#red riding hood satoshi

[kkst0904]

recent cheebs for comm samples (will be open soon)

[peterdamien-blog]

Little Red Riding Hood, by Kamanaka Satoshi

[polar-stars]

Pokemon (Galar) AU - Gym Leaders

I needed to talk about something a bit more simple, before I take on the second part of the canon character’s future within “Shokugeki no Kimiko”. 

I’ve shared this information with Kana yesterday already and I thought I could share it here. 

So meep, in Pokemon (Galar) AU the Gym Leaders are the Elite 10 characters, safe for Erina who’s a Challenger (and also heir to this AU’s Macro Cosmos, but thats something I still have to think about in detail) and Eishi, who’s not Gym Leader but Champ (obviously). I’d like to say though that I matched the gym leaders more after the cities where I could picture specific characters in, rather than concerning their Elite 10 Ranking. 

First Gym Leader - Turffield

The first city with an arena to take on is Turffield. The Gym Leader to be meet here is Satoshi Isshiki.

The reason I chose Isshiki is because him and Milo are literally the same person It’s a city surrounded by lots of green and lots of farms in the end and we know how much Isshiki loves his Polar Star Farm. Also, much like Milo, he’d hold back against the challengers (like he held back in his cook-off with Soma) which is the reason why he was chosen to be the first one to face.

He gives out the Grass-Badge and faces the challengers with Grass-Pokemon. However in his free time, surprisingly to many, he does like to train the Fire as well as the Flight Type as well. 

The first Pokemon he ever caught was Gossifleur, which later of course evolved into Eldegoss. 

Second Gym Leader - Hulbury

The Port-Town Hulbury is the place where Arena Challengers face off against Somei Saito and his numerous Fish-Pokemon. 

Somei specializes in Sushi in the end, which always makes me associate with, well, fish and therefore water. So yeah, that lead to me assigning him the Port Town. 

He gives out the Water-Badge and, as I said, the Team he confronts challengers with consists of Water-Pokemon. Outside the Arena-Challenge he does also train Rock and Fighting Types though. 

His first Pokemon was a Goldeen which is now a Seaking. 

Third Gym Leader - Motostoke

Motostoke obtains the third Arena to tackle and it’s where you have to face Terunori Kuga. 

I pretty much chose this for him mainly because in the game this is also where you face the Fire Gym Leader and I picture Kuga as nothing else but a Fire Gym Leader. It’s a very industrial town in the end which easily relates to, you know, coal and steam and all that. 

So yeah, Kuga gives out the Fire-Badge!

His first Pokemon ever was a Sizzlipede, which is now a Centiskorch.

Fourth Gym Leader - Stow-On-Side

Stow-On-Side is where the Arena Challengers take on the fourth Gym Leader, Tosuke Megishima. 

In my eyes, Stow-On-Side’s aesthetic perfectly match a Ground Type Gym Leader which is a type I could see Megishima working with. Also, I don’t know, Stow-On-Side just generally gives me Megishima-Vibes. I’d like to point out that in this AU, Megishima is the one to refuse using Dynamax instead of the Gym Leader of Spikemuth. 

Megishima gives out the Ground-Badge and confronts Challengers with a Ground-Type Focused Team. I like to think he also does train some other types in his free time but I haven’t decided which yet ovo;; But I’m leaning to Steel and maybe Bug or Normal?

His first Pokemon was a Hippopotas which is not a Hippowdon. 

Fifth Gym Leader - Ballonlea

Ballonlea is home to the Gym in which Momo Akanegakubo resides. 

Ballonlea is very magical and has huge fairytale-vibes. Whenever Momo cooks, there’s also much Fairytale imagery going on (e.g. She was shown as Red Riding Hood, she was compared to the Fairy Godmother from “Cinderella”, when eating her food the judges imagined themselves turning into pixies etc.) Also, given that Fairy-Pokemon are for the most part very cute and all, I can definitely see the cuteness-obsessed Momo training the Fairy-Type. 

So yes, Momo hands out the Fairy-Badge. 

Her first Pokemon was a Milcery, which is now an Alcremie. 

Sixth Gym Leader - Circhester

Circhester is where you face the sixth Gym Leader, Nene Kinokuni. 

Circhester has something a little rustically but still very beautiful to it in my opinion (it’s my favorite city actually) and I love it’s snowy atmosphere. Given how Nene does have her rustical sides and also can certainly be seen as frosty, I can perfectly picture her as the gym leader of this town. 

Nene hands out the Psycho-Badge and faces Arena Challengers with a Psycho-Specialised Team. She’s known to have a great talent for Ice Pokemon as well though and trains them privately. 

Her first Pokemon ever was a Hatenna, which is now a Hatterene. 

Eight Gym Leader - Spikemuth

Spikemuth is the eight city to encounter and it’s home to the Arena where the Challengers have to face of against Etsuya Eizan. 

Out of the Elite 10 members, the Toned-Down-Yakuza-Man just fits the dark, grim alleyway aesthetics the best I’d say. He’s shady. He fits into this town, change my mind. Something for this AU though is that Spikemuth does in fact have a Gym and it’s also a bit bigger than in the game. I like the idea that in this AU, it’s not a city that’s without resources, but more of a city thats truly plagued with a really high crime rate(?). It’s basically survival of the fittest in this city. If you can’t defend yourself, you’re going to go down.

Anyway, I hope that made sense, but well Eizan gives out the Dark-Badge. He does also have knowledge around the Steel and Poison Type (or maybe Electric...I could picture both, not sure yet) though.

His first Pokemon was a Nickit, which is now a Thievul. 

Ninth Gym Leader - Hammerlocke

Hammerlocke has the last Arena the Challengers have to master and it’s where they meet the strongest out of the Gym Leader, Rindou Kobayashi. 

In the game this is the spot where you face the Dragon-Type Gym Leader in the end and I can most perfectly see Rindou working with Dragon Pokemon. Also, she’s the most epic to face off against last before having to take on Eishi, so there’s that. 

Her first Pokemon was an Axew now a Haxorus.

-

So yeah this was random, but thanks for listening I guess ;w; I know I’m not the best at it, but it’s still fun to think about. Should I really write that lil’, silly fanfic, now you know some more info, haha.

In case anyone is interested in that, I could also do that for the Next Gen Elites ovo;;

[ainana-ao3]

by Konpeki_no_Sora

Sogo is out to head back to his cottage when he noticed a poor lupine boy who was hurt from being hunted down. Feeling pity, the hooded man chose to take care of him, and the plot thickens from there.

