#Post-Pandemic Retail

[rapidpricer]

Changing Landscape of European Retail

Written By: Jagriti Shahi

Figure: Growth of retail in Europe

The retail industry in Europe has undergone significant transformations in recent years, driven by changing consumer preferences, technological advancements, and global economic shifts. From traditional brick-and-mortar stores to e-commerce giants, European retail has seen a remarkable evolution. In this article, we will explore the key trends shaping the changing landscape of European retail and how businesses are adapting to stay competitive in this dynamic environment. The retail sector in Europe is the largest in the world, with a turnover of over €2 trillion in 2021. The sector employs over 20 million people and accounts for about 10% of the EU's GDP. The retail sector in Europe is highly fragmented, with a large number of small and medium-sized enterprises (SMEs). However, there are also a number of large multinational retailers operating in the market, such as Carrefour, Tesco, and IKEA.

Figure: Growth of retail in Europe

The retail sector in Europe is facing a number of challenges, including the rise of e-commerce, the changing demographics of consumers, and the increasing adoption of new technologies. The rise of e-commerce is one of the most significant challenges facing the retail sector in Europe. In 2021, online retail sales in Europe reached €768 billion, accounting for 16.1% of total retail sales. This growth is being driven by a number of factors, including the increasing availability of high-speed internet, the growing popularity of mobile shopping, and the convenience of online shopping.

Traditional brick-and-mortar retailers are struggling to compete with the convenience and lower prices of online retailers. In order to survive, traditional retailers are investing in their online presence and offering omnichannel experiences that allow customers to shop online and in-store. The demographics of European consumers are also changing, which is having an impact on the retail landscape. The population is aging, with more people over the age of 65. This group is increasingly active and affluent, and they are looking for different products and services than younger consumers. They are also more likely to shop online.

Another demographic trend is the increasing diversity of the European population. This is leading to a demand for more ethnic food and clothing stores. Retailers are also adapting their marketing and advertising to reach these new customer groups.

New technologies are also having a major impact on the retail landscape. The use of artificial intelligence (AI), augmented reality (AR), and virtual reality (VR) is growing, and these technologies are being used to improve the customer experience in a number of ways. For example, AI can be used to personalize recommendations, AR can be used to try on clothes virtually, and VR can be used to create immersive shopping experiences. The adoption of new technologies is also creating new opportunities for retailers. For example, retailers can use data analytics to track customer behavior and improve their marketing and product offerings. They can also use social media to connect with customers and build relationships.

The future of European retail is uncertain, but it is clear that the industry is undergoing a major transformation. The rise of e-commerce, the changing demographics of consumers, and the increasing adoption of new technologies are all having a major impact on the way people shop. Retailers that are able to adapt to these changes will be the ones that are successful in the future.

Figure: Brick-and-Mortar stores

Figure: Number of brick-and-mortar in Europe over time

Figure: Department stores

Department stores: Department stores are large stores that sell a variety of products, such as clothing, home goods, and electronics. Some of the most famous department stores in Europe include Galeries Lafayette in Paris, Selfridges in London, and El Corte Inglés in Madrid.

Figure: Independent retailers

Independent retailers: Independent retailers are small, privately owned businesses that sell a variety of products. These retailers often have a strong local presence and offer a unique shopping experience.

Figure: Markets

Markets: Markets are a great place to find fresh produce, meats, cheeses, and other local products. Many European cities have traditional markets that have been operating for centuries.

Figure: Outlet

Outlet malls: Outlet malls are a great place to find discounted name-brand clothing, shoes, and accessories. These malls are often located in tourist destinations.

Figure: Warehouse clubs

Warehouse clubs: Warehouse clubs are membership-only stores that sell a variety of products in bulk. These clubs are a great place to find discounts on groceries, household goods, and other items.

Traditional retail is still a major part of the retail landscape in Europe, and it is likely to remain so for the foreseeable future. These stores offer a unique shopping experience that cannot be replicated online. In addition, many traditional retailers are adapting to the changing retail landscape by investing in their online presence and offering omnichannel shopping experiences.

The European Retail Landscape

Europe boasts a diverse and rich retail heritage, with traditional shops, boutiques, and markets dating back centuries. These establishments have played a significant role in local economies, offering consumers a wide range of goods and personalized shopping experiences.

Challenges in the Digital Age: Traditional retail in Europe has felt the impact of the digital age. The rapid growth of e-commerce giants like Amazon, along with the convenience of online shopping, has led to a decline in foot traffic at brick-and-mortar stores. Consumers now have access to a vast array of products with the click of a button, making it essential for traditional retailers to adapt.

The Omnichannel Approach: Many traditional European retailers are responding to the digital challenge by adopting an omnichannel approach. This strategy combines physical stores with an online presence, offering consumers a seamless shopping experience. Retailers are investing in e-commerce websites, mobile apps, and in-store technology to bridge the gap between offline and online shopping.

Customer Experience and Personalization: One advantage traditional retailers have over e-commerce is the ability to provide a unique and personalized customer experience. Many European consumers still value the tactile, sensory experience of shopping in a physical store. Traditional retailers are focusing on creating welcoming and interactive environments, offering personalized service, and curating their product selections to cater to local tastes.

Sustainability and Localism: In response to consumer demand for sustainability and ethical shopping, traditional European retailers are emphasizing their commitment to local sourcing and environmentally friendly practices. Some are rediscovering the benefits of locally-produced goods, promoting them as eco-friendly alternatives to mass-produced items. This aligns with the rising trend of supporting local businesses and reducing the carbon footprint associated with global supply chains.

Cultural and Historical Significance: Traditional retail establishments often hold cultural and historical significance in European communities. Many have been in operation for generations, serving as cornerstones of local culture. These stores are cherished by residents and tourists alike, and efforts are made to preserve their historical authenticity while integrating modern retail practices.

Government Support: Some European governments recognize the importance of preserving traditional retail and are offering support through grants, subsidies, and regulatory measures. These initiatives aim to bolster traditional retail against the encroachment of e-commerce and maintain the vibrancy of city centers.

Conclusion

Traditional retail in Europe is at a crossroads. While it faces challenges from the digital age and changing consumer preferences, it also has unique advantages rooted in history, culture, and personalized shopping experiences. To thrive in today's retail landscape, traditional retailers must embrace technology, adopt an omnichannel approach, focus on customer experience, and align with sustainability and localism trends. In doing so, traditional European retail can not only survive but also continue to offer consumers a distinctive and cherished shopping experience that reflects the rich tapestry of Europe's retail heritage. By adapting to the evolving market while preserving their unique qualities, traditional retailers can continue to play a vital role in the continent's commercial landscape.

The changing demographics of consumers

The demographics of European consumers are also changing, which is having an impact on the retail landscape. The population is aging, with more people over the age of 65. This group is increasingly active and affluent, and they are looking for different products and services than younger consumers. They are also more likely to shop online.

Another demographic trend is the increasing diversity of the European population. This is leading to a demand for more ethnic food and clothing stores. Retailers are also adapting their marketing and advertising to reach these new customer groups.

Here are some specific examples of how the changing demographics of consumers are impacting the retail industry in Europe:

The aging population is leading to a demand for more accessible and convenient shopping options. This is driving the growth of online grocery delivery and click-and-collect services.

The increasing diversity of the population is leading to a demand for more ethnic food and clothing stores. This is also leading to a demand for products and services that cater to the needs of diverse cultures, such as halal food and bilingual customer service.

The rise of the digital native is leading to a demand for more personalized and engaging shopping experiences. This is driving the growth of mobile commerce and augmented reality (AR) shopping.

The changing role of women is leading to a demand for more flexible shopping hours and options for online shopping. This is also leading to a demand for more products and services that are designed for women, such as maternity clothing and baby products.

