. Her forbidden romance becomes enmeshed with an explosive plot that threatens her world's entire way of life. Lei, still the wide-eyed country girl at heart, must decide how far she's willing to go for justice and revenge. --> Girls of Paper and Fire is a great example of how YA fantasy books should be. The story felt original and the diversity is great too. The characters here are interesting to read about and this was again, another book which I wanted to read on and on just to know what was going to happen. Lei, a girl who like several others were chosen to become the King’s personal concubines. Yes, there are certain parts that might be uncomfortable to read about (rape, sexual assault, abuse) but I think the topic was mostly handled well by the author. It was really nice to read about how the two unlikely concubines of the King slowly find themselves attracted to each other and how their relationship develops with the main plot. The third book from the series will be released on 2021 and I can’t wait to see how the author ties everything up! 3. Breaking Legacies by Zoe Reed Link to book: https://www.goodreads.com/book/show/30242712-breaking-legacies

Synopsis: In a land impoverished by a war that started before she was born, Kiena has provided for her mother and brother by becoming one of the best hunters in the kingdom. But when a lifelong friend with connections recommends her to the king to track down a runaway princess, her life gets turned upside down. Finding the princess is easy. Deciding what to do in a conflicting mess of politics and emotions… not so much. --> Now, I know the synopsis does not do a whole lot of justice for the book but trust me, this is one that you want to read. Without going into much details, this was a very fun adventure-ish read where you follow Kiena, the main character of the book, who is asked to look for the princess of the kingdom who ran off to god-knows-where. From blue orbs to finding long lost friends of her father to falling in love with the princess, there’s something that’s always holding your attention. 4. Crier’s War by Nina Varela Link to book: https://www.goodreads.com/book/show/41951626-crier-s-war

Synopsis: Impossible love between two girls —one human, one Made. A love that could birth a revolution. After the War of Kinds ravaged the kingdom of Rabu, the Automae, Designed to be the playthings of royals, took over the estates of their owners and bent the human race to their will. Now, Ayla, a human servant rising the ranks at the House of the Sovereign, dreams of avenging the death of her family… by killing the Sovereign’s daughter, Lady Crier. Crier, who was Made to be beautiful, to be flawless. And to take over the work of her father. Crier had been preparing to do just that—to inherit her father’s rule over the land. But that was before she was betrothed to Scyre Kinok, who seems to have a thousand secrets. That was before she discovered her father isn’t as benevolent as she thought. That was before she met Ayla. Set in a richly-imagined fantasy world, Nina Varela’s debut novel is a sweepingly romantic tale of love, loss and revenge, that challenges what it really means to be human. --> A stunning fantasy//science-fiction debut which hooked me from the start. The romance aspect was done well but I enjoyed the world building that the author did with this and I found myself curious about how the system worked. This is basically an enemies-to-lovers trope type of romance which progressed nicely although it’s not completely resolved as it ended in quite a cliff hanger, though the next book will be releasing on September! 5. Girl, Serpent, Thorn by Melissa Bashardoust Link to book: https://www.goodreads.com/book/show/51182650-girl-serpent-thorn

Synopsis: There was and there was not, as all stories begin, a princess cursed to be poisonous to the touch. But for Soraya, who has lived her life hidden away, apart from her family, safe only in her gardens, it’s not just a story. As the day of her twin brother’s wedding approaches, Soraya must decide if she’s willing to step outside of the shadows for the first time. Below in the dungeon is a demon who holds knowledge that she craves, the answer to her freedom. And above is a young man who isn’t afraid of her, whose eyes linger not with fear, but with an understanding of who she is beneath the poison. Soraya thought she knew her place in the world, but when her choices lead to consequences she never imagined, she begins to question who she is and who she is becoming...human or demon. Princess or monster. --> Another enemies-to-lovers fantasy to sooth your gay heart! Here’s a fairy-tale like YA which has a bisexual, person of colour protagonist! In short words, it’s about how a girl who is cursed causing her to be unable to touch anyone without killing them and her journey to saving her brother and ultimately, finding herself.

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fe8meta · 4 years

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The War’s Legacy

As a volunteer archivist at a local historical site, I’ve worked closely with books and documents largely between 150~250 years old. (If you’re curious, mostly regarding the period between the American Revolution to the Civil War, plus the anti-slavery movement. There’s also more “domestic” stuff like agriculture, science, mathematics, and religion.)

It got me thinking: In Magvel, how will the war, and the people who participated in it, be remembered? Most characters have a good portion of their lives left to live after the war too, but for those who are remembered down the line, their participation in the war will probably be their biggest accomplishment.

To start things off: more likely than not, anyone who wasn’t royalty or an important military figure is probably going to get forgotten, especially if fighting in the war was their only achievement.

(From my experience as an archivist, I’ve noticed that a great deal of people who were seen as the big movers and thinkers during their time have been lowered to one-note and forgettable in some 150-ish years of history. That’s not a lot of time!)

I think the list of characters who are remembered decades after their deaths on a continental scale (some characters may remain important figures in their own communities) would be the royals, the generals (Seth plus the Imperial Generals), and the Demon King (plus his cult).

The Royals

Ephraim: Regarding the war, Ephraim will probably get his war strategies and accomplishments written about. I expect a great deal of historians (particularly Renaian ones) debating his decision to abandon his homeland and bring the fight into Grado, though his later decisions will probably receive praise.

Eirika: Honestly? I think she’ll largely receive praise from future historians. Despite getting tricked at Renvall and the blunder of losing the Sacred Stone (on her route), I think historians would agree that her calculations were solid based on the information she knew at the time. Even if she had Seth advising her, she had no formal training in tactics or the art of war, making her achievements even more impressive.

~ / ~ / ~

Innes: Like Eirika, I think he’d be validated by historians, particularly for being the only one to actually predict and prepare for a wartime scenario. Of course, hindsight is 20/20, but based on what we know of him story-wise, he probably would go down as one of the best leaders of his time.

Tana: She’s gutsy and I think she’ll at least become a popular figure for young women. Some historians may lambast her earlier captures attributable to her inexperience, but hey, if she got out alive than it’s not too bad. I think later in life, being largely free to do whatever she wants (within reason), she’d continue onto a path of public service, which she can probably gather great acclaim for.

~ / ~ / ~

L’Arachel: I think a lot of attention will go towards her theatrics. If you go with the idea that L’Arachel doesn’t actually lead her country (see the Solo Endings JP vs. EN post for details), I think her relationship with the other royals and how she’s involved in continental politics will be the primary focus in biographies. (She also, perhaps not coincidentally, has supports with all the other ruling royals, discounting Tana as she canonically never lands in a leadership position.)

Joshua: Joshua’s reputation will be very, very mixed down the line. He’s still has wanderlust and a gambling addiction, and regardless of his accomplishments as a king and Jehanna’s glorious revival, neither of those traits are a particularly good look. Not to mention that he abandoned his duty as prince for a solid 10 years, and then left Jehanna to its own devices again while going to stop the Demon King.

Even in Joshua’s dialogue after the final battle, he talks about returning to Jehanna in an almost resigned manner; no doubt he knows full well that he might not be received with open arms.

~ / ~ / ~

Lyon: Oh boy, what to say about Lyon. There are a lot of different ways this can go, branching from 3 options: Lyon’s involvement in the war is revealed in full, Lyon’s involvement is revealed but doctored to paint him in a more sympathetic light, or it gets entirely covered up/omitted and he goes down in history as an unfortunate casualty of the war.

No matter how you slice the first two options, Lyon’s legacy would definitely be extremely mixed, leaning towards the negative side. Not only is he on the wrong side of history, he’s also forced basically half the continent into the wrong side of history and ruined their military and did some very amoral things (reviving his father to use as a puppet, and by extension lying to the public, etc). Even the best doctoring can probably only redeem Lyon’s reputation from “the deepest depths of the sewers” to “neck-deep in the sewers.”

In the case where Lyon’s involvement in the war is covered up, it’s still only a matter of time before someone figures out the truth. With enough time, it can be relegated to a highly plausible and hotly-debated theory, but even so, it’s simply a matter of time. For an additional dose of irony, in this scenario, perhaps Grado nationalists down the line twist Lyon’s war into something “assertive” and depict it as the “correct” thing to do, when it was really anything but.

Vigarde: He’s in the same boat as Lyon. It really hinges on how the royals choose to depict Lyon’s situation to the public, because that will directly affect how Vigarde is seen. There’s little doubt that puppet!Vigarde’s actions probably destroyed popular opinion of him during the War. Whether he is redeemed on account of his situation or not is up for debate.

(Because the game doesn’t delve into Fado, Hayden, or Mansel much, I don’t have enough input to say how they’ll be seen by future historians.)

The Generals

Seth: He’s going to go down in history as a badass, let’s be real here. Took an attack from Valter himself to protect Eirika, didn’t let the injury debilitate him from fighting on the frontlines, mentored Eirika in the art of war during life-or-death battles, guided the twins on their journey, and continued helping them after the war’s end. Guy got things done, regardless of his personal sentiment about failing to protect King Fado.

Syrene: Technically a commander and not a general, but close enough that I’ll consider her. She... honestly doesn’t do that much on-screen. Doubtlessly she’ll be best remembered (on the battlefield) for being overpowered by the remnant of Grado’s forces, but at least she lived and (by the player’s discretion) kept all the villagers safe, so that’s something. At the very least, a coward she is not.

Carlyle: He’s going down in infamy. Like, his story can be crudely summed up as “I was loyal to Queen Ismaire partially because I wanted to bang her.” Yeah, that is not a good look. There isn’t even any interesting speculation or interpretations to make of his situation. He probably ruined the reputation of the Jehannan Army while he was at it.

Honestly, the only thing that would salvage his reputation is the fact that everyone who heard his confession is dead by the end of that battle. (Technically the map was a Seize Throne and not a Rout, but let’s be real -- we killed those guards.)

~ / ~ / ~

Duessel: The only Grado general to make it out alive. He’ll probably get a mixed reaction; those who praise him argue that he made the morally correct choice and had the nation’s best interests at heart. Some may criticize him for not acting sooner, while others may very well despise him as a traitor to the nation.

Selena: Another set of mixed reactions, though inverse from Duessel’s. She remained loyal to Vigarde to the very end, but people will debate where a knight’s loyalty should lie. It would also invite much debate over the ethics of Vigarde’s recruitment methods and whether it was a thinly-veiled manipulation tactic that citizens from poorer areas will fall for because it’s the only way to improve their livelihoods.

Glen: He’s like Syrene, except he died without doing much. If someone is interested in finding out more about him before his death, at least they have Cormag to interview. Depending on whether his two adjutants survived against Valter’s goons, if someone tracked them down, they might get a story out of them as well. That said, his history with Valter would probably be of great interest to Valter’s biographers.

~ / ~ / ~

Valter: Historians, psychologists, and scholars will have a field day with him and his circumstances. From his upbringing to his descent into madness and subsequent exile, to his reinstatement and brutality during the war before his ultimate death, there is a lot to unpack with him. People tend to have morbid curiosities and oh, will Valter sate that appetite.

Caellach: Caellach will probably be praised for being good at what he did even if he was ultimately on the wrong side of history. Since he started off as a mercenary, I feel like people won’t judge him too harshly. His potential betrayal and murder of Aias will be an interesting chapter to write about, though, since historians may have access to more knowledge on their pre-war relationship that we players don’t have.

Riev: He’s ugly, a Demon King cultist, and directly responsible for Lyon’s (and by extension, Grado’s) downfall. He’s going to be reviled for sure, though he will spark some interesting discussion relating to his history with the Rausten Church. A lot of speculation on how he came to became an adherent of the Demon King... or not, depending how whether that kind of talk is suppressed.

After all, if a former bishop converted, it not only challenges the legitimacy of the Rausten Church, it would also pique the interest of those who want to see what made Riev change his mind. And should someone also adopt his ideology, the continent can’t take another Demon King revival attempt.

Which leads me to...

The Demon King

Now, this will be a little game called “How many generations will it take before the Demon King gets relegated to a legend that no one believes in again.”

It’s also pretty important that the Demon King is not completely destroyed; he just no longer has his huge menacing body to use and will have to make do with those fragile human flesh sacks. But his soul is still intact, and if nothing is done to get rid of it for good, it’s setting up for a Part 3.

Like with Lyon, how information about the Demon King is handled by the characters after the world will probably have a huge impact. Not to mention the many implications the circumstances around his possession of Lyon has. Dark/ancient magic will most certainly face a resurgent wave of discrimination, far more than seen before. (Magvel was, from what we could see, largely apathetic about dark magic before Lyon’s attempts to redeem its name. Ironically, his actions will rekindle hatred towards it.)

