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#photographer: jennie sullivan

jennisullivanphotographer · 5 months

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Website: https://www.jennisullivanphotographer.com

Address: Essex, United Kingdom

Jenni Sullivan Photographer, based in Essex, UK, offers over 25 years of professional experience in capturing life's precious moments. Specializing in wedding photography, Jenni provides bespoke packages tailored to each couple's unique needs and budget. With a passion for creating art through candid shots and a commitment to capturing the beauty of every bride, Jenni ensures a memorable and stress-free experience for your special day.

Instagram: https://www.instagram.com/Jennisullivanphotography/

Linkedin: https://www.linkedin.com/in/jennimcfaull/

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castle-dominion · 1 year

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c4x14 the blue butterfly THIS EPISODE IS SO GOOD I WAS SO HAPPY THE FIRST TIME I WATCHED IT & I WATCHED THE AUDIO COMMENTARY & NOW I GET TO LIVEBLOG IT IDK IF I'LL BE ABLE TO GET THROUGH THE EPISODE TODAY BC IT IS THAT GOOD I WILL HAVE TO PAUSE IT AFTER EVERY LINE I SWEAR

Starting off sexy af, love the music love the costuming (even tho 40s colours were not ideal) love the singing love TJ/LP/BS love everything about this ugh I am dying & I have played maybe five seconds of the episode Ugh the way they talk mmmm I remember when I first watched casablanca & then it was ages until I had the chance to see double indemnity (which actually takes place 10y before this but shush) & heck the way we start off in the middle with castle/JF doing the investigation mmmmjsfhkjhdsjfs it's just sooo good so good so good. "I'm lookin at her" hhhh their eyes meet across the bar aaaaah this is so good.

You know before they flashed forward I thought this might have just been an AU.

Love this fellow's outfit she's so new york. Is ship coming in a figure of speech? We've heard it before. Does it just mean they are coming into money or getting something good like a job promotion? JE: Well, if you can remember anything else, can you please give me a call? SRO manager: Don’t hold your breath, hot shot. *walks out* KR: I think she likes you.

Banks: [we last spoke] Two months ago, which is crazy, ‘cause there was a time we couldn’t go two hours without talking. Glad s2 rysposito aren't here bc espt would make fun of ryan for calling jenny sm. Maybe he was an entomologist. Yo stan owes someone A Lot of money

KR: Just a bunch of books about mobsters and Manhattan in the ‘40s. Castle should read them. he'd probs enjoy them & he's a speedreader too. Ooh the diary! RC: Uh, this diary in Stan’s stuff, it’s also from the ‘40s. It sounds like it belonged to a private eye. Listen to this. “Usually wives turn on the waterworks when shown pictures of their husbands stepping out, but not this dame. She wanted payback. So what’s worse, that I pitched woo with a client, or that I invoiced her for services rendered after?” espt sounds so good when he uses the term "right on" I like it RC: Um, Beckett? Can I take this home for the night? I mean, it might be the key to what Stan was looking for. KB: You just want to read it because you think it’s cool. RC: Yeah, well, that, too. KB: Okay, just so long as…you… [Castle is already walking off with it.] KB: Bring it back in the morning.

Mmm music, old diaries, this is so good. I love the transition bc I could hardly tell what with the VO & the bourbon. Joe Flynn/Rick Castle: So, I figured I’d kill two birds with one stone with a little hair of the dog that bit me. What does that mean?

Oh Martha/Florence Kennard I love! Ugh the outfit the coat the accents & vernacular mmm! The way the characters have a bit of their counterparts in them is so good. Kennard is just enough like martha & susan sullivan can play her so well

How did you know it would change your life? When are you writing this diary? Is it the evening after today or is it days later or what? After the case entirely? Picture of map of manhattan in the 40s. Oh that accent is... something. Gosh alexis is a baby how is she a married woman? hhhhh I can't say everything I love abt it "my shingle" Was her name really vera mulqueen? Was sally's maiden name sally mulqueen? *dabs her eyes* $15 in 1940 is worth $325.85 today or at the time, what 2012? $245.99 in 2012. That much a day plus expenses, hoo that's a lot Ugh the costumes, the acting, the preproduction... JF/RC: Looking at that photograph, all I could think was… Me: Hot dang? JF/RC: what a beautiful doll.

Ugh the scenes of the city jjghhjkfhghg

I KNOW THAT GUY HE IS MR SCOFFIELD I THINK, FORSHADOWING OMG Satchmo Besty Sinclair <3 ugh she sings so well. & I love this music & I love dancing but I do better with big band music I think. I would loooove to dance there. Shrapnel in my hip? From ww2? Well I love how we get to learn about So Much of the character but it is only mentioned in passing. He is such a big character but we only get these little pieces of him & it was just one mention of shrapnel but it tells us a lot about his character. She's pretty af! & you can see dempsey there in the background. gorillas lmao is that what you called your henchmen back then? You got it boss. RC/JF (V.O.): What was I thinking? This dame was trouble on two legs. I kept telling myself to look away. [A tough-looking man steps up next to Beckett/Vera.] RC/JF (V.O.): She was with Tom Dempsey, for crying out loud – the most ruthless mob boss New York has ever given birth to. [Beckett/Vera kisses Dempsey on the cheek.] Ooh his outfit! RC/JF (V.O.): Dempsey sent over two of his gorillas – an Irishman and a Cuban on loan from some Havana mob family. You can loan henchworkers? [Ryan/irishman and Esposito/cuban tough-walk over to Castle at the bar.] Esposito looks almost normal but ryan looks way out there. KR/Moxie: The boss wants to see you, boy-o. Ooh that accent tho. (my canadian ass first thought "newfie" lol but they say bo'y not bowy or they even say b'y) RC/JF: Sorry, boys. My dance card’s full. JE/Cuban: This isn’t a request, compadre. *shows his gun* That accent too They get to have fun & play other characters. But the characters are not too far off. Their ties too btw, wowie

& the music! Audio mirroring! RC/JF: The waiter? I’ll take a whiskey. The boys here can share a sloe gin fizz. LMAO Great fight scene! Going to clip that for sure! Words cannot describe how I feel about this. (noo not the kitchen! ugh the way he picks him up) & ngl that booty as he throws him into the alley? Nice.

RC, probably not what JF actually said: You should see what my face did to the other guy’s fist. Vera/KB is wearing the fur over her neck entirely. Covering up the goods. Que passando? I speak french not spanish but is that "what's going on?" like "what has passed?" Doesn't put the tapped R before the D, yeah lol. Ah finally revelas the necklace!

Woah that was kind of jarring to jump back to present day but heck yeah! RC: The Blue Butterfly. It’s a necklace. That’s why Stan Banks was killed. Why am I narrating? Because you were just imagining this guy's day while reading his narration & bc it's what hot girls do. u never talk to yourself? ig it is different from narrating...

OMG WHAT A SEXY INTRO THERE

Ok so what I know from acting is from the moment you hit the set you need to use your accent, you cannot just slip it on & off easy so filming the ryan parts & the henchone parts must have been, well, something. Gosh I can't believe we only get one audio commentary of this ep. I want more, more I say! Also I like ryan's patterned red tie & red vest but that striped shirt? The only reason it's ok is bc he is mostly covering it with the vest. It has red stripes. He has a lot of buttons on the sleeves of his jacket. American flag lapel pin today. With smth else ig. Ooh blue diamonds. I miss when blue diamonds were sexy & white diamonds were just there. RC: *passes his papers to ryan* KR: *shows it to Beckett as if castle didn't already hold em up for her to see*

RC: Turns out the Blue Butterfly disappeared sometime in the ‘40s, and rumor has it, it’s hidden somewhere in The Pennybaker Club. If he found it…a million dollar-necklace? Talk about motive for murder. By the way, Ryan, say “boy-o.” [meaning he really was imagining these people in these positions] KR: *looks up from the papers castle gave him* Boy-o. RC: “Boy-ohhh.” KR: Boy-o. RC: “Boy-o.” KR: Boy-o. RC, accented: “Boy-o.” KR: Boy—O. ??? *looks to beckett* [they go back to talking about the case & rick doesn't get nazi gold but SS officer diamonds which is the same thing. Cursed necklaces? stealing stuff from nazis? mob bosses? this is right up castle's alley.] KB: Okay, Ryan, you see if you can get a hold of the bookie. Castle and I will go back to the crime scene. KR: Okay. RC: Boy-o' KR: Boy-o RC: Boy-o' KR: Boy-O RC: Like a leprechaun. KR, with an angry "ew" face: Castle! RC: Sorry.

RC: Can you blame the guy? I mean, she was gorgeous. Castle how do you know? You are reading it not seeing it. You are imagining beckett there. I was too caught up in the story to think about the "animosity back home" they kept saying Castle is so right. Minor hidden safe, very hidden secret safe. I love how castle insists on telling the story to get to the part abt the safe. RC: Well, people didn’t waste time back in the ‘40s

Oh gosh look at her dress... lmao the transition

KB: Did you just say, “Kate”? Are you picturing the P.I. as you, and me as the gangster’s moll? RC: What? No. And I didn’t say “Kate”. I said “Fate”. “Fate’s heart quickened.” I was being poetic. (chuckles nervously) God. Anyway, as I was saying, they were just about to kiss when… Why not just read from the diary & say the PI was being poetic? Maybe she would read it & call him out tho. Or ig he was reciting from memory

Oh I love the collar on Esposito/Cuban Henchone rn! Raises his fists like that lol & then Besty/Lanie saves the day & gosh that is a good kiss. "mixed laundry" XP Betsie/Lanie almost sounds normal lol

Two Brunos? Interesting word. Well they are not here right now actually so...??? So you became the girl of a mob boss to wear his jewelry? That's it? That's the reason?

KB & me: WHAT DO YOU MEAN THAT'S IT? I'M NOT ONLY INTERESTED IN THE SAFE I'M ALSO INTERESTED IN THE STORY. btw I like her coat with that red scarf it's v pretty. KB: Well, why would you tell a story when you don’t know the ending? RC: If you wanted a beginning and a middle and an end, I have 27 novels you can choose from. XD

Ray Horton: Stan? And who— who killed him? KR: JE: RH: Me? Why would I kill my business partner? 10g for a diary?

RC: So, I traced the diary. Stan did his research. He purchased it from the granddaughter of Joe’s old secretary, a woman by the name of Ruth Huntsacker. Ah that's where the diary came from KB: Look, Castle, I admit that Joe and Vera’s story is fun and romantic, but whatever happened back in 1947 has nothing to do with who murdered Stan. RC: Uh… (chuckles) I’m not so sure about that. Our bookie alibied out. But ballistics came in, and we got a match. The .38 caliber revolver that killed Stan was used in an unsolved double homicide…in 1947. WOAH NOW THIS IS GOOD. This is so so sexy. Ok so vera mulqueen is her name so sally scoville probably made that mistake when meeting joe flynn on purpose.

RC: Murdered. That’s too bad. I really thought those two crazy kids were gonna make it. KB: Yeah, not exactly the ending I was hoping for. RC: I didn’t even know ballistics went back that far. Me, who watches murdoch mysteries: Oh ho ho! The man also invented blood types & fingerprints & tape & silly putty & (he didn't actually invent any of this he's a fictional character) KB: You know what? I bet you Dempsey caught the two of them trying to run away together, and he killed them. But how does Stan’s killer get Dempsey’s gun sixty years later? KR: Unless Dempsey killed Stan. He’d be, what, like 90 years old? But it’s still possible. RC: Couldn’t have been Dempsey. He died of a heart attack four months after Joe and Vera were killed. KR: Ah. RC: Still…we should dig up that 1947 police report. There could be something in there about the gun that could shed some light on Stan’s murder. KR, resigned: All right. I’ll go to the warehouse and I’ll pull up the old case files. RC: Oh, wai- oh, uh…I want to go. KR: ? *looks to becks* KB: *shrugs* KR: Uh…okay. RC: Can I drive? KR: I don’t care. RC: OwO!!! Espt always make ryan take passenger & beckett never lets castle drive so this is fun. But is it a police car or a personal one? bc castle is probs not allowed to drive if it is a police car.

Belasco is pretty for an old guy. Watercrafter lookin dude.

Someone else accessed your police files? Nice location u got here. Different place to film in. RC: Damn it, Joe. You old sap. Dizzy with a dame and got yourself cooked. KR: So, Mr Bogart, what exactly are we looking for here?

