#san diego public art

[rabbitcruiser]

The International Day of Remembrance of the Victims of Slavery and the Transatlantic Slave Trade

The International Day of Remembrance of the Victims of Slavery and the Transatlantic Slave Trade is honored on March 25. It was observed for the first time in 2008. The day honors and recalls the more than 15 million people who were brutalized for over 400 years as a result of a slave system. The Panamanian port city of Portobelo is a key entry site during the transatlantic slave trade for enslaved Africans who would then be transported to various locations if they survive the treacherous ocean voyages. Despite its abolition, slavery still exists today in various ways.

HISTORY OF INTERNATIONAL DAY OF REMEMBRANCE OF THE VICTIMS OF SLAVERY AND THE TRANSATLANTIC SLAVE TRADE

The transatlantic slave trade was the world’s largest forced migration and unquestionably one of the cruelest. Over 400 years, a massive exodus of Africans spread over the globe in a way that had never been seen before or recorded in human history. Between 1501 and 1830, a ratio of four to one African to European crossed the Atlantic, making the American population more of an extension of Africans than Europeans.

During the 16th century and up to the 19th century, approximately 15 to 20 million individuals were carried against their will from Africa to Central, South, North America, as well as Europe. The transatlantic slave trade was a profitable triangular commerce between Europe, the Americas, and West Africa. It provided the foundation for most of Britain’s prosperity. Slaves were traded as men, women, and children in various slave trading systems. During the travels, up to 2.4 million slaves died, with millions more dying soon after. Slaves were sold to serve as domestic servants, on plantations, mines, and rice fields.

Britain was the first country to establish legislation prohibiting the slave trade in 1807, and by 1815, the British had persuaded the Netherlands, Spain, France, and Portugal to follow suit. Slave trading was made illegal in the United States nearly five years later, in 1820, and was eventually abolished in 1865.

INTERNATIONAL DAY OF REMEMBRANCE OF THE VICTIMS OF SLAVERY AND THE TRANSATLANTIC SLAVE TRADE TIMELINE

1619

Arrival on Virginia Shores

A Dutchman forces the first captives onto Virginia's shores.

1776

Signs of Segregation

Slaves, Africans, and African Americans are not included in the Declaration of Independence.

1865

Slavery is Abolished in America

Slavery is abolished in the United States.

1950s and 1960s

Anti-segregation March

Civil rights leaders lead anti-segregation marches across the country.

2013

Slavery in the 21st Century

Approximately 25 to 40 million people are still enslaved, the majority of these in Asia.

INTERNATIONAL DAY OF REMEMBRANCE OF THE VICTIMS OF SLAVERY AND THE TRANSATLANTIC SLAVE TRADE FAQS

Who started enslaving Africans?

The Portuguese.

Is there a day for Anti-slavery?

There is, indeed. October 18 is Anti-Slavery Day.

Who created slavery?

Sumer or Sumeria is believed to be the birthplace of slavery.

HOW TO OBSERVE INTERNATIONAL DAY OF REMEMBRANCE OF THE VICTIMS OF SLAVERY AND THE TRANSATLANTIC SLAVE TRADE

Spread awareness: Make use of your platform and voice to raise awareness about the perils of racism and discrimination in today's world. Use the hashtag #rememberanceofvictimsoftransatlanticslavetrade to share posts and facts concerning racism.

Make donations: With a sad heart, we must also accept that, despite the abolition of slavery, it continues to exist in modern forms. You may donate or learn more about how to help victims of modern-day slavery by visiting the United Nations Voluntary Trust Fund on Contemporary Forms of Slavery.

Visit the Ark of Return: Visit The Ark of Return, a permanent memorial honoring slavery and the transatlantic slave trade victims. The visible reminder that slavery's legacy, such as prejudice and inequality, continues to have an impact on us.

5 FACTS WORTH KNOWING ABOUT THE SLAVE TRADE

A long journey: Journeying from Africa to America took approximately seven weeks.

Beginning of the Atlantic slave trade: In the 1440s, the Atlantic slave trade began.

Slaves were used on plantations: Enslaved Africans were taken to Portugal or Atlantic islands like Madeira to labor in agriculture.

The first beneficiaries: The Portuguese were the first to embark on and make huge profits from the slave trade.

West Central Africa: About 40% of people taken into slavery were from West-Central Africa.

WHY INTERNATIONAL DAY OF REMEMBRANCE OF THE VICTIMS OF SLAVERY AND THE TRANSATLANTIC SLAVE TRADE IS IMPORTANT

It teaches us about a sad past: Learning about the dehumanizing treatments and effects of slavery will prompt us to action. The future can only be better if we learn from the mistakes of the past. This will lead to the wholeness and healing that the world so desperately needs.

It honors the victims of the slave trade: The event commemorates and pays respect to the millions of lives lost to slavery and the transatlantic slave trade. It also emphasizes the prevalence of modern-day slavery and the need to eradicate it.

It helps to promote awareness: Even though slavery has been abolished for over 400 years, its legacy lives on. This day brings attention to the events that occurred and how retribution can be carried out. It also raises awareness about the negative effects of racism and prejudice.

Source

[longlistshort]

Niki Zarrabi created this mural in 2019 for the Ladies Who Paint event in San Diego.

She is currently showing work at ABV Gallery in Atlanta for their Spring Group Exhibition, REFRESH, on view until 3/23/24.

[felixpov]

San Diego Neighborhood Signs – Imperial Beach

Located at the entrance of Imperial Beach, San Diego’s southernmost beach, is a neighborhood sign known as “Surfhenge” which was designed by artist Malcolm Jones. The sign features iconic surfboard shapes made of colorful acrylic and has become a symbol of the area.

[mostlysignssomeportents]

Emil Ferris’s long-awaited “My Favorite Thing Is Monsters Book Two”

NEXT WEEKEND (June 7–9), I'm in AMHERST, NEW YORK to keynote the 25th Annual Media Ecology Association Convention and accept the Neil Postman Award for Career Achievement in Public Intellectual Activity.

Seven years ago, I was absolutely floored by My Favorite Thing Is Monsters, a wildly original, stunningly gorgeous, haunting and brilliant debut graphic novel from Emil Ferris. Every single thing about this book was amazing:

https://memex.craphound.com/2017/06/20/my-favorite-thing-is-monsters-a-haunting-diary-of-a-young-girl-as-a-dazzling-graphic-novel/

The more I found out about the book, the more amazed I became. I met Ferris at that summer's San Diego Comic Con, where I learned that she had drawn it over a while recovering from paralysis of her right – dominant – hand after a West Nile Virus infection. Each meticulously drawn and cross-hatched page had taken days of work with a pen duct-taped to her hand, a project of seven years.