The growing importance of sustainability is leading to a demand for more sustainable products and services. This is driving the growth of organic food, fair trade clothing, and recycled packaging.

The increasing adoption of new technologies

Figure: The increasing adoption of new technologies

As you can see, the percentage of people in Europe using the internet has been increasing steadily over the past two decades. This is due to a number of factors, including the increasing availability of high-speed internet, the falling cost of computers and smartphones, and the growing popularity of online services.

The increasing adoption of new technologies is having a major impact on the retail industry in Europe. Here are some of the key technologies that are being adopted by retailers in Europe:

Artificial intelligence (AI): AI is being used to improve a variety of tasks in the retail industry, such as customer service, inventory management, and fraud detection. For example, AI can be used to analyze customer data to personalize recommendations, or to predict which products are likely to be in high demand.

Augmented reality (AR): AR is being used to create immersive shopping experiences that allow customers to try on clothes virtually or see how furniture would look in their home. For example, IKEA has an AR app that allows customers to see how its furniture would look in their living room.

Virtual reality (VR): VR is being used to create even more immersive shopping experiences that allow customers to virtually visit stores and try on products. For example, Amazon has a VR store that allows customers to browse its products and make purchases.

Internet of Things (IoT): IoT is being used to connect devices and collect data about customer behavior. This data can be used to improve a variety of tasks, such as inventory management and customer service. For example, retailers can use IoT sensors to track the movement of products in stores and to identify when products are running low.

Blockchain: Blockchain is being used to create secure and transparent supply chains. This can help retailers to ensure the authenticity of their products and to track their products from the source to the customer. For example, Walmart is using blockchain to track the supply chain of its food products.

These are just some of the key technologies that are being adopted by retailers in Europe. The adoption of these technologies is helping retailers to improve their efficiency, personalize the customer experience, and create a more sustainable supply chain.

E-Commerce Dominance

One of the most profound shifts in European retail has been the rise of e-commerce. Consumers now have the convenience of shopping online from the comfort of their homes, and this trend has been accelerated by the COVID-19 pandemic. Major players like Amazon, Alibaba, and local champions such as Zalando and ASOS have expanded their reach across Europe, reshaping consumer behavior and expectations. Retailers have had to invest heavily in their online presence, enhancing websites, mobile apps, and supply chain logistics to meet the demand for digital shopping. Additionally, omnichannel strategies have become essential, allowing consumers to seamlessly switch between online and offline shopping experiences.

E-commerce dominance refers to the growing market share of online retailers over traditional brick-and-mortar stores. This trend is being driven by a number of factors, including the increasing availability of high-speed internet, the growing popularity of mobile shopping, and the convenience of online shopping. In Europe, e-commerce sales are expected to reach €768 billion in 2022, accounting for 16.1% of total retail sales. This growth is being driven by the increasing adoption of online shopping by consumers across all demographics.

There are a number of reasons why e-commerce is becoming so dominant. First, the availability of high-speed internet has made it possible for consumers to shop online quickly and easily. Second, the popularity of mobile shopping has made it possible for consumers to shop online from anywhere. Third, the convenience of online shopping is unmatched by traditional brick-and-mortar stores. Consumers can shop online 24/7, compare prices from different retailers, and have products delivered to their door. The rise of e-commerce is having a major impact on the retail industry. Traditional brick-and-mortar stores are facing increasing competition from online retailers, and many are struggling to compete. In order to survive, traditional retailers need to adapt to the changing retail landscape by investing in their online presence and offering omnichannel shopping experiences.

Figure: Share of online retail sales in Europe over time

As you can see, the share of online retail sales in Europe has been increasing steadily in recent years. This is due to the increasing popularity of online shopping, which is more convenient and offers a wider selection of products. The share of online retail sales is expected to continue to increase in the coming years. However, it is important to note that not all countries are affected equally. For example, the share of online retail sales is higher in Northern Europe than in Southern Europe. The future of online retail in Europe is bright. The growth of online shopping is being driven by a number of factors, including the increasing availability of high-speed internet, the growing popularity of smartphones and tablets, and the increasing convenience of online shopping.

Sustainability and Ethical Consumption

The European retail landscape is witnessing a significant shift towards sustainability and ethical consumption. Consumers are becoming increasingly aware of the environmental and social impact of their purchases. Retailers are responding by adopting eco-friendly practices, sourcing sustainable products, and promoting transparency in their supply chains.

Fashion brands, in particular, have made strides in sustainable fashion, with initiatives like "slow fashion" and clothing rental services gaining popularity. European consumers are favoring products that are produced responsibly and have a lower environmental footprint, and retailers are aligning their strategies with these values.

Personalization and Data Analytics

Data analytics and artificial intelligence are playing a crucial role in the transformation of European retail. Retailers are harnessing the power of big data to gain insights into consumer behavior, preferences, and shopping habits. This data-driven approach allows them to personalize marketing efforts, optimize inventory management, and enhance the overall shopping experience.

Personalized recommendations, targeted advertising, and tailored promotions are becoming the norm in the industry. Retailers are using predictive analytics to forecast trends and adjust their product offerings accordingly, ensuring they stay ahead of consumer demands.

Pop-Up Stores and Experiential Retail

While online shopping continues to grow, physical stores are not becoming obsolete. Instead, retailers are reimagining the in-store experience to attract and engage customers. Pop-up stores and experiential retail spaces are gaining popularity, offering unique and immersive experiences that cannot be replicated online.

These temporary stores allow retailers to test new products and connect with customers on a more personal level. They often incorporate interactive elements, such as virtual reality experiences or live demonstrations, to create memorable moments for shoppers.

Cross-Border Expansion

European retailers are increasingly looking beyond their home markets for growth opportunities. Cross-border expansion has become a viable strategy for many companies seeking to tap into new customer bases and diversify revenue streams. The European Union's single market has facilitated this expansion by reducing trade barriers and harmonizing regulations.

Furthermore, technology has made it easier for retailers to reach international customers through e-commerce platforms and digital marketing. As a result, many European brands are expanding their presence into neighboring countries and even outside of Europe, creating a more competitive and globalized retail landscape.

Post COVID European Retail

The retail industry in Europe is undergoing a period of change after COVID. The pandemic has accelerated the shift to online shopping, and brick-and-mortar stores are struggling to compete. Retailers are responding by adopting new technologies, such as AR and VR, and by offering more convenient shopping experiences, such as BOPIS. The industry is also focusing on sustainability, as consumers are increasingly demanding sustainable products and services.

Conclusion

The changing landscape of European retail is characterized by the rapid growth of e-commerce, a focus on sustainability and ethical consumption, data-driven personalization, experiential in-store experiences, and cross-border expansion. Retailers that adapt to these trends and embrace digital transformation are likely to thrive in this dynamic environment.

The future of European retail will continue to be shaped by evolving consumer preferences and technological innovations. To stay relevant, retailers must remain agile, customer-centric, and committed to ethical and sustainable practices. As the industry continues to evolve, it will be exciting to see how retailers innovate and compete in this ever-changing landscape.

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[j-esbian]

i’ve gotta admit that, 4 years in, im still real fucking tired of people who act like Everyone In the World Had To Stay Home 24/7 when the covid pandemic started, bc as best as i can tell, that was mostly like. white collar workers and students

[ineffablelexicon]

Analyzing the Shift in Consumer Preferences Post-Pandemic

The pandemic has irrevocably altered the landscape of consumer preferences, presenting both challenges and opportunities for business owners. As the world navigates the aftermath, a significant shift towards online shopping, sustainability, and health-conscious choices has emerged. This evolution in consumer behavior underscores the importance for businesses to adapt and realign their offerings to meet these new demands. Understanding and integrating these preferences into business models will be key in capturing and retaining customer interest in a post-pandemic world.