CB: Of course not. When I asked to see the alleged diary, he refused, and yet, he wanted access to all my research on The Pennybaker Club. I mean, really, the whole thing was absurd. Yeah that is kind of rude...

Esposito's hair is... interesting. Short but long enough that he brushes it & parts it.

KR: It feels like we’re looking for a needle in a haystack, except for, we can’t find the haystack. RC: Who needs a haystack when the needle is right here? Wait I just realized-- where did they get that previous photo of tom dempsey?? Wait nvm it was in castle's internet search along with the initial photo of the blue butterfly

Love the transitions "Hatchet men" lol Doyle, my nova scotian uncle has that last name. Lots of scottish & irish immigrants there obv. It's like newfoundland but less intense. Then PEI is like nova scotia #2. RC/JF: So every clover-loving Irishman worth his salt will be huddled around a radio tonight, cheering good ol’ Jimmy on. You’re gonna wait till a rousing part of the fight. Then you’re gonna excuse yourself. Whoever’s assigned to be watching you surely won’t be paying much attention. That’s when you slip right out the back door, where I’ll be waiting for you. that's way too easy. No way theyre going to let that happen But hey they are both so good looking. JF/RC: Look at me. I’m a new man. I’m a better man. I haven’t even had a drink since I met Vera, Girl it's been like a week. Then again for someone who consistently drank himself to sleep in his office, maybe this is a miracle. What if she doesn't have a sister HA I WAS RIGHT

KR, with his cheek in his hand, listening: What happens next? [btw I like his wedding ring, it's rly pretty. & also I love seeing it, he is In Love.] RC: I don’t know. That’s the end of the statement. KR: But if Sally wasn’t Vera’s sister, then who was she? [I love how castle is getting everyone invested in this story] RC: Sally set up the P.I. It’s a classic film noir twist. KR: But whhhy? RC: I don’t know. :D KR: What was Sally up to? [Ryan he only knows as much as you do! He may be a writer but you are a detective] RC: I don’t know. :D KR: Do you think she was connected to Dempsey? *takes the file* RC: I don’t know, :D but isn’t this great? KR: KR: *double take from castle to the file to castle*

YESS THE ADVENT OF WEST SIDE WALLY At least espt excuses himself before taking the call. That's the polite thing to do. Becks sharing the file with some other detective there. the little things make the show

Man has a wedding ring... WOAH TOM DEMPSEY Nice outfit! the makeup team possibly could have done a bit more to make him look related to tom dempsey not genetically identical to him imo but whatever that's just me Wait no maybe they did do enough about it I think. it's good.

So how do you know his real name was stan? Pillar in the community...? Oh guest book at betsy's funeral, that's how he figured it out. TD: No, I did not—I did not shoot him. Stan—Wait. Stan did find it? KB: Come on. You tell us. TD: I don’t know. I was not there! "was not" rather than "wasn't" I like it

Ok espt what are you wearing? Today you are wearing a dress shirt & a tie which is nice (if different from your frequent pyjama look) but grey on grey with THOSE greys does not work bud.

Ah good grammar <3 Jerry Maddox was the old bartender??? (But ik how this goes, why would he sign his name that way in the guest book?) JE: Good job, Castle. RC, like a puppy: Yeah? JE: .. Yeah.

The med guy calls him jerry too. I see. Aw she offers homemade soup <3 Beautiful blue eyes on this man, love the old music too. JM: but I was just a bartender back then What did you become later then?

Ooh interesting, he says: Of course. It was a big deal back then. Dempsey, the fella that owned the club, shot them in cold blood. So confirming the story But then when rick asks: The same year, do you remember a woman named Sally Scofield? She was a redhead. In 1947, she would’ve been about 18. JM looks really confused like he doesn't know her. Which would make sense for Jerry Maddox, but he looks overly confused bc he is JF trying not to reveal that he, well, you know.

Gina? Ooh different person narrating! Except... not really a different person narrating ; ) Drops the pretty girl for a new, younger, pretty girl. Ew. Then again she was there bc she wanted to wear his bling RC: & Sally? JM: Couple months after, uh, Vera and that P.I. got whacked, Dempsey died of a heart attack. RC: (yea I asked abt sally bro) JM: The evening of his funeral, in walks Sally, all dressed up. Ordered a whiskey neat, slammed it back, gave me a big ol’ crocodile grin, said she was free. Then she strutted on out the door, and that’s the last time I ever saw her. Interesting claim... it's a revenge story. It would be SO good from the other point of view, you're in the hold of a mobster & then he dumps your mom for the younger prettier thing & mum kills herself with pills bc this pretty girl wanted bling & your mob daddy wanted a pretty girl so you kill the pretty girl & probably kill the mobster too? That would be good except we know it didn't happen like that & it ends up a tragedy. RC: Somehow she used the P.I. to do it. JM: >:(

KR, pink shirt no tie, cute af as usual: So…West Side Wally. May I call you Wally? WSW: I prefer West Side. I LOVE HIM SM WSW: Whoa. Cagney and Lacey, [XD] you can stop right there. I wasn’t living in the club two days ago. I had already gotten bought out by the other guy. [but u leave your sleeping bag & stuff?] KR: Bought out? JE: By the other guy? yeah babes that's what he said. I love west side, he's great.

No he cannot do his show from prison b'y Oh & again he looks good he has nice style too. Bull whip. That's cool ig. lol so dramatic holding his hand as he says stan was holding the necklace Sure bestie.

Wasn't it so that she could kill vera or smth but dempsey did it for her so she ended up faking his heart attack instead & she killed the one who stole her mother's spot & the man who dumped her mom? Except wait why would maddox only see her in 1946? Maybe that's when he started idk. Do you trust what a man has to say abt shoes? Also there are many pairs of shoes, they could have both had those shoes... except then you said she'd be wearing heels. RC: Beckett, I just realizes something. KB: ? RC: "I Can't Give You Anything But Love." KB: ???? Ouh louis armstrong Satchmo! But listen maybe he played this club many times & that's why they BOTH fell in love with his music.

the fear on their faces when they get called by their old names <3 so good (sad)

He really really sounds like Castle's Joe Flynn when he says: Lady, you got it all wrong. WHOA THE MED AIDE? Huntsacker? His mom sold the diary. Her gramma was mrs kennard. He's back here after all this time. yk that's a good point. He is gently being a spy but then some other guy bullies them lol. But for how long were these two pretending to be the bartender? Frankie Benjamin Huntsacker the aide called him jerry earlier when the detectives came to talk.

"Bushwhack" lol

GASP THE BLUE BUTTERFLY Ugh the MUSIC tho! *casually touches it with his hands* How much of it was paste? Apparently the one they actually made was made of blue sapphires & they auctioned it off for charity. There are plenty of minerals that you can use in place of diamonds. Moissanite & white sapphires are both subs for diamonds. I'm sure blue sapphires can replace blue diamonds, except blue diamonds are typically not as coloured as a good quality blue sapphire.

Joe you said that any irishman worth his salt would be around the radio, not the cuban & mob boss too. I can't believe dempsey let her go but ig he was focussing on the fight. Hoo that leg The ice? Oh the bling, the diamonds Oof she just killed lenny! Yeah Sally was totally a victim! That's sooo cool they just ran away & burned the bodies & UGH THAT'S SO GOOD I'VE BEEN WANTING TO LEARN HOW TO LIGHT A MATCH ON MY THUMB FOR YEARS They probably lied tbh... You know, didn't want to get caught for a murder they did so many years ago, they did not struggle for the gun & have it accidentally go. Girl it is not up to YOU to decide. Tho I do like your decision. JF: We don't know how to thank you RC: I do Ok but here's the thing, how would they get by without the money they were going to get from this thing? Also hold on didn't this guy have a fake? The writer believes it was always a fake, castle believes it was switched out back in the 20s, Jerry & Viola (Joe & Vera) seem to think that they hid the BB but Frankie got his hands on a fake... idk I KNEW the brick would be a thing! Oh the music <3 RC/JF: Let the bastard spend the rest of his life not knowing his prized possession is right under his nose. Love <3 <3 <3 woah that dog! Tell them it was fake or tell them someone found it? The way he pulls her in like that <3 ALWAYS <3 <3 <3 How did they make it without the money from the BB tho? That's why they concocted this plan in the first place Weird ending but So Good I love it! ugh too good! Brilliant!

I am going to transcribe the audio commentary I swear.

this episode is one of my faves & I know I say that abt a lot but DANG this one was golden! So freaking good! So Freaking Good!

#castle 4x14 #the 40s episode #castle 4x14 spoilers #castle 4x14 quote

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sciencespies · 4 years

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How Denim Became a Political Symbol of the 1960s

https://sciencespies.com/history/how-denim-became-a-political-symbol-of-the-1960s/

How Denim Became a Political Symbol of the 1960s

In the spring of 1965, demonstrators in Camden, Alabama, took to the streets in a series of marches to demand voting rights. Among the demonstrators were “seven or eight out-of-state ministers,” United Press International reported, adding that they wore the “blue denim ‘uniform’ of the civil rights movement over their clerical collars.”

Though most people today don’t associate blue denim with the struggle for black freedom, it played a significant role in the movement. For one thing, the historian Tanisha C. Ford has observed, “The realities of activism,” which could include hours of canvassing in rural areas, made it impractical to organize in one’s “Sunday best.” But denim was also symbolic. Whether in trouser form, overalls or skirts, it not only recalled the work clothes worn by African Americans during slavery and as sharecroppers, but also suggested solidarity with contemporary blue-collar workers and even equality between the sexes, since men and women alike could wear it.

To see how civil rights activists adopted denim, consider the photograph of Martin Luther King Jr. and Ralph Abernathy marching to protest segregation in Birmingham, Alabama, in 1963. Notably, they are wearing jeans. In America and beyond, people would embrace jeans to make defiant statements of their own.

The Rev. Drs. Ralph Abernathy and Martin Luther King Jr. in Birmingham, Alabama, en route to a protest on April 12, 1963.

(Charles Moore / Getty Images)

Scholars trace denim’s roots to 16th-century Nîmes, in the South of France, and Genoa, in northwestern Italy. Many historians suspect that the word “denim” derives from serge de Nîmes, referring to the tough fabric French mills were producing, and that “jeans” comes from the French word for Genoa (Gênes). In the United States, slaveowners in the 19th century clothed enslaved fieldworkers in these hardy fabrics; in the West, miners and other laborers started wearing jeans after a Nevada tailor named Jacob Davis created pants using duck cloth—a denimlike canvas material—purchased from the San Francisco businessman Levi Strauss. Davis produced some 200 pairs over the next 18 months—some in duck cloth, some in denim—and in 1873, the government granted a patent to Davis and Levi Strauss & Co. for the copper-riveted pants, which they sold in both blue denim and brown duck cloth. By the 1890s, Levi Strauss & Co. had established its most enduring style of pants: Levi’s 501 jeans.

Real-life cowboys wore denim, as did actors who played them, and after World War II denim leapt out of the sagebrush and into the big city, as immortalized in the 1953 film The Wild One. Marlon Brando plays Johnny Strabler, the leader of a troublemaking motorcycle gang, and wears blue jeans along with a black leather jacket and black leather boots. “Hey Johnny, what are you rebelling against?” someone asks. His reply: “Whaddaya got?”

In the 1960s, denim came to symbolize a different kind of rebelliousness. Black activists donned jeans and overalls to show that racial caste and black poverty were problems worth addressing. “It took Martin Luther King Jr.’s March on Washington to make [jeans] popular,” writes the art historian Caroline A. Jones. “It was here that civil rights activists were photographed wearing the poor sharecropper’s blue denim overalls to dramatize how little had been accomplished since Reconstruction.” White civil rights advocates followed. As the fashion writer Zoey Washington observes: “Youth activists, specifically members of the Student Nonviolent Coordinating Committee, used denim as an equalizer between the sexes and an identifier between social classes.”

But denim has never belonged to just one political persuasion. When the country music star Merle Haggard criticized hippies in his conservative anthem “Okie From Muskogee,” you bet he was often wearing denim. President Ronald Reagan was frequently photographed in denim during visits to his California ranch—the very picture of rugged individualism.