The wild backstory of the book's creation was matched with a wild production story: first, Ferris's initial publisher bailed on her because the book was too long; then her new publisher's first shipment of the book was seized by the South Korean state bank, from the Panama Canal, when the shipper went bankrupt and its creditors held all its cargo to ransom.

My Favorite Thing Is Monsters told the story of Karen Reyes, a 10 year old, monster-obsessed queer girl in 1968 Chicago who lives with her working-class single mother and her older brother, Deeze, in an apartment house full of mysterious, haunted adults. There's the landlord – a gangster and his girlfriend – the one-eyed ventriloquist, and the beautiful Holocaust survivor and her jazz-drummer husband.

Karen narrates and draws the story, depicting herself as a werewolf in a detective's trenchcoat and fedora, as she tries to unravel the secrets kept by the grownups around her. Karen's life is filled with mysteries, from the identity of her father (her brother, a talented illustrator, has removed him from all the family photos and redrawn him as the Invisible Man) to the purpose of a mysterious locked door in the building's cellar.

But the most pressing mystery of all is the death of her upstairs neighbor, the beautiful Annika Silverberg, a troubled Holocaust survivor whose alleged suicide just doesn't add up, and Karen – who loved and worshiped Annika – is determined to get to the bottom of it.

Karen is tormented by the adults in her life keeping too much from her – and by their failure to shield her from life's hardest truths. The flip side of Karen's frustration with adult secrecy is her exposure to adult activity she's too young to understand. From Annika's cassette-taped oral history of her girlhood in an Weimar brothel and her escape from a Nazi concentration camp, to the sex workers she sees turning tricks in cars and alleys in her neighborhood, to the horrors of the Vietnam war, Karen's struggle to understand is characterized by too much information, and too little.

Ferris's storytelling style is dazzling, and it's matched and exceeded by her illustration style, which is grounded in the classic horror comics of the 1950s and 1960s. Characters in Karen's life – including Karen herself – are sometimes depicted in the EC horror style, and that same sinister darkness crowds around the edges of her depictions of real-world Chicago.

These monster-comic throwbacks are absolute catnip for me. I, too, was a monster-obsessed kid, and spent endless hours watching, drawing, and dreaming about this kind of monster.

But Ferris isn't just a monster-obsessive; she's also a formally trained fine artist, and she infuses her love of great painters into Deeze, Karen's womanizing petty criminal of an older brother. Deeze and Karen's visits to the Art Institute of Chicago are commemorated with loving recreations of famous paintings, which are skillfully connected to pulp monster art with a combination of Deeze's commentary and Ferris's meticulous pen-strokes.

Seven years ago, Book One of My Favorite Thing Is Monsters absolutely floored me, and I early anticipated Book Two, which was meant to conclude the story, picking up from Book One's cliff-hanger ending. Originally, that second volume was scheduled for just a few months after Book One's publication (the original manuscript for Book One ran to 700 pages, and the book had been chopped down for publication, with the intention of concluding the story in another volume).

But the book was mysteriously delayed, and then delayed again. Months stretched into years. Stranger rumors swirled about the second volume's status, compounded by the bizarre misfortunes that had befallen book one. Last winter, Bleeding Cool's Rich Johnston published an article detailing a messy lawsuit between Ferris and her publishers, Fantagraphics:

https://bleedingcool.com/comics/fantagraphics-sued-emil-ferris-over-my-favorite-thing-is-monsters/

The filings in that case go some ways toward resolve the mystery of Book Two's delay, though the contradictory claims from Ferris and her publisher are harder to sort through than the mysteries at the heart of Monsters. The one sure thing is that writer and publisher eventually settled, paving the way for the publication of the very long-awaited Book Two:

https://www.fantagraphics.com/products/my-favorite-thing-is-monsters-book-two

Book Two picks up from Book One's cliffhanger and then rockets forward. Everything brilliant about One is even better in Two – the illustrations more lush, the fine art analysis more pointed and brilliant, the storytelling more assured and propulsive, the shocks and violence more outrageous, the characters more lovable, complex and grotesque.

Everything about Two is more. The background radiation of the Vietnam War in One takes center stage with Deeze's machinations to beat the draft, and Deeze and Karen being ensnared in the Chicago Police Riots of '68. The allegories, analysis and reproductions of classical art get more pointed, grotesque and lavish. Annika's Nazi concentration camp horrors are more explicit and more explicitly connected to Karen's life. The queerness of the story takes center stage, both through Karen's first love and the introduction of a queer nightclub. The characters are more vivid, as is the racial injustice and the corruption of the adult world.

I've been staring at the spine of My Favorite Thing Is Monsters Book One on my bookshelf for seven years. Partly, that's because the book is such a gorgeous thing, truly one of the great publishing packages of the century. But mostly, it's because I couldn't let go of Ferris's story, her characters, and her stupendous art.

After seven years, it would have been hard for Book Two to live up to all that anticipation, but goddammit if Ferris didn't manage to meet and exceed everything I could have hoped for in a conclusion.

There's a lot of people on my Christmas list who'll be getting both volumes of Monsters this year – and that number will only go up if Fantagraphics does some kind of slipcased two-volume set.

In the meantime, we've got more Ferris to look forward to. Last April, she announced that she had sold a prequel to Monsters and a new standalone two-volume noir murder series to Pantheon Books:

https://twitter.com/likaluca/status/1648364225855733769

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/06/01/the-druid/#oh-my-papa

[dduane]

In the "Oh, This Again" dep't

So I was looking around via Google Image Search to see if any easily accessible online source had the publicity-poster version (the one with the blurb quote from Terry Pratchett on it) of this art for the 1991 Corgi/Transworld (UK) edition of The Door into Fire.

...A bit of a favorite, that one. Look, there's the San Diego Freeway and everything. :)

What I was not expecting to find, though, was this.

...And on an old friend's book, at that.

(amusement) This has happened with TDIFire before—with the UK Methuen edition, as it happens. Some detail here.

I'm pretty sure Dave would have found this hilarious when he found out about it. I do too. I just wish I could trace the event-pathway between Geoff Taylor being commissioned to do the Fire cover, and the painting then being... sold on to? lent to?... the Italian publisher.