As aforementioned, educating people on the Demon King and how dangerous he is may help ensure that nobody tries to mess with him again. On the other hand, it may inspire copycats who for whatever reason want the Demon King to be revived. (The game also never followed up on the implication that there’s a cult that worships the Demon King; we killed Riev and Novala, and destroyed Fomortiis’ body, but there may still be more members lurking in the dark.)

Meanwhile, trying to bury information about Fomortiis can also backfire down the line, especially if people don’t learn what the Sacred Stone is for and one day crack the seal open for one reason or another. (And we saw how well keeping the true Stone hidden behind trinkets while keeping its wearer in the dark of its true purpose went.)

This is making me imagine Demon King apologists down the line that provide an “alternative history” about the war and how it’s all some ancient conspiracy to lock him away and he “isn’t actually bad, just misunderstood”...

Oh hey, isn’t that the direction Dragalia Lost’s main story is going in?

#FE8 #magvel #ephraim #eirika #innes #tana #l'arachel #joshua #lyon #vigarde #seth #syrene #carlyle #duessel #selena #glen #valter #caellach #riev #fomortiis #character meta #worldbuilding meta

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route22ny · 4 years

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(In the previous post I referred to Mr Gallagher’s book Reimagining Detroit. In looking for a bio to link his name to, I discovered he was retiring and had written an open farewell letter to the city in December. I’ll put the entire text & photos where possible into this post.)

***

Dear Detroiters,

After 32 years covering this city and state for the Detroit Free Press, today marks my final column. For a lot of reasons I’ve decided this is a good time to move on to my next chapter.

But I’m not leaving Detroit and I’m not hanging up my keyboard. I’ll continue to write in a variety of ways — more books, perhaps blogging and podcasts, and otherwise I'll be engaging with this fascinating city and its people in a bunch of new ways.

I thank my editors and my colleagues for their support during my career here at the Free Press. And I thank you, my readers, who over the years have shared this amazing city with me. You’ve responded to my work by turns complimentary and critical, encouraging and scathing, but never dull.

This job has given me a front-row seat into one of the world’s great urban dramas — the resurrection of a once-powerhouse city brought low by the scourges of racism, suburban sprawl and factory closings. Whether you agree or disagree that Detroit has made progress in recent years, you have to admit that the range of effort here has been nothing short of remarkable. Not for nothing is Detroit known as an urban laboratory for the world’s struggling cities.

The work of reimagining a Detroit after the fall has been the focus of my work for many years. So today, let me try to sum up what I think we’ve learned.

The free-fall years

When I joined the Free Press in 1987, the city of Detroit was still in free fall. Decades of factory closings, years of of flight to the suburbs, a dismal legacy of racism and its effects, had drained the city of residents, jobs and political clout. A population of about 1 million would drop at least another 300,000 in years to come. Anchor employers like Comerica decamped their headquarters to the Sunbelt.

Perhaps the low point was the case of Malice Green in 1992, when two white cops during an arrest beat Green, a black suspect, to death with flashlights. The case exposed all of Detroit’s woes and seemed to give the lie to any notion of progress on race or any other matters.

Two neighborhood boys walk past the Malice Green memorial at Warren and 23rd Street in Detroit in 1997. (Craig Porter, Detroit Free Press)

And more disappointments were to come. Michigan would sink into its “Lost Decade” in 2001 when the state began to shed jobs every year for 10 years in a row. Those who predicted a quick turnaround were proved wrong again and again. It was no normal business cycle but, as University of Michigan economist Donald Grimes told me for a 2018 article, the long-overdue reaction to the vanished market share of the Detroit Three automakers.

"That was a permanent adjustment of the auto industry to the loss of its monopoly power," Grimes said. "We'll never get back to where we were in the year 2000."

And then came the Great Recession of 2007-2009. Short of an atom bomb going off here, it’s hard to image a worse calamity for the city. The collapse of the subprime mortgage market, the devastation wreaked by the Wayne County tax foreclosure auction, the implosion of home values, all but finished off Detroit.

The Great Recession turned Detroit from a city of homeowners to a city of renters. It wiped out a generation of black family wealth that we are yet to recover. And it led inexorably to the city’s municipal bankruptcy of 2013-14.

The first hints of recovery

But even amid the losses and abandonment, some early shoots of recovery were showing.

For years, Detroiters were turning vacant lots into urban farms. There were hundreds of small community gardens and several larger farms like Earthworks and RecoveryPark on the east side, the D-Town Farm led by Malik Yakini of the Detroit Black Community Food Security Network on the west side, and the Michigan Urban Farming Initiative in New Center.

This repurposing of vacant and abandoned land for productive use first drew the attention of the world and began to inch Detroit’s reputation from Rust Belt failure to that of a city reinventing itself.

Then, too, a city government too broken and dysfunctional to do all it should began to spin off some of its operations into innovative conservancies, nonprofit corporations and public authorities. These spin-offs were hotly contested each time but ultimately proved remarkably successful.

Under these new management models, Eastern Market transformed from a faded and failing operation to the lively marketplace we see today. Cobo Center, now renamed the TCF Center, was once so poorly run by the city that it almost lost the annual auto show. Once spun off into a regional authority in 2009, the convention center transformed into the gem we see today with its soaring riverfront atrium and a ballroom that is one of the city’s best venues.

The nonprofit Detroit Riverfront Conservancy built and manages the RiverWalk. Ditto the lively Campus Martius Park, built by another conservancy and managed today by the Downtown Detroit Partnership on behalf of the city. The Detroit Historical Museum, the Detroit Institute of Arts, the city’s workforce development agency, the Detroit Land Bank Authority, and, most controversially, Belle Isle itself, all improved, often dramatically, once spun off from direct city control into some new form of management.

Mina Powell of Southfield skips rope at Eastern Market before the 2018 Ford Fireworks in Detroit on Monday, June 25, 2018. (Cameron Pollack, Cameron Pollack, Detroit Free Press)

And in this process, philanthropic foundations played a key role. The Community Foundation for Southeast Michigan has been a leader in building greenways like the Dequindre Cut. The Kresge Foundation contributed tens of millions of dollars to the RiverWalk and other efforts. The Ford Foundation was a lead contributor to the Grand Bargain that made the city’s trip through bankruptcy a success.

It would hard to imagine Detroit’s recent progress without the work of these and many other foundations. And the foundations weren’t the only nonprofits to take a leading role.

Neighborhood community development organizations like the Southwest Detroit Business Association, Eastside Community Network, U-Snap-Bac, and, perhaps most successfully, Midtown Detroit Inc. under its longtime leader Sue Mosey, led the recovery in their districts. These community groups and their staffers worked when no one else seemed to care, often for years, often alone.

And beginning in the early 2000s the city’s economy began to slowly evolve from the heavy-industry model of the past to a more entrepreneurial ecosystem. Entrepreneurship gave Detroiters a new path to remake their lives.

There was a former Chrysler line worker named April Anderson whose dream of becoming a baker led to Good Cakes and Bakes, one of the city’s leading suppliers of sweets. Roslyn Karamoko’s Detroit is the New Black apparel shop, the StockX sneaker exchange, and hundreds of other startups showed that there was indeed economic life in the city, after all.

Detroit’s municipal bankruptcy, and the 2010 move by Dan Gilbert of his Quicken Loans downtown, with Gilbert's rapid remaking of the downtown core, were major steps that have gotten a lot of the credit for the city's comeback to date. But I think we cannot underestimate the importance of the urban farmers, the spin-offs, the foundations, the neighborhood activists, and the entrepreneurs in reinventing Detroit.

And along the way there were milestones of recovery once thought unattainable. Both the long-dormant Book-Cadillac Hotel and the defunct Michigan Central Station stood for years as international symbols of the city's failure. Both at times were recommended for demolition. But the Book-Cadillac reopened to fanfare in 2008 and Ford today is turning the train station into its future center of mobility research.

Setbacks aplenty

To be sure, the work has been long and tedious, beset by setbacks at every turn.

Rebuilding a city already built upon for 300 years means dealing with a legacy of debris just beneath the surface. When the Orleans Landing project by McCormack Baron Salazar on the riverfront east of the Renaissance Center started to dig foundations a few years ago, crews uncovered sewer lines that according to city maps shouldn’t have been there.

As another developer joked about his project building a medical warehouse in New Center, “We dug up everything but Jimmy Hoffa.”

Facing these and other challenges, almost every project takes longer than we think it should. When the Police Athletic League was planning what became the Willie Horton Field of Dreams at the site of the old Tiger Stadium, it discovered a regulation that a public playfield couldn’t be landlocked by other development on all sides as was planned for the perimeter of the site. So lawyers had to work out a solution to solve that problem. It worked, but the process that burned up several more weeks of time.

Problems so complex

Or take mortgage lending. Detroit is a city so financially broken that a normal mortgage market here almost didn’t exist until just recently. Thousands of houses do change hands each year, but mostly through cash sales or land contracts, a financially risky way for a buyer to get a home.

The dearth of market rate mortgages reflects the legacy of racism and redlining that scarred Detroit and many other older urban centers at mid-20th century. But even bankers who admitted their past mistakes and tried to infuse more capital into the mortgage system here found that it was no simple matter.

With the Detroit skyline in the background, several empty lots sit on the corner of Park Ave and Sibley in the Cass Corridor. There are still many undeveloped sites despite the empowerment zone being in Detroit since 1994. (Eric Seals, Detroit Free Press)

In Detroit, a potential buyer might have saved enough for a down payment but not enough for the repairs that would make a house move-in ready and eligible for a market-rate mortgage. Or an annual income that might support a mortgage in most cases might not be enough once student debt or child-care expenses were added to a borrower’s burden.

Low appraisals, lack of public transit for residents to get to jobs, food or housing insecurity — all these could hold back efforts to create a thriving mortgage market in the city.

As Janis Bowdler, president of the JPMorgan Chase Foundation, told me earlier this year, "As we've been sleeves rolled up, working in the community, we're learning over and over how multifaceted the challenge is. It's not just a supply of mortgage capital or a matter of producing enough credit-worthy borrowers. It's much more complex."

Working the problem

Detroit's mortgage lenders, and civic and nonprofit leaders, have worked hard to overcome these challenges. As they've counseled home-buyers and come up with innovative approaches to housing, the number of mortgage loans made in Detroit has been rising from almost none 10 years ago to more than 1,000 a year today. But clearly we still have a long way to go.

Earlier this year I wrote about Detroiter Jomica Miller, 43, a cashier working at 36th District Court. She had hoped to buy her parents' home after her father died but found it had been sold out from under them at the annual Wayne County tax foreclosure auction. She also found her past credit history presented a problem for lenders. She had student loans she was slowly paying off and a past bankruptcy on her record.

Jomica Miller stands in front of her house she recently purchased on Detroit's northwest side on Tuesday, March 12, 2019. (Ryan Garza, Detroit Free Press)

"I actually started my process in 2017," she said. "Nobody wanted to work with me because my credit was so bad. I didn't know where to start."

Through credit counseling and perseverance for more than a year, she eventually was able to buy a house in the Marygrove district on the city's northwest side with an FHA-backed mortgage. The house is one of four that were part of the Fitz Forward project that has gotten mortgages closed in the Fitzgerald neighborhood. Fitz Forward is the initiative led by Century Partners and The Platform to rehab houses in the district.

"I almost gave up, but I had some great people in my corner," she said. "Don't give up."

Grind it out

So if the problems are complex, so, too, are the solutions. A week ago Mayor Mike Duggan and other leaders announced a $10 million gift from the Ralph C. Wilson Jr. Foundation to the city’s Strategic Neighborhood Fund. The fund works in 10 specific neighborhoods on streetscape improvements, new and rehabbed housing, retail readiness and other improvements.

But if it sounded like a simple transfer of funds from the foundation to ready-to-go projects, it wasn’t. The money flows through Invest Detroit, a mission-based nonprofit lender that has worked overtime in recent years to generate new investment in the city’s neighborhoods. Speaking at the announcement, Dave Blaszkiewicz, president of Invest Detroit, noted that it took the coordinated efforts of multiple departments and agencies to make the work possible.

Without question, the complexity of the problems and the difficulty of coordinating solutions has held back Detroit’s efforts at recovery. But the good news — the really good news — is that Detroit in recent years has gotten so much better at working that magic.