And blue jeans would have to rank high on the list of U.S. cultural exports. In November 1978, Levi Strauss & Co. began selling the first large-scale shipments of jeans behind the Iron Curtain, where the previously hard-to-obtain trousers were markers of status and liberation; East Berliners eagerly lined up to snag them. After the fall of the Berlin Wall, when Levis and other American jean brands became widely available in the USSR, many Soviets were gleeful. “A man hasn’t very much happy minutes in his life, but every happy moment remains in his memory for a long time,” a Moscow teacher named Larisa Popik wrote to Levi Strauss & Co. in 1991. “The buying of Levi’s 501 jeans is one of such moments in my life. I’m 24, but while wearing your jeans I feel myself like a 15-year-old schoolgirl.”

Back in the States, jeans kept pushing the limits. In the early 1990s, TLC, one of the best-selling girl groups of all time, barged into the boys’ club of hip-hop and R&B wearing oversized jeans. These “three little cute girls dressed like boys,” in the words of Rozonda “Chilli” Thomas, one of the group’s members, inspired women across the country to mimic the group’s style.

Curiously, jeans have continued to make waves in Eastern Europe. In the run-up to the 2006 presidential elections in Belarus, activists marched to protest what they characterized as a sham vote in support of an autocratic government. After police seized the opposition’s flags at a pre-election rally, one protester tied a denim shirt to a stick, creating a makeshift flag and giving rise to the movement’s eventual name: the “Jeans Revolution.”

The youth organization Zubr urged followers: “Come out in the streets of your cities and towns in jeans! Let’s show that we are many!” The movement didn’t topple the government, but it illustrated that this everyday garment can still be revolutionary.

Why the dye that would put the blue in jeans was banned when it reached the West —Ted Scheinman

Fabrics soaked with indigo dye in Dali, Yunnan Province, China. “No color has been prized so highly or for so long,” Catherine E. McKinley writes.

(Alamy)

It might seem odd to outlaw a pigment, but that’s what European monarchs did in a strangely zealous campaign against indigo. The ancient blue dye, extracted in an elaborate process from the leaves of the bushy legume Indigofera tinctoria, was first shipped to Europe from India and Java in the 16th century.

To many Europeans, using the dye seemed unpleasant. “The fermenting process yielded a putrid stench not unlike that of a decaying body,” James Sullivan notes in his book Jeans. Unlike other dyes, indigo turns cloth vivid blue only after the dyed fabric has been in contact with air for several minutes, a mysterious delay that some found unsettling.

Plus, indigo represented a threat to European textile merchants who had heavily invested in woad, a homegrown source of blue dye. They played on anxieties about the import in a “deliberate smear campaign,” Jenny Balfour-Paul writes in her history of indigo. Weavers were told it would damage their cloth. A Dutch superstition held that any man who touched the plant would become impotent.

Governments got the message. Germany banned “the devil’s dye” (Teufelsfarbe) for more than 100 years beginning in 1577, while England banned it from 1581 to 1660. In France in 1598, King Henry IV favored woad producers by banning the import of indigo, and in 1609 decreed that anyone using the dye would be executed.

Still, the dye’s resistance to running and fading couldn’t be denied, and by the 18th century it was all the rage in Europe. It would be overtaken by synthetic indigo, developed by the German chemist Johann Friedrich Wilhelm Adolf von Baeyer—a discovery so far-reaching it was awarded a Nobel Prize in 1905.

#History

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blueberry-hedonist · 6 years

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Model: Jenny O Sullivan Photographer: Nicola Grimshaw Mitchell

#redhair #red lips #redhead #red hair #ruvia #rothaarig #ginger #green eyes #flowers #roses #beautiful #woman #jenny o'sullivan #nicola grimshaw

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dannystylez1 · 3 years

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#Repost @the.louscious • • • • • • New York, New York Welcoming 2021 like this ✨ A sneak preview for the upcoming JANUARY ISSUE of LOUSCIOUS HOMME - Kiss The Stars ✨ Photographer: Jason Mickle @jasonmicklephoto Featured Designer: Michael Sui @panda7inc Model: Matthew Sinnaeve @matthewsinnaeve Stylist: Danny Williams @dannystylez1 Hair: Madison Sullivan @madisonsullivanhair Makeup: Jenni Shaw for WLGYL makeup @jennishawmakeup #louscioushomme #mensfashionteam #fashionmagazine (at New York, New York) https://www.instagram.com/p/CJeAqUAMVIu/?igshid=1klw031hhqhcb

#repost #louscioushomme #mensfashionteam #fashionmagazine

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tvdas · 4 years

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“Meeting the Beatles in India” has filmmaker Paul Saltzman recounting the week he spent hanging with the Beatles under the tutelage of Maharishi Mahesh Yogi during their famous sojourn to the ashram in 1968. Saltzman has a tale to tell in having been nearly the only non-entourage member along for the enlightenment alongside the Beatles during that legendary spiritual/media event. By virtue of the camera in his backpack, he also ended up being a house photographer, though he forgot about the wealth of stills in his basement for several decades, maybe offering proof that there’s such a thing as too much meditation.

It’s all good reason enough for Saltzman to turn the camera on himself and a few choice expert witnesses here, even if none of the anecdotes or insights are especially profound. As a documentarian, he’s not so interested in exploring the cultural ripple effect of the Beatles’ mid-’60s mysticism as he is in offering recollections of what cool ommm-buds-men the Beatles were, all in the service of drawing us into what’s ultimately a good-natured advert for transcendental meditation.

Morgan Freeman is the ostensible narrator, but the real bulk of the voiceover (and eventual on-camera presence) belongs to Saltzman, a former Canadian broadcaster who genially speaks in slow, measured tones. In 1968, he was a broken-hearted kid who heard an inner voice telling him not to sweat the material world, so he went to India, and ended up being just about the only student on hand for the Maharishi’s instruction, outside of the Apple corps. His convert’s enthusiasm and lack of Beatles worship soon made him a welcome guest at the Beatles’ table, and the recipient of a private sitar concert by George, and a photo-snapping witness as John and Paul sat on a porch in their white outfits and worked out the chorus of “Ob-la-di, Ob-la-da,” which had no other words at the time.

Saltzman has conversations with a few guest stars, including another TM evangelist, David Lynch, who served as an executive producer and is mostly on hand to preach the joys of inner peace in a way completely unbefitting one of the great horror directors of all time. The foremost record-keeper of Beatles history, Mark Lewisohn, accompanies Saltzman on a nostalgic trip back to India. There will probably be no moment of greater bemused interest to hardcore Beatles fans (and befuddlement to everyone else) than the exchange in which Saltzman says he was told the group members wrote 42 songs during their time in India and Lewisohn gently affirms it was really only 30. The filmmaker meets up again with a fellow traveler from the ’68 trip, Pattie Boyd, Harrison’s ex-wife, who is particularly delighted when he tells her he’s tracked down the real “Bungalow Bill,” Richard Cooke III, who was there with his mother, Nancy Cooke de Herrera, a publicist for Maharishi at the time. Maharishi had assigned Nancy to look after the Beatles during the course. The real-life hunter, who ticked off Lennon by bragging about just having killed a tiger — thus inspiring one of the more acidic songs on the White Album, declares that he never picked up a gun again after that trip and subsequently became a conservationist.

Little tidbits like that keep interest going, and who doesn’t want to be reminded that Lennon had a way with one-liners, or that Harrison and McCartney could be mensches? (Ringo Starr doesn’t come up for discussion much, and if you either hoped or feared that fellow ashram attendant and major TM advocate Mike Love would be reminisced about, rest assured he is not.) When it comes to exploring the real benefits of TM, the talk gets vague, as discussions of mysticism will.

The Maharishi is portrayed only in a positive light, although there’s a passing reference to the nasty song Lennon wrote about him immediately after the sojourn, “Sexy Sadie,” before Saltzman fleetingly addresses the still hot-button topic of why some of the group members fell out with the guru, which had to do with the Maharishi allegedly making moves on women in the compound. The apologia offered by Saltzman and Lewisohn is that a peripheral figure in the Beatles’ entourage, “Magic Alex,” spread false stories, though the figure in question told a very different accounting of the fallout (and sued the New York Times over a description similar to the one offered here) before he died in 2017.

The waters that “Meeting the Beatles in India” wades through on the way to celebrating spiritual enlightenment don’t run much deeper than the famously wide Ganges, as the nature and results of TM-induced contentment remain something we still have to take the filmmaker’s word for, and the bigger picture of how the Beatles’ Eastern tilt affected Western civilization remains a topic for a teller who maybe wasn’t so close to his subject. Even so, there’s some fan value here, all spiritual quests aside, in seeing how accepting the individual Beatles could be of someone they could have taken as an interloper in their lofty midst. Maybe that’s the revelation, then: Sweet, the Beatles. COMMENT: Ken Chawkin: I saw the film tonight and enjoyed it. I stayed online for the Q&A that followed with director Paul Saltzman and surprise guest Richard “Rikki” Cooke III, aka, Bungalow Bill. One of the questions asked was why the Beatles left the ashram, and did it have something to do with Maharishi supposedly making a pass at one of the female course participants. That story was a fabrication created by a jealous Magic Alex to draw John Lennon out of there. But Cooke had another explanation, and it had nothing to do with Alex, although he said Alex stirred up a lot of trouble while he was there.

I had also read about this explanation in a book years ago. The Beatles had told Maharishi of their desire to make a documentary film about him and his message of TM to help create world peace. Maharishi was amenable, and they were excited to do it. Unfortunately, Charlie Lutes, the leader of the TM movement at that time, had already signed a deal with Four Star Productions, and they had dispatched a film crew to Rishikesh, India. Cooke said when the Beatles found out, they were disappointed, upset, and decided to leave. Rikki said he saw them walk out the north gate at the same time the film crew were coming in through the south gate. He said it was an unfortunate misunderstanding.

I had also heard that when John and George had gone to speak with Maharishi beforehand, most thought it was to ask about his making a pass at a girl. But the real reason may have been to verify the rumor of a Four Star film crew coming to make a documentary; if so, they would not want to be involved with it in any way, and would be leaving. With both John and George gone we may never know for sure, although it seems more plausible. Of course, John would write Sexy Sadie in retaliation. He had originally used Maharishi’s name, but George convinced him to change it to Sexy Sadie. Years later, George would visit Maharishi, with the help of Deepak Chopra, to apologize for John’s behavior at that time. Maharishi said he was not upset with John, regardless of what he had said, and that he loved them. Deepak had told Maharishi that when The Beatles had played on the Ed Sullivan Show, there were no crimes committed in America. When Maharishi heard that, he called them angels, and said he could never be mad at them. Chopra said that George broke down, and was emotionally relieved with that karmic burden now off his heart. In separate interviews, both Paul and George said there was no truth to those accusations about Maharishi, which they felt were unfortunate.

‘Meeting the Beatles in India’ Review: A Fellow Seeker’s Documentary Blends Fab-Four Lore and Gentle TM Proselytism Running time: 82 min.

Here’s an announcement about the film from the national TM Office of Communications with a message from the director. Here are a few film reviews: Cryptic Rock, NYS Music. Paul Saltzman’s website: https://thebeatlesinindia.com, and trailer.

Production: (Documentary) A Gathr Films release of a Sunrise Films Limited production. Producer: Paul Saltzman. Executive producers: Pen Densham, Walter Dilts, Lon Hall, David Lynch, Tom Schlesinger, Devani Saltzman, Stephen Whitehead.

Crew: Director, writer: Paul Saltzman. Camera: Stephen Chandler Whitehead. Editor: Amanda Kirpaul. Music: Russell Walker, Craig Pruess.

With: Paul Saltzman, Mark Lewisohn, Pattie Boyd, Jenny Boyd, Lewis Lapham, Laurence Rosenthal. Narrator: Morgan Freeman.

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popradar · 7 years

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Weekend Planner: 20 Things to Do in L.A.

Here are 20 awesome events happening in L.A. this weekend...

FRIDAY, NOV. 3

EATALY (Food)

Eataly, the Italian marketplace with tasting rooms, finally opens its L.A. location at the Century City Mall to the public on Friday at 6 p.m. The 60,000+ square foot culinary destination features several restaurants serving up traditional Italian dishes; a marketplace for produce and quality ingredients used in Italian dishes; and Eataly’s La Scuola, which offers workshops on preparing the Italian dishes.