(shrug) No matter. Just missing Dave a little now: he was always a welcome guest around here, when he had time to make it over to this island.

[arminreindl]

Mekosuchus

My recent-most Wikipedia deep dive was in equal parts enlightening and frustrating and it concerned no other than Mekosuchus, everyones favourite heartbreaker of a recently extinct crocodile.

For those unfamiliar, let me give you some footnotes before getting into the nitty gritty. Mekosuchus is, or was, a genus of terrestrial (NOT ARBOREAL) dwarf crocodile from Australasia, first appearing during the Late Oligocene. They were small, how small we don't precisely know but its generally estimated that adults would be in the 1-2 meter range (so about 3 to 6 feet I believe?). The heartbreaking part? The last confirmed Mekosuchus died out only 3.000 years ago, and some publications even suggest they could have stuck around until just 1.700 years ago. Yeah, we got REALLY close.

Art by yours truly, I'll explain the massive difference down below, just be patient.

But lets get some of the basics out of the way. Mekosuchus was a small mekosuchine crocodilian and currently, four species are recognized. Mekosuchus whitehunterensis is the oldest from the Oligocene/Miocene of mainland Australia, immediately succeeded by M. sanderi during the Miocene. Both these species were described as having had blade-like posterior teeth (at the back of the jaw) and both coexisted with a ton of other crocs, including Baru, Quinkana and some bizarre ones like Ultrastenos.

After a bizarre break in the fossil record, Mekosuchus shows up again during the Holocene on the islands of New Caledonia and Vanuatu, ironically mirroring the meiolaniid turtles I talked about previously. Fossils are securely dated to about 3.000 years ago, but Balouet and Buffetaut also suggested that some of the younger remains may only be 1.720 years old, overlapping with human settlements. But this isn't accepted by everyone. Regardless, these species differ from their older cousins by lacking the blade-like teeth, instead going for crushing dentition.

Art by artbyjrc and Kahless28

With such different teeth comes different ecology, of course. A 2015 study suggests that the neck vertebrae of M. whitehunterensis were well adapted to rapid stresses, specifically caused by side-to-side movement of the head. It is thus speculated that they shook their heads to strip meat from carcasses, rather than performing the iconic death roll (as that might hurt the animal on land).

M. inexpectatus meanwhile was seemingly better adapted at crushing hard-shelld things, crabs, insects, maybe snails even. Holt and colleagues suggest that it might have lived much like a modern dwarf crocodile, spending its time in river streams and coming out at night to forage. Dwarf crocodile via the San Diego Zoo and Mekosuchus illustrated by my friend BatmanelVisigodo

Both however are thought to be terrestrial, having short, altirostral skulls, big eyes and nares that face sideways, not upwards as in semi-aquatic crocodilians. They were however NOT ARBOREAL. Yes I know I know, its a bummer. To those unaware, a commonly cited missconception is that Mekosuchus was a tree-dweller, which was originally suggested by Paul Willis in the 1990s. However, this was more of an off-hand comment at the time that certain people (including me in the past) have run with, causing it to spread and be almost considered fact by some. Hell, it says a lot when Mekosuchus, in many circles, is thought of as "that tree croc". However, not only was Willis suggestion based on the now outdated notion that monitor lizards weren't around at the same time, later authors also note that the toes of Mekosuchus really don't show any adaptations to climbing specifically. So alas, it would seem that this was only a myth. But don't worry too much, sometimes crocs climb regardless, just not vertically up a tree. Mekosuchus artwork by Manusuchus

Now at the beginning I teased that there's a reason why my images for M. whitehunterensis and M. inexpectatus look so different. Well its kind of painful really. Despite being known for about 30 years now, with 300+ bones known from New Caledonia alone, Mekosuchus is incredibly poorly studied. The original description only figured around half a dozen bones and while the next three species were all named in the span of just 5 years, they are all incredibly fragmentary. And then, just after another expedition collected more bones....things went silent.

The last 20 years saw the publication of only a single paper extensively dealing with Mekosuchus itself, with two skull reconstructions coming out in less detailed sources. The first is Holt et al. 2007, a powerpoint presentation from a paleontological conference. The presentation made some fascinating claims and even provided a reconstruction of the skull, but sadly. Nothing ever came of it, the research was never formally published and the lead author has since then changed fields into Astronomy. Actually had a nice talk with him earlier today. Then there's Scanlon 2014, which offers even less. In the book  Carnivores of Australia: past, present and future, Scanlon briefly touches upon mekosuchines, featuring a new composite reconstruction of M. whitehunterensis. However, this is not elaborated on in the text, despite the drastic differences to how M. inexpectatus has been reconstructed before. So we are left with two very different appearances. Are they simply really different looking species? Is one interpretation faulty? Should Mekosuchus be split? Who knows, might be a while until we figure it out. But until then, here's the two together, one looking much like a dwarf crocodilian, the other more like a sebecid. An interesting contrast for sure.

As per usual, this research was done as part of me doing a major haul of a Wikipedia page which you can read here Mekosuchus - Wikipedia. It's been an interesting, if a little frustrating task, but it was fun properly reading up on this animal and putting this information out there for people that don't wanna dig through 30 years of literature (including one paper in French). Hopefully I suceeded, at least the page is a bit bulkier now.

[longwuzhere]

Some cool Easter eggs I caught watching My Adventures with Superman that I want to show to people so they can be in on it with comic book readers: For the first episode's Easter eggs it's here

For the second episode's Easter eggs it's here

For the third episode's Easter eggs it's here

For the fourth episode's Easter eggs it's here

For the sixth episode's Easter eggs it's here

For the seventh episode's Easter eggs it's here and here

For the eighth episode's Easter eggs post it's here

For the ninth episode's Easter eggs post it's here

For the tenth episode's Easter eggs post it's here

My Easter eggs and references in My Adventures with Superman comic issue 1 post is here SPOILERS if you haven't seen this week's episode obviously

We start off the episode with this shot of Superman with the drawn on glasses. A good homage to what Lois did in the 1980 Superman II movie...

where she not only drew the glasses but also a full suit and hat on a picture of Superman.

Next we see Jimmy waking up and seeing someone debunking his conspiracy theories on Sub-Diego.