Digital transformation has accelerated, making e-commerce not just an option but a necessity for retailers. The convenience, safety, and efficiency of online shopping have elevated consumer expectations, pushing businesses to enhance their digital platforms and logistics. Moreover, the rise of social media marketing has changed how brands connect with their audience, emphasizing the need for authentic and engaging online content. For businesses, investing in a robust online presence and e-commerce capabilities is crucial to tap into this shift and drive growth.

Sustainability has come to the forefront of consumer concerns, with a growing demand for eco-friendly products and practices. This shift reflects a deeper awareness of environmental issues and a desire to contribute positively by making responsible purchasing decisions. For business owners, this means prioritizing sustainability not just in products but in operations and messaging. Demonstrating a genuine commitment to environmental stewardship can strengthen brand reputation and loyalty among eco-conscious consumers.

Health and wellness have also gained prominence, influencing a wide range of industries from food and beverage to fitness and leisure. The pandemic heightened awareness around health, leading consumers to seek products and services that support their wellbeing. Businesses have the opportunity to cater to this trend by offering healthier options, transparent product information, and wellness-focused experiences. Aligning with these health-conscious preferences can differentiate a brand and attract a dedicated customer base.

In conclusion, the post-pandemic world presents a new paradigm of consumer preferences that business owners must navigate. Adapting to these changes, from digital adoption and sustainability to health and wellness, is not just beneficial but essential for businesses aiming to thrive. By understanding and responding to these shifts, companies can build a resilient and relevant brand that resonates with today’s consumers.

This article delves into the significant shifts in consumer preferences post-pandemic and outlines the crucial adjustments business owners need to make in response. Highlighting digital transformation, sustainability, and health consciousness as key trends, it provides a roadmap for businesses to adapt and succeed in the evolving market landscape. Through a persuasive and clear narrative, it encourages business owners to embrace these changes, leveraging them as opportunities to enhance their offerings and connect with consumers on a deeper level.

[zuckergussprinzessin]

fellow retail workers did you all also have that really surreal and fucked up experience at the beginning of the pandemic when everyone but you got to stay home and watch Netflix and then Squid Game dropped and suddenly all your friends really wanted you to watch this show about poor people risking their literal lives for some money as though that wasn't your actual life at the time

[iridessence]

I would like to take a moment to acknowledge myself and say that I am elated and proud to have manifested some of my major goals since 2018-2019. Basically before then, 2014-16 I struggled with depression and suicidal ideation quite frequently due to not having steady income, as jobs in retail seemed the only available and “safe” options, but long shifts standing at a registers or posts were damagingly hard on my body. In 2017 I got a desk job that set me on the path of financial stability and reduced physical load, which did absolute wonders for my mental health but it was an absolute blight to my existence over time due to terrible management and the usual corporate garbage. I knew that staying there was fine for a time but not sustainable in the long run, so change must come eventually.

also around then, I continued to explore self portraiture and personal style but I really wanted to perform/create Burlesque acts and book them, and invest in and actually have choreography/technique and beautiful costume pieces that looked like the visions refining themselves in my head through research. I was also perpetually struggling in the dating sphere with the deficit of romantic fulfillment that I deeply wanted. and while they weren’t hostile, things were definitely weird with my family (dysfunctional, literal small town energy, upset that I didn’t want to be around them more in the suburbs but lots of interpersonal toxicity and lack of emotional growth).

I knew that in the coming years I wanted to…

quit my soul sucking job and set out to be a full-time or at least professional level burlesque performer, creating the qualitative and classic show girl acts I dream to see on stage

work on the floor at a boutique or mom-and-pop type shop that sells goods or services that are interesting to me, especially aesthetically, such as an antique shop or a jewelry boutique etc., but a place where I could sit intermittently as needed for my physical disability. Also, ideally it would be a position where I could express myself through style at my choosing and it would be received well, and also my hours would not be very early or very late.

find a loving and supporting partner who I could lavish equal amounts of love and support on to, live with and hopefully marry

Achieve/maintain financial stability enough that I have a reduced risk for homelessness and sometimes treat myself to things that I enjoy.

Figure out why the relationship with my family was such a struggle and do things within my power and desire to fix it.

In a world that isn’t a corporate machine devoid of empathy, none of that seems like a tall order to ask… but I live in America so… It took some time, but I’m starting to see the fruits and returns. Honestly sometimes things feel like a blur and I’m not exactly sure I could say there was a huge system to what I did overtime to make it work, but I know the work was there.

As of today, September 9, 2023:

I am a respected professional burlesque performer with costumes I figuratively gag over and acts that come closer and closer to hitting the aesthetic nail on the head for what I want to embody. (I quit that shitty desk job at the beginning of 2019 and haven’t looked back since. Sent a whole ass company wide message with a long and detailed “fuck you” too.😂🙈)

i’ve managed through burlesque, social media work, donations and savings, and —since the global pandemic—,odd jobs and grants/minimal loans, to continuously pay rent and ward off homelessness 

I live with the love of my life, to whom I am engaged and actively planning our wedding (we looked at a venue yesterday!)

I’ve helped my mom on the growth of her emotional intelligence and commitment to learning more about values under the race, gender, and sexuality umbrella, as well pushed her to examine the enabling and entitlement dynamics with her adult children that take advantage of her. While my relationship with my brother and sister is not great, my relationship with my mom has been steadily getting better since the pandemic. we had a breakthrough at the beginning of this year where she acknowledged and apologized for guilt tripping me for not being around the family more, when I was (she quoted) “actually protecting myself like she should have been.”

and litcherally within the past week I was offered the job at a local boutique I interviewed with a year ago and didn’t get, and I signed an offer letter to begin work within the month. 

To say I’m happy with the way things look right now is an understatement. The world still terrifies me, but I have no choice but to carve out a sliver of its beautiful experiences for myself, and I am doing just that. It may not be perfection, but it’s pretty damn good and I’m going to do everything in my power to keep it that way and make it even better. I am living my ancestors' wildest dreams!!

for anyone reading who might be struggling right now to make things work, I hope you hold on to hope that it can get better. A beautiful life is possible even on this hell scape, even for the marginalized.

[idsb]

okay so I just saw a tiktok about this and it had like, 20 views, so I'd just like to post here and raise some awareness here about how UMG's greed has now extended from shitty merch, to the exciting new ~*fucking over indie record stores*~ as well!!!!

A record store in upstate NY just kind of whistle-blew about this, by announcing the fact that they were only just now able to take preorders for The Tortured Poets Department. In their post, they explained that they'd be able to take orders from March 14th, but couldn't openly post about it or share that info until March 18th - after opening weekend of The Eras Tour Movie on streaming (aka an added boost of attention to Taylor and therefore, preorder sales). In this post, they fully blamed UMG for this, and also noted that the prices in their store are going to look incredibly more expensive than buying directly from UMG and Taylor's online merch store (Taylor's online merch store, which, notably, people are losing trust in for preorders due to the fact that for most people, the albums are consistently not arriving until over a month after the album release day). Why are the indie store's prices going to be so much more expensive? Well, that's because, instead of selling the albums to record stores at wholesale (a lower price a manufacturer sells to retail stores at so that the sellers can make a profit, which how it works for literally any retail store selling anything in the history of all retail stores), UMG is charging record stores FULL RETAIL VALUE on Tortured Poets Department CD's and vinyls in order to sell them. This means in order to make ANY kind of profit, indie stores have to add on $10+ to the price as compared to what Taylor's merch store, aka UMG, is directly selling it at. Leaving a customer who discovers this to either feel scammed by the indie store, or just purchase it from Taylor's store / UMG directly online instead.