BUY ART! SAVE KITTENS! (Fundraiser)

Kitty Bungalow Charm School for Wayward Cats holds a fundraiser this weekend at MorYork in Highland Park with 100% of proceeds from this sale go directly to medical care and food for our rescued street kittens. Participating artists include DabsMyla, Gary Baseman, Albert Reyes, Kellesimone Waits, Robbie Conal, Sam Kalda, CatGods and many others. In addition, there are other cat-related activities throughout the weekend, including Crafting with Kittens, Cocktails and Poetry Slam, Coffee with Kittens, a Holiday Bazaar and more. The show opens on Friday from 6-10 p.m., Saturday 11-7 p.m. and Sunday from 11-4 p.m. Free entry, but donations appreciated.

20TH ARPA INTERNATIONAL FILM FESTIVAL (Film)

The Arpa International Film Festival runs Friday to Sunday at the Egyptian Theatre featuring Armenian and other international films “with a special focus on the work of filmmakers who explore the issues of diaspora, exile and multiculturalism.” It opens on Friday with Dalida, director Lisa Azuelos’ biopic of the Egyptian-born Italian singer who became France’s reigning pop star from the 1950s-80s. This year, the festival also features three films with an LGBTQ focus: Listen to Me: Untold Stories Beyond Hatred; Apricot Groves; and Pinksy. Tickets: $15. Passes: $60-$100.

MEETING DEATH: CONVERSATIONS WITH MORTALITY (Film)

The Norton Simon Museum continues its film series Meeting Death: Conversations with Mortality. On Friday night, the museum screens Ernst Lubitsch’s Heaven Can Wait (1943) at 5:30 p.m., which stars Don Ameche as a playboy at the gates of hell and Gene Tierney. The film series is free with museum admission ($9-$12). Next week, the museum screens Ingmar Bergman’s The Seventh Seal (1957).

JESSICA DALVA & DEIRDRE SULLIVAN-BEEMAN (Art shows)

La Luz de Jesus Gallery hosts an opening reception on Friday night from 8-11 p.m. for two solo shows. Jessica Dalva’s "Mess" features a mixture of sculptures, drawings and gouache paintings, which are a reaction to the current state of the world, and Deirdre Sullivan-Beeman’s work in "Girls, Girls, Girls” shows that the era of girls in now.

Mur Murs (trailer, final) from Cinefamily on Vimeo.

MUR MURS (Film)

Metro Art continues its series L.A. Documentaries at Union Station on Friday with a screening of Mur Murs, a documentary by Agnès Varda that is a study of murals across Los Angeles. Doors at 7:15 p.m., and the screening starts at 8 p.m. in the station’s Historic Ticketing Hall. Seating is on a first-come, first-served basis. Free.

A UNITED FOR PUERTO RICO BENEFIT (Music benefit)

On Friday at the Lodge Room, one of Highland Park’s newest venues (inside the Masonic Temple), Panache Booking holds LA United For Puerto Rico, a benefit to help bring clean water to victims of Hurricane Maria in Puerto Rico. Proceeds go to the Waves for Water nonprofit organization. The program includes performances by Ty Segall (solo acoustic), Bleached, Rodrigo Amarante, Mikal Cronin, King Tuff (solo), William Tyler, Shana Cleveland (La Luz), Shannon Lay and DJ sets from DJ Cren$haw and Permanent Records. 7 p.m. All ages. Tickets: $20.

WHO’S AT FAULT (Comedy)

Geoff Keith’s Who’s at Fault is at The Westside Comedy Theater on Friday at 11:30 p.m. The show’s premise is that in failed relationships, most won’t admit fault, so why not have an ex-couple plead their case in a comedic setting in front of a live audience? Keith serves as the host and judge as comedians KT Tatara and Feraz Ozel play lawyers and the audience gets involved, too. Tickets: $10.

SATURDAY, NOV. 4

K-TOWN: EXPLORING WILSHIRE BOULEVARD (Tour)

The L.A. Conservancy hosts a day-long exploration of Koreatown’s Wilshire Boulevard on Saturday. L.A.’s K-Town: Exploring Wilshire Boulevard is a self-paced tour that features 20 historic sites along Wilshire, with Conservancy docents on hand at the sites to share architectural, historical and cultural information. Participants get access to more than half a dozen interiors, including some that have been closed to the public for years. The day begins with an opening talk at 10 a.m. at the Wiltern, and the sites close at 4:30 p.m. Tickets: $40 for the general public; $30 for Conservancy members and Koreatown residents and community members; $20 for youth 17 and under. There are other Conservancy events focused on K-Town throughout the weekend, too.

BUNNIE REISS: SPACE ANGELS (Art)

Superchief LA presents Space Angels, a solo show from multimedia artist Bunnie Reiss. The exhibition features more than two dozen new painting, sculptures, installations, quilts and more in an exploration of a new fantastical universe. The opening reception is on Saturday from 6-11 p.m., with the exhibition running through Dec. 2.

OK GO (Music)

CAP UCLA presents OK Go in a live scored video performance on Saturday at Royce Hall on the UCLA campus. They’ll perform live as their career-spanning videos are screened. 8 p.m. Tickets: $29-$69.

PEACE (Art exhibition)

Peace is an art show that opens at Subliminal Projects on Saturday. The exhibition features never before seen photographs by Jim Marshall, with contributions by Shepard Fairey a select group of emerging artists. Marshall’s work captures the use of the peace symbol in America between 1961-69, and the invited emerging artists submitted works inspired by the peace symbol and Marshall’s photographs on Instagram, under the hashtag #PeaceSPExhibit. The works remain on view through Dec. 9. Opening reception is from 8-11 p.m. on Saturday night.

WRDSMTH (Art)

Writer turned street artist Wrdsmith, known for his typewriter image with slogans, holds his first solo art party at Fais Do-Do this weekend. The pop-up’s opening night event runs from 5-10 p.m. on Saturday night, with first access to new artwork and merchandise and an open bar and food. Tickets are $15-$75 (VIP). The works are on view on Saturday and Sunday from noon-5 p.m., with $5 admission. The closing night party features art, music and more. Tickets: $20.

MOMENTUM (Art)

The Mondrian Los Angeles opens Mikael B.’s solo show Momentum with a reception on Friday night from 7-9 p.m. The hotel has selected Danish as its featured artist, who has created a collection of work called Momentum for the hotel’s lobby. The exhibition runs through Dec. 15.

DOPIUM.LA (Art fest)

DOPIUM.LA is a free, one-night art festival that takes place in Chinatown on Saturday from 8:30 p.m. to midnight. The fest celebrates and showcases the creative culture of the neighborhood. There will be food, drinks, live music, performers and installations created by local artists and designers. Free admission. RSVP because space is limited. Location: Coffee Hall / Mandarin Plaza (970 North Broadway, #112). GLOW BALL (Night golf)

L.A. City Golf hosts a Glow Ball (glow in the dark golf tournament) at the Los Feliz Par-3 on Saturday night. Tickets: $25 for 9 holes, food and drinks, prizes and more. Check-in begins at 5:30 p.m., To register, call 818-246-1633.

THIS FREAKIN' CIRCUS (Party + fundraiser)

If you’re feeling that the government’s being run by a bunch of circus clowns then you might want to join the party at Pollution Studios on Saturday night. Women of Action LA and Swing Left present This Freakin’ Circus, a fundraiser to flip the House in the 2018 midterm elections. This event is a carnival-themed fundraiser with magic, fortune tellers, live comedy and a dancefloor with cirque performers. There’s an open bar, too. Every dollar of profit goes to the 45 most competitive House district races in 2018. Comics on the bill include Morgan Murphy, Andy Kindler, Jamie Lee, Solomon, Georgio, Nick Thune and Danielle Radford with host Jenny Yang. Tickets: $35 advance, $50 at the door.

SELF-HELP GRAPHICS & ART: DIA DE LOS MUERTOS (Art + celebration)

Self Help Graphics & Art’s 44th Annual Dia de los Muertos celebration takes place on Saturday night from 5-11 p.m. at Felicitas and Gonzalo Mendez High School (Gold Line on Metro - Pico/Aliso Stop). Music by Mariachi Manchester, a tribute to the music of the Smiths and Morrissey; Almalafa (Evoekore + Baja Califas); The Tracks; Tona; Soundart youth band and more Eastside acts. There’s also food and arts and crafts vendors, a procession, art workshops and altars. Gather at Mariachi Plaza at 4 p.m.

SUNDAY, NOV. 5

THE FRONT YARD’S BLOCK PARTY (Drinks)

The Front Yard in North Hollywood (at The Garland Hotel) holds its Fall Beer & Wine Block Party on Sunday from 2-5 p.m. Celebrate falling back and the end of daylight saving time with a photo booth, face painting and live music and samplings prepared by Executive Chef Larry Greenwood. Sip some of California’s best breweries and wineries, including 10 Span Vineyards, Slow Press, The Lost Abbey Brewing Company, Sierra Nevada, and more. Proceeds benefit the nonprofit 2 Hands 2 Cans, a nonprofit that empowers at-risk individuals to become self-sufficient through education and employment opportunities. Bring two cans for donation, too. Tickets: $30 or $40 at the door.

For additional events, follow me on Twitter or Instagram @christineziemba.

Image: Peace In Event Of Nuclear Attack This Shelter Will Be Useless 1963_© Jim Marshall Photography LLC

—by Christine N. Ziemba

#events #thingstodo #weekendplanner

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ba3tor · 7 years

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adidas Originals SS17: Original Is Never Finished from Jeph Burton on Vimeo.

“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: 'It’s not where you take things from — it’s where you take them to.'" — Jim Jarmusch

Cast Song: Remix of "My Way" by Frank Sinatra recreated by Human Snoop Dogg in "Doggystyle" Stormzy in "Trap Syrup" Mabel in "Tunnel" Kareem Abdul-Jabbar and Brandon Ingram in "Raining Basketballs" Dej Loaf in "Inflated" Dev Hynes in "Mirrors" Gonz and Lucas Puig in "Lucas & The Gonz" Petra Collins in "The Birth of Venus"

Client: Adidas Originals General Manager: Arthur Hoeld Global Vice President, Brand Communications: Alegra O'Hare Global Director of Communications, Brand Marketing: Jenny Pham Senior Manager Communications: Edi Borrelli Senior Director, Global Brand Marketing Operations and Creative Shoot Production: John van Tuyll Shoot and Production Manager: Justin Townsend

Agency: Johannes Leonardo Chief Creative Officers: Jan Jacobs, Leo Premutico Creative Director, Partner: Ferdinando Verderi Creative Directors: Wesley Phelan, Matthew Edwards Copywriter: Jeph Burton Art Director: Hunter Hampton Head of Integrated Production: Dana May Executive Producer: Maria Perez Senior Producers (Film): Tina Diep, Stine Moisen Producer (Online Content): Doug Moffitt Production Coordinator (Film, Online Content): Alexandra Olivo Group Account Director: Sam McCallum Account Director: Dom Dalton Account Supervisor: Gulru Soylu Head of Strategy: Mark Aronson Strategist: Miné Cakmak Senior Business Affairs Manager: Ann Marie Turbitt

Production Company: RSA Films Director: Terence Neale Executive Producers: Jules Daly, Paul Kawasaki Producer: Rozanne Rocha-Gray Director of Photography: Alexis Zabe Production Company: Cape Town Egg Films Executive Producer: Colin Howard Producer: Rozanne Rocha-Gray Editorial: Exile Lead Editor: Shane Reid Editors: Jay McConville, Travis Moore Executive Producers: Sasha Hirschfeld, Carol Lynn Weaver Head of Production: Melanie Gagliano Visual Effects: Blacksmith Visual Effects Supervisor, 2-D Lead: Iwan Zwarts 2-D Compositors: Daniel Morris, Liz Lyons Rotoscoping: Trace VFX 3-D Lead Artist: Tom Bussell 3-D Artist: Ylli Orana Executive Producer: Charlotte Arnold Producer: Megan Sweet

Color: Company 3 Colorist: Tom Poole Producer: Clare Movshon

Music: "My Way" Writers: Claude Francois, Jacques Revaux, Gilles Thibaut, Paul Anka Publisher: BMG Master: Frank Sinatra, Universal Music Enterprise Adidas Global Music Manager: Daniel Cross Music: "Human Remix" Creative Lead, Music Director: Morgan Visconti Creative Lead, Sound Design: Michael Jurasits Executive Producer: James Dean Wells Composer, Arranger: James Leibow Sound Design: Q Department Executive Producer: Zack Rice Producer: Guin Frehling Sound Mix: Sonic Union Sound Engineer: Steve Rosen Executive Producer: Justine Cortale Producer: Patrick Sullivan Videographer (Cape Town): Deon van Zyl Videographer (Los Angeles): Anton du Preez Photographers: Hayden Phipps, Cape Town; Dan Regan and Atiba Jefferson, Los Angeles

Editors: Sean Dunn, Misha Spivack

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yusufmccoy · 7 years

Video

adidas Originals SS17: Original Is Never Finished from Jeph Burton on Vimeo.