Whether it’s city planners, the foundation staffs, bankers or neighborhood activists, more and more of these players have learned to reduce the barriers and make a complex system of investment work.

Try everything and keep trying

Does that system sometimes favor corporate interests to the detriment of ordinary Detroiters? Perhaps. Do we still sometimes see well-meaning efforts result in nothing much? Sure. Are there still problems that we have barely begun to touch? Certainly.

But the overall impact of Detroit’s recovery efforts — efforts by thousands of committed people working across a broad range of activities, from workforce training to urban farming to education and transit, these efforts have slowly inched Detroit forward. And the city is better for it.

There’s a saying that “nothing works but everything might.” It means that there is no silver-bullet solution to our problems. But if we work across a hundred different fields, making progress in each one, those efforts will add up to something greater than the sum of the parts. That’s the approach Detroit has taken and must continue to take.

There’s a story from the American Civil War that I like. A new regiment came up to the battlefront and its colonel asked the general commanding where they should go in. “Why, go in anywhere,” the general replied. “There is lovely fighting all along the line.”

And so in Detroit. If you want a to-do list to take away from this column, work on whatever holds your interest. We need progress on public safety and education, but we also need to work on transit and child care and vacant buildings and entrepreneurship and any of a hundred other fields. Take your pick, and get busy.

It’s a long and difficult task. But that shouldn’t faze a city with a gritty work ethic like Detroit's.

And so, onward

Detroit’s story is so varied, with so much conflicting evidence of progress or lack of it, that even today one can lean toward either optimism or despair. I choose hope. I believe with Dr. King that the arc of the moral universe is long but that it bends toward justice. And I hold with the message of Irish poet Seamus Heaney whose words about his homeland echo for me in Detroit:

History says, don't hope

On this side of the grave.

But then, once in a lifetime

The longed-for tidal wave

Of justice can rise up,

And hope and history rhyme.

So much work lies ahead of us. And in that task, I'll be there. Though I won’t be writing as a Free Press columnist, I will be writing about Detroit in other ways, and engaging in the life of this community in new ways yet to come. I’m looking forward to that.

See you around.

(John Gallagher is a native of New York City who joined the Free Press in 1987 to cover urban and economic development. He is a resident of the city for many years. He is the author of several books including "Reimagining Detroit: Opportunities for Redefining an American City" and "Yamasaki in Detroit: A Search for Serenity." He was a 2017 inductee into the Michigan Journalism Hall of Fame.)

https://www.freep.com/in-depth/money/business/john-gallagher/2019/12/19/reporter-john-gallagher-retires-detroit/2685362001/

***

The bio of Gallagher I mentioned in the intro is here; there are also links to a number of his more recent articles about the city and related issues.

#detroit michigan #john gallagher #urban reinvention #journalism

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eveninglottie · 4 years

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write what you want regardless of the genders. it's better to spit the story out and then go back and revise then get hung up on whether or not every interaction or plot point could be part of an 800 word call-out tweet-longer that briefly trends on fanfic twitter. everyone comes at fiction from their own distinct background. you could write the most 'pure' romance ever, regardless of the genders, and it could still inadvertently trigger someone or raise concerns. comfort can be misleading.

so I don’t want you to think I’m disagreeing with you here, because you’re right. people spend way too much time thinking out the possible doomsday scenarios of what they might do instead of just doing it to see what happens. I am one of those people, for sure, it’s stopped me from doing pretty much everything I’ve ever wanted to do my whole life, so we’re on the same page here with both the concept of not worrying about what other people will think and also how no one holds the magic gatekeeping key which dictates what is problematic or not. every person is different and some things will upset people in a way that doesn’t upset you. that’s just a given.

but I think that’s not really helpful when you’re trying to figure out your own motivations for doing something.

like, yes, is a lot of this affected by how I think other people will react to things I create? of course. everything i do will be affected by how I think other people will react. that’s just how my brain works, and it’s my job to keep growing more confident in myself to counteract that (because the older you get you really do give less of a fuck and boy it’s so nice!!) what I was trying to bring up in that post was my own reasons for feeling more comfortable writing one thing than another.

because I just think it’s fascinating and complicated and I’ve mentioned more than once to friends that it really just surprised me how freeing writing m/m has been vs m/f. it’s like my descent into sk was this moment of enlightenment when I realized “hey this is a hell of a lot easier to talk about when there are two boys involved!” like I realize that the majority of my writing the past two years has been on my own, and even though I can tell you’ve I’ve written well over 500k words and only posted maybe a fifth of that I can’t prove what I’m about to say so you’re just going to have to take my word for it, BUT I’ve included so much more discussion about sexuality and how characters express it and grow with it and figure out for themselves what they are. like it was never a thing I thought about a lot when I was writing my m/f fics (even tho all the women were still bi but that’s a whole other barrel of monkeys). it was never me sitting down and interrogating my choice for writing that pairing the way I did. I just did it. (I didn’t stop to consider the gender is what I mean, I thought about literally all the other things but gender and sexuality were not included in that) but now there’s a whole other sphere of characterization that I keep finding myself drawn to, and even without realizing it, it becomes a big part of how I write certain characters. (like deciding to write keith as demi while still being sexually and physically attracted to shiro has been really eye opening for me as someone on the asexual spectrum.)

because like, for example, I wrote a fem!bilbo fic, right? so clearly I was thinking about gender a bit, but most of that had to do with me having always reimagined that story (and lotr) with female protagonists. that’s what I did with a lot of childhood faves, actually, eragon, harry potter being two of the most prominent, and thinking about fem!bilbo and how that would change the story especially if she was in a relationship with thorin and the shire was maybe a bit more stifling for a woman, etc. - BUT that was one of those pairings that I’d never been drawn to when it was m/m. I couldn’t really get into it, and I was not a fan of the hobbit movies at all, honestly, and I tried, and it was only when I switched things around did that fic click for me, but I wonder a lot if I were to have come to hobbit fic later, after I’d gotten over my aversion to m/m (not in general, just me writing it, because reasons), would I have written it with bilbo as a boy? would I have been less likely to imagine bilbo as a woman? or was it a number of factors that led me to write that fic which really couldn’t have existed in any other incarnation, and would it have been a different fic entirely?

(the hp thing in particular is SO WEIRD to think about now because a lot of what I’ve been grappling with in my drarry fic is very male-centric? not like in a bad way, just thinking about the rivalry and bonds between boys and how boys look up to their male mentors and authority figures in very different ways than they do their female counterparts and also what does being interested in other boys do to one’s internalized and very misogynistic/homophobic ideas of Legacy and Family and Proper Gender Expression specifically when it comes to sex with other men like it’s Very Gendered in my head and it’s hard to separate that from what I used to be interested in which has expressed itself in other ways, specifically roslyn as chosen one in ascendant which I’ve said before was the result of a decade of rewriting those boy heroes as girls because I felt so connected to them and wanted girls to be every bit as important as boys, like I could draw a straight line from me writing bits and bobs of girl!harry as a fourteen year old and me writing roslyn in ascendant and wow I kind of want to punch myself in the face for how long I’ve rambled on about my own stuff but you know what no this is my tumblr and I get to obsessively and exhaustively talk about my own fictional worlds if I want to)

so it’s been a bit of a mindfuck trying to reconcile this shift in my own interests with the fact that I am a woman who identifies as largely asexual. and I think it’s important to sit down with yourself every once in a while and really look at the things you produce and do some self-examination. because I do wonder a lot if my comfort writing m/m now is because of this lack of pressure I normally feel when writing female characters or if it’s because I don’t have to interact with Me As Author so much when I write about boys because I am not a boy or if it’s because I feel a lot more comfortable identifying as queer when for the majority of my life I’d forced myself to be straight even though it didn’t feel right.

then there’s the whole conversation about women writing m/m and how a lot of queer men feel they’re being fetishized or that their stories are being appropriated by women, in the same way that white people writing stories about people of color can be appropriative, men writing about women, straights writing about lgbtq+, cis people writing about trans or genderqueer people, et cetera with literally any minority being written by someone not from that minority, right?

and I think it’s a bit reductive to say that it doesn’t matter. because it does matter. you’re right in saying that it matters to someone and I think the job of anyone who creates any kind of content is to think about that and be mindful that you don’t create in a vacuum. your art has power even if you don’t think it does, if you don’t want it to, and that’s something no one should take for granted.

now, I am not saying that certain people do not have the right to write certain stories. no one has the right to write anything, just as no one is forbidden from writing anything. and no one writing anything should be harassed for writing something that people perceive is out of their wheelhouse (because a lot of marginalizations are not visible! abuse, disability, sexual orientation, gender identity, whether you’re neurotypical or not! and there’s no requirement that you make public your trauma/identity to provide cred! in fact it’s kind of horrific that anyone thinks this!) it’s a complicated dynamic but the more we talk about these things the easier it is when a marginalized person says, “hey this thing you wrote is kind of bad,” the writer can go “oh man I’m sorry, let me think about it and see what I did wrong so I can do better in the future” OR “oh wow I see what you mean, but this is important to me” and the reader can go “I respect your right to write what you want and in the future I’ll do more to shield myself from this kind of content” instead of Cancelling someone because they didn’t effectively prostrate themselves before the ultimate judges of problematic content, a bunch of randos on the internet.

I guess what I’m trying to say is, yes, I agree with you that it’s not necessary to worry about this stuff, and that a lot of it is energy wasted especially when you’re worrying about theoretical responses from people who read your stuff, but that’s not helpful to me, because I think that’s disregarding the fact that we live in a society with weird power dynamics that are constantly shifting. I think it’s my job as someone who is mentally capable of dealing with this kind of self-examination to push back on some of these things when I can. because if I didn’t challenge myself every once in a while, I wouldn’t grow as a person or a writer and if there was one mantra I would live my life by besides the assertion that I would be blissfully happy if I downloaded my consciousness into a robot body, it would be that You Have To Be Okay With Critique and It’s Good When People Call You Out In A Safe Setting, like everyone is a dick and an asshole and a Bad Person and pretending you’re not is the most useless battle you could ever fight. we contain multitudes and some of those tudes are downright ugly.

quick sidebar: I would not have been able to have this kind of conversation with myself four years ago, and something I have not even talked about is how my shift toward more m/m content began at the same time as I was getting used to getting medical treatment for my grab bag of mental illnesses, like it’s pretty obvious that I got into sk right about the time I settled into my meds so what does That even mean?? so many THINGS to consider!!

idk. I know when I write stuff like this people think I’m beating myself up over it, but I’m really not. I just like talking about it sometimes and this tumblr is where all my neuroses go to live forever more in the annals of this blue hell until I chicken out and delete them the next day. I guess I know that when I read other people talking about things I’ve also been thinking about, it’s nice to hear. and as this is something that is still new to me, fandom in general is still bonkers to a part of my brain because I came into it as an adult, the whole conversation (if there even is a conversation because there might not be but there’s one going on in my brain) about women writing m/m is interesting complicated and something I think about a lot. clearly without any real focus or conclusions to be drawn, because I dropped out of college and never learned how to make my point in a concise and understandable manner.

anyway I hope you don’t read this as me arguing with you nonny, I just wanted to clarify what I mean in the original post

#oh boy this got very long #anonymous

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rebelsofshield · 4 years

Text

Panels Far, Far Away: A Week in Star Wars Comics 11/13-11/27/19

It’s certainly unfair for Lucasfilm to pick my first semester of grad school to start supplying us with more Star Wars content than at any other point in recorded history. Jerk move on their part. Anyways, as a result, here are three (!) weeks worth of Star Wars comics review in which: Marvel’s ongoing ends its seventy five issue run, Doctor Aphra gets her groove back, and Chewbacca knocks some heads. Hopefully I can be quicker about this in the future!

11/13/19

Star Wars #74 written by Greg Pak and art by Phil Noto

In its seventh chapter, “Rebels and Rogues” hurtles towards conclusion. The result may just be the strongest installment of an arc that has been chockfull of great ideas, but often struggled on just how to tell its sometimes overly scattered story. With the different teams now in open communication with one another and each fighting for their lives in desperate situations, writer Greg Pak’s take on the galaxy far, far away has never felt more a live and energetic.

We hop between narratives with surprising ease and elegance and the flow of the story is easy to follow, high energy, and positively fun. Han, Leia, and Dar Champion are flying for their lives in a defenseless ship against an Imperial star destroyer, Luke and Warba are in route to the planet’s rebels but with an Imperial patrol of Stormtroopers riding velociraptors right on their tale, and Threepio and Chewbacca are right in the center of a growing conflict between the rock people of K43 and Darth Vader himself.