Written for the Dear Butterfly: MEZZO Exchange Project

Words: 6572, Chapters: 1/1, Language: English

Fandoms: IDOLiSH7 (Video Game)

Rating: Mature

Warnings: Graphic Depictions Of Violence

Categories: M/M

Characters: Ousaka Sougo, Yotsuba Tamaki, Kujou Aya, Ousaka Soushi, Ousaka Satoshi

Relationships: Ousaka Sougo/Yotsuba Tamaki, Kujou Aya & Yotsuba Tamaki

Additional Tags: Marchen Dream AU, Red Riding Hood!Sogo, Werewolf!Tamaki, Minor Character Death, Blood and Violence, Friends to Lovers, Stargazing, Reunions, Family Issues, Mental Health Issues

[nancydsmithus]

Mid-Century Modern Illustration: Creating A Cover Book With Illustrator And InDesign

Mid-Century Modern Illustration: Creating A Cover Book With Illustrator And InDesign

Manuela Langella

2019-05-10T19:00:59+02:002019-05-10T20:34:17+00:00

In this tutorial, I’m going to show you how to create a beautiful cover design inspired by the 1950s. Specifically, the cover will be for a children’s book, so we’re going to create a well-known character: Little Red Riding Hood.

The interesting aspect of this design is that we are going to create its purely retro character that was typical for cartoons back then. As an illustrator, I have always been fascinated by the graphics of the last half-century. I grew up watching many cartoons, books, and comics characterized by that style, although I wasn’t exactly born in the 50s.

This is the reason why I want you to soak in a little inspiration from 1950. In this article, I’ll explain why I chose this precise historical period to inspire me and where my love for this type of artwork comes from. I’ll also share some ideas which you can find online if you are looking for a little inspiration to give this a try yourself.

In order to follow along, you can download the files and practice on my self-made drawing or, if you like, you can create one of your own. The important thing is that you follow all of the steps and tips if you want to create an absolutely fascinating retro design!

You will then discover the world of retro colors and all those effects that will allow us to have retro effects: I’m talking about brushes, textures, and patterns. Once the design is finished, the cover design is ready. Finally, we will prepare our cover in InDesign to export for print.

Are you ready? Let’s have fun!

Why Mid-Century Art?

Looking For Inspiration

Drawing Concepts

How To Import A Hand-Drawn Design

How To Create A Basic Design

How To Create A Retro Brush

How To Outline Drawings

Further Details

Colors, Textures And Patterns

Coloring Characters

Brushes Effects

The Background

Texture Effects

How To Organize A Cover Into InDesign

The Final Result

1. Why Mid-Century Art?

Growing up, I read so many comics and watched so many cartoons. But not any kind — just the ones that had been drawn in a mid-century style. I’m not sure why that particular design atttracted me that much; maybe it was because of the simple lines used in the drawings or the pastel colors that were used to create the comics and cartoons.

As an illustrator and graphic designer, I always search for inspiration and like to browser through Pinterest. (It’s a great place to discover some very special ideas!)

While searching for some retro inspiration for this tutorial, I found a couple of illustrations that captured my attention:

Illustrations by Satoshi Hashimoto (left) and Derek Yaniger (middle and right) inspired by the 1950s (Large preview)

I absolutely love the hilarious way these artists have represented people and things in their artwork — the exaggeration, the details in simplicity, and the vibrant colors. Aren’t they something!

I’ve always wanted to know everything about drawings and designs created during the mid-century age, and the more I research, the more I keep rediscovering a world created with beautiful patterns, Scandinavian colors, and simple but very communicative designs.

2. Looking For Inspiration

There is so much to discover about mid-century designs. Here some examples of very inspiring advertisements and illustrations.

Image credits (from left to right): Luca Vecchi, Vintage Ad Browser, Classic Film, Ward Jenkins. (Large preview)

Characteristics: few colors, simple lines, brush effects.

Image credits: Vintage Ad Browser (top left), CrumbByCrumb (top right), Vintage Everday (bottom left), Kathryn Howard (bottom right). (Large preview)

3. Drawing Concepts

For this tutorial, I wanted to find something to draw that is well known to everyone, so that it’s not too difficult to understand how the details can be applied to an illustration of your choice later on when you want to try out the steps on your own.

3.1. How To Import A Hand-Drawn Design

So, Little Red Riding Hood came to mind. I’m going to guess that everybody is familiar with this fairy tale, and we all have an idea of how Little Red Riding Hood looks like. As children, we have seen her at least once, i.e. in a book or a cartoon.

As with all of my designs, I begin drawing my idea by hand. Below, you’ll see the two original drawings (including the erasures and the yellow color of recycled paper):

(Large preview)

I tidied up my sketches with the help of Photoshop and so now we can easily outline the characters and use them in the illustration:

(Large preview)

Note: You can download the start images over here.

To achieve the retro look, let’s take a look now at which elements I used for the principal characters:

For Little Red Riding Hood, I used many edges on the hood, the eyes, eyebrows, elbows, and feet. The face is pretty simple, too, and has a triangular shape. (Large preview)

Edges are one of the most useful details used for mid-century graphics and designs. I think edges give a very funny nature to the design, making it very playful and childish.

The little coat I used is also typical of 50s clothing:

(Image source: 1stdibs on Pinterest) (Large preview)

For the wolf, I also used some typical elements from the 50s, such as the cartoon-like as eyes and feet:

(Large preview)

Funny note: In his book, “Modern Cartooning: Essential Techniques for Drawing Today’s Popular Cartoons”, Christopher Hart shows two ways to draw the same shoe:

“It’s funnier to draw the boots in a quirky manner. The disadvantage is that they only come in a size 7.”

(Large preview)

I decided to give the wolf typical facial expressions that were widely used in retro cartoons. Take a look at the image below (taken once again from Christopher Hart book):

(Large preview)

“The circle shape is the most common eye shape. It can be used for almost any character.”

For the rest of my design, everything follows the same rules. The trees, the house, and even the clouds have that particular edgy effect.

(Large preview)

Now that you know how to get started, we can finally begin to bring our illustration to life!

Let’s fire up Adobe Illustrator.

3.2. How To Create A Basic Design

Once you open Illustrator, start with creating a new document first. I will create a square artboard for a square book cover. (Many children’s books have a square shape.)

(Image credits: Pam Keller) (Large preview)

Let’s go to File → New. In the open Window, I chose Print because I’d like to have my design printed. Then, I set 3000px × 3000px for the artboard size. Finally, I name it Little Red Riding Hood. See my setting below:

(Large preview)

(Large preview)

Now you have to import the drawings. (I’ve provided the files for you here.)