I do not think Taylor, miss free surprise shipments of signed folklore's sent out to indie record stores to make sure they stay afloat during the pandemic, miss donating hundreds of thousands of dollars to Nashville based indie record stores to keep them open during the pandemic, would be very happy about any of this. I also know it's going to get blamed on her, and lumped in with some "a million vinyl variants billionaire greed", rhetoric, and it makes me so damn sad when I know it's the exact opposite of what she'd want. I'm happy she gets to own her masters but holy shit am I sad that she has less control over the things that actually matter in terms of fan consumerism, and I hope she is too and I hate that she is effectively powerless to fix it because big corporation music industry greedy label capitalism.

Fuck UMG. Fuck UMG to hell and back. Fuck them for screwing over fans, fuck them for screwing over small businesses and the dying breed of brick and mortar locations just to line their multi-billion dollar corporation pockets more than they already are. Fuck the fact that they wouldn't even need to do this if they just provided quality products that they shipped on time, but they'd rather squeeze out every last penny and don't care who they screw over in the process.

[createyourownnarrative]

Usually I try not to post too much about Long Covid on my regular FB feed. I’ve learned to just not do it. It’s best I save those posts for my support groups where I can get the support I need from people going through the same struggle.

But I need to get this off my chest.

I always knew I wanted to be an artist. I dabbled in many mediums over the years, photography, music, painting, film/media, writing, I’ve made sculptures. I truly enjoy expressing myself through various art forms, and connecting with others through that.

In 2010-2011, after years of working job after job trying to find my passion (when most of my friends were already college graduates with direction) and feeling a little lost, in the retail industry, I put my foot down, went back to school and chose a medium, & decided to pursue THAT. One medium I truly always loved: Photography. In 2012, I exhibited my work for the first time. In 2020 I opened up my first photo studio. A creative space where I can share and make memories. 1 month later, a global pandemic overturns our worlds and realities. I never would have imagined, that, in our lifetime. You just don’t think it could happen to you (to us). But it did. It’s still so surreal to me.

I got sick with Covid twice. I knew some people who had covid over 4-8 times. I had it twice. It only took that first bout with the virus to completely change my life. My body. My mind. My worries. My perspective. My whole world. And my future. I thought I almost had it figured out, my path, my plans, my goals. What I wanted to do, and where I wanted to go. Who I wanted to be. Now i’m grateful that I make it through my day, without collapsing. (which has happened and was very scary). My last two photography jobs, I couldn’t feel my hands. It’s why I’ve been so inactive, since I got sick. Whats going to happen when I can’t take pictures anymore?

When I tested positive for the first time, I cried in the cab ride home. I was beyond terrified. What will this mean? Will I survive this? What is going to happen. I thought if I can get through the virus and live, that’s all I could want. Some months before, I had lost a high school friend, a fellow musician, to Coronavirus. He was only 32 years old. We didn’t know what would happen. Who was at risk of death. After 9 or 10 days, with the virus. I tested negative, and returned to work. Feeling good, that I survived. Especially after day 4, when I woke up gasping for air in the night. I feared I wouldn’t wake up. I got blamed for testing positive by people around me. It was “my fault”. For “not being careful”. I felt so alienated. After I returned to work, I was preparing to move, packing, organizing, purging. One day, I could not get out of bed. And strange heavy symptoms. I thought I had Covid again. Of course the test came back negative.

But I would never be the same again. I never fully recovered from getting sick. Stuck back in 2020.

Do you know what it’s like? I see the world moving on. Almost like it never happened. Our government lying and covering up facts/truth. We are still sick. Still here. 18 million people in America are still sick with Post Covid syndrome. I’m left to feel like it’s my fault..I’m to blame. Because I “didn’t take care of myself.” Would you say that to someone with cancer? Or fibromyalgia? Or heart problems? Or Alzheimer’s? Or diabetes? Or any other illness? The stigma I’m (and we are) facing is unreal. People don’t believe me when I say “I still can’t taste and smell” and that I’m chronically ill now. “You don’t look sick”. “It’s because you party too much”. “you’re getting older” “it’s all those long nights you work on your feet”. I’ve heard it all. “But I see you at the bar working”. I have to work. There is no disability, go fund me, or assistance. I have to pay my rent. On my own. So I need to work. But just because you see me, at work, doesn’t mean I’m well. It just means I’m pushing myself to stay alive. It’s been true torture working through all this. I mourn and grieve for weeks and months at a time. It hasn’t stopped. It took me a long time, to accept that this is not going away anytime soon.

And my heart is broken. I feel left out in the rain. By our leaders, scientists, doctors, friends I thought I had. There is no community support. Even if someone believes you’re sick. No funding/fundraisers for LC. There is no cure, no pill, no treatment, no progress in finding treatment or biomarkers in the body to be able to even test for LC. The unpredictability of it. The symptoms. It’s really been torturous. Torture. A true nightmare. Having to sit in the shower so I don’t fall. Or hit my head (again) Doubling heart rate just upon standing. I get winded just talking and singing karaoke. I forget everything now. I slur my speech, sober. Tremors like Parkinsonism. My memory loss and constant issues feel like dementia-brain fog. I forget how to spell now. my hands turn purple red and blue when I step out of the shower. Migraines that last for months. Months. I take Tylenol like it’s medication. Neuropathy, nerve pain, nerve itches, tingling and numbness. My body temperature can’t regulate, so I often am cold and hot simultaneously. How do you remedy that? The discomfort and distress I feel is unbearable. Loosing clumps of hair. My hair is greying more and more rapidly post covid. Brittle nails. Skin issues. Digestive issues. Eye problems. Cognitive difficulties. Joint pain. Muscle pain. Muscle atrophy. Weakness. Severe severe fatigue. Almost like you worked out at the gym, full body then took a benadryl. Every. Fucking. Day. I’m tired of being so fucking tired. Before Covid, people would always have to tell me to slow down. Working full time, school, internships, photography, going to the gym full time. I always took on so much. I had so much energy and drive. It was a fire in me.

Now it’s gone. A piece of me has died, undoubtedly. And I question everything now. Most days I’m afraid to leave my house. And don’t. Unless it’s to work. If I do leave my house, it’s because I’m pushing myself, and I’m not well. My anxiety and depression are much worse. Chronic illness has also taken its toll on my mental health. It’s been draining trying to keep up with the world. I feel left behind. I’m not only mourning my health, and my abilities, but my passion in life, the one thing I worked so hard for. My future. And Photography. What do I do, if I can’t create anymore? What purpose do I have?

No one believes me, or think LC exists. And if I don’t “show up”, it’s because “she’s a flake”. I’m in such a dark place you may never understand. How do I navigate this life? Being sick every day.

[literaryxbones]

Link to Original Video: The Fashion Goths Are Taking It Too Far - YouTube Link to Channel: 90s Goth | What it was like (youtube.com)

Yesterday night I watched this video by goth creator Angela Benedict. It was very well put together and spoke openly about some issues I've come across in the subculture for a long time.