Threepio’s arc here still remains the most fascinating stuff in “Rebels and Rogues.” For the first time in a long time, old goldenrod feels like he has an emotional story all his own and it culminates in a moment of self-sacrifice that capitalizes off all the themes of sentience and personhood that this surprisingly delightful subplot has been playing with since day one.

The promised Chewbacca/Darth Vader showdown on the cover doesn’t occur until the comics final pages but it sets up what should be a killer finale. Noto draws a suitably visceral encounter and no other panel in this creative team’s legacy will likely spark as much joy as Chewie spiking a boulder off of the Sith Lord’s ebony helmet.

Score: A-

Star Wars Jedi: Fallen Order: Dark Temple #4 written by Matthew Rosenberg and art by Paolo Villanelli

At the time of this writing, I’ve actually finished playing Star Wars Jedi: Fallen Order. The first single player Star Wars game in over a decade provides a very fun and rewarding experience that is populated with some truly outstanding characters. The game also shows that its tie-in comic, Dark Temple is surprisingly more consequential than one might have originally thought. Sure, Cere and Eno Cordova were known characters in the game from the start, but Dark Temple sees the two encountering numerous elements from Fallen Order for the first time.

Even outside the comic’s surprising consequence to the game it draws from, Dark Temple continues to be a very entertaining prequel era narrative. Even four issues in, writer Matthew Rosenberg is still providing us with new information and twists that upend our understanding of what exactly is going on. Cere and Cordova may have gotten involved in something bigger than they originally anticipated and there is more on the line than freedom for Fylar. Rosenberg has weaved a complex web and just what exactly lies within the titular temple is just as much a mystery now as when it started.

It also helps that this comic is arguably the best looking Star Wars comic on the stands now. Paolo Villanelli has always excelled at drawing dynamic and well choreographed action sequences and he truly shines here as the violent conflict between Flyar and the DAA corporation explodes into full blown war. Villanelli is great at creating a sense of motion and scale and these moments of larger conflict are filled to the brim with well designed characters and explosive energy. Colorist Arif Prianto makes the comic feel like it comes ablaze too with multicolored embers peppering each panel.

Between the surprisingly complex story and the killer art, Dark Temple has quickly evolved into one of the stronger tie-in comics that Star Wars has released in recent memory and a significant improvement on both creator’s previous works in the franchise. Its final issue may not stick the landing, but this is a comic that is well worth considering picking up.

Score: B+

Star Wars Target Vader #5 written by Robbie Thompson and art by Cris Bolson, Robert Di Salvo, and Marco Failla

So turns out the Hidden Hand isn’t the rebellion? I’m very lost at this point. The mysterious crime organization that has been at the center of Target Vader from its start has always been its biggest head scratcher. A last panel reveal at the end of the comic’s first issue heavily hinted that the Hidden Hand was actually just an organization used by the Alliance to work in the criminal underworld. Over the past few issues, we have been given to doubt this reading, until now, where this theory is thrown out the door. Turns out the Hidden Hand may have older and more mysterious origins, but now we are just as lost as ever.

It speaks to the overall aimlessness of Target Vader. Despite the violent thrills of last issue, this miniseries has still been a mostly confused and overly long affair. Beilert Valance is still a mostly dull protagonist and his quest to neutralize Vader feels even more muddled than ever before. Writer Robbie Thompson does some work to try to remedy this situation by giving us an issue that is split between retelling Valance’s past and maiming by the Imperial military and the present where he is now caught between the grip of the Empire and the Rebel Alliance. It creates an interesting scenario for our central anti-hero, but ultimately fails to reveal much enlightening about Valance as a person. We may know why he is a grumpy, angry loaner by this point, but it doesn’t make his relatively one-note behavior any more interesting.

It also doesn’t really help that we have three guest artists on board instead of Stefano Landini. Marco Failla’s pencils may do a good enough job of approximating Landini’s style, but as a whole the result is a bit jarring as the comic never establishes a clear visual consistency. Combined with the fact that we already lost Marc Laming after issue one, this just adds to the weirdly confused reading experience that Target Vader has maintained to this point.

We have seen this comic work. Last issue’s installment was a brutally realized explosion of violent chaos, but we only have one issue now to really bring it all together, and I’m worried that Target Vader may not be up to the task of making this long, strange voyage worth it.

Score: C+

11/20/19

Star Wars #75 written by Greg Pak and art by Phil Noto

All roads lead to K43. In its eighth and final chapter, “Rebels and Rogues” sees all our team members converge on the rocky moon for one climactic stand against Darth Vader and the Empire. In this extra sized finale, Greg Pak and Phil Noto try their best to pull the disparate threads of this arc together while also delivering a satisfying finale. The result proves fun, very strange, and ultimately forgettable. It ends with a summation of this run as a whole: filled with smart art and ideas, but lacking in standout storytelling beats to leave a lasting impression.

Some of the disappointment comes from the fact that much of this issue comes down to our various cast members beating up on Darth Vader. We open with the final blows of Chewbacca and Vader’s brawl which Noto clearly enjoyed bringing to life, but much of the rest of the issue resorts to the extended ensemble blasting away at him in various set pieces. It plays out like a miniature version of 2016’s Vader Down, but lacking in the edge and thrills of that original crossover.

There’s also some strange choices made with the rock people of K43 that don’t entirely gel with what came before. Part of what made these characters so refreshing throughout this story arc has been how Pak used their existence to challenge our characters’ concepts of sentience and to allow C-3PO to bond with another group of non organic life that is similarly overlooked. This fun play continues, but the conflict of it all is handwaved away in a manner that feels unusually flippant. Given the amount of effort put into finding a way around murdering this race, Pak introduces a last minute plot detail that makes it all feel unnecessary and that’s before the giant planet sized stone giant appears.

Yes, this comic gets very weird and it’s certainly fun, but it feels more than a little scattered and chaotic in a comic that already feels all over the place.

With that, we bid goodbye to this short but enjoyable era of Marvel’s Star Wars ongoing. While Empire Ascendant will presumably be the final issue of the main series, with it being rebooted for a new post Empire Strikes Back ongoing headed by Charles Soule and Jesus Saiz sometime in January, there is a sense of finality to this creative team’s last chapter aboard. Pak and Noto prove a fun bunch and had a great sense of playfulness and scope to this ongoing during its final days even if the execution wasn’t always immaculate. I’m glad to hear that Pak will be staying around to write the next volume of Darth Vader. He has some big shoes to fill, but if the heights of this comic are any indication, he is capable of the same spectacle and intrigue as past creators.

Score: B

11/27/19

Star Wars Adventures #28 written by John Barber and Michael Moreci and art by Derek Charm and Tony Fleecs

Chewbacca’s adventures with his porg sidekick, Terbus, are pretty much perfect fodder for an all-ages Star Wars comic. Given how strong Adventures’ visual storytelling has been since day one, having two protagonists who speak through grunts, squawks, and body language is right up this teams’ alley. Yes, it’s cutesy and yes it is a bit simple, but there is undeniable charm in the way Derek Charm draws us through the liberation of Kashyyyk. It may not be as visually inventive as last issue, but the way that Chewbacca hops through the forest and takes on First Order baddies is still illustrated with the same energy and personality.

There is a bit of tonal whiplash here though. While it’s hard not to be won over by Porg salutes and Wookiees knocking heads, there are moments where the enslavement of the Wookiee population is presented as an all too real possibility. The lighter, more playful execution of this issue may do a lot to make this subject matter more palatable for younger readers, but one wonders if this should have been the direction that the story went with at all.

Michael Moreci’s droid adventure is more tonally cohesive and certainly also a fun time, but it lacks the standout visuals and heart of the Chewbacca section. Last issue succeeded by pairing the under appreciated droids with another outcast that also was invisible to the First Order, but the events here are less concerned with character and theme and more so with the fun action of their plan. All the same, it’s still a decent read and sure to delight younger readers.

Score: B

Star Wars Doctor Aphra #39 written by Simon Spurrier and art by Caspar Wijngaard

With just one issue left before the end of their tenure, Simon Spurrier and Caspar Wijngaard are pulling out all the stops for the end of Doctor Aphra. After the misstep that was “Unspeakable Rebel Superweapon,” it has been nice to see Spurrier get back in the swing of things with “A Rogue’s End” as each issue improves upon the last. Wijngaard and colorist Lee Loughridge feel more in sync here than ever before and Spurrier twists the knife as Aphra digs herself further and further into a disaster of her own making.

While she was first introduced in Kieron Gillen’s run on the title, Magna Tolvan and her relationship with Aphra have been staples of Spurrier’s run since he first stepped into the title. Here as we hurtle towards the big finish, it seems only fitting that the tortured and complex romance between these two very different souls take center stage. “A Rogue’s End” isn’t afraid to really dig into what it is about these two broken and confused women that drives their attraction to one another and just how deadly and ill advised their love, if it can be called that, is. It’s antagonistic, violent, but ultimately brimming with the sort of affection and tension that makes a good Star Wars romance sing. There is one image in particular here that is beautifully realized by Wijngaard and Loughridge and may rival the two’s first kiss for the iconography of this pairing.

It’s not all two woman coming to terms with one another under extreme circumstances, Aphra is still full speed ahead on her own mission survival. We hurtle towards a series of decisions at the issue’s end that may just cross the line into Aphra’s biggest moral slippage to date. Spurrier seems poised to deliver final judgement on what kind of person our dear rogue archaeologist may be, but knowing her and this series, the final thematic resting point is anyone’s guess. It’s a good thing that Spurrier makes the whole thing so damn fun to read and Wijngaard creates such beautiful imagery.

Score: A-

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thenerdparty · 5 years

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Avengers: Endgame Film Review

Written by Shawn Eastridge Has it really been 11 years since the first Iron Man? The Dark Knight might have taken all the credit that year for revolutionizing the superhero genre, but Iron Man’s legacy has proved just as important. While other films in Phase One hobbled somewhere between decent and mediocre, Joss Whedon’s first Avengers exceeded any and all expectations. To this day, it stands as one of the greatest superhero films ever, and it paved the way for the remainder of Marvel’s Cinematic Universe.

Over the course of the past decade, the MCU has seen its fair share of highs (Anything directed by the Russos), lows (Thor movies not directed by Taika Waititi) and everything in between. But through it all, Marvel Studios has maintained a consistent level of quality, conjuring up box office numbers that made Warner Bros SO JEALOUS they ruined Superman in the attempt to catch up. (Hey, WB: I’m still available to help get you on the right track with the Man of Steel. Call me.)

But now, twenty-two movies later, it’s all come down to this. We’re in the Endgame now, the long-awaited BIG FINALE to Marvel’s Cinematic Universe.

Let’s be real, though - we all know this isn’t really the finale. The MCU will chug on and on forever. In fact, we’ve even got another Marvel movie right around the corner. (That would be July’s Spider-Man: Far From Home) And while that knowledge does dilute Endgame’s overall effectiveness - can anyone ever stay dead in the realm of comic books - it seems foolish to recognize Endgame as anything other than a monumental success.

Seriously, this ‘conclusion’ to the MCU’s recently dubbed ‘Infinity Saga’ satisfies on nearly every level, fulfilling arcs set up in prior films and providing proper send offs for characters we’ve come to know and love over the past decade. Instead of collapsing under the weight of its ongoing 22-film arc, the Russo Brothers, along with screenwriting duo Stephen McFeely and Christopher Markus, rise to the challenge and then some, wrapping things up with style, grace and a surprising amount of emotion. That is perhaps the most pleasant surprise: Endgame is genuinely touching in the way it thoughtfully concludes this ongoing story arc. You may find yourself dabbing the corners of your eyes more frequently than expected through the film’s brisk three-hour runtime.

This isn’t all to say that Endgame is without its fair share of flaws - and there are plenty that I’ll get into during the spoiler section of this review - but honestly, the nitpicks feel so minor when compared to all the things that work. Marvel Studios hasn’t just raised the bar for superhero filmmaking and ‘big finales’ in general. They’ve obliterated it.

There. That’s my non-spoiler reaction. MASSIVE SPOILERS await you ahead. So, do yourself a favor: if you haven’t seen Avengers: Endgame already, see it. Immediately. If you have any fondness for any of the films in this massive franchise, there’s no way you’ll be disappointed. Once you’re in the know, come back and check out the rest of this review.

Sound good? Okay. Let’s push forward.

. . . . .

Where Infinity War brought the comic book action early and often, Endgame’s opening moments are more meditative and somber. Our heroes have just faced a crushing loss. They’re still reeling from the devastation of Thanos’s infamous Finger-Snap Heard ‘round the Universe. Nothing will ever be the same.