Color: Company 3 Colorist: Tom Poole Producer: Clare Movshon

Editors: Sean Dunn, Misha Spivack

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tellusepisode · 4 years

Text

Utopia Season 1 Releasing on Prime Video at September 25, 2020

Action, Drama, Mystery | TV Series (2020– )

A group of young adults get a hold of a cult underground graphic novel, which puts them in the crosshairs of a deep state organisation. Now they’re tasked with saving the world.

When the conspiracy in the elusive comic Utopia is real, a group of young fans come together to embark on a high-stakes twisted adventure to use what they uncover to save themselves, each other and ultimately humanity. Watch the official teaser for Utopia now, starring John Cusack, Rainn Wilson and Sasha Lane.

Creator: Gillian Flynn

Directors: Toby Haynes, Susanna Fogel, J.D. Dillard

Writers: Ryan Enright, Gillian Flynn, Dennis Kelly

Stars: John Cusack, Desmin Borges, Dan Byrd, Christopher Denham, Jessica Rothe, Sasha Lane, Rainn Wilson

youtube

►Cast

Desmin Borges… Wilson Wilson 8 episodes, 2020Dan Byrd… Ian 8 episodes, 2020John Cusack… Dr. Kevin Christie 8 episodes, 2020Christopher Denham… Arby 8 episodes, 2020Crystal Fox8 episodes, 2020Sasha Lane… Jessica Hyde 8 episodes, 2020Ashleigh LaThrop… Becky 8 episodes, 2020Farrah Mackenzie… Alice 8 episodes, 2020Jessica Rothe… Samantha 8 episodes, 2020Jeanine Serralles… Colleen 8 episodes, 2020Cory Michael Smith… Thomas Christie 8 episodes, 2020Javon ‘Wanna’ Walton… Grant 8 episodes, 2020Rainn Wilson… Michael Stearns 8 episodes, 2020Bernard Gilbert… Steve Minion 6 episodes, 2020Hadley Robinson… Charlotte / … 5 episodes, 2020Gloria Coco… Toni Tambler 3 episodes, 2020Tim Hopper… Dale Warwick 3 episodes, 2020Dustin Ingram… Tallman 3 episodes, 2020Felisha Terrell… Hailey Alvez 3 episodes, 2020Josh Bywater… Carson 2 episodes, 2020Sharon Dalla Costa… Wilson’s Aunt 2 episodes, 2020Daryn W Harrell… PFC Betsy Ruskin 2 episodes, 2020Shannon Mitrovich… Christie’s Employee 2 episodes, 2020Amanda Powell… Grant’s Mom 2 episodes, 2020Kerri Rose… Fringebabe 2 episodes, 2020Mike Schminke… Crowd Leader 2 episodes, 2020Rebecca Spence… Laura Christie 2 episodes, 2020Giota Trakas… Police Officer 2 episodes, 2020Michael B. Woods… Rod 2 episodes, 2020Dana N. Anderson… Wife 1 episode, 2020Brian Boland… Samantha’s Dad 1 episode, 2020Steve Boress… Demonstrator 1 episode, 2020Jack Bronis… Bartender 1 episode, 2020Rammel Chan… Josh Chandler / … 1 episode, 2020Chris Clowers… Redhead Two 1 episode, 2020Jeff Dlugolecki… Protester 1 episode, 2020Patrick Dunham… Jogger 1 episode, 2020Brandon Frankel… Iron Man 1 episode, 2020José Antonio García… Donald Resnick / … 1 episode, 2020John Gawlik… Cop 1 1 episode, 2020Reuben Glaser… Larry 1 episode, 2020Shaun Graves… Rabbit Handler 1 episode, 2020Jenna Heffernan… Jenny 1 episode, 2020Cameron Hoppe… Girl 1 episode, 2020Hil Horvath… Friend #2 1 episode, 2020Fallon Katz… Kid #1 1 episode, 2020Jesse Kendall… Al Arroyo / … 1 episode, 2020Diana Kleinaitis… On Camera Reporter #3 1 episode, 2020Brandon Loeser… Detective 1 episode, 2020Paul Malave… Missouri State Trooper 1 episode, 2020Chandra Michaels… News Reporter 1 episode, 2020Sia A. Moody… Nurse 1 episode, 2020Kevin E. Murphy… Fringe Con Photographer 1 episode, 2020Jose Nateras… Reporter 1 1 episode, 2020Isabella Paul… Kid – Featured Background 1 episode, 2020Scott Philyaw… Guard #2 1 episode, 2020Matthew Alan Porter… Dad #2 1 episode, 2020Andrew Ritter… Demonstrator 1 episode, 2020Kevin Scroggs… Christie’s Executive 1 episode, 2020Adam Shalzi… Redhead One 1 episode, 2020Danielle Stahl… Au Pair 1 episode, 2020Rachel Sullivan… Chicago Anchor 3 1 episode, 2020Rylie Traversa… Neighbor 1 episode, 2020Guy Van Swearingen… Lyft Driver 1 episode, 2020Oz Yildizhan… Employee of Kevin Christie 1 episode, 2020Roger Wiggins… Kiwi Man 1 episode, 2020Naya Zsanay… Protester 1 episode, 2020

The post Utopia Season 1 Releasing on Prime Video at September 25, 2020 first appeared on TellUsEpisode.net.

from WordPress https://www.tellusepisode.net/utopia-season-1-releasing-on-prime-video-at-september-25-2020.html

#Action #Drama #Episodes(TV-Series)#Mystery #News #Christopher Denham #Dan Byrd #Dennis Kelly #Desmi

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eduardomarin90 · 4 years

Video

adidas Originals | 'Original is never finished' | Chapter 1 from Jeph Burton on Vimeo.

Color: Company 3 Colorist: Tom Poole Producer: Clare Movshon

Editors: Sean Dunn, Misha Spivack

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bluewatsons · 5 years

Text

Alice E. Marwick, Instafame: Luxury Selfies in the Attention Economy, 27 Public Culture 137 (2015)

The popular photo-sharing app Instagram has created a new breed of celebrities: the Instafamous. This essay examines the phenomenon—from Singaporean socialites showing off shoe collections to high school sophomores with ten thousand followers—and its relationship to celebrity and tabloid culture.

Empire on top, my Instagram—my watch

Five days on my yacht

Cash money act up

I just Instagram my shit and let them broke haters just watch

—Fat Joe, “Instagram That Hoe”

Instagram, the mobile photo-sharing application, was purchased for $1 billion by Facebook in 2012; it had, at the time, thirteen employees. While a $1 billion valuation is difficult to grasp—that’s more than the New York Times is worth—the purchase is now widely viewed by tech and business analysts as a coup (Indvik 2013). Facebook’s popularity with young, lucrative American consumers has waned as it has grown into an aggregated behemoth of online content, its News Feeds clogged with video game scores, e-commerce purchases, and advertising (Hess 2013). Instagram, despite having far fewer users, is thriving. The site’s top users are a who’s who of pop stars and television celebrities. It is used by 11 percent of American teenagers, was parodied by the popular site CollegeHumor, and is regularly name-checked in hip-hop songs (Madden et al. 2013). With Instagram’s user base of 150 million people comes the possibility of achieving Instafame, the condition of having a relatively great number of followers on the app. While the most followed users are primarily celebrities—the pop star Rihanna, for instance, has 11 million followers—to many Instagram users, gathering thousands, or even hundreds, of followers can be a motivating force. One participant in a Pew Research Center Internet study on online bullying said: “[On Instagram,] people tend to not come off so mean. Because all they really want is for people [to] like their photos” (quoted in ibid.). To further this goal, users pose in well-rehearsed digital self-portraits, or “selfies”; obsessively document outfits, cars, vacations, and landscapes; and fill their posts with hashtags like #instafamous and #followforfollow.1

This essay examines Instafame as a variety of microcelebrity as it exists on a particular platform, Instagram. Microcelebrity is a mind-set and a collection of self-presentation practices endemic in social media, in which users strategically formulate a profile, reach out to followers, and reveal personal information to increase attention and thus improve their online status (Senft 2013). These practices are pursued in view of the so-called attention economy, a marketing perspective assigning value according to something’s capacity to attract “eyeballs” in a media-saturated, information-rich world (Fairchild 2007). Attention-getting techniques employed by consumer brands have trickled down to individual users, who have increasingly, and occasionally improbably, used them to increase their online popularity (Marwick 2013a). In some online spaces, social media allow for people who fall outside the norms of mass culture to become popular, such as the quirky YouTube comedian Miranda Sings or the feminist fashion blogger Tavi Gevinson. Compared to sites like Facebook that constrain self-presentation within a rigid profile structure, Instagram provides users with a fairly open-ended social media tool, suggesting that individuals could choose to represent themselves using a range of techniques.

It makes sense to think of Instafame as a form of microcelebrity, but in a slightly different way than previously understood. To date, scholars have not aligned microcelebrity with the kinds of glamorous visuals and conspicuous consumption that have been associated with stardom since at least the Hollywood studio era. This position is partly due to the focus on identity online as “written into being,” as Jenny Sundén wrote in 2003. Eleven years later, the Internet is increasingly a visual medium, and more and more individuals are using images rather than written self-descriptions to express themselves. Due to the photographic nature of the medium, Instagram users’ approach to microcelebrity differs from that of users of platforms such as early webcams, blogs, and Twitter, which scholars, including myself, have previously written about (Senft 2008; Marwick and boyd 2011b).2

On Instagram, textual description and replies to followers are de-emphasized in favor of images, particularly selfies. Given these changes, I offer a new take on microcelebrity, originally conceived as a practice primarily to foster direct relationships with audience members, now developed to include a specific type of visual self-presentation strategy. While Instagram makes it possible for “regular people” to attract the mass audiences historically limited to broadcast media, the Instafamous tend to be conventionally good-looking, work in “cool” industries such as modeling or tattoo artistry, and emulate the tropes and symbols of traditional celebrity culture, such as glamorous self-portraits, designer goods, or luxury cars. I argue that Instagram represents a convergence of cultural forces: a mania for digital documentation, the proliferation of celebrity and microcelebrity culture, and conspicuous consumption. Instafame demonstrates that while microcelebrity is widely practiced, those successful at gaining attention often reproduce conventional status hierarchies of luxury, celebrity, and popularity that depend on the ability to emulate the visual iconography of mainstream celebrity culture. This emulation calls into question the idea that social media are an egalitarian, or even just a more accessible, way for individuals to access the currency of the attention economy.

Social Media and Microcelebrity

Media and celebrity are inextricably intertwined. Celebrities historically proliferated with broadcast media, which enabled the celebrity image to spread far beyond its origins (Braudy 1986). The contemporary shift from broadcast to participatory media and the popularity of social media technologies have contributed to two major changes in celebrity. “Traditional” celebrities like pop stars and actors have embraced social media to create direct, unmediated relationships with fans, or at least the illusion of such. Seeming to bypass agents and managers and other traditional brokers of celebrity attention, young stars like Lady Gaga and Kim Kardashian provide snapshots of their lives and interactions with followers that give the impression of candid, unfettered access. “Parasocial interaction” is the illusion of real, face-to-face friendships with performers that is created through watching television shows or listening to music (Horton and Wohl 1956). In parasocial relationships, a fan responds to a media figure as if he or she were a personal acquaintance (Giles 2002). Social media transform the parasocial into the potentially social and increase the emotional ties between celebrity and fan (Marwick and boyd 2011a; Muntean and Petersen 2009).

Social media also enable microcelebrity. The microcelebrity practitioner may have a very small audience but is nonetheless able to inhabit the celebrity subject position through the use of technologies also popular with superstar musicians, athletes, and actors. In the broadcast era, celebrity was something a person was; in the Internet era, microcelebrity is something people do. Subcultural or niche celebrities are now able to amass enough fans to support themselves through their online creative activities while remaining unknown to most and ignored by mainstream media. Microcelebrity is linked to the increasingly pervasive notion of “self-branding,” a self-presentation strategy that requires viewing oneself as a consumer product and selling this image to others (Hearn 2008; Lair, Sullivan, and Cheney 2005). Celebrity thus becomes a continuum of practices that can be performed by anyone with a mobile screen, tablet, or laptop.