Sub Diego was an actual place in the DC universe before the New 52 reboot. In Aquaman #15 and #16 (2003) , shown here (W: Will Pfeifer, P: Patrick Gleason, I: Christian Alamy, C: Nathan Eyring, L: Jared K. Fletcher for issue 15, Nick Napolitano for issue 16). The underwater city is actually San Diego, but is buried underwater thanks to a tidal wave and makes its first appearance in Aquaman #15 (2003). There was a lot of casualties from this.

When we get to our title its "You Will Believe A Man Can Lie" a reference to the tagline for the 1978 Superman movie.

As seen here on the poster, it says "You'll believe a man can fly".

Next we see our villain, well one of the villains, for the episode, Heatwave.

In the comics Heatwave makes his first appearance in Flash 140 (1963) (cover art by Carmine Infantino, Murphy Anderson, and Ira Schnapp). Heatwave aka Mick Rory is a Flash rogue usually acting as a rival to Captain Cold aka Leonard Snart. In MAwS, their Heatwave shares the same last name and powers, but MAwS Heatwave is gender flipped. You might have seen Heatwave in the CW DC comics shows where he is played by Dominic Purcell in The Flash and Legends of Tomorrow.

Lois, later in the episode, name drops Heatwave's name. Gotta be honest when Heatwave showed up I was like is that Rampage? Cuz the MAwS design looks vaguely like Rampage.

If she does show up in MAwS, I'll talk more about her in another post, but for now, Rampage aka Karen Lou "Kitty" Faulkner, makes her first appearance in Superman #7 (1987) (full page here: W&P: John Byrne, I: Karl Kesel, C: Tom Ziuko, L: John Costanza).

Steve drags Jimmy to film his debunking Flamebird videos and references Starro who I talked about here.

Lois, later runs around with the Daily Planet police scanner trying to catch Superman and the dispatcher reports that a robbery is in progress at McGuinness Luxe Garage.

This is a nice reference to Ed McGuinness who was the artist for Superman, Action Comics, and Superman/Batman in the early 2000s. If you've seen Superman/Batman: Public Enemies, then you'll know the movie takes inspiration from his character designs in the first arc of the Superman/Batman comic series. The Superman/Batman #1 (2003) cover here is done by Ed McGuinness, Dexter Vines, and Dave Stewart. I like Ed McGuinness's pencils, very stylized.

Heatwave name drops Livewire and the Gazzo mod family. Both of whom I've talked about here and here respectively

Heatwave has been running away from Deathstroke here who has been taking our her crew. Notice that Slade Wilson doesn't have the half black half orange helmet yet that almost every Deathstroke depiction always has.

He, Amanda Waller, and the General who I totally think is General Sam Lane, Lois's dad, are fans of DBZ cuz of the scouters they're wearing.

Later in the scene we see the General again he's totally General Sam Lane. I'll talk more about him when we get a double confirmation through a name drop/reveal in a later post calling Amanda Waller, Mandy. What a fucking bold thing to say to Waller! Like damn! power move right there!

Superman and Deathstroke are fighting under a highway and we see the traffic is heading to Bludhaven!

Very good reference to my favorite character in all of pop culture, Dick Grayson aka Nightwing. Nightwing makes Bludhaven his city to protect. The city makes its first appearance in Nightwing #1 (1996) (the panel here - W: Chuck Dixon, P: Scott McDaniel, I: Karl Story, C: Roberta Tewes, L: John Costanza). Fun Bludhaven fact, its crime rate is WORST than Gotham! Also HIGHLY recommend reading the new Nightwing run cuz its fucking amazing! Won a few Eisner Awards (think the Oscars but for comic books) recently and I am not just saying that because I am a Dick Grayson fan.

Near the end of the episode, we see Lois willing to jump off a building to prove that Clark is Superman. A lot of discourse was happening online over this, but I do want to say this is pretty on brand for her to do.

In Superman II, Lois does something similar and Clark saves her. its just in MAwS, Clark flies to save her thus ruining the secret identity, while in Superman II, Clark does save her but he is still able to get away with it thanks to him playing it more subtly.

Don't know why people we're in such a fucking fit over something that Lois has done before.

In the after credits scene, Jimmy, who planned a sasquatch finding adventure with Lois and Clark, but they were dealing with their shit and Jimmy was by himself, decides to do the finding on his own and meets a giant gorilla. In the first episode Jimmy mentions an intelligent gorilla in France and my guess is this is Monsieur Mallah. You can read more about him here. If you made it this far down, I appreciate you taking the time to check this post out and if you want to see my other MAwS Easter Eggs posts - Episode 1 is here

Episode 2 is here

Episode 3 is here

Episode 4 is here

Episode 6 is here

Episode 7 is here and here

Episode 8 is here

Episode 9 is here

Episode 10 is here

My Easter eggs and references in My Adventures with Superman comic issue 1 post is here

[sunjaesol]

Love is Blind x Juke

For the past two days @thedeathdeelers and I have spiralled into a Love Is Blind x Juke fanfic in the dm's and this is what came out of it. So, a co-written Imène and Ophelia special for Juke Jeudi. Ta-da!

///

“Hi,” a voice called out from the other side of the Pod. This was it. The start of this mess. 

Luke perked up. "Uh, hey, I'm Luke."

"I'm Julie." A pause. Then a laugh. "This is really weird, huh?"

Luke laughed as well, the tension of the last twenty-four hours slipping away. One second he was drunk in his apartment with his buddies on the Netflix website, the second he was on a flight to San Diego for a freaking reality dating show. Or rather: a marriage show. Insane. But whatever. It wasn't like he was actually going to find someone. He was just gonna lay low, write some songs, and then dip after ten days.

"So, Julie, what made you sign up for this thing?" he asked, draping himself across the couch. A cup of rum and coke dangled in his hand.

"Um… I guess I wanted to do something I'd never do. I'm always waiting for love, you know, instead of… just going for it. So here I am. What about you?" Her voice was pretty, slightly raspy, yet melodic, and he felt himself listening to her intently.

"I'm here to write songs," he replied, blunt.

She laughed. "What?"

"Yep."

"You're here… for songs?"

"Don't take this the wrong way," he said, "but this is like a retreat for me."

"Well, that's excellent, actually," she replied, smooth. "Because I happen to be a songwriter."

***

Julie went into her second date after an hour long conversation about music and their favourite bands with Luke. She felt giddy, but knew a first impression didn’t mean anything in an experiment like this. Sitting down, she called out: "Hello?"

"Hi, I'm Nick," a male voice said.