After staging an effectively heart-wrenching opening scene, giving us a brief glimpse at Hawkeye’s family life before his wife and kids fade into ash, the Russos keep the mood low-key and mournful for the duration of the film’s first act. Then we get one of Endgame’s earliest and best twists: within the film’s first twenty minutes, the Avengers find Thanos and discover he’s destroyed the Infinity Stones to prevent anyone from undoing his monstrous deed. In an empty gesture, Thor chops off the purple dude’s head. It’s a brilliant way to kick things off, throwing the audience for a loop and suggesting an ‘anything goes’ vibe to keep us on the edge of our seats.

The story jumps ahead five years(!!) to find our heroes scattered and broken, attempting to mend together the pieces in a world still devastated by its new reality. I loved that the Russos let us wallow in our heroes’ misery for a bit. You really get a sense of the loss they’ve experienced, that the entire world has experienced. These scenes offer some wonderful character beats and conversations, something that has always elevated Marvel above the rest of the pack.

Scott Lang, a.k.a. Ant-Man, escapes the Quantum Realm (you saw Ant-Man and the Wasp, right?) to discover a significantly altered world. But he brings a message of hope with him: the duration of time he experienced in the Quantum Realm was only 5 hours, suggesting the potential for time travel. Maybe they can find a way to fix the devastation Thanos has wrought by traveling back in time?

P.S. Can I just take a moment to talk about how much I love Paul Rudd in this movie? Ant-Man has been on the periphery of the MCU’s big events and to see him take on such a big role in this movie was a huge thrill.

This glimmer of hope inspires the band to get back together and it’s genuinely surprising where some of them have ended up. Bruce Banner has finally made peace with his meaner, greener side, resulting in Professor Hulk, a version of the character that maintains Banner’s intelligence and personality. Thor never overcame his grief and has spent the past five years descending into drunken slobbery and gaining a significant amount of weight in the process. This provides one of the film’s best sight gags. Plus, it’s maintained throughout! Kudos to you, Russos!

And then we have Mr. Tony Stark himself, the key to figuring out how to make time travel work. But he’s moved on. He and Pepper have an adorable daughter. He has absolutely zero desire to lose what he has. Ultimately the realization that he can save the lives of countless billions - including one surrogate son Peter Parker - drives him to support the cause.

Endgame’s 2nd act centers around the newly reassembled Avengers time-traveling into the past to gather the Infinity Stones, bring them to their future and use them to ‘un-snap’ their fallen comrades. These sequences are fun and light on their feet. They’re especially effective in lieu of the grim opening scenes.

Here’s the thing, though: As much as I love this portion of the film and the way the time travel stuff is handled, I couldn’t help feeling there was a general lack of consequence to everything that happened during this sequence. Even when things skew from the team’s set plan, it doesn’t feel like a significant snag or an insurmountable obstacle. These moments are treated as minor annoyances before our heroes carry on with a new solution, nary breaking their strides or a sweat in the process.

It’s all fun in a Back to the Future Part II kind of way, but it’s treated more as an extended comedy bit than anything else, and to a certain extent, this robs Endgame of some level of suspense. Plus, it’s time travel. Once you throw time travel into the mix, all bets are off, and I couldn’t help shaking that feeling. After all, what’s to stop them from using this plot device again and again in the future, consequences be damned?

At the very least, the wackiness of the time travel sequence is balanced with some great character beats. I loved Thor’s tender moment with his mom. I loved Captain America vs. Captain America. I loved that Tony gets a sincere heart to heart with his dad, offering some much-needed closure. Robert Downey Jr. has never been anything less than wonderful in this role, but his performance in Endgame might take the cake. Honestly, everyone brings their A-game to the table and these moments ground the sequence, keeping it from getting too bonkers.

This sequence is also balanced with a genuinely tragic moment: Black Widow sacrifices herself to get the Soul Stone. I don’t know why this scene has been stirring up some people, because here’s the thing: this moment works perfectly. Natasha (Black Widow) and Clint (Hawkeye) travel to Vormir to obtain the Soul Stone. As established in Infinity War, the only way to obtain said stone is to sacrifice the thing you love most. Clint’s willing to take the plunge. He’s become a monster in the five years since his family’s disappearance (but an awesome, katana-wielding monster) and he doesn’t feel he deserves to see them again. Natasha knows this isn’t true and she’s willing to sacrifice herself to ensure Clint gets his happy ending. After all, he saved her all those years ago. It’s time to return the favor. It’s heartbreaking, but it feels right and Scarlett Johansson and Jeremy Renner sell every minute.

The plan is a success, but it's not without its snags. Past Thanos ends up getting involved when past Nebula tunes into future Nebula’s wifi and begins broadcasting everything future Nebula has seen, including the Avengers’ time travel plan. Thanos gets worked up into a tizzy and he and past Nebula devise a plan to get him into the Avengers’ future so he can ensure everyone snapped out of existence stays snapped out of existence. Also, why not wipe out everyone else in the process just for good measure? Because that’s what big, angry, purple maniacs do. Don’t question it.

Is it a bit weird that the Thanos the Avengers face isn’t the same Thanos so carefully fleshed out in Infinity War? Yeah, a little bit. To be honest, it makes things feel kind of impersonal. This Thanos feels more like the mysterious being teased in dozens of MCU post-credits sequence than the layered, thoughtful villain of the previous film. It’s a bit of a bummer, but it is what it is.

Ultimately, my biggest gripe with Endgame is the same gripe caused by Infinity War’s conclusion. We already knew the disintegrated heroes were going to come back for their obligatory sequels. Their arrival during Endgame’s epic battle to end all epic battles feels inevitable more than surprising.

And, look, let me be clear: Endgame’s climax is the ultimate superhero big battle you’ve been dreaming of since Nick Fury first name-dropped the ‘Avengers Initiative.’ I went nuts with the best of them when all our heroes returned from the abyss for this ultimate showdown, so understand my next criticism comes from a place of love. Once all the heroes show up, the stakes disappear. I didn’t have any doubt the Avengers would win. As a result, the climax is robbed of its suspense. It’s basically fan service to the nth degree, which again, I’d like to emphasize I was totally cool with. It just prevents the battle from conjuring up any emotional depth.

This isn’t The Return of the King. It's not the Battle of Hogwarts or the Death Star trench run or even the first Avengers' Battle for New York. It’s a big, flashy special effects extravaganza overflowing with crowd-pleasing beats, but lacking in genuine (here’s this word again) consequence. Again, I want to emphasize that I loved every second of it, but there’s a significant lack of loss during these scenes. Ultimately, Tony Stark sacrifices himself to save the universe and it’s absolutely BRILLIANT and heart-wrenching, but no one else seems in danger. Iron Man dies so that dozens of franchises can live on.

The remaining twenty minutes or so of Endgame are low key. We witness Tony’s emotional funeral, torches are passed (go, Sam Wilson, go!) and some unexpected-slash-exciting team-ups are teased (Fat Thor with the Guardians of the Galaxy? I am SO in.) But it’s during these quiet scenes that the Russos skillfully remind us what has always mattered the most: the characters. And I’m not going to lie, it’s difficult not to get choked up when Steve Rogers, a man who has sacrificed so much for the greater good, finally gets his happy ending, dancing the day away with the love of his life.

Big finales don’t get much more enjoyable or fulfilling than this. Marvel’s Cinematic Universe will go on and on and on. Inevitably, its quality will wane and fade, but we can rest easy knowing that the heroes that kicked everything off got the send-off they deserved. It might not be perfect, but it’s pretty damn great. Most importantly, it’s satisfying.

With the Infinity Saga, Marvel Studios has accomplished something extraordinary. They’ve touched countless millions across the globe without compromising the artistic quality of this multi-billion dollar franchise. We can rage on and on about Disney’s domination and how everything is just a corporate product and blah, blah, blah, but we’d be ignoring the fact that they got to where they are because they honored their source material and went out of their way to give the fans something special.

So to Kevin Feige and the entire team at Marvel Studios, cast, crew, writers, bean pushers, etc., I’d like to say thank you. You’ve earned every record-breaking penny. We love you 3000.

Now can someone please un-cancel Daredevil?? Come on!!

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pivitor · 5 years

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My Top 10 Favorite Albums of 2018

When it comes to music, ideas of "good" or "bad" or "best" are purely subjective. Frankly, it's ridiculous to suggest that any one person, or even any one group, has the authority to decide what the best albums of the year are, even if they did have the capacity to listen to every single release. But I love these kind of lists anyway because, at their best, they provide people the chance to gush about the music they loved in a year, the albums that challenged them, brought them joy, and helped reshape their lives. I don't necessarily think music should be ranked and judged, but it absolutely should be explored, examined, and shared.

The following is exactly that. These are my ten favorite albums of 2018, the ten albums I spent the most time with, got the most out of, and loved more than anything else released this year (that I had a chance to listen to, at least). If you've heard some of these albums before, I hope I can help you find something new to appreciate, or at least remind you why you liked them in the first place; if you haven't, then I hope you find a new song, band, or album here to love.

Let's get to it:

10. MXPX -- MXPX: There were a few really strong albums competing for this final slot, but MXPX took it through sheer consistency. Every single song on this album is just an incredibly solid block of pop-punk, bolstered by some fun, yet often unexpectedly mature, lyrics. Mike Herrera and the rest of MXPX look backwards and forward simultaneously, reminiscing about their childhood and long history as a band, but also sharing the lessons they've learned along the way; on album stand-out "Moments Like This," Herrera specifically confronts the legacy he's leaving his family, and it's surprisingly poignant. MXPX is a blueprint for how any pop-punk band can mature without losing that youthful spark that makes the genre so dang fun in the first place.

Highlights: Rolling Strong, The Way We Do, Moments Like This

9. Justin Courtney Pierre -- In The Drink: Two grueling years after the demise of Motion City Soundtrack (one of my Top Five favorite bands), former frontman Justin Courtney Pierre has returned with a solo album that manages to capture much of the spirit of MCS, but of course, with a more personal, intimate spin. Pierre still graces listeners with his intricate wordplay and earworm hooks, but also highlights some techniques and instruments that rarely took prominence in MCS (the bouncy bass in "Shoulder the Weight" is a personal favorite). In The Drink cuts right to the core of every song, especially in the exhilarating title track; the album is blistering, economical, and often ruthless, not just musically (only two songs clock in at over three minutes), but also lyrically, examining some surprisingly dark scenarios with the honesty and careful empathy fans have come to expect from Pierre. It's great to have him back (I still miss Jesse's MOOG, though).

Highlights: Anchor, Shoulder the Weight, In The Drink

8. Jeff Rosenstock -- Post-: The first album of 2018 (seriously -- Post- was a surprise release on 1/1/18) remained urgent, relevant, and relatable throughout the entire year -- that's not good for the world, but it's great for Post-. Jeff Rosenstock's social commentary is as sharp as ever, deftly mixing the political and the personal, especially in tracks like opener "USA," which dives head-first into the paranoia, apathy, and hypocrisy of modern American living. The frustration and hopelessness of trying to change a broken system coats this album like dew, but Rosenstock's approachable and energetic strain of punk make them seem manageable -- or at least bearable -- nonetheless, and closer "Let Them Win" provides much needed catharsis and hope; it's a rally cry for a better future. Post- wasn't necessarily the follow-up to Worry. that anyone expected, but it's certainly the one we needed, right when we needed it.

Highlights: Powerlessness, 9/10, Let Them Win

7. The Penske File -- Salvation: Out of all the albums on this list, Salvation by far was the biggest (and happiest) surprise. Having never heard of them before, I saw The Penske File open for (the irresistibly fun) PKEW PKEW PKEW back in October and was blown away by their harmonies, by Alex Standen's ability to balance drums and lead vocals at the same time, and most of all, by a song that dug its way into my head and wouldn't let go. That song turned out to be album stand-out "Spin My History" (easily one of my top favorite new songs of the year), and thankfully, all the best aspects of The Penske File's live show translated perfectly over to Salvation. The vocals are the perfect combination of intensity, melody, and harmony; the lyrics expertly capture and unpack moments in time; the music itself (especially when accompanied by harmonica, which pops up in a few songs) wonderfully reflects the mood of each song, be it the reckless abandon of "Lakeshore" or the aching nostalgia of "American Basements." Thanks to Salvation, I could easily see The Penske File following in the blue collar punk footsteps of bands like the Menzingers, and that's high praise indeed.