Recently, some scholars have argued that reality television and the Internet have contributed to what Graeme Turner (2004: 82) calls the “demotic turn” in celebrity. As Joshua Gamson (2011: 1062) explains, “Celebrity culture is increasingly populated by unexceptional people who have become famous and by stars who have been made ordinary.” Gamson argues that while it appears that celebrity culture has opened up, the stardom attainable through reality television, or achieved online, is still fractional in value compared to that of television and film. A case in point is how YouTube was once lauded as a potentially “democratizing” force. Newsweek, for instance, wrote that the site allowed unknowns to be “propelled by the enthusiasm of their fans into pop-culture prominence, sometimes without even traditional intermediaries like talent agents or film festivals” (Stone 2006: 38). While Newsweek and its ilk were correct in the sense that some stars have been discovered on sites like YouTube, those attaining major celebrity have quickly become ensconced in the traditional celebrity/media machine; Justin Bieber comes to mind. In some ways, social media have contributed to this demotic turn by vastly increasing the number of average people who achieve recognition for memes, viral videos, blogs, and so forth. But while social media tools may have opened up spaces of visibility for people outside broadcast media or politics, these opportunities are typically limited, fleeting, and unaccompanied by the financial resources available to the traditionally famous.

With the increase in broadband and mobile access, the “always-on” nature of social media encourages celebrities and those aspiring to be famous to share constant details of their day-to-day lives (Mullen 2010). Simultaneously, the highly visible metrics of social media success—the number of followers or “likes” attached to a piece of content—encourage people to actively foster an audience. As a result, celebrities and microcelebrities alike use social media to create persistent streams of content, competing for the largest audience numbers.

On Instagram, people do not have equal access to this “star system” of attention as currency. Users often “like” what they find “aspirational”: marketing jargon for something people desire to own but usually cannot. What the young users of Instagram find aspirational often resembles “the lifestyles of the rich and famous.” Thus Instafame is not egalitarian but rather reinforces an existing hierarchy of fame, in which the iconography of glamour, luxury, wealth, good looks, and connections is reinscribed in a visual digital medium. The presence of an attentive audience may be the most potent status symbol of all.

Selfie Culture

While Instagram users take pictures of all sorts of things, many of the most followed accounts are packed with selfies. While self-portraiture in art is not new, its prevalence as a genre of photograph is. José van Dijck (2008: 58) suggests that the primary purpose of analog personal photography was to create memory aids, to remember the way things were. Most snapshots featured people other than the photographer; Amparo Lasén and Edgar Gómez-Cruz (2009) mention a large compilation of one hundred thousand family photos taken during the 1960s, of which fewer than a hundred were self-portraits. Today, however, online, self-portraits are omnipresent. Pew’s Internet and American Life Project found that 92 percent of teenagers who use Facebook upload pictures of themselves (Madden et al. 2013). Selfies are so popular with young people that they have become a genre unto themselves, with their own visual conventions and clichés. The “MySpace angle,” for instance, is the practice of taking a selfie from above, which is said to make the subject look thinner. Social media users learn and teach one another canned poses, flattering camera angles, and facial expressions, such as the pursed lips known colloquially as “duckface,” which can be seen throughout photo-sharing sites like Facebook and Instagram. As Ori Schwarz (2010: 165) writes in his study of the Israeli social network Shox, “We are witnessing a shift from photographing others for self-consumption to documentation of the self for consumption by others.” While photographs have always been able to show perspective and identity, we now use them more than ever before to display ourselves (Winston 2013: 4–5).

This explosion in selfies has been explained, variously, either as evidence of an epidemic of narcissism among the young or as an empowering new self-presentation medium (Twenge and Campbell 2009; Lee 2005). But the major shift in photography is not simply from film to digital but from the limited audiences that existed for family snapshots to the networked, potentially enormous audiences for all types of digital content. The ability to replicate digital photographs, the integration of cameras into mobile phones, and the popularity of sites like Flickr, Imgur, Facebook, and Instagram facilitate and encourage sharing photos with others. Facebook has more than 250 billion photos, and 350 million more are uploaded every day (Wagner 2013) in order to be seen by an audience whose comments, likes, and “shares” function as social currency and social reinforcement.

The closest model we can draw on for understanding this shift is that of celebrity culture. Just as celebrities are individuals whose images are amplified through broadcast media and made available to wide audiences, so these new self-portraits are produced and carefully selected for promotional purposes (Schwarz 2010: 164). Indeed, selfies are like advertisements for the self, and curation of online photographs is a serious business. Previous studies have found that people who share online photos spend a great amount of time “selecting, modifying, editing, storing, or uploading” photographs and find responses from their audience sufficient reward for their efforts (Lee 2010: 270). Since both celebrities and “regular people” have accounts on Instagram, it’s perhaps not surprising that “regular” selfies often emulate celebrity-related media, while celebrity selfies often closely resemble those of the nonfamous (compare Rihanna’s selfie in fig. 1 with those of noncelebrities in figs. 4, 6, and 8). Instagram selfies allow the platform’s users, whether celebrities or not, to show glimpses of their lives to others, connect with audiences, and receive instant feedback on their self-images.

Instagram

Instagram is a mobile application available for the iOS and Android mobile operating systems. The app allows users to upload photographs, manipulate them using filters, share them with other Instagram users, and comment on or “like” the photos of others. While Instagram has a website on which photos can be viewed, the site’s functionality is limited and users cannot upload photographs. As a result, the vast majority of activity goes on through the mobile app.

Because Instagram photos are typically taken via mobile phone, they tend toward the documentary, since mobile phones are continually present as users go about their day-to-day lives. The presumption is that users will post photos as they happen, as indicated by the hashtag #latergram, which implies that the photo was taken earlier than it was posted. The popular social media blog ReadWrite calls “untimely posting” a “rookie mistake” and frowns upon posting after the fact: “We’ll all just feel like we missed out. Instagram is only fun so long as we play by its most basic rules” (Hatmaker 2013). However, while Facebook and Twitter encourage constant streams of updates, Instagram requires more selective posting. Most users post only a few times a day, and posting several times in a row is disfavored. In a blog post, marketer Carly Keenan (2013) advises brands that “the ‘feed speed’ on Instagram is still mostly laid back. If you start posting a lot, you might over-saturate your followers’ feeds, and you don’t want to force yourself into the noise too often.”

On the main Instagram app screen, users can browse through a stream of photographs from people they follow, explore popular photos or search by username or hashtag, take photos or upload previously taken photos, view comments or likes on their photos, and view their own profile (see fig. 2). Following on Instagram is unidirectional; unlike Facebook, a user may follow another without permission, and, like Twitter, there is generally no mutual expectation of following. This model creates an environment more conducive to fans or curious strangers than to known “friends,” as users can blithely add any account that looks interesting to their stream. As on Twitter, hashtags are frequently appended to photos and are not necessarily descriptive, and while hashtags may be used as metadata (indicating location, subject of photo, etc.), they also include jokes, memes, and asides. The most popular Instagram tags in September 2013 were #love, #instagood, #me, #cute, and #follow (Webstagram 2013).

Photographs are especially good for impression management, since the myth of photographic truth lends photography a credibility that text lacks. Johnny Winston (2013: 6) writes that Facebook users often post photographs for self-expression in lieu of verbal self-descriptions; a selfie at Machu Picchu is more effective than a clunky paragraph of text in conveying that one likes to travel. This situation is especially true on Instagram. Since the site consists primarily of photographs, it intensifies the importance of visual self-presentation. In addition to photographs, Instagram offers a few other identity cues: the user’s description of the photo and comments and likes by other users (see fig. 3). In the example below, Kardashian poses with her fiancée, rapper Kanye West. In the caption, she indicates that it is a “bathroom selfie [taken] right before Yeezus hits the stage” for a stadium concert. While users may form impressions based on Kardashian’s brief description of the photo, there is far more intelligible information present in the couple’s outfits, expressions, and poses; the genre of “bathroom selfie,” in which the large mirror present in most bathrooms is used to take a full-body shot of one’s outfit; the setting; and extratextual information about Kardashian and West themselves, who are extremely famous both individually and as a couple. Although the photo’s 678,000 likes and multiple negative comments may also contribute to viewers’ interpretations, the Instagram software makes user photos the central form of identity expression.

Instagram’s photographs have a particular visual lexicon (Alper 2013). The app’s filters are deliberately nostalgic and retro and emulate older, analog forms of photography, what Lisa Chandler and Debra Livingstone call “the visual language of digital imperfection” (2010). Filters instantly transform a picture taken today into a faded 1970s Polaroid or grainy 1950s black-and-white snapshot. Photos taken using the Instagram app are square, like Kodak Instamatic and Polaroid photos, rather than rectangular, the latter the result of the 16:9 ratio used by most mobile cameras. Many users further edit their photos using mobile apps such as ProCamera, A Beautiful Mess, and Hipstamatic, which allow additional filters, visual effects, borders, collages, text, and clip art. There is thus a normative presumption of digital manipulation, and many Instagram photos are highly edited, to the point where a popular tag is “#nofilter,” indicating that no such manipulation took place. As Dong-Hoo Lee (2005) writes about digital photography in a study of young Korean cameraphone users: “It changes the way we take, print and store photographs.… The photographer can actively participate in the process of generating, transforming, reprocessing, and, finally, making meaning from images.”

Method

This essay draws on textual and visual analysis from 2013 of forty public Instagram accounts with over ten thousand followers each. I conducted the analysis myself, but I worked with undergraduate students to locate and contextualize highly followed Instagram accounts. Such accounts were also collected by browsing secondary sites devoted to Instagram such as Web.stagram.com, reading blogs like Rich Kids of Instagram (Richkidsofinstagram.tumblr.com), and using the app’s “explore” feature, which provides a curated selection of “recently interesting” photos (Instagram 2013). The goal in searching for highly followed accounts was not to collect a representative sample of Instagram users but to view a diverse array of popular users. Instagram has a binary model of privacy, in which users may set their accounts to either public or private, affecting all of their photos. All of the accounts analyzed for this project were public, as are virtually all of the most popular Instagram accounts.3

We recorded each user’s name, bio, number of followers, and types of photographs posted and how frequently he or she used hashtags. We then attempted to classify users’ accounts, which proved to be very difficult, as many highly followed Instagram users do not fall into any sort of traditional celebrity taxonomy. We found it especially challenging to explain why some accounts had become so popular. Trying to explain why the user “daniellejackson,” a sixteen-year-old girl from Canada, had 13,590 followers, one student wrote, frustrated: “The only thing I can see as why she is so popular is her obsession with doing big hair and heavy makeup.… It’s very confusing why this girl has so many followers just by posting selfies.” The case studies in this essay are an attempt to delve deeply into individual accounts and locate a “reason” for their popularity.

Recently, Instagram introduced a feature giving its users the ability to create short video clips. Popularly known as “Vinstagram,” it was widely perceived by technology analysts as a competitive move against Twitter’s popular Vine app. The short videos have increased rapidly in popularity since they were introduced and frequently appear in the explore feature. For the purposes of this essay, we focused on static images, which are still the vast majority of Instagram’s content.

Instafame

The most popular Instagram users are primarily “traditional” celebrities whose fame is conferred by mainstream media or entertainment, such as television shows or professional sports. (They are skewed to those popular with youth; stars like Tom Hanks and Julia Roberts do not have Instagram accounts.) An analysis of the top one hundred Instagram users based on number of followers (as of September 2013) found the following breakdown:

Another category of highly followed Instagram users is composed of those who have achieved microcelebrity on another platform, such as the four YouTube stars in the top one hundred. Fashion blogger Rumi Neely of Fashion Toast, for instance, has 342,000 Instagram followers. The user @brittanyfurlan, who has 284,000 followers, is famous primarily for her funny videos on Twitter’s Vine. The top one hundred also boasts a wealthy Dubai businessman (@hhhofficial); a Brazilian social media strategist who posts pictures of action figures; a company that sells Twitter and Instagram followers; and several themed accounts, such as @SneakerNews and @CelebrityHollywoodGossip.