Go to File → Place, choose the folder where you saved the drawings, and put them onto the artboard. Since the files are bigger than our artboard, just resize them to fit in.

(Large preview)

Put the drawings on two different layers, so we can have control on both of them.

(Large preview)

Once we have done, let’s go to the further step: create a brush to draw in Illustrator.

3.3. How To Create A Retro Brush

I have drawn some brushes myself, inventing something always based on the 50s style. As you can see in some examples below, used lines are not perfect. They always give the impression of something handmade.

So I grabbed my iPad and drawn some lines I liked in Procreate. I wanted to give the brushes a hand-drawn look, typical from 50s design, so this is my result:

(Large preview)

Note: For our mid-century-inspired illustration, I’ve provided the brushes for you here— feel free to download and use them.

So, let’s go back to Illustrator and see how the brushes can be installed.

Open the file you just downloaded and open it in Illustrator. Be sure your Brush Panel is open by clicking on Window → Brushes. Select the first brush from the file you just opened and drag it into the Brush Panel as shown below:

Large preview

As you can see, after I dragged the brush in the Brush Panel, I selected “Art brush” from the open window and renamed the brush. I checked the “Stretch to fit stroke length” option and then selected “Tint” as Colorization Method. This way, we will be able to change our brush color as well.

Let’s go on and drag all the brushes in the Brush Panel, following the same instructions as above. At the end, you should have five brushes:

(Large preview)

Nice! Your very own custom mid-century-inspired brushes!

Note: If you want your brushes be permanent in Illustrator, select them all and click on the first left icon at the bottom of the panel (“Brush Library Menu”). Then click on “Save Brushes”.

(Large preview)

Illustrator will save them in a “Brushes” folder as the default. Then you will see your custom brushes by clicking Brush Library Menu → User Defined.

3.4. How To Outline Drawings

With our new brushes, let’s begin to outline our design. You just need to select the brush you like most and begin to draw on the design lines.

If you don’t see the brushes in your panel, go on to Brush Library Menu → User Defined and choose mid-century01 (or whatever other name you used).

Select the layers with imported files and set their opacity to 50% through the Appearance panel:

(Large preview)

(Large preview)

Once you’ve done that, lock them and create another layer on the top. Then, begin to trace:

(Large preview)

You can choose to work with just one or all of the brushes — it’s up to you. I suggest to use the first one for thinner lines, and the other ones for thicker lines. Of course, you can set the size of the brushes in any way you like.

(Large preview)

Have fun by tracing all of the lines. The thing I like the most are the trembling lines — that’s exactly the effect I desire.

Your finally design should look something like this:

(Large preview)

3.5. Further Details

Now, let’s add some details to our characters. I drew some stains with the help of the Blob Brush tool (Shift + B):

Large preview

This is the result:

(Large preview)

Another cute detail are the dotted lines on LRRH’s coat. They are very simple: open the Properties panel and click on Stroke. Check the Dashed Line and give 0 pt dash and 20 pt gap:

(Large preview)

Grab the Pencil tool (N) and draw dotted lines on the edges of the coat.

This is the result:

(Large preview)

Now that we’ve completed this step, we can now continue to the next one: adding colors, textures, and effects.

4. Colors, Textures And Patterns

4.1. Coloring Characters

The first thing we need is a palette to color our characters. I researched some colors on Pinterest and saved many interesting palettes on my Pinterest wall:

(Large preview)

I then created this palette for myself:

(Large preview)

Let’s insert our palette in the Swatches. Create some circles with these colors in Illustrator, then select them and open the Swatches panel through Windows → Swatches. With color circles selected, click on New Color Group:

(Large preview)

In the pop-up window, click on “Selected Artwork”, including “Convert Process to Global (the palette will be permanent in the Swatches panel) and “Include Swatches for Tints”.

(Large preview)

And now we have our palette in the swatches:

(Large preview)

Let’s color Little Red Riding Hood and the wolf. Go into the Layers panel and create a new layer below the other two:

(Large preview)

Grab the Blob Brush tool and begin to color on this layer. The lines of the characters will stay on top and colors on the bottom.

I set the Blob Brush as shown below:

(Large preview)

Take the time you need to color everything. This is a relaxing and fun step, so enjoy it!

(Large preview)

Here are my final colors:

(Large preview)

4.2. Brushes Effects

I used some other brushes to create shadow effects on the characters. The brushes are default in Illustrator; you can find them by clicking Brush Library Menu → Artistic → ChalkCharcoalPencil.

(Large preview)

Select one of them, go to Appearance and set the opacity to 15% Multiply.

(Large preview)

Now, draw some lines on the characters to create some shadow effects:

(Large preview)

(Large preview)

(Large preview)

And we’re done with the characters! Let’s move on to the background.

4.3. The Background

As first thought, we probably need to start with the sky. So let’s create another layer (under the characters) and rename it as “Sky”.

Draw a rectangle with the color #9BD2D2, then grab and drag a circle inwards to make the rectangle rounded.

Large preview

Again, let’s work with the Chalk brushes see 4.2. above. With the same color applied as the background. Brush some lines at the bottom of the rectangle to give some art effects:

(Large preview)

We will add some others brush effects to the sky. Create a new layer above the sky one and rename it as “Brushes effect”. With another charcoal brush (I used charcoal feather), draw some lines in the sky. The color is #FFFFFF with opacity set to 50%. See the image below.

(Large preview)

Now that wasn’t that hard, was it? Let’s draw some clouds now. You can use the Pencil tool (N) with #FFFFFF as the color and draw some simple shapes like the ones shown below:

(Large preview)

Next, draw a country lane with the Pencil tool (N) (again, with #FFFFFF as the fill color):

(Large preview)

Let’s add some tufts of grass. Select a brush as we did in 4.3 and draw them as shown below. Set the brush color to #1BA58E:

(Large preview)

By using the Rectangle tool (M), you can create simple shapes so let’s try to create a little house in the background as well. In order to make it a bit deformed, we need to use the Direct Selection tool (A), then grab and drag the angles.

Large preview

Let’s move on to the trees now. With the Polygon Tool, click just once on your artboard, so that a window appeary. Set “3 sides” and 100 px for Radius:

(Large preview)

For the triangle you just created, set the background color on #1BA58E. To make it look a bit deformed, use the the Direct Selection tool (A), then grab and drag the angles like we did when we created the house earlier.