Highlights: Spin My History, Come What May, Blessed Unrest

6. Joyce Manor -- Million Dollars to Kill Me: Joyce Manor has never been a band content to make the same album twice, and Million Dollars to Kill Me not only continues the musical evolution that began on 2016's Cody, but manages to run an entire musical gamut in under 25 minutes. Million Dollars to Kill Me shows off Joyce Manor's impressive range, leaping from something approaching hardcore ("Up The Punks") to shoegaze ("Gone Tomorrow") to ballads ("I'm Not the One") to even doo wop ("Silly Games"); lead singer Barry Johnson likewise moves between the frenetic, frantic yowls of "Up The Punks" or "Big Lie" to the gentle, sing-songy joy of "Wildflowers," revealing new facets to his voice and thus finding new notes for Joyce Manor to hit. Underneath it all, though, lies some wonderfully classic emo, with Johnson channeling intelligent, introspective, and bittersweet lyrics into each and every track. Not every song on Million Dollars to Kill Me is going to work for every listener, but every single one of them is guaranteed to leave an impression.

Highlights: Big Lie, Million Dollars to Kill Me, Wildflowers

5. Bad Moves -- Tell No One: On first listen, it might be Tell No One's flawless harmonies that most catch your attention, or perhaps the bouncy, infectious melodies of its early tracks. Spend some time with it, though, and Tell No One has so much more to offer. Bad Moves makes some truly ambitious musical leaps here, especially on tracks like "Out of Reach," whose bridge and outro layers several different, contrasting harmonies over a darkly ominous riff; it's the musical equivalent of standing at the edge of a hurricane, and it's exhilarating. Ultimately, though, it may be Tell No One's lyrics that leave the greatest impression. Bad Moves creates anthems for those on the outskirts of society; Tell No One features songs about dealing with disappointing your family, forbidden romances, dark family secrets, growing up queer, facing police harassment, and the toll hiding parts of yourself can take on you, but also some uplifting tracks about using everything you've got to make life better for everyone around you. There's albums I liked more this year, but I don't think there's any lyrics that hit home for me harder than the ones on Tell No One.

Highlights: Spirit FM, Out of Reach, Missing You

4. The Get Up Kids -- Kicker: Kicker is the Get Up Kids record I've wanted for more than a decade now; it's a band recapturing lightning in a bottle. The first three tracks channel the pop-punk glory of the Red Letter Day/Something to Write Home About era without copying it wholesale (there's a rawness to the guitars and Matt Pryor's voice that was absent on those releases; it's very rock and roll), and the lyrics take that trademark Get Up Kids earnestness and update it for 2018, with Pryor and Jim Suptic tackling topics like regret, responsibility, and family with the same honesty and emotional intensity they once saved for tales of adolescent love and heartbreak. And then comes the closer, "My Own Reflection," which sounds like nothing the Get Up Kids have ever done before, a track driven by one of James Dewees' best synth-lines, some propulsive drums, and a striking, surprising bit of profanity. It's somehow upbeat and downbeat simultaneously, totally bittersweet, and thus emo in a nutshell, while also transcending so many of the genre's (and this band's) most common cliches; if these four songs are the future of the Get Up Kids, then it's a bright one indeed. The main reason Kicker isn't ranked higher on this list is because it's an EP rather than a full record (it's harder to keep this level of quality up for 12 tracks instead of 4), but let's not mince words: every single song on this EP is perfect.

Highlight: My Own Reflection

3. Save Face -- Merci: Merci would be ambitious even if it wasn't Save Face's debut release -- it's a concept album about addiction and the way it can destroy lives and relationships, accompanied by music videos for each and every track, linking together to form a visual novel of sorts. What's even more impressive than all that ambition, though, is the fact that it all works -- the overall concept forms a compelling narrative on its own, but should still resonate with anyone who's dealt with addiction or mental illness, with heartbreak and loss, with self-hatred or self-destructive habits. All those ideas are packaged within some truly explosive tunes -- Save Face's riffs are so big it's a wonder they can even be contained within the record, and singer Tyler Povanda's voice cracks with passion and mania, accompanied by some cathartic, soul-piercing screams, yet Povanda also has the range to capture the smaller, more nuanced emotions beneath all the outsized drama. The simple melodies reveal more and more layers the more you listen to them, creating a record I've returned to over and over, consistently, throughout 2018. Merci is almost as addictive as the substances its songs highlights, although in this case, that's a feature, not a bug.

Highlights: Bad, Plans, Love

2. Saves the Day -- 9: There's a line from their song "It's Such a Beautiful World" that sums up both Saves the Day and their newest album, 9, perfectly: "Let them say what they say/we're gonna play what we play." That instinct has proven polarizing at times, but as an absolute Saves the Day fanatic, I've always found it a joy and privilege to join the band as they follow their muse, and thankfully, 9 is no exception. 9 is an investigation and celebration of Saves the Day's history and legacy; some listeners have criticized this as being self-indulgent, but Saves the Day has always been a band that's channeled very specific scenarios into relatable and cathartic emotion, and at its best, 9 does just that, from the power and joy of friendship ("Side By Side") to nostalgia and the way our experiences help us change and grow ("Rendezvous"), all of it wrapped up in the power music has to bring people together (and if that last point's not something you can appreciate, then I'm not sure how you even found this list). Meanwhile, "Rosé'" provides a classic Saves the Day diss track that wouldn't feel that out of place on Stay What You Are, while the 22 minute "29" transforms frontman Chris Conley's entire life story into a sprawling epic that needs to be heard to believed. 9 also provides an opportunity for each and every member of the band to show off; lead guitarist Arun Bali continues to highlight his ability to shred in increasingly cool and unique ways, Rodrigo Palma sneaks fun bass flourishes into every song, absolutely taking charge of "1997," and Conley stretches his voice to unexpected heights, be it the yowls of "Side By Side" or the falsetto of "Saves the Day." Hell, they even kick 9 off by writing their own theme song. If you can't appreciate that, this probably isn't the album for you, but man, that is my exact kind of jam.

Highlights: Side By Side, Rosé, 29

1. The Wonder Years -- Sister Cities: I can't remember the last time I've seen an album become an essential part of a band's canon as fast as Sister Cities has, especially considering how far The Wonder Years are into their career at this point. Sister Cities is undeniably a Wonder Years album despite sounding almost nothing like what's come before, and in large part, that's due to Dan Campbell's sheer skill as a storyteller. The songs on Sister Cities pick up the ideas of compassion, connectivity, and home introduced on previous albums and take them global; Campbell discovers the similarities between his relationship and the relationship of a homeless couple despite all their differences, finds a lifeline from his overwhelming grief half a world away, and just overall finds power in exploring what holds us together as human beings rather than what splits us apart. Even the music videos tap hard into these ideas; last winter I wrote about how the video for "Sister Cities" finds power in connection, and its follow up, "Raining in Kyoto," expands upon this by cutting back and forth between life in Kyoto and Philadelphia, showing how, no matter where you go, people are just trying to live their lives the best they can. Lyrically, Campbell just keeps getting better and better, creating vivid metaphors and word pictures and finding perfect turns of phrases; he's straight-up the best in the biz at knowing just when and how to use profanity to the maximum effect (seriously, nobody else should be allowed to use the word "goddamn" in a song until they can do it even half as well as Campbell does in "Pyramids of Salt" or "Flowers Where Your Face Should Be"). Musically, Sister Cities takes big risks, and finds success, in going small more often than not, but reaches its greatest heights in closer "The Ocean Grew Hands To Hold Me," a song that just builds and builds until it reaches this epic swell of pure catharsis that just washes over you like the ocean. Honestly, Sister Cities is so emotional that it can sometimes be hard to listen to. That kind of power is that makes it my favorite album of 2018.

Highlights: Sister Cities, Flowers Where Your Face Should Be, The Ocean Grew Hands To Hold Me

#The Wonder Years #Joyce Manor #Jeff Rosenstock #Saves the Day #Saves Face #Bad Moves #MXPX #The Get Up Kids #Justin Courtney Pierre #The Penske File #Pivitor #music

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oneweekoneband · 6 years

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Today’s first guest post is by my friend and fellow The Singles Jukebox contributor Vikram Joseph.

Counting to 15, 20, 30… - Delayed Queer Adolescence and the Songs of Troye Sivan

- Vikram Joseph

On a humid early August evening a few weeks ago, in one of those converted warehouse bars endemic to inner north-east London, I was chatting over drinks with a guy I’d once dated and had last seen in 2014. There was a lot to catch up on, and the conversation ran unexpectedly, rewardingly deep. It became clear that, though we’re both well into our adult lives by any conventional measurement, we’d each changed and grown significantly in the intervening years in a way that films, books and the media seem to suggest happens in your late teens. The idea of delayed adolescence being a common trope for queer people came up, and I’ve been thinking about it a lot since then. Why do those formative years of growth and the exploration of self-identity seem to happen later for us? Is it a delayed phase of development, a prolonged phase, or both? And how is this reflected in the way we interact, the spaces we choose to spend time in, and the art we consume?

***

A recent viral tweet:

“Gay culture is your life being delayed by 10 years because you didn’t start being yourself until your mid-20s.”

At the time of writing, this tweet has 117,000 likes. Clearly, this is a phenomenon which touches nerves across the spectrum.

To the extent that we can “know” a pop singer through their songs, it seems like Troye Sivan – still just 23, and releasing his second album – has done his growing fairly early on. In just a few years, we’ve heard him go from singing about tentative gay crushes to the fully-realised queer euphoria of his newer songs. And yet, the concept of protracted, stuttering adolescence is crisply, poignantly refracted through his music, and I feel that a lot of his immense appeal to queer people far older than himself can be attributed to this.

***

HEAVEN “The truth runs wild, like kids on concrete.”

“Heaven” deals with the internal struggle for self-acceptance – by no means unique to LGBTQ+ people, but one that everyone who’s grown up on that spectrum will understand intimately, in the form of coming out to yourself. “Without losing a piece of me, how do I get to heaven?” Religion is a useful allegory here, but ultimately a distractor – the duality Sivan is really concerned with here is about happiness. For a lot of us, coming out for the first time feels like a crossroads, where we have to make a choice between one kind of happiness and another, and “Heaven” captures this (false, but very powerful) dichotomy beautifully.

Sivan’s first album, Blue Neighbourhood, hangs heavy with the imagery of suburbia. It’s rich, relatable visual and psychological territory, exemplified in decades’ worth of teen TV dramas and coming-of-age films. Many of us will recognise it as the backdrop to the fraught intensity of that long, tangled conversation with ourselves; the feeling of being on the brink of everything and the precipice of nothing, the intoxicating, paralysing combination of anticipation and dread. Sivan deals with this at 15; for me, I was 20, during university Christmas holidays, back in the dull hum of suburbia. Maybe there’s something about it that gives us the emotional space to plumb the depths of those brave new ideas. “Heaven” conjures this musically as well as lyrically, with a tense two-chord shuffle, close, muffled production, and Betty Who’s guest turn evoking a better angel from the future, reassuring us, beckoning us towards the light. If I’d heard it at 20, or earlier, it would have destroyed me; it might even have accelerated my own journey.

Sivan sings about “counting to 15”, the age at which he came out to his family. There’s something that invariably surprises straight people, when I’ve tried to explain it to them, but will come as no surprise at all to anyone else, and it is this: coming out never stops. Every new environment presents a decision to make and a challenge to face; and while it gets easier (and can often be an incredibly liberating experience), it’s never a formality. The subtler aspect to this is that there is no end-point to coming out to yourself, either. Accepting yourself as a gay person is just the beginning; there follows years and years of figuring out what that means. And I think this lies at the heart of delayed queer adolescence. These are questions of identity that are near-impossible to figure out alone, and many of us aren’t surrounded by other people with the same questions until much later – either due to geography, or opportunity, or not realising how badly we need to be, or maybe all of the above. And so “counting to 15” (or however old we are when we get there) is a countdown to the real start of our lives, rather than to any sort of conclusion.

***

TALK ME DOWN

“You know that I can’t trust myself with my 3 a.m. shadow.”

Queer mental health remains poorly understood and inadequately talked about, both in the mainstream press and in medical circles. Working as a doctor, I’ve witnessed the stigma towards LGBTQ+ patients from other medical professionals – rarely overtly hostile, but often casual, unthinking and pernicious. The mental health charity Mind believe that 42% of gay men, 70% of lesbians and 80% of transgender people experience mental illness; the statistics for gay men are almost certainly an underrepresentation, as men in general are less likely to report symptoms.