Julie smiled. "I'm Julie."

"Julie," he repeated, and she heard the scribbling of paper. "So, tell me about yourself, Julie."

"Um… what do you wanna know?"

"Where are you from?" he asked. 

Easy enough. "I’m from Los Feliz."

"No way!" He laughed. "Me too!"

Her brows raised. "Really? Where did you go to school?"

"LF Public High."

"Ah," she sighed, "I went to the arts school. It would be crazy if we've met each other before."

"Or maybe it's fate," he teased.

An amused smile twitched on her lips. Guys that flirted with the word ‘fate’ to wrap a girl around their finger; she’s met those before. "Yeah, who knows."

***

After three full days of jamming and creating music with Luke, somehow able to connect on such an intense level with a shimmery wall between them, they found themselves in amiable silence. It wasn’t awkward, somehow. The song they worked on had been rather emotional, about family and history and regret. It brought back memories she hadn’t dared to discuss in the Pods. But now… 

“Not to like, um,” she licked her lips, “dump all my trauma, but—”

“It’s okay,” he whispered.

“My mom, uh, died… two years ago.” Julie took a steadying breath, though let the tears roll as they came. He didn’t see her. She could cry. “She’d been sick for a while—terminal cancer—so we were prepared, but… nothing actually prepares you for it.” She heard him hum, encouraging her to continue. “And that’s why I applied for the show. The day she died, I felt like I died with her. I’ve just been on auto-pilot. So, ‘Love Is Blind’ was honestly this, like, desperate attempt to feel again, but I didn’t think I’d actually marry someone. I just wanted to break free of this dead feeling… if that makes sense.”

After a beat of silence, Luke said, “It does. Trust me, it does. I’m sorry, Jules, for your loss. That’s the worst thing that could ever happen, I–” A curt laugh left him. “I wish I could hug you right now, fuck.”

“It’s okay,” she sniffled.

“You’re probably the strongest person I know, not gonna lie,” he continued. “Trying to keep living after that… you should be so proud, Jules.”

Julie’s lip wobbled as she sank to the carpeted ground and shuffled to the shimmery wall, pressing one hand against it. She hadn’t had a sip of alcohol today—even though the producers wanted her to—so she knew all she felt was pure.

“I am proud,” she agreed. “Only a crazy alive person locks themselves in a Pod for seventeen hours a day.”

A laugh barked out of him. Jumping off the couch, he sat cross-legged in front of the shimmery wall. His heart hammered a nervous beat. “I, uh, relate, to be honest, to, like, mom stuff.”

“Oh?”

“My mom hasn’t died, fortunately, but… when I was seventeen, we got in a really big fight. Like, we said some nasty stuff to each other. I ran away. I didn’t speak to them for six years.” He shook his head. “And I know it’s not the same. Trust me, I know. I left by choice. But it felt like the death of my bond with them. I felt like I was dead to my parents. They never tried looking for me. Maybe because they knew where I was, but… they never tried reaching out. Until I did it at twenty-three.”

Julie sighed, “I’m so sorry, Luke.”

“It caused me to produce some fire songs, but… I don’t know if it was worth it.” He chuckled, tears rolling down his cheeks in surprise. “I don’t think I ever told someone that before.”

Julie smiled. “I’ll keep it a secret. Thank you for sharing that with me, Luke.”

“No problem,” he tried to sound nonchalant, but to him, it came off infinitely grateful.

“How’s your relationship with them now?” she asked.

“It’s… it’s alright. It’s not perfect in the slightest, but, you know, I come around for dinner or lunch at least once a month, I keep them in the loop, they keep me in the loop, they’ve attended one of my concerts…” He trailed off. “We’ve come a long way.”

“That’s great to hear,” she smiled. “Family is so important to me, so I would’ve felt so bad if I wouldn’t be able to—” She paused, warmth spreading in her body and face.

Luke frowned. “What?”

“If, um, if I wouldn’t be able to, um, meet them,” she uttered awkwardly. They had come to the silent agreement that they wouldn’t marry and simply be each other’s confidante for the ten days in the Pods. Julie has never felt like this before though. She felt… she was in love. Which was crazy, but how else could she explain the feeling in her gut?

A smile grew on Luke’s face. “You wanna meet them?”

“Don’t goad me like that!”

Luke laughed. “I’m not! I’m not! It’s… it’s cute, Julie, that you wanna meet them. Y’know, I wanna meet your dad, too. He sounds cool.”

Julie smiled. Her heart felt like bursting. “He is.”

***

The next day, Julie stood in the kitchen of the women’s quarters stirring a carrot and bell pepper soup on the stove. Luke’s favourite. If they ever were to meet in real life, she’d introduce him to other, way better, soups, but this would do for now.

Suddenly, Carrie—another contestant—appeared beside her. “You’re talking with Luke, right?” Carrie asked. 

Julie looked up. “Yeah, why?”

“Well,” she shrugged, haughty, “he's my number one, so.”

Julie frowned. Luke’s her number one? Since when? She had never heard Carrie speak about him. Did something happen in the Pods that she wasn’t aware of? “I thought Nick was your number one.”

The woman rolled her eyes. “Nick is so passive. I like Luke a lot more. I mean, musicians are hot, right?”

Carrie was baiting her, Julie realised, replying with a weak: “I… I guess…”

“Yeah,” Carrie affirmed, “so he’s my number one. I heard he’s yours, too.” The blonde tried to pull off an air of nonchalance as she inspected her perfectly manicured nails, but Julie didn’t bother with an answer and chose to add a pinch more paprika to the soup instead. She smiled; yeah, he’d like that.

Aggrieved Julie didn’t respond, Carrie continued: “So, why are you making soup?”

Julie threw a disbelieving look at Carrie. “It’s for Luke. For his birthday?”

Carrie, who had already lost interest in the conversation, suddenly whipped her head back towards Julie, hair flicking with the motion. “It’s his birthday? When? Since when?”

Julie rolled her eyes at the girl, and shook her head. Deciding to make a dig, she said: “I thought he was your number 1?”

Carrie frowned and pointed at the pot. “Can I give him some, too?”

"No,” Julie puffed, in disbelief that the woman even dared to ask her that. “That's honestly weird for you to ask, Carrie. It’s disingenuous."

"Okay, whatever," she grumbled and skulked away to talk to Kayla.

***

"So... I talked to Carrie..." Julie brought up after Luke had accepted and had taken a swig of her homemade soup. It had to be their sixth date at this point, but it has felt like forever. 