(Large preview)

With the Pen tool (P), make a simple line in the center of the tree. Open Window → Stroke and set the stroke profile as shown below:

(Large preview)

The result should be something like this:

(Large preview)

Keep the same settings and draw some little lines with the Pen tool (P) to create a couple of branches:

(Large preview)

Let’s now group all tree elements, duplicate it or create some other trees to fill the scene. Put every tree on a different layer and play with layers to give depth to the scene.

Be brave. Try different shades of green for the trees:

(Large preview)

With the Ellipse tool (L), create some circles under the trees to simulate a shadow. Set the background to #000 and the opacity to 50%.

(Large preview)

4.4. Texture Effects

Let’s now add some effect to the trees, to make them more “retro”. I applied this effects just to the trees, but you are free to apply it to the entire design.

First of all, we need a texture. Since we work in vectors, we should apply a vector texture. You can download one for free (just googling “vector textures”. Anyway, I provided a vector texture for you here.

Download the texture and open it in Illustrator. Create a new layer and rename it as “Texture”.

(Large preview)

Put the texture on the new layer. Your illustration should look like this:

(Large preview)

Don’t be scared, we won’t ruin our design. We just need to make some changes.

Go to Windows > Appearance and set the Opacity on 15% and Blending Mode on Overlay. Then go to Object > Expand.

(Large preview)

In order to apply the texture just on trees, I deleted the superfluous parts of the texture with the Eraser tool (Shift + E). See my example below:

Large preview

Here my final result:

(Large preview)

All that remains is to make visible the layer with our characters and put them in the centre of the scene:

(Large preview)

As the very last thing, let’s create the title. Draw two simple black and white rectangles using the Rectangle tool (M) and write the title ad I show you in the image below. The fonts I used are Fontdiner Swanky and Fontdiner Sparkly (both free to download).

(Large preview)

Congratulations! You just finished your first Mid-Century Cover!

Next step is to complete our cover in InDesign. Ready?

5. How To Organize A Cover Into InDesign

Now I need to work in InDesign to prepare my cover for the print. Consider that we will need the front and back cover and must calculate a space for the spine.

I want my front cover size be 18 x 18 cm (7.00 × 7.00 in). Since I need to create everything in a single artboard, I need to put the pages side by side, plus a space more for the spine.

So, let’s set 37 cm width (18 cm front + 18 cm back + 1 cm spine) and 18 cm height. Other settings are 0,3 cm Margins and 0,3 cm Bleed.

(Large preview)

Create two guides, respectively on 18 and 19 cm.

(Large preview)

A quick back to Illustrator to save our cover design. If you have Adobe CC, you can use the Library to save your design. Open Window > Libraries, select everything on your artboard and drag to the library:

Large preview

By opening the Library in Indesign, you will find your cover. Drag it and drop into the page. Put it on the right side of it.

(Large preview)

For the back side i’d like to use just the Little Red Riding Hood Character. Go back to illustrator and drag it in the Library.

Large preview

Again, come back to InDesign and import the character into the page from Library the way I show you:

Large preview

Then write the title again, this time directly into InDesign. Feel free to play with the size and position of the words! Here my result:

(Large preview)

Let’s write the title on the spine too:

(Large preview)

And we’re done! Let’s export our file for the print.

Click on File > Export and choose Adobe PDF (Print).

In the General panel choose Adobe PDF Preset: High Quality Print. Leave the rest as it is.

In the Mark and Bleeds select All Printer’s Marks. Clic OK.

Here your result:

(Large preview)

Nice job! Bravo! You have finished this (quite long) tutorial!

6. The Final Result

Here some mockups to simulate the real book:

(Large preview)

(Large preview)

(Large preview)

(Large preview)

I hope you enjoyed this tutorial, and — most of all — I hope I was able to convey to you my passion for mid-century design!

Try it out, and please share your own illustrations and thoughts in the comments below.

(yk, il)

[himafachan]