While some of these accounts reflect fame “native” to Instagram, for many others Instagram is a platform for amplifying fame achieved in another medium. Much like Twitter, however, Instagram gives celebrities—or their handlers—an opportunity to create glimpses into the “backstage” moments of their lives. But while tweets are easy to ghostwrite, Instagram photos are not; a publicity photo is easily distinguished from a revealing candid. Sometimes Instagram’s genuinely candid photos are too revealing: Bieber, the second most popular user on Instagram, recently came under fire for a photograph in which a member of his entourage held a bag of what was alleged to be cocaine. As on Twitter, many celebrity accounts may be highly managed and controlled by entertainment companies, but markers of authenticity are harder to falsify given the norm of posting documentary photography on Instagram.

In an e-mail interview, Jessica Zollman (2013), Instagram’s founding community manager, cited three methods that young Instagram users employ to obtain recognition: leveraging existing social networks, using hashtags, and connecting with the larger Instagram and digital photography community. First, most young Instagram users use the app to connect with their peer group. As Zollman says: “Kids follow EVERYONE from their schools and school districts. It’s like a gossip drama who’s-he-dating-now what-party-did-she-go-to who-wore-it-better hot bed. If you go to a small school, that’s maybe 300 people. A big school? Bingo” (ibid.).

Second, concerning the use of hashtags, an article on ReadWrite advises that “strategically tagging photos, especially using the most popular hashtags on Instagram, can lead to a flood of new likes and followers” (Titlow 2012). While few of the highly followed users we analyzed used more than one or two hashtags, users actively seeking followers frequently append dozens to their photos, hoping to attract users who use the explore feature to browse by hashtag. For example, more than 24 million Instagram photos contain the explicit quid pro quo offer “#followforfollow.” A randomly chosen selfie by user @sofiavultaggio has eleven tags: “#erice #love #sun #summer #followme #followforfollow #follow4follow #likeforlike #instagood #instalove #instacool.”

Third, some young Instagram users opt to become active in the online community of mobile photography enthusiasts by going to Instagram meet-ups, trading photography techniques and tips, and working on improving their Instagram photos. A recent paper by Megan Halpern and Lee Humphreys (2011) discusses how mobile phone photographers, or “iphoneographers,” are engaging in the process of building an “art world” by sharing and critiquing one another’s work. Young iphoneography enthusiasts may be as focused on building fame as microcelebrity practitioners are, but they aim to do so through appreciation for their artwork rather than through promotion of a celebrity self-image.

In the following case studies, I examine three highly followed Instagram users who are using microcelebrity techniques to achieve attention and popularity online: Cayla Friesz, Leandra Goodridge, and Kane Lim. These individuals all use the social media platform to create personae, share personal information through their photographs, and strategically appeal to their audiences. While we found several highly followed accounts that do not fit this mold—@everydayim cheerleading, for instance, has 122,820 followers but primarily posts pictures of cheerleaders around the world—for the purposes of this essay we focus on the Instafamous, who use digital pictures, particularly selfies, to create affective bonds between audience and microcelebrity subject.

She’s Instagram Famous: Cayla Friesz

Friesz, or “Freeezy,” appears to be a fairly ordinary Indiana high school sophomore. Her Instagram is full of selfies, along with pictures of friends, food, and concerts. Somewhat inexplicably, she has 31,496 followers; a basic selfie garnered 4,246 likes and 144 comments, including “Damm your sexy!! ;)” from @thug_life53 and “Damn I feel so ugly now HAHA” from @laurenmelissarae (see figs. 4 and 5). The very fact that she is “Instagram famous” confers enough prestige upon her to have inspired others to create multiple fan pages for her. The blog Cayla Friesz Fashion (caylafriesz-fashion.tumblr.com) tracks down the origin of each piece of clothing she wears in her photographs (mostly from mall stores like Urban Outfitters and Pacific Sunwear) and answers questions from fans, like “You know the gif where Cayla shows what she changes into when she gets home from school? I was wondering if you could please find a shirt like the one she’s wearing in the gif? Doesn’t have to be exact.:)”

When an anonymous Tumblr user asks the blog’s proprietor, “New to your blog so not to be annoying but what is this Cayla famous for? Thanks!” the proprietor replies, “shes instagram famous.” In other words, the fact that Friesz can garner thousands of fans on Instagram is enough to make her notable; she is famous for being famous, but not even in the Paris Hilton sense that she has access to mainstream media’s star-making machine. Instead, she is admired for her ability to attract attention. The profile of a Twitter account called @Freeeezyfans reads: “This is a Twitter fanpage for the amazing and beautiful Cayla from Instagram. I am NOT her! This is just a site for us fans, to show our LOVE !!” When asked why Friesz is so popular, @Freeeezyfans answers, “Cause she’s gorgeoussss!!” Friesz’s followers may wish to have her wardrobe or figure, but they feel that way primarily because her selfies and outfit posts have been vetted as belonging to someone “famous.”

Friesz posts little personal information about herself aside from pictures; her account on GifBoom, an animated GIF site, is private (though it still has more than three thousand followers); she does not have a Twitter or a Tumblr account; and her Facebook is private. With only pictures to go by, fans debate and argue over the facts of her life. On a fan-maintained GifBoom account that reposts Friesz’s pictures, one fan asks, “@freeezy everyone says you live in Indiana do you?” Two people respond that she lives in Florida, to which the maintainer of the fan account says: “no she’s at indiana cause on her [Instagram] it has her school name in a polling pic so I searches the school to see what state it’s in. That sounds very stalker ish lol I dont usually do that I only wanted to know what state.” Six comments later, with the Florida versus Indiana debate in full swing, @kevinferren chimes in “ur fuckin retarded she sits next to me in art, she goes to [high school] and she a freshman we live in [town name] indiana! so if u think u know everything think again bitch.” The conversation escalates and ends with another user calling @kevinferren a “dick.”

In previous work, Theresa Senft, danah boyd, and I have argued that microcelebrity intrinsically involves reaching out to an audience on social media (Senft 2008; Marwick and boyd 2011b). Typically, this effort involves answering comments, e-mails, and instant messages or at least making an effort to acknowledge and foster fan relationships. Because Friesz is Instafamous, she does not fit this aspect of the model, which has as its basis blogs, websites, and Twitter. While she has created a specific persona that is consistent across her photos, she rarely responds to the copious comments she gets from fans on Instagram (although one claims, “i talk to her and. Tumblr all the time and. Even twitt’s”), to the point where a disgruntled follower writes:

I’ve lost tons of respect for you I’ve the past few months because of your lack of showing care for your followers. I don’t care if you have 30k followers, they all care about you, an they’re always giving you great compliments, the least you could do is attempt to interact with them, if I were as lucky as to have a many followers as you I would be active with them, because I’d care about them as much as they would me. I mean sometimes people write you PARAGRAPHS on your photos, they took so much time to give you such a compliment, but yet you just ignore them. The least you could do is just say thank you sometimes. It’s not gonna kill you. Think about it would ya? And I know you’re probably gonna delete this photo or comment when you read it but whatever.

Friesz does not respond. Her interaction with fans is limited primarily to the image she puts forth via her Instagram photos, which is not dissimilar from how traditional celebrities interact on Instagram; Kardashian does not answer comments either. Using publicly accessible tools does not necessitate interactivity. Friesz’s practices are distinct from forms of microcelebrity where practitioners interact to actively increase their audience.

This studied unaffectedness is similar to what Schwarz found on the Israeli site Shox, where users tried to “deny and conceal” their conscious attempts to gain followers. Successful performers on Shox were able to encourage followers while actively concealing that they were trying to do so (Schwarz 2010: 178). Whereas mainstream celebrities such as Miley Cyrus and Katy Perry ignore the vast majority of their Twitter or YouTube followers, Friesz declines to acknowledge not only her fans but also her very Instafame, instead breezily portraying herself as an all-American high school girl. Part of what makes her so appealing to young people may be this seemingly effortless cool in the face of fan adoration; much like the big man on campus or the high school queen bee (which, almost certainly, Friesz embodies in her day-to-day life, considering the endless parade of photos of parties and football games with equally attractive friends), she appears to find her popularity unworthy of comment and thus makes it seem deserved and, indeed, unsurprising. She exemplifies Zollman’s characterization of popular teen Instagram users who piggyback upon their high school fame to reach larger audiences.

Instafame resembles popularity, but where high school social dynamics are limited by locale, Instafamous people like Friesz have the potential to reach an audience that rivals that of television networks in size, what we might call a mass audience. In this way, high school social dynamics in general, and popularity in particular, are amplified until they graduate into something that looks more like mainstream celebrity.

The Pseudo-Celeb: Leandra Goodridge

Leleboo_phucku is the Instagram account of Goodridge, a young woman who is notable primarily for being a close friend of the Barbadian pop singer Rihanna. Goodridge frequently travels with Rihanna and posts pictures of her glamorous ensembles, designer clothes, and famous friends (see figs. 6 and 7). While Goodridge is not a celebrity, her proximity to celebrity has made her one on Instagram—much like Alli Simpson, the sister of pop singer Cody Simpson (1,058,027 followers); Eleanor Calder, the girlfriend of One Direction singer Louis Tomlinson (1,409,541 followers); and Abigail Anderson, a close friend of pop star Taylor Swift (31,185 followers). As Charles Kurzman and his colleagues (2007) write, celebrities have an aura that touches all whom they interact with: by meeting a celebrity briefly at an event or in an elevator, we hope that their status might rub off on us in some small way. Goodridge’s Instagram fans, who fill her feed with compliments, may feel that being noticed by Rihanna’s best friend brings them closer to the pop star. In Goodridge’s account she lives the dream of many young Rihanna fans: she actually is best friends with Rihanna, able to share the perks of her fabulous lifestyle in reality. Similarly, comments on Anderson’s blog plead, “OMS! You are so.beautiful! And you have so.much lucky to be Taylor best friend! Please answer.”

While Goodridge occasionally posts pictures of her family and friends, she mostly posts selfies; she sometimes posts three or four pictures of the same outfit, often bathroom selfies that show off her clothes. In her pictures, she usually wears stylized makeup, elaborate hairstyles, and tight, trendy clothes. As with Friesz, most of the comments on her pictures are compliments, and while many of Goodridge’s poses showcase her figure, they are primarily from young women who admire her style rather than from young men who find her attractive. Comments like “You looking bomb bitch,” “Leandra, how were yu born soooo #Beautiful!?” and “That damn body is just too much for the human eyes lol always killing self esteem” are all from young women, many of whom have usernames that refer to Rihanna, like “monetfenty” or “purplegalriri” (“Fenty” is Rihanna’s surname; “RiRi” is her nickname). Overwhelmingly, Goodridge’s followers refer to her curvaceous good looks while disparaging their own, wistfully exclaiming that they would like her to do their makeup or show them how to work out. Despite being ostensibly more “realistic” and “authentic,” the medium of social media in this respect replicates the dynamics of television and tabloid magazines.

Unlike Friesz, Goodridge does respond to followers. Posting a fan’s portrait of her, she writes: “I would never call myself or even entertain the thought of being famous fuck that. But it warms my heart when people are inspired to draw a pic of me.… Thankz again for this drawing .. I LOVE IT.” After posting a selfie she titled “Work Flow,” user umm_asha commented: “Ohh shit you work when ur in Barbados? That hustle don’t stop chile yessssss.” Goodridge responds, “Yes gotta make money lol … thankz guys.” She frequently posts text notes, screenshots of short messages written in the iPhone “Notes” application, usually addressed directly to her followers. For instance, one text note calls out people “who come on Instagram and leave negative comments I don’t get it.” Instagram requires rethinking how microcelebrity is practiced within a medium where opportunities for audience interaction are minimal compared to other types of social media. On Twitter, the @reply makes interactions between celebrity practitioners and fans legible to all; bloggers often address readers directly in their posts and reply to individual commenters. Even when these interactions are quite minimal, their visibility conveys a sense of accessibility (Marwick and boyd 2011a). Instagram users like Goodridge work around these limitations by commenting on their own posts or posting images of text thanking or addressing fans, but these are clunky, makeshift efforts. Rihanna also frequently replies to her Instagram fans, but these individual remarks are so difficult to find in the sea of comments on each of her posts that an account called “Rihanna’s Comments” painstakingly collects, screenshots, and posts them to interested readers.