The man looked up from his guitar in confusion, wracking his brain for the last time he spoke to Carrie. "Okay?"

"She said you're her number one."

His frown deepened. "What? Really? We've spoken maybe twice."

"Oh." A relieved laugh left Julie. "Oh, wow. Then she's super jealous, or something." Her cheeks felt warm. "I was a little worried for a second, to be honest."

Luke grinned. "Yeah?"

"Mh-hm..."

"Y'know, I was worried about Nick," he confessed.

That surprised her. "Really? Why?"

"‘Cause I know you did have a connection with him."

"Yeah," she admitted, "but not in the way that we connect. Nick's like... a friend. That's all."

"Then you should tell him that," Luke said, amused. "'Cause he thinks you guys are fated."

Julie rolled her eyes. "Oh, jeez."

***

It was his favourite time of the day—sprawled across the sofa, snacks littering the floor—as he scratched out a chorus to Sunset Curve’s new song.

But that’s not why it was his favourite.

It was his favourite because he could just about hear Julie scribbling in her own journal right across that damn shimmery wall separating them, almost picturing frown lines between her brows. Which was weird, ‘cause he had never actually seen her.

It was weird, right?

But that didn’t stop him. Luke felt a silly grin taking over his features as he hummed along what he imagined would be the pre-chorus, leg swinging over the armrest—

And then he froze, stopping all movement.

Because he could be hallucinating, but he swore he just heard singing coming from the other room. The one that contained Julie. The human wrecking ball that had already captivated him before he had ever seen her.

Or heard her, apparently.

Holy shit. Holy shit. 

Luke nearly fell off the couch as he stumbled into a sitting position, jumping from his spot to the shimmery wall. He splayed his fingers as he pressed his palms against the damn thing keeping them apart, and then placed his ear against it.

He stopped moving; stopped breathing. She was singing. And it was fucking beautiful.

Shit. He was fucked.

He remembered Julie telling him about her complicated relationship with music; how she hadn’t sang in over a year. But now she was singing, here, with him, and he was finding it so hard to keep himself in check. He could clearly hear Alex’ voice in his head telling him to ‘cool it, Patterson. You’re going to scare her off.’

And that was the last thing he wanted to do.

Afterwards, Luke barged into the men's quarters and yelled: “I'm marrying Julie!”

Dean barely looked up from his paperback. “Yeah, we know.”

"You haven't talked about anyone else," Seth added.

"Oh," Luke said, scratching the back of his head. "Well, yeah. Now I'm gonna do it."

"Cool, man," Garrett grinned. "Get that woman!"

***

On the tenth day, Julie wore her prettiest dress. A purple number, nothing too special, as she hadn’t actually thought to get married on this show. The other women had ornate dresses, but she’d have to do with this one. 

Then again, she wasn’t actually sure Luke would propose. He told her he loved her, but that didn’t mean he wanted to marry her in a month; that didn’t mean he wanted to go through with the experiment; the reality show. 

Opening the door to the Pod, she heard Luke already pacing on his side. 

“Hi,” she said.

“Oh!” he exclaimed. “Hey!”

She paused at the wall. “You’re nervous?”

“It’s the tenth day, so, uh…” Luke shook his head and stared at the silly velvet box in his hands. This was ridiculous. Insane. Every other synonym for that word. He wasn’t marriage material. He was a guy from an underground rock band that came here to get inspired and write. But here he fucking was.  

“I don’t wanna say we’re fated, ‘cause I don’t believe in that shit,” he suddenly continued, the words flowing out of him. 

Julie smiled. “Me neither.”

“But I do—I do think you’re my person, Julie. That we should be together outside of the Pods. When we make music it’s like–like–”

“Magic,” she finished, her smile widening and her hands pressing against the wall. 

“Yeah,” he breathed. Sinking onto both knees, he kept his eyes on the box. “We’re magic together, I think. And I love you. I know that. I love you.”

Julie let her forehead drop against the wall as she giggled. Nothing about this made sense. No one would be able to understand what she felt right now. “I love you, too.”

“So… Julietta Rose Victoria Marie Molina…” He took a steadying breath. Now or never. “Will you do me the honour of marrying me?”

An elated sob left the woman, nodding profusely despite him being unable to see her. “Yes!” she exclaimed. “Yes!”

***

The white doors slid open in a swoop and their identities were revealed. Luke took a step forward and found his jaw falling slack at the short woman several feet away from him. She… was perfect. Down to those cute, scribbled-on sneakers.

Julie laughed, showcasing a gap between her teeth, and waved at him. "Hi."

"Hey," he grinned, his walk turning into a jog—he had to get to her—and grabbed her into a hug. "Holy shit."

"I know," she laughed, latching onto him. "Neither of us had a proposal outfit packed."

"Julie–Jules, you–" Pulling away slightly, he felt moisture building in his eyes from the shock and tension. His hands cupped her cheeks. "You're–wow."

"Thanks," she giggled, her eyes also wet. "You're wow, too."

***

After the couples arrived in the resort in Mexico, Julie and Luke settled into their suite. They unpacked their suitcases as they chatted about their flight, rosy-cheeked and happy. The camera flipped to Julie in the confessional, seated on the terrace in a pretty blue dress.

"Luke and I have arrived in Mexico," Julie said. "And it's definitely weird, suddenly, like, being able to touch him and see him, but it also feels so natural. We're just really excited to continue growing what we have and make more music."

"Julie's gonna do the speaking for me this vacay," Luke added next in his confessional, a big smile stretched across his cheeks. "I'm twenty-nine, guys, I've forgotten 10th grade Spanish, y'know."

“Yes, we’ve kissed,” Julie continued, shy, “on the plane. We wanted to do it away from the cameras, and um… it was–it was good.” Her eyes averted as her smile grew. “It was really good.”

Luke plopped down on the bed. “What do you wanna do first? Check out the pool? The beach?”

“The buffet,” she emphasised. “I’m super hungry.”

He laughed. “Sounds good to me.”

Julie slid beside him. “I also wanted to talk to you about something, now that we’re here…”

Luke nodded. “Okay.”

“Um… so we’re now sharing a bed…”

“Yeah.”

“I’d like to wait until after the wedding before we have sex,” she admitted. His face gave nothing away, simply listening to her. “It’s not that I’m not attracted to you, I am, but it’s something I want to honour, you know?”