For reference, I joined the goth scene during 2020. I had listened to post-punk music before then and really enjoyed it, I just didn't know there was a name or community for the genre I loved so much. As a baby bat during the pandemic, I felt pressured to buy expensive clothes. I wanted to look like the content creators I admired. I didn't want to be seen as "not goth enough" for not being able to afford the high prices set by online retailers. It was later that I learned that many alternative influencers wore garments donated by sponsors. They didn't have to pay large sums of money for what they wore. Rather, they were being paid to advertise the brands. I'm not against sponsorships in any form, and I'm glad these creators are making a living inside the scene, doing what they love. Others online were either old enough to purchase these fancy clothes, and there were some that upcycled thrifted fabrics to create custom, detailed pieces all their own. When I was 14, I didn't have the skill or knowledge to DIY. I've rambled on for a long while, but Angela has re-sparked my interest in upcycling, embroidery, and DIY. I'll definitely be posting my ideas, inspiration, and crafts on here soon! I'm still a beginner when it comes to making your own clothes and accessories though. My stitches are totally uneven still

[probablyasocialecologist]

Millennials and Gen Zs were raised to be entrepreneurs of the self, to believe that, if they simply worked and studied hard enough, success and security were waiting in their futures. Failure was a personal blight for refusing to invest their time wisely, for failing to grind hard enough. Post-2008, that dream was shot. You could work and work, but that did not mean that you would have job security and freedom from roommates by your mid-30s. Maybe this was what was meant by burnout culture. In the aftermath of the crash, middle-class people spoke of the death of the dream – the postwar ethos that, if you were willing to work hard enough and play by the rules, upper mobility and success were waiting in your future. If their parents had believed in climbing the ladder and just rewards for their hard work, this path was now closed to their children. These generations are also a product of the speculative environment they were raised in. Most of the day-traders were teenagers or children in the financial crash, or just graduating college. Fledgling adults in the COVID-19 pandemic. Born between the mid-1980s and early 2000s, their identity is shaped by the vacuum of post-communist politics (I, personally, was sent, age five, to a fancy-dress party styled as the Berlin Wall) or shaped by the speculation and excess of the dotcom era, or racked by the uncertainty of the 2008 financial crash. They’ve encountered the death of the American dream (or in Ireland, where I’m from, the optimism of the Celtic Tiger) and felt the withdrawal of the state’s contract in everything from mounting student debt to inferior healthcare to the rising cost of living. The postwar security and investment in public goods like education and housing their grandparents and parents enjoyed has been replaced by volatility and risk. Retail trading forums like WallStreetBets and NFT Discords are spaces where people trade crazy investment advice, but it’s also where they articulate their loss of hope in those same dreams. What replaced the fantasy of the good life? Dreams of prepping for life on Mars or in the metaverse? Of financial security through wild trades, or finding a good man to take care of you so you could leave the hustle behind? And who are these new dreams in service of? If the tale of hard work and upward mobility kept us yoked to our employers and our 9-to-5 jobs, the fantasy of the YOLO investment ‘Lambos or food stamps!’ keeps its subjects attached to the market. To risking it all. And these dreams feed the market, as in the crypto winter of 2021 where many vulnerable investors were left holding the bag, or the post-GameStop frenzy where, despite feelgood stories about David and Goliath, the significant profiteer was the market-maker behind the Robinhood trading app.

[justinspoliticalcorner]

Zachary Pleat at MMFA:

On August 15, Democratic presidential nominee Vice President Kamala Harris began outlining her economic agenda, which includes fighting excessive prices by enacting a federal ban on price gouging.  Most states already have some kind of law banning price gouging in at least some circumstances, but Harris’ new proposal would create the first ever federal ban on price gouging on groceries and empower the Federal Trade Commission to enforce these new consumer protections.  Yet Fox News and others in the media reacted by falsely mischaracterizing Harris’ proposal as setting price controls, denying that price gouging exists in the food industry, and ranting about communism.

Bloomberg White House reporter Josh Wingrove posted a Harris campaign email previewing her plan that makes no mention of price controls. What the announcement did mention was “authority for the FTC and state attorneys general to investigate and impose harsh penalties” on corporations engaging in price gouging, “resources for the federal government to identify and take on price-fixing and other anti-competitive practices” in the food industry, and support for small businesses to break into the food industry to take on monopolies. [Twitter/X, 8/15/24]

Washington Post economics reporter Jeff Stein posted another Harris campaign announcement that cited state price gouging laws and laid out plans to grant more authority to the FTC and state attorneys general and increase competition in the food industry. There was no mention of price controls. [Twitter/X, 8/15/24]

In a press release, the Harris-Walz campaign detailed its price gouging initiative to empower regulators and state attorneys general and to tackle predatory price gouging. In an August 16 press release fully detailing the Harris-Walz campaign’s broader economic agenda, the campaign reiterated that, if elected, Harris will work to “advance the first-ever federal ban on price gouging on food and groceries,” stipulating that these policies would be aimed at “big corporations” that “unfairly exploit consumers” and that the regulatory and legal authority to investigate and enforce the new anti-price gouging rules would rest with “the FTC and state attorneys general.” [Harris-Walz campaign press release, 8/16/24 via Popular Information]

Axios: Price controls are “just not how anti-price gouging policies work in the U.S.” Axios markets correspondent Emily Peck wrote that “critics are conflating the idea with Soviet-style price controls, and calling the plan ‘Kamunism.’” She explained that there’s been “wild speculation about what the plan could mean, including opinion pieces expressing fears that retailers won't be able to, say, set the price of a gallon of milk, and that it would lead to widespread shortages, black markets and hoarding,” but that “that's just not how anti-price gouging policies work in the U.S.,” pointing to a federal draft bill that “largely mirrors state laws” but is limited to larger companies “with at least $100 million in revenue.” [Axios, 8/20/24]

An FTC investigation revealed price gouging by major supermarket chains, and there have been many cases of price fixing in the food industry

In March, the FTC released a report on grocery supply chain disruptions during the pandemic, which found that some supermarket corporations “seem to have used rising costs as an opportunity to further raise prices to increase their profits, which remain elevated today.” FTC chair Lina Khan said, “The FTC’s report examining U.S. grocery supply chains finds that dominant firms used this moment to come out ahead at the expense of their competitors and the communities they serve.” [Federal Trade Commission, 3/21/24, 3/21/24]

The right-wing lie machine mischaracterizes Kamala Harris’s economic plans, denies the existence of price gouging in food, and libelously call her a “Communist.”

[theoutcastrogue]

Over the past year or two, the news has been full of horror stories about shoplifting. To hear some people tell it, you’d think petty theft was a crisis of apocalyptic proportions. In the New York Post, for instance, we read that shoplifting is an “epidemic taking over America.” The Financial Times issues dire warnings of “surging shopping crime,” while Fox News insists that “the shoplifting crisis is a nightmare.” ABC’s Nightline airs scary-looking footage of what its hosts call “brazen smash-and-grabs”: people in masks breaking store windows, grabbing armloads of clothing, and running off. In the opinion pages of the New York Times, Pamela Paul waxes poetic over “What We Lose to Shoplifting.” (The loss in question? Paul herself feels less comfortable in stores these days. Riveting stuff.)

In response to this supposed scourge, there’s been a resurgence in “tough-on-crime” tactics, both from corporations and political leaders. In department stores like Target, customers are confronted by elaborate new security measures, with everything from toothpaste to frozen pizza locked behind glass. Rite Aid pharmacies have turned to facial-recognition software to guard their merchandise, only to discover that their computers falsely identify people as “likely shoplifters”—particularly if those people have dark skin. In New York City, Mayor Eric Adams has launched an entire police task force dedicated to retail theft. And on the campaign trail, Donald Trump has called for more violent measures, saying that police should simply shoot shoplifters on sight. 

But statistical data shows that the reports of a shoplifting “epidemic” are highly exaggerated, if not outright made up. In a recent report, the Council on Criminal Justice gathered data about retail theft from 24 different U.S. cities, examining the frequency of reports, the dollar value of items stolen, the number of people involved in each crime, and several other factors. At first glance, it did appear that shoplifting was on the rise in the first half of 2023, as it increased by 16 percent compared to pre-pandemic levels. However, as German Lopez notes in the New York Times, that figure was heavily skewed by data from New York City. Remove the Big Apple, and the numbers tell a different story: shoplifting has actually decreased in 17 of the 24 cities surveyed, and is now fairly rare, with just 38.6 reported incidents per 100,000 people. In June 2019, that number was 45.1. Shoplifting might be happening more often in New York City specifically, but an “epidemic taking over America,” it isn’t.