[ユートピアゲーム] Utopia Game - 白菊雪久 (Shiragiku Yukihisa) Golongan darah : A Tinggi : 180 cm Rambut putih, mata biru Ketua OSIS Tanggal lahir : 7 Januari 琴瀬うた (Kotose Uta) Golongan darah : O Tinggi : 162 cm Rambut coklat, mata hijau Vocalist band Elise Quartz Tanggal lahir : 23 September 性品亜美 (Seishina Ami) Golongan darah : A Tinggi : 164 cm Rambut pirang, mata biru Keluarga konglomerat Tanggal lahir : 16 Juni 弘樹俊 (Hiroki Shun) Golongan darah : B Tinggi : 178 cm Rambut hitam, mata coklat Keluarga pemilik dojo Tanggal lahir : 3 Februari 本庄 絢香 (Honjou Ayaka) Golongan darah : A Tinggi : 164 cm Rambut hitam, mata hitam Ketua Komite Kedisiplinan Tanggal lahir : 12 Maret 水腹冴 (Mizuhara Sae) 海竜児幹雄 (Kairyuuji Mikio) Golongan darah : AB Tinggi : 174 cm Rambut coklat muda, mata kuning Ketua pengurus perpustakaan Tanggal lahir : 4 Maret 乙化シノ (Otsuka Shino) Golongan darah : O Tinggi : 174 cm Rambut hitam-merah, mata coklat Si jago olahraga Tanggal lahir : 6 Agustus 乙化シンスケ (Otsuka Shinsuke) 緑川一馬 (Midorikawa Kazuma) Golongan darah : B Tinggi : 178 cm Rambut coklat matcha, mata hijau wakil ketua OSIS Tanggal lahir : 12 desember 豊崎 映司 (Toyosaki Eiji) Golongan darah : O Tinggi : 177 cm Rambut navy blue, mata biru Model Tanggal lahir : 18 Juli 窓月優弥 (Madotsuki Yuuya) Golongan darah : AB Tinggi : 167 cm Rambut coklat, mata kuning Ketua klub drama Tanggal lahir : 23 April [赤ずきんの火花] The Spark of Red Riding Hood 桜木 梨沙 (Sakuragi Risa) 折笠 新 (Orikasa Arata) 影朝秀樹 (Kageasa Hideki) ハ月 和也 (Hatsuki Kazuya) [ELiSE Quartz] 二水 ルラ (Futami Rura) : Vokalis 隆 樹 (Takashi Itsuki) : Gitaris 1 (Minamoto Yuzuki) : Pianis + Komposer (Shigehara Souta) : Gitaris 2 (Sakurai Satoshi) : Bassis (Nanase Kyou) : Drummer (Ishihara Tatsuya) : Manager ::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Tujuan utama Midorikawa Kazuma membawa Kotose Uta ke sekolah : Agar Uta bisa menghadapi Mizuhara Sae yang dikendalikan oleh keluarga Akagi. Sae berpesan bahwa Uta mampu menolongnya saat ia kehilangan ingatannya. [Kekuatan Kazuma : Mampu menghapus ingatan orang lain saat ia memainkan musik] Tujuan utama Hiroki Shun mengajak Uta untuk ikut bermain Utopia Game : Ia ingin mengalahkan Yukihisa, dan membuktikan bahwa Yukihisa bisa dikalahkan. Karena Yukihisa sendiri terkenal dengan kemenangannya selama ini. Shun ingin selangkah lebih maju dari Yukihisa. Dan ia ikut dalam rencana Yukihisa untuk mengalahkan Uta agar gadis itu tidak mengetahui kebenaran dari keluarga Akagi. Tujuan Shiragiku Yukihisa menjadikan Shun sebagai kartu truf : Agar mampu membuktikan pengkhianatan Kazuma yang berpihak pada Akagi. Yukihisa ingin terus memegang Kazuma di sisinya dan tak membiarkannya berbuat sesukanya untuk keluarga Akagi. Tujuan Shiragiku Yukihisa dalam mengalahkan Kotose Uta : agar ia tahu segalanya yang disimpan oleh ayahnya. Dan tidak membiarkan Uta menghalangi jalannya dalam mengalahkan Akagi. Ia terus mengawasi Uta yang tidak merupakan bagian pihak manapun sebagai orang paling mencurigakan. Tujuan utama diadakannya Utopia Game : Untuk mengenang Kamehana Shinju yang mati terbunuh oleh keluarga Akagi. Shinju lah orang pertama yang mengadakan Utopia Game untuk sekolah Shiragiku. Alasan Kotose Keita menyuruh Uta untuk ikut bermain Utopia Game : Ia ingin mengulang kejadian yang terjadi dulu antara kepala sekolah dengan ayah mereka. Kejadian di mana pada babak akhir, permainan seketika dihentikan karena kematian Shinju. Keita juga ingin Uta tahu tentang siapa Shiragiku dan Akagi, serta apa yang terjadi di masa lalu. Tujuan utama Keita ketika memenangkan permainan Utopia Game menggunakan Uta : Ia ingin bekerja sama dengan pihak Shiragiku untuk mengalahkan keluarga Akagi. Jika kerjasama batal atau terjadi sesuatu di luar dugaan, Uta yang akan ia tumbalkan pada pihak Akagi dan membuat mereka menjadi tersangka utama. Alasan ayah Yukihisa dalam menahan Uta di sekolahnya : Agar gadis itu nantinya bisa ia lindungi sebagai murid. Ia tahu bahwa Keita tak menganggap Uta sebagai adiknya, sehingga ia sendiri yang akan melindungi Uta dari tangan Akagi.

[smoothshift]

Mazda Japan's already restored 4 Miatas via their restoration service via /r/cars

Mazda Japan's already restored 4 Miatas via their restoration service

Remember when Mazda Japan announced their restoration service in 2017? They've already restored 4 Miatas presumably number 5 in the works. Their site is in Japanese so hopefully your browser translates. Three neo greens, it's like they have a surplus of the stuff.

#4- '92 Neo Green - Pic "On July 26, 2019, the delivery of Restore No. 4 car was carried out. The owner is Saito who lives in Iwate Prefecture. The car is a 1992 V special package and the body color is neo-green. Saito's favorite wire-spoke wheel and tan collar hood are reminiscent of British sports cars. When I couldn't get on, I told my future dream that I wanted my child to give me a ride.

#3- '89 Classic Red -Pic"On April 19, 2019, the delivery of Restoration Car 3 was carried out. The owner is Mr. Murata who lives in Kyushu. The car is a special package of the year 1989 and the body color is classic red. Mr. Murata seems to have been kept in Kyushu carefully because his work was always in Kanagawa Prefecture. I applied for full restoration because I wanted to enjoy the roadster again.

#2-'90 Neo Green - Pic "On February 1, 2019, the delivery of the second restore car was carried out. The owner is a customer living in the Tokyo metropolitan area. I heard that M2 was used habitually in the past, and there was a deep attachment to NA Roadster... Customers say they want to enjoy driving with this NA as their favorite car. By all means, we sincerely hope that you will have a wonderful curler life and enjoy life with NA that has been restored."

#1- '92 Neo Green - Pic "Mazda announced in August 2017, 8 months since the start of service acceptance in 2018. In August 2018, the first car was finally completed. The owner of the first car of the memorable NA Roadster Restoration Service is Keiji Nishimoto and his wife Mari Satoshi Nishimoto. They were growing tomatoes in Onomichi City, Hiroshima, where they relocated after leaving the company, but recently they retired and more time spent riding their hobby cars."

[njawaidofficial]

Angelyne's Real Identity Is Finally Solved

http://styleveryday.com/2017/08/02/angelynes-real-identity-is-finally-solved/

Angelyne's Real Identity Is Finally Solved

Way before Paris Hilton and Kim Kardashian, the enigmatic blonde bombshell was famous for being famous, perpetually driving the streets of Hollywood in that pink Corvette. But her true identity has remained secret all these years … until now.

“Would you be interested in a story on Angelyne’s true identity?” the man wrote last fall under a pseudonym, referring to the enigmatic L.A. billboard diva who has been a pop culture icon of self-creation and self-marketing since the early 1980s — and is now regarded as a forerunner to Paris Hilton, Kim Kardashian and every personal-brand hustler on social media. “I have many details on her life — all well documented — from when her parents met to early adulthood. It’s very different from her public, concocted story — and more interesting.”

Angelyne is one of the vanishingly few contemporary public figures whose background has remained shrouded in mystery, along with the conceptual artist Banksy, Bitcoin founder Satoshi Nakamoto and aircraft hijacker D.B. Cooper. The man, who claimed to work in an undefined role for the federal government, said he was a hobbyist genealogist, occasionally taking on paid assignments in the field as an amusing side gig. A few years earlier, he’d decided it’d be fun to set himself the challenge of cracking Angelyne’s case. “And I did,” he explained.