“Of course,” he whispered. “I can wait, Julie, don’t worry about it.”

“Yeah?”

“Sex isn’t that important to me,” he said with a shrug. “It’s great, but it’s not everything.”

“Duh,” she deadpanned. “Music is.”

He laughed. “Exactly, you get it.”

The woman let out a relieved breath. She didn’t think Luke would be appalled, but she hadn’t been totally sure. Now, she could sleep beside him without the stress. Kissing his cheek, she said, “Besides, we can do other stuff.”

He wiggled his brows, mischievous. “‘Other’ stuff?”

With a roll of the eye, she pushed him away and got up. “Let’s get food.”

“Yes, Boss!”

***

The next day in Mexico, all the couples met up at the pool. It was the first time they all could see each other and properly meet. Neither Julie or Luke were worried their affection would sway, but they were nervous to approach Carrie and Nick. Both had claimed a connection, but now they were a couple themselves.

It especially bothered Luke, if he was honest. Julie was… incredibly beautiful, especially in that purple dress she wore tonight, and he wasn’t blind to the eyes Nick had been giving her. 

Afterwards, Julie and Luke sat on the bed curled towards each other, discussing the events of the night.

"So... what did you think of Nick?" Luke asked, feigning nonchalance.

Julie smirked at his obvious attempt to seem cool. "He was… nice."

"Yeah? Got a crush on him?"

"Sure," Julie deadpanned, "and that was why the conversation ended after, like, two minutes, and I stayed by your side for the rest of the night."

Luke grinned and placed a hand on her knee. "Yeah?"

"Mh-hm." She caressed his tattooed arm. "Don’t worry. I... there's not a shadow of doubt it's you, Luke. Trust me."

Luke's smile melted into fondness. "I trust you."

***

After Mexico—where one of the couples devolved and split up, leaving four couples left—they all returned to Los Angeles. Unfortunately, they couldn’t move back into their regular apartments, but all had to share the same complex. Julie and Luke lived on the third floor in a shiny, white apartment. It was the furthest thing from Luke’s actual place.  

On a positive note, they could finally introduce their partner to their friends and family. Like now. 

"Today, I'm meeting Luke's friends and band members," Julie said to the camera, standing outside of Luke’s studio in the heart of Mar Vista. "I've talked with them on the phone a couple days ago, but this'll be the first time we'll be face to face."

Luke drifted on his heels as he barely looked at the camera, clearly addressing Julie. "I'm not worried. Julie's, like, the puzzle piece we've been missing. And I fucking love her. So. Yeah."

Julie and Luke walked in where Reggie and Alex were already seated in an old, leather couch. Reggie seemed nonchalant, but Alex often flitted his eyes to the camera.

"Hi," Julie greeted. "I'm Julie!"

"Ooh," Reggie cooed. "You're even prettier IRL!"

Alex eyed her in disbelief. "Yeah. Blink twice if you wanna escape our Luke."

"Awesome support, guys," Luke grumbled.

Julie worried that the boys perhaps thought that what she and Luke had was too good to be true—that it wouldn’t last—and all it would do was interrupt their music career. She didn’t stop worrying until Alex gently pulled her away from the guys mid-practice session, and took her on a short walk around the garden.

Somehow, he knew exactly what was on her mind—and exactly what to tell her.

“Luke’s a pretty open book with just about everyone, or that’s what people think. He likes to show everyone all the good sides to him; the music, the cheerful attitude, the constant pep-talks. But he’s never, and I mean never, talked to anyone about his mom as openly as he did with you.” Alex stopped to turn and face Julie. “He’s always worried about dumping all his problems on others and it’s been his thing ever since we’ve known him. He just hides it all to himself, until he explodes and writes a song about it.”

He shrugged, though Julie could see the worry in Alex’ eyes. “But the fact that he shared some of that stuff with you, let you hear ‘Unsaid Emily’… Julie, you’re it for him. And if you’re it for Luke, you’re it for us.” Alex grimaced at his choice of words, but didn’t correct himself, choosing instead to smile encouragingly at Julie.

A moved Julie nodded in relief and pulled the drummer into a tight hug. “Thank you,” she whispered. 

That evening, it was time for Luke to meet Julie’s family, namely: her father, brother and aunt Victoria. The rest of the family would attend the wedding. Which, according to Julie, was ‘a lot’. She’d prepped him for tonight, but she still seemed nervous as she rang the bell and waited for the door to open. 

“What’s the prob?” he asked. 

“Well—”

The door flung open and an older woman in athleisure squealed at the sight of Luke. “Lukas! Come in, come in! Oh, mija, you did such a good job picking him!”

“Tia—”

“My name is Luke, actually—”

Victoria continued unperturbed and ushered them inside. He barely had time to soak in the interior as she continued babbling on. "Thank you, Lukas—" Victoria gushed.

"It's Luke—"

"—for taking my Julie off the street. Twenty-seven! Who would've thought!"

"Ah, yes," Julie drawled beside him, slightly peeved. "The old crone's age of twenty-seven."

“I think she was the one who took me off the street,” he said, throwing a smirk Julie’s way to ease the nerves a bit.

Her father and brother popped in from the kitchen, the former with a wide smile and the latter rather sceptical. “Is that my daughter’s fiancé I hear?”

***

"Luke is meeting my best friend, Flynn, today," Julie said outside of a bar. "I'm a little nervous, because Flynn is super protective of me, but I think it'll be fine!"

Luke smirked. "People love me. Everything will be great!"

That was, until Flynn said a quick hello and then shoved a ten-page questionnaire in his face. She smirked. “Just to see you’re not a serial killer and won’t break my friend’s heart.”

“Because those two are mutually important,” Julie replied, sarcastic. 

Luke scratched the back of his head as he thumbed through the pages. “I–I have to do this now?”

“Why? Scared?” Flynn pressed. “Also—” She whipped a cotton swab from her pocket and grabbed Luke’s face, pushing his mouth open. "Just the usual," she muttered and swabbed the inside of his cheek. "Just normal DNA things…”

After the horrible bar situation, Julie paced along the kitchen island continuously apologising for her friend’s behaviour. “I swear she’s usually not like this, I’m so embarrassed, like she’s protective, but not—”

“Hey, hey, hey,” Luke grabbed her shoulders to stop her from pacing with a relaxed smile. “Yeah, it was weird, but it wasn’t the end of the word.”

“Really?”