[...] As author and civil rights lawyer Alec Karakatsanis points out, there’s also a strong class element involved in what kinds of behaviors are deemed newsworthy to begin with:

When the daily news media reports on a “crime wave” or a “surge in shoplifting” nearly every time the numbers from the police department fluctuate upward (note that no similar metaphors are used for decreases), they are almost always using these terms to describe the collective behavior of poor people and other marginalized groups. Things rich people do don’t often get this same metaphoric treatment in daily news. How many times do you see a major news story on a “surge” in tax evasion (a problem over 60 times the magnitude of other reported property crimes) or a “wave of crime” by oil companies?

[article by Alex Skopic, January 2024, keep reading]

[lestappenforever]

Max watching tit streamers anon here (I shall sign as 🍒 anon)

During quarantine, Max broke up with his then girlfriend Dilara. And well, ig he did need to fill an need of his so he went ahead and followed a bunch of insta models and also started watching tit streamers on twitch (idk if that's the proper term for them but yk they were "gamer" girls wearing some rather suggestive clothing).

People learnt about his endeavors on Twitch because he would comment stuff on these girls' streams and even make donations (i remember him making a donation and commenting sth abt the girl using the money to buy a simulator(?)) Our boy is not that creative with usernames so everyone could more or less understand it was him.

Now it's fair to mention that at the time Max had created an account on Twitch, which he streamed on, however quickly gave up on it. Plus he didn't use this account to comment on these girls' streams. He did so from his burner (?) account

When people found out they started pointing out his comments on Twitter and tumblr and I remember there being a post where they mentioned that Max had once wrote in some girl's that was wearing glasses chat that she looks like a "sexy teacher". The next day Charles had a stream and it was one of the first times he wore his glasses on stream, so some people considered it to be a funny coincidence (or not just coincidence we may never know👀)

Part 2:

🍒 anon again

"Regarding that particular stream Charles did (where he locked his now-ex gf out of the apartment) we have no clue whether Max watched it or not.

What we do know, though, is that Max liked Charles' tweet about it.

I remember lestappies in 2020 (that I'm pretty sure could be counted on like one hand), we were having a field day with it.

It was actually rather interesting that Max liked Charles' tweet given that this was back when they didn't use to be as close and used Lando as their messenger, as well as the fact that they do not follow each other on Twitter.

So this did raise the question as to how Max found out abt this tweet, but most concluded that he found out because Lando had interacted with it.

Really, lestappen and their relationship with each other back in the 2020 quarantine period is quite an overlooked chapter of their story, and it's filled with such small moments worth mentioning"

YOU CAME BACK! Thank fuck.

Okay, so during quarantine I was working retail in a grocery store and had to work harder and longer days than I had ever done in my life (and let me tell you, being an essential worker during the pandemic was exhausting), so I must have missed the comments on women's streams altogether. But I am so glad to have you, 🍒 anon, to fill me in on little things I might have missed over the years!

The 2020 quarantine era of Lestappen is definitely overlooked because there are so many gems like this that should get more attention. And Lando being the Lestappen carrier pigeon during this time is just one of those glorious gems.

Thank you so much for this, 🍒 anon! ❤️

[darlingillustrations]

I need retail sales BAD so I'm trying to post to Instagram Stories once a day bc it seems like a sensible way to connect with the people who supported my art before the pandemic.

Yesterday, tho. I was out grocery shopping with my 8yo. In the checkout line, the guy behind me kept pushing his cart really close to me, and kept doing it whenever I moved forward. I was flustered and overstimulated and really uncomfortable, so I turned around and asked this man to give me more space.

His response? He took issue with the tone of voice I used with him and threatened me, saying that I haven't seen anything yet, and he could get even more up in my space.

I was scared. I apologized profusely, quickly did my groceries, and got the hell out of there.

In the car, I explained to my 8yo "sometimes when a stranger is being mean, it doesn't matter if they are wrong or right, the safest thing to do is apologize and leave." And she replied, "Yes. Because he was being aggressive." When she said that, something in my heart broke, that she understood. That she *had* to understand these things.

By the time i got home, I was still struggling with my emotions. And since I resolved to make an IG Story each day, I figured: I wouldn't try to push products. I would just talk about what happened. The only *problem* with that was I was still in Survival Mode. Looking back at those videos today, I can see that I made them while in F4 Survival Response Mode. It was hard for me to even feel like it was ok to talk about this. I kept framing and couching the conversation with so many unnecessary cushions, but the reality is there:

I was threatened with violence in front of my kid and it scared me.

I feel so vulnerable all the time in so many ways. And I don't think this world is kind to vulnerable people. This world is not kind to people who have boundaries or express feelings of discomfort. This world is not kind to people who ask for help or are struggling. And that, I think, is why it is so incredibly valuable to choose vulnerability anyways. That is the strength of kindness.

I do not pursue virtue because I have some moral high ground.

I choose goodness because I have seen the horrors people heap upon each other and I've weathered both abuse and neglect myself. But I am the author of my own story. And THIS is how I want to live my life.

I am too stubborn to be polluted by the cruelty of the world.

[mikeywayarchive]

x

Electric Century: My Chemical Romance's Mikey Way on Blending Music and Comics

The My Chemical Romance bassist reveals the inspiration for his new graphic novel.

BY MIKE AVILA

UPDATED: APR 28, 2021 2:06 PM

POSTED: APR 28, 2021 1:53 PM

Full interview under the cut:

Mikey Way is busier than ever.

Despite having many 2020 plans derailed by the pandemic, the former bassist for My Chemical Romance (and brother of lead singer Gerard Way) revived his musical project, Electric Century, and turned it into a multimedia outlet for his creative energies. The result is EC’s self-titled sophomore album which reunites Way with singer David Debiak, as well as a new companion graphic novel written by Way and Shaun Simon and illustrated by Toby Cypress, and published by Z2 Comics.

In an exclusive interview with IGN, Way opens up about the personal inspirations behind the GN, which tells the tale of a burnt-out former TV star who winds up trapped inside a hypnotic fever dream in mid-'80s Atlantic City. Way describes talked how his childhood in New Jersey and the immense fame he experienced during the My Chem era informed key aspects of the story.

The Origins of Electric Century

EC in many ways has been a lifeline for Way ever since MCR broke up in 2013. Meant to be the outlet for his and Debiak’s love of new wave and Britpop music, the first album came out just as Way checked into rehab in 2014. That scuttled any plans for touring with the album.

Now this one is out, and Way had some big ideas for taking the new record out on the road, in a way that would bridge the worlds of music and comics he’s constantly traveling between. Except, COVID-19 brought the world to a standstill.

“There were cool plans at San Diego Comic Con [in 2020] for this graphic novel,” Way says. “We were going to play at Comic-Con, too, and then, bam! The pandemic happened. This is maybe the second time that happened where we were planning to do an Electric Century show and it didn't happened. So it was like someone was telling me, “Am I not supposed to play a show?”

The writer-musician did like everyone else did; He adjusted to the restrictions of pandemic life. After discussions with Z2 Comics, it was decided to take a more organic and less calendar-timed approach to the release of the Electric Century GN. Available directly through Z2’s website , fans can either order the book separately or as part of a package with the album and other merchandise. It’s also available through other retail outlets.

"But we pivoted and we're going to do other different, cool stuff with it," Way adds. "And the cool thing about this project is there's no timeline. We’re just going to let this organically grow.”

Of course, 2020 was also when Way was supposed to be rejoining his brother Gerard and the rest of My Chemical Romance for the highly anticipated reunion tour. Like nearly all other musical tours, those plans have been put on hold while the world recovers from COVID, so there is no practical update for MCR’s return. Given the nature of such mega-band tours, lots of I’s must be dotted and T’s crossed before things can happen, so Way politely steers clear of tour talk.