Early on in his powerful book “Straight Jacket: Overcoming Society’s Legacy of Gay Shame”, the journalist Matthew Todd runs through an harrowing litany of case studies of young gay people who have lost their lives to suicide, violence and addiction. He then explores the factors behind this, both intrinsic and extrinsic to the gay community, and hones in particularly on the near-universal gay experience of shame (in its many forms) during our formative childhood and adolescent years as a key determinant of depression, anxiety, poor body image, low self-worth, and harmful patterns of behaviour.

On the gorgeous, shimmering ballad “Talk Me Down”, Blue Neighbourhood’s emotional centre of gravity, Sivan sings (possibly from a friend or partner’s perspective) about dark thoughts, struggling for self-acceptance, and, implicitly, ideas of suicide. The accompanying video is high melodrama, but then, so is coming to terms with your sexuality. “I know I like to draw the line when it starts to get too real / but the less time that I spend with you, the less you need to heal” cuts to the heart of the conundrum most young gay people face – desire, and a need to be open and liberated, versus deeply-ingrained feelings of guilt, fear and shame. In his book, Todd argues that these are socially determined but can be overcome, but it’s hardly surprising that it takes a long time to get there – and hence, “normal” emotional development is a protracted experience.

***

YOUTH

“What if we’re speeding through red lights into paradise?”

It’s easy to forget that there are very few conventional pop songs on Blue Neighbourhood. “Youth” (and “Wild”) are probably the closest, but while it might be tempting to read “Youth” purely as a love song, I think its real core lies in escapism, another trope prevalent among (although, clearly, not unique to) young gay people. The imagery is wild and fantastical – “trippin’ on skies, sippin’ waterfalls” – and I distinctly remember writing similar (albeit much worse) songs at 15 or 16, cosmic love songs to no one in particular about things I knew nothing about.

Todd’s “Straight Jacket” has an interesting chapter on how he believes escapism informs archetypal LGBTQ+ tastes in pop, musicals, science fiction, horror and drag. I don’t always agree with the specifics, as I think we’re a broader church than he implies. But it’s hard to argue with the queer impulse for escape, particularly in our years of self-discovery, into spheres where our possibilities are limitless, our own selves freer and more confident, and our fears diminished. It’s maybe a symptom of that delayed development, of more years spent in limbo. When I listen to “Youth”, it gives me a clean hit of that feeling, particularly in the bridge, with “the lights start flashing like a photobooth” simulated by pulsing, strobe-light synths.

***

MY, MY, MY!

“Let’s stop running from love.”

Bloom, Sivan’s second album, finds him confident, assured and in love. It’s a big step, though not a quantum leap, from much of Blue Neighbourhood, and I’m interested in the in-between. “Running from love” perhaps gives a little away. It’s hard for us to know how to approach dating, love and sex. Certainly, queer people might feel unconfined by traditional heteronormative conventions or ideals, but equally many of us crave what our straight friends and families have. (It’s important to note that, of course, it’s not one or the other.) I think “running from love” speaks to a queer (and perhaps more universal) anxiety – after what feels like forever waiting for opportunities that feel tantalisingly out of reach, embracing a singular, tangible thing at the expense of all other potential things is terrifying.

Still, this is a dizzy, ecstatic, seductive love song. The expression “my, my, my” can seem trite in a pop song, but Sivan sells it as breathless disbelief. Some things are hard-earned.

***

ANIMAL

“No angels could beckon me back.”

And so we come full circle. The religious imagery is no coincidence; on Bloom’s stunning closer, the gorgeous, hazy reverie of “Animal”, we understand the heaven the Troye Sivan managed to reach.

It takes some of us a long time to get there, and the destination is different for all of us. I’m currently reading Michael Cunningham’s classic queer novel “A Home at the End of the World”, in which the character of Jonathan, at 27, tries to navigate the differences between the sort of settled, faintly bleak domesticity of the kind his parents have lived (“the fluorescent aisles of a supermarket at two in the afternoon”) and the often lonely, unfulfilling search for a different kind of home and family in the city (gay literature is fascinatingly fixated on homes and families, albeit often unconventional ones). It resonates with me. As queer people, the usual rules don’t have to apply – the expectations of one milestone and then the next, the pragmatic retreat back into suburbia at 30 – and that presents a different set of challenges.

I believe it’s a double-edged sword. Queer adolescence might be delayed because of our differences in the world, but equally, we are different because of that delayed development. It informs the way we experience life. Beautiful art is created because of those differences; hell, we might even be lucky enough to create some ourselves. And so, way beyond 15, most of us are still counting, still trying to understand, still discovering ourselves and each other, searching for logical families and people to grow with. No angels could beckon us back.

#troye sivan

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trendyclassicandvintage · 6 years

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McQueen and YSL: The Bold and the Brilliant

In honor of the recent release of the documentary McQueen about the notorious Lee Alexander McQueen, we discuss similarities between his work and that of Yves Saint Laurent, as well as the unique details utilized by each designer. Although both have left the world, their impact and influence will never be forgotten.

To begin, Yves Saint Laurent and Alexander McQueen both took tailoring, traditionally associated with menswear, and uniquely executed these techniques in items for a woman’s wardrobe. Saint Laurent’s “le smoking” was sexy for the idea of a woman putting on a man’s suit, and essentially perhaps wearing it better than him. Some examples of Saint Laurent’s tailoring, as noted by Pamela Golbin in Fashion Designers, feature feminine details. In the examples below, as noted by the Museum at the Fashion Institute of Technology, Saint Laurent made use of Alencon lace or a bold fuchsia colored fabrication, giving the look a more feminine feel . According to Who What Wear’s Nicole Kliest, Saint Laurent’s decision to introduce a suit for the female body was bold considering that, “In 1966... the perception of women wearing pants was considered off-kilter and inappropriate….” According to Robin Givhan, in the book Battle of Versailles, at a time when him and others challenged ideas of the conventional women’s wardrobe, France was still enforcing a law banning pants from being adorned by women. Over the years the brand consistently experiments with more adaptations of this look, making it a hallmark of the brand, as established in the Fashion Designer Directory by Marnie Fogg.

Saint Laurent, Yves. Suit. 1982, France, Medium: black satin, black silk faille, black wool, and ivory silk crepe. The Museum at FIT- Fashion Institute of Technology, New York, The Museum at FIT Collections, The Museum at the Fashion Institute of Technology.

Saint Laurent, Yves. Suit (alternative skirt). 1982, France, Medium: black satin, black silk faille, black wool, and ivory silk crepe. The Museum at FIT- Fashion Institute of Technology, New York, The Museum at FIT Collections, The Museum at the Fashion Institute of Technology.

Saint Laurent, Yves. Suit. Fall 1990, France, Medium: Alencon lace and black wool, The Museum at FIT- Fashion Institute of Technology, New York, The Museum at FIT Collections, The Museum at the Fashion Institute of Technology.

Saint Laurent, Yves for Yves Saint Laurent Rive Gauche. Suit. Fall 1988, France, Medium: Red, Black, and Fuchsia Satin, The Museum at FIT- Fashion Institute of Technology, New York, The Museum at FIT Collections, The Museum at the Fashion Institute of Technology.

Like Saint Laurent, in the examples of McQueen, a few decades later, his silhouettes and design details make one forget that these techniques are usually ones that are associated with formal menswear attire. McQueen’s suits and tailored looks feature a distinctly feminine, at times corseted, hourglass silhouettes and historical references, as detailed and exemplified in The Berg Companion to Fashion, McQueen of Scots and The Legacy of Alexander McQueen. Like Saint Laurent, his ideas utilized aspects from men’s attire, as exemplified in this bodice example, from the Autumn/Winter 1999 collection he designed for Givenchy (See video below at about 9 minutes and 34 seconds on the time clock). As exemplified and described in The Legacy of Alexander McQueen and as described by the Metropolitan Museum of Art’s description accompanying the Bronze cuirass (body armor), garments with features such as a sculpted bodice, seen here (at 9 mins and 34 secs), are reminiscent of ancient armor from the Greek and Roman cultures, demonstrating his experimentation with the female form.

Unknown Artist. Bronze cuirass (body armor), 4th Century B.C. (Classical Period/ Greece), Metropolitan Museum of Art, New York, Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/256134, Accessed 31 July, 2018.

While the bodice highlights the female form, its similarity to the cuirass leads to the garment having the ability of giving a woman a powerful appearance, full of strength and capability. The bodice also can bring to mind imagery of portrayals of Wonder Woman from the past and present. In the example below, from the Museum at FIT, McQueen created a tailored dress, reminiscent of a suit jacket, for Givenchy, featuring a subtle hourglass shape, round shoulders, golden embroidered detailing, and unique combined collar and lapel.

McQueen, Alexander for Givenchy. Evening Dress. Fall 1997, France, Medium: Silk satin, metallic embroidery, and black wool, The Museum at FIT- Fashion Institute of Technology, New York, The Museum at FIT Collections, The Museum at the Fashion Institute of Technology.

McQueen, Alexander. Dress, Spring 2010, England, Medium: Chiffon and Silk satin that is printed utilizing numerous colors, The Museum at FIT- Fashion Institute of Technology, New York, The Museum at FIT Collections, The Museum at the Fashion Institute of Technology.

Both designers were also not afraid to push through the limitations implemented by what was considered respectable “taste” at that time. Saint Laurent and McQueen were not afraid to explore aspects and expressions of one’s sexuality, as exemplified and detailed in McQueen of Scots, The Legacy of Alexander McQueen, and Fashion Designers. Showing scandalous amounts of skin was part of both of their repertoires. McQueen’s ‘“Bumster”’ pants were one element of his more daring looks, as observed in the video “ALEXANDER MCQUEEN MADE MODELS DO WHAT?!? (Top 10 McQueen Shows to Know Part 1),” by Haute Le Mode, which hung scandalously low on the body. Sheer blouses and bodices of dresses by Saint Laurent, seen in his 1968-1969 Autumn/Winter Collection, pictured in the book Fashion Designers by Pamela Golbin, were similarly shocking. Saint Laurent’s comfortability with explorations of sexuality, is evident in the drawings he drew during his teens, as observed in The Drawings of Yves Saint Laurent.

However, these designers not only dared to display skin, they also were bold in other regards. In McQueen’s work, he went beyond the visual experience of clothing, and added further meaning to his designs. As established by McQueen, in the upcoming documentary of the same name, his shows were designed to trigger emotions and really get one thinking about their meanings. McQueen once stated, as featured in the trailer for McQueen, “I don’t want to do the show feeling like you’ve just had Sunday brunch. I want you to feel repulsed or exhilarated.” He work may have implemented a lot of shock tactics, like the ones seen in his ‘“Highland Rape”’ collection, but they were never merely disruptive, as detailed and observed in McQueen of Scots and The Legacy of Alexander McQueen. Even his most condemned shows, had broader messages that were relayed with the help of these methods.

In Yves Saint Laurent’s work, he dared to reference the attire from a difficult time in France’s history, when the country was occupied by Nazis, as the stimulus for his ‘“Libération”’ collection, as detailed by Laura Bonnet for Paris Vogue. The collection pushed the boundaries of political correctness and appropriateness. Ultimately, neither of these designers were afraid to take on challenging and controversial subjects. Like McQueen, Saint Laurent expressed similar motivations for incorporating shocking elements in his work. According to Bonnet, Saint Laurent once stated, “What do I want to do? Shock people and force them to think.”

McQueen and Saint Laurent are cemented in fashion history, because they dared to be unconventional. The risks that they took in their works ultimately led to them being memorable. However, underneath bold actions lay another key to their success….skill. As detailed in The Berg Companion To Fashion, by Caroline Evans, McQueen studied tailoring at Savile Row. Saint Laurent perfected his skill set by studying haute couture and worked alongside the greats such as Christian Dior. as established by Golbin in The Berg Companion To Fashion. Saint Laurent started penning down design ideas from a very early age, not waiting for adulthood to embark on his desired career path, as established in The Drawings of Yves Saint Laurent. McQueen was highly attentive to history and his ancestry, as detailed in McQueen of Scots and The Legacy of Alexander McQueen, which impacted his work, giving it rich layers keeping it from being merely aesthetics. Though both designers have passed, their work will forever maintain significance in fashion’s storied history.

Works Consulted and For More Information:

“ALEXANDER MCQUEEN MADE MODELS DO WHAT?!? (Top 10 McQueen Shows to Know Part 1), YouTube, uploaded by Haute Le Mode, 18 July, 2018, https://www.youtube.com/watch?v=MMAqcOBEIGM&t=237s, Accessed 31 July, 2018.