Later, at the 101 Coffee Shop in Hollywood, the genealogist — who looks like Michael Kelly’s contained political operative Doug Stamper from House of Cards — unfurled an elaborate story of Angelyne’s past, based on material he contended he’d enterprisingly pulled and synthesized from a global network of public databases. He laid down a folded printout of a row of yearbook photos.

“This one,” he said, pointing at a 1967 Monroe Senior High School sophomore from the San Fernando Valley, third from right, “is Angelyne.” A schoolgirl with hooded eyes and long center-parted locks, in a button-down white shirt and tie, stared out across half a century. “Also known as Renee Goldberg.”

The Hollywood Reporter has since independently confirmed this is Angelyne’s real identity with public records and family members. Far from the archetypal transplant-with-a-dream, as she has tacitly long alluded, she’s the locally raised daughter of Holocaust survivors, a Jew who has found refuge in shiksa drag. It’s a fascinating, only-in-L.A. story of identity, history and a symbiotic yearning both to be forgotten and to be famous.

•••

The yearbook photo was no smoking gun. By her own cosmetic surgery confessions, Angelyne has had quite a bit of work done — and if the genealogist was right, that high school junior is now 66 years old.

Copies of immigration, marriage and death records pointed to a cloaked prehistory of Renee Tami Goldberg (originally Ronia Tamar Goldberg), which seems to reveal the trauma Angelyne had both emerged and escaped from. She was born in Poland on Oct. 2, 1950, the daughter of Polish Jews who’d met in the Chmielnik ghetto during World War II — they were among 500 to survive out of a population of 13,000, the rest sent to death at Treblinka. According to the documentation — obtained from the International Tracing Service, established by the Red Cross as an archive of Nazi crimes — her parents, Hendrik (aka Heniek or Henryk) Goldberg and Bronia (aka Bronis) Zernicka, endured unimaginable horrors at a series of concentration camps, first together at Skarzysko, where prisoners’ main job was to make munitions, and then apart at the 20th century’s most infamous hellscapes, including Buchenwald and Bergen-Belsen.

Bronia later submitted paperwork to Yad Vashem indicating she’d lost more than 40 relatives in the Holocaust, including her father, three brothers and a sister. Shortly after liberation, she and Hendrik married in the Foehrenwald displaced persons camp in Germany. They were eventually repatriated to Poland, which remained hostile to Jews after World War II. So after Goldberg’s birth, the family immigrated to Israel, remaining in an ultra-orthodox community of Hasidic Jews called Bnei Brak, east of Tel Aviv, until 1959. (A younger sister, Annette, was born in 1954.)

They boarded a ship leaving Haifa for New York and settled in L.A.’s Fairfax District. Her father worked as a tool-and-die mechanic. Then, in 1965, her 44-year-old mother died of cancer. Goldberg was 14.

The next year Hendrik (now Henry) remarried another Holocaust survivor, a seamstress divorcee named Deborah, and Goldberg acquired a younger stepsister, Norma. She and her father moved from the Westside to Panorama City, deep in the San Fernando Valley, where she’d begin high school and Henry and Deborah would run a strip-mall liquor store in nearby Van Nuys. She’d have a brief marriage to the son of a Beverly Hills executive, living in Hollywood with him. Goldberg’s paper trail ends with their divorce in 1969.

•••

Angelyne had single-handedly created and then inhabited a modern myth of L.A.: the platinum blond bombshell in the bright pink Corvette forever circumnavigating the city, seeking to enchant by dint of her sheer superficial glamour. It had the aesthetic power and emotional resonance of genuine performance art, Marina Abramovic by way of John Waters, particularly as she kept on rambling around the city over the decades while she aged.

I’d written a profile about Angelyne for THR in 2015. She attempted to micromanage the terms of our time together in sharp-elbowed fashion before agreeing to let me ride in her Stingray 1LT. Once inside, reality quickly shone through her constructed shallow facade: a keen intelligence, a striking vulnerability. Also something else, undefinable but perceptibly troubled, even haunted.

When I asked about her family and her past, she described herself as an only child and an orphan. “I lost my parents at a young age,” she said, “and because of that, I sought the attention of the world through my tricks. I said, ‘Well, I’m going to get the love of the world.’ ” When I pushed for more, she shut me down. “It’s just a long story,” she said, the cartoonishly girly lilt of her voice gone flat. “I don’t want to get into it. I made my way here.”

Angelyne was similarly mum or vague when I inquired about other things that might have forged her, from religion (“I’ve tried them all — Jewish, Catholic, Hindu: too many dogmas”) to her place of origin. Some internet stories suggest that she is from Idaho, but she wouldn’t talk about where she grew up. A distant hometown perfectly fit her narrative of an American small-town girl coming to L.A. to fulfill a dream. (I searched Idaho public records and could find no indication of someone named Angelyne, Angelyne Lyne or Angelyne Lynne — all names that have appeared on her business filings.)

I came away with an understanding of how she’d built and perpetuated the Angelyne phenomenon — including the business by which she made a living: lucratively marked-up and vigorously hawked merchandise sales out of her trunk, plus licensing and appearance fees. (Of course the Kardashians and other proteges have exponentially scaled and digitized the model.) But I’d fallen short in penetrating who she really is, why she’d dedicated her life to transforming herself into what she described to me as a “Rorschach test in pink” — a figure who simultaneously elects to commute among us and hold herself apart, in her formulation, “on top of a pink cloud on top of a pink mountain.”

•••

Jews had assimilated in the postwar period. Surnames Anglicized, religious observance ebbed, kosher compliance curtailed — both to better conform to their American homeland and, often, as a conscious or unconscious departure from the trauma of their European pasts. They’d arrived and imagined themselves anew.

Yet Goldberg becoming Angelyne: That would be a feat far more radical, a leap far more extreme, out of a grim and drab past into a realm of complete fantasy. How fitting it would be for such an act to take place amid the New World shtetl of Hollywood, defined by metamorphosis and make-believe.

To many Jews, Angelyne reads distinctly gentile, the quintessential shiksa, whether by accident or intent. Her taste and status cues exist in a goyish Bermuda Triangle somewhere between Dolly Parton, Loni Anderson and Traci Lords.

But once I floated the idea of Goldberg as Angelyne to friends and colleagues who had been fascinated by her over the years and occasionally had had their own fleeting curbside run-ins, the surprisingly unsurprised reaction (particularly from the Jewish ones) was consensus and instantaneous: That makes sense. The stereotypical old-school shmatte-selling, the hardnosed negotiations, the pure all-purpose chutzpah — “I’ve known that woman,” one happily told me, as if welcoming home a long-lost relative, “all my life.”