With regards to Electric Century, however, he’s an open book. The graphic novel came into play as recording for the album was nearly complete. It was conceived to be a parallel creative journey to the music that exist independently of each other. Way credits some of the inspiration for the dual project to the hitmaking virtual band Gorillaz.

“I have a lot of respect for [Gorillaz co-creator] Damon Albarn, I'm a huge fan of all of his musical projects. He always thinks outside the box, and it was brilliant what he did with Gorillaz, where it was this fictional band and video projections and screens. So basically, my mind just went from there. I started listening to the album over and over and an old idea I had for a story kind of peeked out.”

The seeds for the story that would eventually see print in the graphic novel were planted in 2014, after Way had exited rehab for drug and alcohol abuse. Seeking different types of therapy to help with his recovery, he attempted hypnotherapy, where hypnosis is used to create a state of focused attention during which positive suggestions and guided imagery are used to help people deal with issues. That experience made a lasting impression on him, especially as a potential story.

“I kind of had the idea of writing a story where somebody goes through hypnotherapy but they actually get transported somewhere and they can't get back,” he says.

Who Is Johnny Ashford?

That’s how Johnny Ashford came to be.

Ashford is the alcoholic former sitcom-star who is the main character of EC. He sees a hypnotherapist who transports him to his “happy place,” which turns out to be the Electric Century casino in Atlantic City in the 1980s. The visits to the Boardwalk spark new obsessions and before long he realizes his life depends on figuring out how to escape the Electric Century.

Having grown up in the Garden State and visited Atlantic City often, Electric Century afforded Way the chance spend quality fictional time at a place he visited often as a kid. It also gave him a chance to tap into his familiarity with the pitfalls and pressures of immense fame, having experienced it during MCR’s halcyon days.

“I used some of my personal experience [for the book],” he admits. “But I also had a fascination with eighties child stars since I grew up in that time. You know, back in the eighties, celebrity was different. If you were famous, you were like, legit famous. Everyone knew who you were, but there was intrigue. The only information was what was in magazines or on television. There was no social media, nobody was willingly giving any information about their lives on a daily basis. So these people seemed larger than life.”

For young Mikey Way, the young stars of shows like Diff’rent Strokes and Charles in Charge seemed to be kids you'd hang out with after school. Which is what he did, coming home from school to watch reruns daily.

“And then at some point, as I got older, I saw the sad side of show business and how a lot of [child stars] get discarded. That always made me sad because they were so important to people.”

Nostalgia plays an important role in Electric Century. New Jersey landmarks like Lucy the Elephant, the oldest surviving roadside attraction in America, show up in the book. But the the remembrances are soaked in melancholy.

“I wanted to play upon everyone's natural inclination to be nostalgic about something,” Way says. “That concept fascinates me because I often think if you could walk through a tunnel and be in some other time in your past, would you love it still? Or would your perspective now be, “I'm not into this anymore.” I'm a 40 year old man now; how would I process Atlantic city in 1988? No idea.”

Even though the two Electric Century projects were designed to exist separately, the track “Alive” is a seamless fit to accompany the graphic novel. It’s a song that Way wrote about five years ago – it was originally meant to be on the first Electric Century record – and he considers it one of his best compositions. “It's kind of reminding you to be alive and be in the moment,” Way says of the song. “And I think that's something I'm guilty of not doing, I think everyone in the world is guilty of not doing. I like to think about that when I hear that song to, you know, snap out of it, live in the now and stop worrying about where you've been.”

What's Next After Electric Century?

Way has several comics-related assignments in various stages of development. Up next is a story he’s writing with his big brother Gerard for the graphic novel tribute to the Anthrax album Among The Living, which Z2 is releasing on May 12. He also couldn’t contain his excitement over one project. “I’ve got something that I'm very excited about that I'm working on right now,” he says. “I don't know where it's going to end up. We're talking to some places, but it will be very cool.”

Finding himself at this stage in life where writing comics is such a big part of his life isn’t some fluke. Way doesn’t view comics as just a fun side project to do in-between albums and tours. Like his brother, comics have been a part of his life longer than music.

“I’ve been a fan almost the entirety of my life,” he says. “When I was three, four years old, I was thumbing through comic books at the barber shop, learning how to read from comic books, because I wanted to know what they were saying instead of just asking, “Gerard, what does this say?””

The Way Brothers became hooked on comics with titles like Superman, Spider-Man, Captain America and other superhero series. But for Mikey, G.I. Joe was a major influence. He not only enjoyed the stories but studied the format and how the story unfolded over 22 pages. When it came time to do his first full-length comic, Collapser for DC Comics’ Young Animal imprint, he took the same approach he had when MCR was formed. And he’s continuing to work at the craft.

“I was a super amateur guitar player-turned-bassist for My Chemical Romance and it was something I just had to practice,” Way says. “That's kind of what is going on with me and comic books now. I'm learning from all my peers that are top-tier professionals.”

Some of the comics pros Way reaches out to for advice include DC’s Chief Creative Officer and comics legend Jim Lee.

“Jim was somebody who was very instrumental in my comics career. He'd come to me numerous times and be like, 'When are you going to write a comic?' That's kind of how Collapser came about.”

He admits to being afraid to make that jump into comics, for a number of reasons.

“I was busy a lot and I'm a bad multitasker, so I always just kind of pushed comics to the side,” he says. “I would write stuff out. But when My Chemical Romance broke up, Jim had mentioned to me, 'When are you going to do this?' And then I pitched him something, which turned out to be Collapser.”

As he continues to sharpen his comic book storytelling chops, Mikey Way is also trying his hand at yet another skill: Cooking. Being on lockdown during the pandemic motivated Way to apply his creativity to the kitchen.

“Cooking is a new thing for me. For the whole duration of My Chemical Romance, I think I ate breakfast, lunch and dinner at a restaurant. Even when I was home, I would just eat out, or I would order takeout.”

“It’s definitely fun, but it's difficult. It's very, it's very difficult,” he continues. “There's a learning curve, but my family is very encouraging to me in my endeavors. But yeah, I'm a novice. A true novice.”

Electric Century is available in bookstores now.

[harveyguilleniconodelamoda]

Whimsical Windbreaker

Sometimes when I post on this blog, it's just with basic information about an item of clothing, how it was styled, what I think of that styling, and where to find it (if it's still available). Sometimes I provide affordable alternatives in the same style for pricier items.

No matter how in-depth the post (or how not, as the case may be), I often find myself wondering at the reasons behind this item of clothing or that, how it was styled, and how it fits into Harvey's personal style ethos. Sometimes, I even draw conclusions about those things based on the information available. But oftentimes, these patterns emerge not via single items of clothing, but by observation over time. And in the meantime, I find myself making a lot of short, pithy posts that are at least 50% pretty pictures.

But sometimes, Harvey hits us with a piece so interesting and unique that it merits an essay all on its own. Such is the case for this gorgeous silk jacket, so strap in for a deep dive!

The Jacket

Harvey first (as far as I can find) wore this jacket in 2021 for a photoshoot with Cooper Sebastian in New York. Since then, he's worn it a few times at various events or outings with friends and family, most notably Gabriel Iglesia's sold-out show at Dodger Stadium in May 2022. It's an eye-catching piece that Harvey typically styles with an all black or dark blue base, preferring to let the jacket speak for itself.