“Alexander McQueen: Savage Beauty-Gallery Views 2011.” YouTube, uploaded by The Met, 10 May 2011, https://www.youtube.com/watch?v=Pg0HwLAJyV0, Accessed 31 July, 2018.

“Alexander McQueen Savage Beauty.” YouTube, uploaded by Victoria and Albert Museum, 30 Sept. 2015. https://www.youtube.com/watch?v=_bZcwpgrJ-k&t=490s, Accessed 31 July, 2018.

“Inside Alexander McQueen: Savage Beauty- British Vogue.” YouTube, Uploaded by British Vogue, 12 Mar. 2015, https://www.youtube.com/watch?v=Q8TzBItATow, Accessed 31 July, 2018.

“MCQUEEN - Official Trailer,” YouTube, Uploaded by Bleecker Street, 31 May, 2018, https://www.youtube.com/watch?v=4OjX3ZbsfbU, Accessed 31 July, 2018.

“McQueen Givenchy A/W 1999- Pret-a-Porter,” YouTube, uploaded by Scroobily (From the Fashion Channel), 10 Aug. 2017, https://www.youtube.com/watch?v=KSvnBTd4Ki8&t=76s , Accessed 31 July, 2018.

“Evolution of the WONDER WOMAN Suit,” YouTube, uploaded by Flashback FilmMaking, 19 Jun. 2018, https://www.youtube.com/watch?v=5kciGT_Atp4. Accessed 31 July, 2018.

“Superheroes of Fashion- New York Post,” YouTube, uploaded by New York Post, 5 May, 2018, https://www.youtube.com/watch?v=rnYmhGZIzdg , Accessed 31 July, 2018.

Bonnet, Laura. “Yves Saint Laurent’s scandalous 1971 collection comes to the Fondation Pierre Bergé.” Translated by Lowri Evans, Paris Vogue, Condé Nast., 4 Feb. 2015, https://en.vogue.fr/fashion/fashion-news/diaporama/yves-saint-laurents-scandalous-1971-collection-comes-to-the-fondation-pierre-berg/18928, Accessed 31 July, 2018.

Fogg, Marnie. Fashion Design Directory. New York: Firefly Books: 2011. Print. (*This book has a foreword by Jonathan Saunders, but it was not used for my research purposes for this post).

Givhan, Robin. Battle of Versailles. New York: Flatiron Books, 2015. Print.

Golbin, Pamela. Fashion Designers. New York: Watson-Guptill, 2001. Print.

Kliest, Nicole. “5 Facts You Never Knew About YSL’s Le Smoking Suit.” Who What Wear, Clique Brands Inc., 24 Nov. 2015.https://www.whowhatwear.com/yves-saint-laurent-le-smoking-suit, Accessed 23 July, 2018.

Price Alford, Holly and Anne Stegemeyer. Who’s Who in Fashion. 6th ed., Fairchild Books/ Bloomsbury: 2014. Print.

Golbin, Pamela, “Saint Laurent, Yves.” The Berg Companion To Fashion, edited by Valerie Steele, Berg, 2010, 607-611.

Evans, Caroline, “McQueen, Alexander.” The Berg Companion To Fashion, edited by Valerie Steele, Berg, 2010, 505-507.

Biography.com Editors, “Yves Saint Laurent Biography.” Biography, A&E Television Networks, 2 Apr. 2014. https://www.biography.com/people/yves-saint-laurent-9469669, Accessed 23 July, 2018.

Met Museum Editors, “Bronze cuirass (body armor).” The Metropolitan Museum of Art, n.d. https://www.metmuseum.org/art/collection/search/256134. Accessed 23, July 2018.

The Legacy of Alexander McQueen. Made to Measure (M2M.tv), uploaded by Made to Measure (M2M), n.d., https://m2m.tv/watch/the-legacy-of-alexander-mcqueen/films, Accessed 23, July 2018. (Prod. Bangumi and Deralf/ Dir. Loic Prigent/ ARTE G.E.I.E./ 2015).

William Moulton Marston and Stanley Ralph Ross, creators. Wonder Woman. Bruce Lansbury Productions, Douglas S. Cramer Company, and Warner Bros, 1975-1979.

Wonder Woman. Directed by Patty Jenkins, Performances by Gal Gadot and Chris Pine, Warners Bros., 2017.

**McQueen of Scots. Directed by Tony Kearney, performances by Cathy Macdonald, Tony Kearney, and Janet McQueen, Janson Media, 2014.

**The Drawings of Yves Saint Laurent. Directed by Lȍic Prigent, performances by Yves Saint Laurent and Pierre Bergé, Janson Media and Bangumi Deralf, 2017.

**Watch with Amazon Prime

McQueen, Alexander. Dress, Spring 2010, The Museum at FIT- Fashion Institute of Technology, New York, The Museum at FIT Collections, The Museum at the Fashion Institute of Technology. http://fashionmuseum.fitnyc.edu/view/objects/asitem/People$00401096/2?t:state:flow=7f994da0-d736-41fe-ab6a-061748cc1a26, Accessed 31 July, 2018.

The Museum at FIT- Fashion Institute of Technology in New York, New York, “ Dress” by Alexander McQueen, Spring 2010, England, Medium: Chiffon and Silk satin that is printed utilizing numerous colors. http://fashionmuseum.fitnyc.edu/view/objects/asitem/People$00401096/2?t:state:flow=7f994da0-d736-41fe-ab6a-061748cc1a26

McQueen, Alexander for Givenchy. Evening Dress. Fall 1997, The Museum at FIT- Fashion Institute of Technology, New York, The Museum at FIT Collections, The Museum at the Fashion Institute of Technology, http://fashionmuseum.fitnyc.edu/view/objects/asitem/search$0040/0/dynasty-desc?t:state:flow=e4451def-a8dc-474e-a12f-0d8872d05059, Accessed 23 July, 2018.

The Museum at FIT- Fashion Institute of Technology in New York, New York, “Evening Dress” by Alexander McQueen for Givenchy, Fall 1997, France, Medium: Silk satin, metallic embroidery, and black wool. http://fashionmuseum.fitnyc.edu/view/objects/asitem/search$0040/0/dynasty-desc?t:state:flow=e4451def-a8dc-474e-a12f-0d8872d05059

Saint Laurent, Yves. Suit. 1982. The Museum at FIT- Fashion Institute of Technology, New York, The Museum at FIT Collections, The Museum at the Fashion Institute of Technology, http://fashionmuseum.fitnyc.edu/view/objects/asitem/search$0040/2/dynasty-desc?t:state:flow=15b4c232-5528-4ba0-935b-629d6c0a2b12

The Museum at FIT- Fashion Institute of Technology in New York, New York, “Suit” by Yves Saint Laurent, 1982, France, Medium: black satin, black silk faille, black wool, and ivory silk crepe. http://fashionmuseum.fitnyc.edu/view/objects/asitem/search$0040/2/dynasty-desc?t:state:flow=15b4c232-5528-4ba0-935b-629d6c0a2b12

Saint Laurent, Yves. Suit (alternative skirt). 1982. The Museum at FIT- Fashion Institute of Technology, New York, The Museum at FIT Collections, The Museum at the Fashion Institute of Technology, http://fashionmuseum.fitnyc.edu/view/objects/asitem/search$0040/2/dynasty-desc?t:state:flow=15b4c232-5528-4ba0-935b-629d6c0a2b12

The Museum at FIT- Fashion Institute of Technology in New York, New York, “Suit (alternative skirt)” by Yves Saint Laurent, 1982, France, Medium: black satin, black silk faille, black wool, and ivory silk crepe. http://fashionmuseum.fitnyc.edu/view/objects/asitem/search$0040/2/dynasty-desc?t:state:flow=15b4c232-5528-4ba0-935b-629d6c0a2b12

http://fashionmuseum.fitnyc.edu/media/view/Objects/4272/41676?t:state:flow=0ee3380f-b76d-4983-a9e3-ce14e182b6e4

Saint Laurent, Yves for Yves Saint Laurent Rive Gauche. Suit. Fall 1988, The Museum at FIT- Fashion Institute of Technology, New York, The Museum at FIT Collections, The Museum at the Fashion Institute of Technology, http://fashionmuseum.fitnyc.edu/view/objects/asitem/search$0040/6/dynasty-desc?t:state:flow=5d6f1e84-c5f6-49e6-807a-e156df5476ff

The Museum at FIT- Fashion Institute of Technology in New York, New York, “Suit” by Yves Saint Laurent for Yves Saint Laurent Rive Gauche, Fall 1988, France, Medium: Red, Black, and Fuchsia Satin. http://fashionmuseum.fitnyc.edu/view/objects/asitem/search$0040/6/dynasty-desc?t:state:flow=5d6f1e84-c5f6-49e6-807a-e156df5476ff

Saint Laurent, Yves. Suit. Fall 1990. The Museum at FIT- Fashion Institute of Technology, New York, The Museum at FIT Collections, The Museum at the Fashion Institute of Technology, http://fashionmuseum.fitnyc.edu/view/objects/asitem/search$0040/7/dynasty-desc?t:state:flow=806a75b1-9335-41a9-9a40-f96daa0e2754

The Museum at FIT- Fashion Institute of Technology in New York, New York, “Suit” by Yves Saint Laurent, Fall 1990, France, Medium: Alencon lace and black wool. http://fashionmuseum.fitnyc.edu/view/objects/asitem/search$0040/7/dynasty-desc?t:state:flow=806a75b1-9335-41a9-9a40-f96daa0e2754

#ysl #yves saint laurent #alexander mcqueen #mcqueendocumentary #museumatfit #metmuseum #@museumatfit #@metmuseum #@alexandermcqueen #@ysl

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smudgeypudge · 6 years

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You are such a strong wonderful mother, even if you don’t feel it most days, you ARE. I’ve been following since your son was born, and I’m just in awe of you sometimes. You write so eloquently and with so much beautiful raw emotion. I loved reading your posts, but I respect your decision to quit writing them. So much love and light to you and yours ❤️

Thank you. I wasn’t sure if anyone was even reading them, or whether anyone was benefiting from them, or whether I was even gaining anything from it emotionally. I love my children, but I didn’t sign up to become the parent of a disabled child. I’m a person who had sex, got pregnant, and unwittingly became the parent of a disabled child. This situation doesn’t elevate me to sainthood, even though many people *wish* that all parents of the disabled could be modern day saints. It’s been a painful and challenging experience, and there was a steep learning curve, but in some ways it is getting a little easier. Maybe I’m becoming more resigned to our fates? I think the thing I’ve learned the most is how isolating and embattled it can feel to be the parent of a disabled child. There’s a great deal of misunderstanding and judgement involved from people who haven’t traveled that path themselves. Recently I took my son to a surgeon who is the father of a physically disabled child, and he told me there were so many times doctors told him his daughter wouldn’t be able to do certain things, but as parents, we can never accept lowered standards for our children based on clinical pessimism. So, think, even a surgeon, when in the parental role, has experienced the dark side of the medical profession when it comes to the treatment of his child. The worse the disability, the more pessimistic the clinicians become, and the worse their treatment plans become. At the end of the day, they go home with paychecks, and we go home with the results of their treatment plans, good or bad. The past (almost) three years have only been an affirmation to me that parents should always have the final say on the treatment plan for their children. The majority of parents care deeply for their children, and the majority of doctors have made serious medical errors at least a few times in their careers, some of them life-ending. To hand the power over to a more socially advantaged group simply because they hold more social power is just… whatever. Power structures shift, but we never seem to really get rid of them. Bottom line is, no one will ever have more invested in your child than you do. No one will ever care for your child more than you do. So no matter how beaten down you get, no matter how backed up against a wall, you always have to have the will buried somewhere in yourself to stand back up and put your battle armor on, because your child is yours, and most of the people who pass through your life ultimately don’t care what happens to either of you, whether you live or die, thrive or fail, it’s like the life cycle of flowers to them, and they observe it with a head-shake or a shrug. A parent and child are the continuation of a long familial story, and that is why we can never give up on our stories without turning our backs on the thousands of ancestors before us who have been adding to the story, decade after decade, through acts of sacrifice and love. Even if your mother abandoned you at birth, at the very least she still risked life and limb to bring you into this world, so we ultimately never can separate ourselves from the legacy of altruism and compassion that is woven into our DNA, and that is our strength. No matter how faulty my son’s genes are, or mine, or how feeble I feel sometimes, I remind myself that we still have that.

#personal

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