As thorough as the genealogist had been in piecing together Goldberg’s early life, he’d missed an easily Google-able recent connection between Angelyne and her alleged true identity. Late last year, I saw that The Fillmore Gazette, a community newspaper of a small town 60 miles northwest of L.A. in Ventura County, had published online a legal notice on April 28, 2016, that Renee Goldberg had petitioned to change her name to Angelyne Llyne at Ventura Superior Court. (After short-selling her Malibu condo in 2010, she now lives in the Ventura County area of Thousand Oaks.)

If the genealogist’s claim is to be believed, Goldberg recently had become eligible to collect Social Security benefits. (It is unknown whether Angelyne has applied for such benefits under any name.) While the Social Security Administration had previously not required applicants to document proof, the policy changed in 2005 after Congress took action in response to terror concerns.

I drove to the Ventura County courthouse to get the document. She claimed to have been born on Jan. 26, 1962 (a dozen years after the genealogist’s records indicate), and to be from the statistically gentile Louisville, Kentucky. As for the reason for the name change, she states on the form, “This is my stage name that I use and have used since 1978.”

Goldberg also listed a residential address that was 2 miles away. When I headed over, I discovered it was a commercial showroom for personalized trophies, plaques, gavels, medallions and clocks called Custom Awards & Engraving. I decided to refrain from asking owners Jerry and Linda Mendelsohn about Angelyne for the time being.

As it happens, Goldberg’s sister, now Annette Block, lives in Oxnard, 10 minutes south of the showroom. She and her husband run a wholesale business selling stuffed animals and dolls. (Angelyne, incidentally, had quite a few stuffed animals strewn about her Corvette when I drove around with her.) One of the dolls for sale is named the Angeline, an alternative spelling she used early on — and was credited with when she played a part in the 1977 sex comedy Can I Do It … ‘Til I Need Glasses? (the film debut of Robin Williams).

•••

Scott Hennig, a 60-year-old portrait illustrator from Idaho, has been Angelyne’s assistant, close friend and gatekeeper since the late 1980s. We’d spoken many times but always over the phone. He’d declined to meet when I requested an interview while profiling Angelyne two years ago, stating he preferred to remain “behind the scenes.” I told him that a self-described genealogist had come forward with documentation attesting to the fact that Angelyne was in fact Renee Goldberg.

Hennig scoffed. “This stuff comes up every few years — it seems to get more and more ridiculous,” he says. “My favorite one of all was this 300-pound black woman who claimed to be her mother. ‘I’m your long-lost brother,’ ‘your twin sister.’ Chalk it up to life in Hollywood. I’ve never heard of ‘Renee Goldberg.’ It’s laughable, it’s outrageous.” And as for the genealogist? “This guy needs to get a life. It’s almost like …” He thought for a moment. “Like stalker stuff, it really is. It’s kind of creepy. It’s weird.”

I brought up the name-change document connecting Renee Goldberg to Angelyne, and told him I would be happy to send over some of the genealogist’s material for her review. “I’m not saying the paperwork isn’t legitimate,” he responded, growing testy. “I’m saying it ain’t her. Look, I get emails from another Scott Hennig, a karate expert in Texas. People think that’s me. There are a lot of girls out there named Angelyne. I don’t know what to tell you. And who knows how legitimate this old stuff is, going back to World War II?”

Hennig went on, wondering, “And who’s this guy? He’s poking into Angelyne’s business — why don’t we get his name?” I put that question to the genealogist soon afterward, who’d communicated with me under the pseudonym Ed Thompson.

“There’s a difference between her and me — and she and most people,” he reasoned by phone. “She’s a celebrity, and beyond that, she forfeited any claim of privacy when she ran, as a joke or a stunt or not, for governor of California” during the recall race that Arnold Schwarzenegger won in 2003. “As for me,” he went on, explaining he had a government job that included a top-secret clearance, “reputation is fairly important, and the controversy that might be involved in this situation is not part of that culture. There’s a minute possibility that surreptitious activity — not illegal but surreptitious — could reflect badly on a top-secret clearance.”

I sent Hennig the name-change document and the yearbook photos the day after we spoke. Subsequent efforts by phone and email to discuss those materials with him — or, better yet, Angelyne — were repeatedly dodged.

•••

On a rainy Tuesday evening nearly two weeks later, I was reporting on another story at a Sunset Strip tattoo shop when I spotted Angelyne’s new Pepto Bismol-hued Corvette Z06 gleaming under a street light across the street. It was parked in front of 1980s hair metal haven the Rainbow Bar & Grill.

I soon found the reclusive Hennig, clad in a denim jacket and jeans, loitering in an empty upstairs hallway next to a Pantera poster. He looked just like the lanky fellow whose over-exposed vintage photos had appeared beside his boss’ in the 2005 premiere issue of Hot P!nk, Angelyne’s short-lived glossy fan magazine. Before I could say hello, she emerged from an adjacent restroom, in full regalia.

Her eyes went wide as she shook my hand. I asked if Hennig had conveyed my queries about Renee Goldberg and the Holocaust. While he stood mute a few feet away, she stammered, “I have a weird stalker who has been following me and hanging underwear outside my home and all sorts of things. We’re going to catch him — big time!” Usually, she explained of her history with obsessives, “I use reverse psychology on them and they go away.”

As Motley Crue’s “Girls, Girls, Girls” softly piped in overhead, I offered my sympathies, asking if she’d yet taken legal action or informed the authorities. In the past she’d told me she’d filed restraining orders against two stalkers. Angelyne said she and her team hadn’t — that they were “building a case.”

Angelyne cast herself as a victim of a scheme, and me as an unwitting — or even witting — pawn. (The next day I spoke with the genealogist, who’d previously told me that he had “no tie to her other than curiosity,” and asked him if he was stalking her. “No, not at all,” he chuckled. “It’s a contorted, convenient way to try to come up with a semi-plausible story. Or not even that plausible. It doesn’t even make any sense. How could this kind of information about her past possibly be part of a plot to force her to do anything?”)

I asked Angelyne about the Ventura County name-change document. Her expression scrunched. “It was a complication thing,” she said, tipping from one foot to the other. “I don’t want to talk about it.” I pressed, and she said she’d have her lawyer call me. I asked if it would be her business attorney, William Remery, or the attorney on the document, David Lehr. “Someone else.”