This silk men's windbreaker from Gucci has a cream base color with a vibrant teal and black art print by Freya Hartas featuring flying squirrels, rabbits, and a border of dancing beetles. The jacket has a zip closure at the front with gold-tone hardware, welt pockets at the waist and interior, elasticized cuffs and hem, and a spread collar. It is fully lined and was originally part of a 3-part set that included a matching top and shorts (each sold separately, of course). The jacket originally retailed for $6,995, but can sometimes now be found online for resale for as little as $495 (or as much as $2,400) on sites such as TheRealReal and eBay, as can the other items in the set.

The Collection

This jacket was part of Gucci's 2020 "Ouverture of Something That Never Ended" collection and campaign, released as part of that year's Guccifest. The campaign included a 7-part miniseries directed by Gus Van Sant and featuring multiple celebrity cameos, with the goal being to present the collection in a pandemic-conscious format. (Source)

You can view a promo for it on Youtube.

The vibes of the campaign are sun-washed and nostalgic, evoking some ephemeral simpler time with everything from the 1975 Minnie Riperton hit "Lovin' You" playing throughout, to the shots of models in retro preppy fashions meeting at soda shops, driving in classic cars, and going to the drive-in for date night.

At the same time, however, the promo seems to want to depict a better past--or perhaps a better and simpler future?--with a racially diverse cast and much queering of gender presentation.

It's a nice thought--that the simple joys of life never ended, and that we might one day reach a point where we've truly progressed socially and politically, while also learning to unplug and enjoy that simplicity with our fellow humans. It's easy to see why these images of such togetherness, while not truly reflective of our present or past, would have been attractive in late 2020--a time when we were all being viscerally reminded of just how much we need other people.

The collection itself leans just as vintage and retro as the promo, incorporating elements from every decade from the 1950s to the 1990s--all those years we tend to think of with a rosy wash of "things were better then" (no matter how untrue that may be).

There is something studiously informal and both/and about the collection: its lookbook features images of models in outfits that evoke androgyny and gender play, but also a conversation between casual and dressy, luxury and thrift (or the appearance of thrift), quiet and busy. The collection overall leans heavily 70s, but with 50s prep school elements, and overtone of grunge, and the barest suggestion of the modern light academia aesthetic. The models as depicted are the embodiment of every quirky character in a classic John Hughes film, brought to life in photos that, regardless of subject or setting, all share that distinct desaturated sepia Polaroid cast.

Who is Freya Hartas?

Freya Hartas is an illustrator based in the UK who specializes in children's books. Her work features anthropomorphized animals, cuddly monsters, fairies, dragons, and the children who often stumble upon them. Her style is colorful, whimsical, and deeply nostalgic, reminiscent of the illustrated fairy tale books I loved as a child. At the same time, the subject matter she gravitates toward is very modern, featuring diverse characters and themes of self-discovery, self-acceptance, and empowerment. I genuinely could have stared at her illustrations for hours.

Her contribution to "Ouvertures" was a set of limited-edition items featuring her fantastical creature illustrations and the Gucci logo. This is part of Gucci's longer commitment to showcasing emerging artists in their fashion. While the items are no longer available, the illustrations are gorgeous and worth a look.

Harvey's Personal Style

One of the recurring themes in Harvey's personal style is his love of color and, for lack of a better term, whimsy. Bold or abstract prints and bright colors have been mainstays for Harvey since his early MTV days, and teal is one of the colors he revisits often--such as in his most recent Siriano collaboration for Pride Across America, this iconic photo from an interview with The Advocate in 2022, or even as far back as this Palm Springs road trip photoshoot with Chubstr from 2016.

Teal is such a vibrant color, rife with contradictions. In color theory, teal carries connotations of calm, tranquility, and healing. In animation, it often denotes electricity, magic, and power.

In fashion, it's a versatile statement color that transcends seasons and doesn't so much scream "look at me" as simply demand that you do by existing. It stands out even in an otherwise colorful crowd, naturally drawing the eye. Like red, it's the kind of color that can stand on its own, or as part of a glorious rainbow. It's such a Harvey color in that way, isn't it?

Harvey has also been open over the years in his admiration and support for visual artists, and has even partnered with independent artists to promote his projects and create merch on his website.

So it's no surprise that he would be drawn to an item like this jacket: unusual, colorful, a bit whimsical. Something youthful and fun, but also a serious collector's item for any lover of fashion.

And frankly, the kind of stylistic choice that makes me sit back and go "oh yeah...that's why I wanted to dedicate a whole blog to this one guy's personal style. That's exactly why."

Update: Freya Hartas is on tumblr! You can follow her and see more of her gorgeous illustrations at @freyahartas !

[lookingforcactus]

Non-paywall version here.

"Shawna Freeman Lane, 34, continued to teach college-level business by laptop after she gave birth by C-section in 2017. Her husband, Eric Lane, was home with her in Fircrest, Wash., for three weeks. The same thing happened in 2018, when their second child was born—except this time, Mr. Lane only got two weeks at home.

Having to leave his still-healing wife in the lurch was hard for Mr. Lane, as was tracking his children’s development via text messages while at work. But when their third was born last May, things were different. In 2020, Washington state had passed a new law entitling working parents to 12 weeks of paid leave, to bond with their newborn.

“It felt like winning the lottery, honestly,” said Mr. Lane, who stayed home for six weeks after their son was born, then another six weeks when Ms. Freeman Lane went back to work.

They are part of an explosion in the number of workers taking parental leave. In the 12 months through February [2023], a monthly 406,000 workers were absent on average due to paid or unpaid parental leave, up 13.5% from 2021, according to Labor Department data. The 478,000 working parents absent in January was the most since records began in 1994.

One driver behind the upswing is likely the increase in births in the past two years versus the prepandemic trend. The pandemic itself may also be a factor, as lockdowns and Covid kept many workers home.

But the main factor appears to be government and employer policies. While the U.S. remains the only advanced economy without nationally mandated paid parental leave, the share of workers with access to leave is growing, to 25% in March last year versus 19% in 2019, according to the Labor Department. Seven states plus the District of Columbia now require employers to provide paid leave, up from four in 2018, while private employers are also expanding the benefit. Four more states will require paid parental leave by 2026.

“As the state laws have passed, there has been a culture change, and more awareness and support for mothers and—especially—fathers around taking leave,” said Jane Waldfogel, a public affairs professor at Columbia University.

A greater propensity by fathers to take leave is an important contributor. The number of men on parental leave tripled to an average of 76,500 in the six months ended in February [2023] from five years earlier, whereas the number of women rose 11% to 336,000, according to census data.

More parental leave-taking benefits the economy in the impact on families’ well-being, said Emily Oster, economics professor at Brown University—ranging from near-term outcomes such as infant mortality rates to longer-term measures, including child test scores and adult earnings. “In this sense, leave now is an investment in the economic future,” Ms. Oster said...

Leave policies are a small but increasingly key way that firms compete for workers, according to Julia Pollak, chief economist at ZipRecruiter. About 3% of currently active online job postings nationwide explicitly advertise parental leave, about a fivefold increase from before the pandemic, ZipRecruiter data show.

Industries seeing the biggest increase are retail, and transportation and warehousing, said Ms. Pollak—something she calls the “Amazon effect.” The e-commerce giant was at the forefront of offering parental-leave benefits, prompting competitors to do the same...

Parents are also taking longer leaves. The typical mother now takes 120 days of bonding leave, up from 110 in 2019, and the median father is out for 60 days, a 15-day increase, according to Sparrow, a leave-management platform. New York state family bonding claims data show a similar trend, with moms claiming 9.9 weeks in 2021, a three-week gain from 2018, and dads extending their average leave by 2.3 weeks, to 6.9...

“My son is so much fun now. He’s getting to the stage where he’s his own human,” [Jonathan Leslie, a 36-year-old software engineer] said. “Having the open-ended play with him—that opportunity won’t come again.”

-via The Wall Street Journal, 4/8/23. Non-paywall version via ProgramBusiness, 4/10/23.