Even “D-list” celebrities are usually famous for their own accomplishments, meager as they may be: appearing on a long-canceled television show, perhaps, or occupying one-half of a sex scandal. Pseudo-celebrities such as Goodridge, who, like the members of Vincent Chase’s posse on Entourage, are famous only for their association with the truly famous, can achieve their own measure of microcelebrity on Instagram. Goodridge’s endless selfies further a persona in which she, not her best friend, inhabits the celebrity subjectivity, and it is her hair, style, and body that are complimented by fans. Recently, Goodridge has reinvented herself as a makeup artist, with the enthusiastic support of her Instagram fan base. She posted a text note that read: “Question ?!?! … .,,,,, y’all think I should become a make up artist ?!?! I mean I see some people worse than me calling themselves M.U.A.. Honest opinions only .. Tell me what y’all think.” The post garnered 2,200 likes and 961 comments, the vast majority positive. Since then, Goodridge’s feed has been filled with before-and-afters of her clients and makeup sessions. A few weeks after the first post, she posted, “I wanna thank all my followers for the positive and encouraging comments tbh I really appreciate it!!!!” Goodridge is attempting to use her Instagram fame and follower support to launch a career of her own, one that is singularly suited to the visual nature of Instagram.

It is too soon to tell whether Goodridge’s career aspirations will attract fans separate from her persona as Rihanna’s best friend. Her 149,000 followers come from her use of Instagram to picture herself as sharing Rihanna’s possessions and environment. Any success that Goodridge achieves as a makeup artist will be built on this foundation. Thus instead of changing the dynamics of fame by extending celebrity to a larger pool of individuals than those singled out by mainstream entertainment, Goodridge and her ilk use Instagram in ways that reinforce these dynamics by reproducing the iconography of “traditional” celebrity.

The Luxury Enthusiast: Kane Lim

Lim is a twenty-two-year-old Singapore native studying merchandising at the Fashion Institute of Design and Merchandising in California. His Instagram account consists primarily of pictures of himself in expensive couture clothing; photos of his collections of designer shoes, clothes, and jewelry; and selfies with Singapore socialites (see figs. 8 and 9). Lim has 30,231 followers and was featured in several fashion blogs for his luxe style; he calls Singaporean socialite Jamie Chua, who owns the world’s largest collection of Hermès bags, his best friend. His Instagram feed is a study in conspicuous consumption. Rather than post a picture of one pair of expensive shoes, he posts pictures of his massive collection and carefully notes the brand of each designer item he wears in each selfie. The caption to one popular Lim photo reads: “Every day is a battle. Dress to kill. Phuck what they think. @badgalriri for #rihverisland camo jacket. #dita shades, #cartier panthere and #guiseppezanotti. #mensfashion.” Accounts like Lim’s represent a fantastic orgy of consumerism and exist simultaneously as aspiration and matter-of-fact expression of extreme wealth.

Lim’s Instagram exemplifies the aesthetic shown on the popular Tumblr blog Rich Kids of Instagram, or RKOI. RKOI functions as both a critique of income inequality and a celebration of it. RKOI, which collects photos of young, good-looking people drinking magnums of champagne at nightclubs, snoozing on private jets, summering in the Hamptons, and driving Ferraris, reveals the louche nature of the most privileged people on earth. A photograph of a receipt from a Miami Beach club, for instance, reveals a tab of $35,951 for one evening, including a 34 percent gratuity; the caption reads “nice tip.” This amount is more than half the average American family’s annual income and demonstrates what some might think of as the obscenity of extreme wealth. Such wealth, however, is glorified in large swathes of youth culture, from hip-hop songs to the Real Housewives franchise. (In fact, E! Online recently announced a reality show called “#Rich-Kids of Beverly Hills” directly inspired by RKOI; the teaser trailer is full of Instagram references, and one of the show’s stars says, “I think I’m somewhat Instafamous in the Instagram world.”) While viewing such consumption on television may relegate it to the realm of fantasy, Instagram drives the point home that, yes, people do live like this, and they, just like you, use social media.

While Lim may have an immense amount of consumer goods, how he came to have such riches is not immediately obvious to his followers, who are presumably not as wealthy. A photo of Lim’s extraordinary Louboutin collection (see fig. 9) is #christianlouboutin #louboutins #thispandareignwontletup #mensfashion.” It garnered comments like “wow you are wealthy! so many louboutins!” Lim responds, “I’m not wealthy i work hard.” The commenter responds, “how do you work hard to achieve that? thats like impossible!” to which Lim replies, with a (virtual) grin, “we Asians work hard.” While Lim may, indeed, work hard at his studies, it is unlikely that the average merchandising college student would be able to amass more than fifty pairs of Louboutin loafers ($1,395 each) or four diamond Cartier love bracelets ($10,200 each). Lim is rumored to be the son of Singaporean billionaire Peter Lim, one of the richest people on the planet. His wealth comes, presumably, from inheritance. Still, Lim furthers the mythos of meritocracy in stating that his shelves of designer clothes from Hermès and Balenciaga are the rewards of his labor.

Luxury Instagram accounts function as catalogs of what many young people dream of having and the lifestyle they dream of living. Decoupling extreme wealth from fame, they pull back the curtain on lifestyles typically unavailable to and unseen by most. Notwithstanding the expectation that people on social media will be more “authentic” than traditional celebrities, who typically are separated from fans by a layer of managers and agents (Marwick 2013a), this authenticity contradicts the photographic “truth” of an endless parade of luxury goods, in that it enables the audience to ask, “How can you afford that?” There is a difference between traditional celebrities and the highly followed. While most rich people are not famous, and many famous people are not rich, income inequality is deeply obvious when the wealthy person is brought into intimate high definition through his or her personal pictures. Lim affects a boy-next-door attitude even though the reason behind his appeal clearly is this immense wealth.

Conclusion: Microcelebrity and Aspirational Production

Friesz, Goodridge, and Lim all engage in various levels of microcelebrity practice to boost their popularity on Instagram, and each embodies a different personal brand—all-American teenager, sexy Barbadian star, and wealthy fashionista. They use Instagram to provide interested onlookers with glimpses into their lives that fit these personae. They are far from the only young people to achieve Instafame in these ways. Similar to Friesz, MrBrent98, or Brent Rivera, a fifteen-year-old aspiring actor, has 609,000 followers. He posts primarily headshot-esque selfies staring into the camera. With his pinup haircut and teen-idol looks, Rivera receives thousands of comments on each post; a simple selfie posted on September 2013 received sixty-eight thousand likes and more than two thousand comments, which range from “You’re literally gorgeous!!!!!!” to “I LOVE YOUUUUU.” Rivera has a YouTube page and Kik and Twitter accounts and asks fans, “Want Me To Notice You? #brentrivera.” While his acting credits are nonexistent, he has been able to create and leverage a celebrity persona simply through the strength of his conventional visual appeal. Rivera looks like a celebrity, and on Instagram, he is treated as one.

Other types of personae can be communicated through Instagram; a slightly different, yet equally potent, category of highly followed Instagram accounts is of people working at “hot” jobs in “cool” industries (Neff, Wissinger, and Zukin 2005). Chloe Norgaard (104,652 followers) is a rainbow-haired model who posts runway snaps, pictures with slouchy scenesters, and seemingly effortless up-to-the-minute fashions. Hannah Pixie Snowdon (101,063 followers) is a dark-haired, big-eyed tattoo artist who Instagrams her artwork, her tattoos, and her bearded boyfriend. Norgaard and Snowdon have significant cultural capital as subcultural trendsetters. Their Instagrams are more edgy than mainstream celebrities’ but still rely on aesthetic display and are aspirational for a particular segment of followers concerned with cutting-edge cool.

Microcelebrity entails a dramatic twist on aspirational consumption—the practice in which cheaper “entry-level” luxury goods marketed by brands like Chanel and Gucci are bought in an effort to evoke the aura of an unattainable brand (Welch 2002)—namely, aspirational production: microcelebrities creating content that portrays them in a high-status light, simulating the attention given to celebrities (Marwick 2013a). While nobody may actually be paying attention, aspirational producers want the audience to think that they are being snapped by the paparazzi even if their pictures are actually taken by a best friend or boyfriend. Doing so is not difficult when actual celebrities are taking bathroom selfies and posting mundane pictures of meals and cats. Nobody is booking Goodridge for a Vibe photo shoot, but she can take a bathroom selfie in her going-out clothes, just like Rihanna does. Likewise, while Lim is profiled not by Vogue but by B-list fashion blogs, when he Instagrams photos of his spectacular shoe collection he receives some fraction of the attention given to global style icons. By positioning themselves as worthy of the attention given to celebrities, and by using the visual tropes of celebrities, Friesz, Goodridge, and Lim position themselves as celebrities. And, like celebrities, their followers position themselves as fans and reach out to the Instafamous in a well-worn mode of address: the faithful supplicant and adoring audience.

To Zollman’s taxonomy of the Instafamous we might add one more: the person whose persona itself is aspirational, in that such a person has the audience, the looks, the money, the access to celebrity, or the cultural capital an interested audience member might want. These individuals have succeeded in gaining immense audiences on Instagram, a free, easy-to-use technology available to virtually everyone with a smartphone and a data plan. Thus their fame seems attainable to the average onlooker. While many young people dream of fame, the work involved in becoming an athlete or a singer may be many steps removed from their day-to-day lives. Yet posting on Instagram, or tagging a selfie with #instafame, is relatively simple. And, as suggested above, the always-on, mobile nature of Instagram lends an air of authenticity and truthfulness that mere tweets or blog posts may not.

The techniques used by Instagram microcelebrities are part and parcel of an online attention economy in which page views and clicks are synonymous with success and thus online status. Many of those who achieve Instafame do it by using a set of self-presentation techniques that are increasingly common; researchers have observed microcelebrity practices in webcam girls (Senft 2008), political activists (Tufekci 2013), technology workers (Marwick 2013a), and fashion bloggers (Marwick 2013b). Such status-seeking self-presentation tactics are not unique to the Instafamous but are common to anyone trying to boost an online audience. Social media allow “average people” to reach the broad audiences once available only to those with access to broadcast media. But rather than overturn the traditional hierarchies of fame, the Instafamous reinforce them by appealing to audiences using the familiar trappings of thin but buxom bodies, sports cars, and designer clothes. Instagram, as software designed for personal visual display, further encourages replicating such imagery. Ultimately, any “demotic turn” endemic to modern-day celebrity offers greater access not to the everyman or everywoman but to those able to credibly inhabit celebrity subjectivity thanks to a set of physical and aesthetic criteria that are anything but common.

Endnotes

The latter tag signals “I’ll follow you if you follow me.”

The term microcelebrity was coined in Theresa Senft’s 2008 study of camgirls. Early webcams broadcast live, posting a series of still frames that were refreshed every thirty seconds or so. Today live webcams are more typically associated with pornography, while video bloggers (“vloggers”) use webcams to record short videos posted to sites like YouTube.

Out of the top one hundred Instagram accounts on Web.stagram.com as of March 2014, only two are private. @louist91, for instance, has 2,884,101 followers but only follows 21. He is a member of the popular boy band One Direction, suggesting that fans follow him in the hopes that he will follow them back.

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#celebrity #instagram #internet fame #microcelebrity #social media #aspiration #the way we live now #luxury #singapore #worldwide fame

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Jenny o Sullivan par Francesca Spinelle® Via Flickr : This work is being posted with the permission of the Photographer: frenchystudio Model: Jenny o Sullivan Location : Chichester - UK Access frenchystudio: www.flickr.com/photos/stephan_d/ With the word frenchystudio: Why I'm a Glamour photographer ? ... Because i love woman beauty ... I'm always interesting in sharing ideas and working on new project, I could considere TFP if you come with a very good idea or concept or access to an amazing location (Hotel/Museum/Manor/Private beach ...) I'm extremely respectful with my model and their happiness and confidence is my first priority !!! I'm located around Chichester (south) UK and Caen (Normandy) FR but could be available any where in England and Europe. IMPORTANT ! - Even if my photos are freely visible online, they don't come to me free-of-charge. So, please consider a free donation on my PayPal.me account, helping with the cost coverage of new shootings: www.paypal.me/sdegrutere Thanks 😊 Stephan. www.frenchystudio.com www.instagram.com/___stephan_d___/ www.youtube.com/channel/UCB4oKGGwTkFwTVaKdb8zDLA?view_as=... www.purpleport.com/portfolio/frenchystudio/ www.facebook.com/profile.php?id=100011076397574

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