She wheeled around to Topic A. “I know you want it to be true because you’re Jewish — and that’s adorable!” This last word was enunciated with her breathy falsetto inflection, a stagey girlishness that Paris Hilton appropriated. I told her, without success, why my interest was justifiable on journalistic terms. She nodded, unbowed: “Is your editor Jewish?”

She bid me goodbye with a hug — “I know you love me and don’t want to hurt me” — and a promise that I’d hear from her lawyer. Angelyne also stated that it’s her inalienable right alone to share her story as she sees fit — or not. (Earlier, regarding the details of her past, she’d told me, “I want to save it for my memoirs; that’s my right for my own financial interest.”) Later, when I left, I saw her on the sidewalk beside her Corvette under a translucent pink umbrella, huddled in what appeared to be an intense conversation with Hennig.

The next day, curious to revisit those Hennig photos, I unearthed from the bottom of a pile on my newsroom desk the premiere issue of Hot P!nk, which Angelyne bulldozed me into purchasing two years ago for $50 — along with other merchandise — before even agreeing to seriously discuss participation in a potential profile in THR. What instead caught my eye were the advertisements, which on closer inspection all seemed to be personally connected to her: the North Hollywood auto body shop that I’d elsewhere read custom-paints her Corvette; the late Beverly Hills plastic surgeon Dr. George Semel, who she’d previously told me was her “artistic collaborator.”

I kept scanning. There was an eighth-page ad from Custom Awards & Engraving, the trophy business Angelyne listed as her residential address on the name-change document. Co-owner Linda Mendelsohn also was mentioned in the text, which congratulated Angelyne on the launch of the magazine. Bingo.

•••

A fortnight passed without word from Angelyne. I rang Hennig and told him I was still looking for clarification. Where, at least, was the follow-up from the mystery attorney? This time he was curt. “I’ll tell her you called,” he said, his tone cold, hanging up. It would be the last I’d hear from either of them.

The next day I dialed Goldberg’s sister, Annette Block. Her husband, Stanley, picked up. I explained I was working on a piece about Goldberg and her life before becoming Angelyne. “Well, Angelyne …” he began, knowingly, tentatively, before a voice in the background interrupted him. He came back on: “Give me a call tomorrow.” When we talked again, he acknowledged knowing Angelyne at “one time in my life, maybe 40 years ago,” but insisted that “my wife is not related to her.” His spouse declined to speak to me.

Next I called Goldberg’s stepsister, Norma St. Michel, who resides in Van Nuys in the San Fernando Valley. I brought up Angelyne. “Oh, I have no idea,” she said, an edge to her voice, cutting me off and hanging up.

Finally, I tracked down Michael Strauss, the Jewish boy (scion of a Beverly Hills dynasty forged by the changeable reader board on movie theater marquees) whom she’d wed in the late 1960s. He was now a family man living in Carlsbad after a successful career manufacturing acrylic furniture.

I told him what I was calling about. “Holy smokes,” he said, astonished. “I haven’t talked to Angelyne in years. I’ve kind of followed her on the internet.”

We chatted for an hour. Strauss had tender memories of Goldberg, referring alternatively in the past and present to her as “Angelyne” and “Renee.” He’d never spoken publicly about the identity of his first wife before, and only rarely in private, he said. (An exception: In 2016 when she applied for a new driver’s license, a DMV investigator contacted him to corroborate her true identity.)

They’d met through mutual friends while she was still living on the Westside. “She was the most gorgeous redhead,” he said. “She was unique, beautiful, smart.” Later, during their short matrimony, they lived together with Annette and her first husband at the corner of Hollywood Boulevard and Vine Street, “right where Wolfman Jack used to record.” Strauss emailed me photos while we were talking: the pair posing barefoot by the pool at a friend’s backyard party, a striking black-and-white portrait he’d taken of Goldberg at his family’s Trousdale Estates home. (A budding photographer, he shot the likes of Donovan and War.) And, most importantly, he sent the same yearbook photo the genealogist had shown me.

Strauss explained that Goldberg’s childhood had been difficult. Her father, a man with a concentration camp number tattooed on his arm, had been controlling, cruel and narrow-minded, propelling her to flee home early. Like many survivors of trauma, Henry didn’t discuss it. This extended, to Strauss’ memory, as far as Goldberg’s own history; her father told her she was born in Israel, not a German displaced-persons camp. Regardless, “she has never considered herself Jewish.”

Strauss was surprised to learn from me that Goldberg’s mother had died just a few years before he met her; he’d always thought it had been much earlier, a hardened scar. “She’d never talk about her mother — ever, ever, ever. It was a subject that couldn’t be brought up. If I brought it up, it was shut down.”

After they broke up — it was amicable — he traveled for several years, returning to L.A. in the mid-1970s. “I hooked up with Renee again, and she was Angelyne,” he said. “I wasn’t there when she made the transition. All of a sudden, big boobs, blond hair, this voice — the voice used to make me nuts. It didn’t compute with who I’d known she was.”

It would be another decade before she’d achieve notoriety for her pioneering famous-for-being-famous billboard campaign. “As an entrepreneur, I was sad that she wasn’t ever able to be more [financially] successful,” Strauss said of her career, which emerged out of punk and new wave bands and occasional bit parts in films. “Why didn’t she take it farther? Why not a TV show? She invented this marvelous, crazy, out-of-this-world character but couldn’t fully sell it. I was always a Renee rooter: ‘Come on, girl, take it to the next level!’ But she only had the capacity to take it so far.”

When they broke up, Strauss held on to some of her effects — personal photos, official documents — “because she didn’t want them, and I wasn’t just going to throw them away. I mean, what if she eventually wanted them back? Except she never did. I saw her in the early 1990s, and I said, ‘I have these things.’ She didn’t want them. She wanted nothing to do with it. She’d created another life.”

Why had she done it? “You’d have to ask her that,” he said softly.

Renee Goldberg had purely committed to the fundamental principle of Hollywood — escapism — by inhabiting the character she conjured to the point of no return. Like many dreamers, she adopted a stage name and altered her body and behavior to better position a prospective entertainment career that, like many dreamers, never panned out quite as intended. Nevertheless, far more than most, by any definition of success, she truly became the person she was pretending to be.

Strauss eventually, reluctantly, ventured a guess. “It’s a persona that must have suited her,” he said. “It made her way in life. It’s not an easy world out there.”

A version of this story first appeared in the Aug. 2 issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.

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gift

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comm samples ft. red riding hood au 🧺❤️

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making my commission samples with red riding hood AU bc i like the aesthetic lol

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glad to start a new year w kakisato!

happy new year!

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STUFF part 2

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STUFF