“Yeah.” He smiled. “You have a Flynn, I have a Reggie and Alex," he soothed. "It's all cool."

***

As Carrie and Nick argued for the umpteenth time at the Cheese Tasting Date, Luke and Julie were bent over Luke's songbook, scribbling and discussing the bridge of a song.

"No, no, there should be an inverse and then, like, the reveal, that he was never there at all," Julie said.

"I don't wanna write a sad song, Jules. It's a love song," Luke bounced back.

"I mean—" She popped a piece of brie in her mouth. "---it is a love song, just not a happy one."

A grin ticked up his lips. "Is it about Nick and Carrie?"

Julie swatted his arm. "Luke!"

"What! C'mon, Jules, look at 'em." He nodded at the pair currently shouting at each other outside, two cameras on them. "They're not exactly soulmates."

Another pairing, Vivian and Dean, joined them at their table. "Oh my God," Vivian said, "can Carrie and Nick just end it already?"

"Carrie wants those followers, she can't leave just yet," Dean added with a roll of the eyes.

"Yeah," Julie trailed, "it's... a lot."

"What're you working on, dude?" Dean asked.

Luke grinned. "A song, obviously."

Viv sighed dreamily. "It's so romantic, honestly, that you guys have, like, a 'thing'."

Dean frowned. "We have a thing."

His fiancée's brows raised, challenged, and Luke and Julie recoiled into their songwriting shell again.

***

The wedding was a no-brainer. After a teary-eyed dress fitting and a fun bachelorette party with the girls—where Carrie tried to disrupt her happiness one final time—Julie found herself in the hotel room of a beautiful ranch where she and Luke would officiate their marriage. Somehow, the month felt like a year and her relationship with Luke felt like a decade. 

“Are you nervous?” Flynn asked, buttoning Julie into her dress. 

She shook her head. “No, just healthy jitters.”

“Good.” The two stared at each other in the mirror. “You deserve this, girl.”

Victoria came in with glasses of champagne. “Well, I’m nervous, so drink up, my loves.”

On the other side of the hotel, Luke, Alex and Reggie sat in the plush chairs, ready for the wedding. Luke’s foot bounced up and down in anticipation, ready to hold her and kiss her and be hers. He knew he was a romantic, but he never thought it could get this deep. 

“Do you think she’ll say yes?” Alex asked. 

Luke nodded. “Yeah. There’s honestly not a doubt in my mind, dude.”

“But what if she does?”

“Then…” Luke took a swig of his beer as a salute. “Then we’ll have a killer album in no time.”

Soon after, the ceremony began. Luke first went down the aisle where he smiled and nodded at all his friends and family. His parents sat in the front and smiled proudly at him. 

And then came Julie. Julie, in a beautiful gown and a shimmering face, taking his breath away. It felt like he had tunnel vision. She, too, couldn’t look anywhere but him, and felt her racing heart calm down the second he helped her up the steps. Her father had tears in his eyes as he gave her away. 

“Hi,” she whispered. 

“Hey,” he whispered back, smiling, “you look gorgeous.”

“Thank you.”

The officiator began his speech, Luke and Julie exchanged quick vows—though most has been said in the countless lyrics they’ve written together—and they sealed it all with a kiss. They were married. Forever. 

For the final time, Julie spoke to the camera with shiny cheeks and sparkling eyes. “How do I feel? I mean, I think you can guess.”

Luke jumped into frame and picked her up, bridal-style. “You’re looking at Miss Julie Molina-Patterson, Netflix! Hell yeah!”

***

At the reunion, they were the only couple left standing. Obviously.

***

[ditavonteese]

Presenting the North America #Glamonatrix Tour Dates! Pre-sales begin tomorrow (see link in my bio to get the code) with public on sale starting Friday. January 7 Seattle, The Paramount Theater January 10 Vancouver, The Queen Elizabeth Theatre January 13 San Francisco, The Palace of Fine Arts January 14 San Francisco, The Palace of Fine Arts January 15 San Francisco, The Palace of Fine Arts January 17 Portland, The Keller Auditorium January 20 Dallas, The Majestic Theater January 22 Austin, The Paramount Theater January 24 Houston, The Bayou Music Center January 27 New Orleans, The Orpheum Theater January 29 Atlanta, The Tabernacle February 2 Washington DC, The Warner Theater February 4 Toronto, Queen Elizabeth Theatre February 7 Montréal Théâtre Maisonneuve February 9 New York City, The Beacon Theater February 11 Boston, The Orpheum Theater ♥️ February 14 Chicago, The Chicago Theater February 16 Detroit, The Fillmore Theater February 18 Louisville, The Palace Theater February 22 San Diego, The Magnolia February 24 Riverside, The Fox Performing Arts Center #glamonatrix #artoftheteese #artofthetease #burlesque #ditavonteese #Dita #dontworrydarling https://www.instagram.com/p/Cia10scv8iU/?igshid=NGJjMDIxMWI=

[dreaminginthedeepsouth]

[Image of Coit Tower painting of striking workers, taken while I was in San Francisco.]

LETTERS FROM AN AMERICAN

December 8, 2023

HEATHER COX RICHARDSON

DEC 9, 2023

You all are in trouble, because I am home tonight from ten weeks on the road and am taking the night for myself, writing about one of the Very Cool Things I learned in my travels. I expect there will be more stories along these lines in the next several weeks.

Ninety years ago today, on Friday, December 8, 1933, in the first year of President Franklin Delano Roosevelt’s administration, the Advisory Committee to the Treasury on Fine Arts met for four hours in Washington, D.C., with museum directors from all over the country and leaders from the art world. For the past nine months, the administration had been building a “New Deal” for the American people, using the government to help ordinary Americans in the midst of the Great Depression. 

Together with the Democrats in Congress, the administration had launched the Civilian Conservation Corps that put young men to work planting trees, fighting fires, and maintaining wilderness trails. The Federal Emergency Relief Administration provided work and cash relief for unemployed workers; the Agricultural Adjustment Administration boosted farm prices by reducing agricultural surpluses, while the Farm Credit Act made it easier for farmers to borrow. The Civil Works Administration put more than 4 million unemployed Americans to work building 44,000 miles of new roads, 1,000 miles of new water mains, and building or improving 4,000 schools.

Now it was time to help artists. Inspired by the 1920s public art movement in Mexico in which young artists were paid to decorate public buildings, FDR’s former classmate George Biddle suggested to the president that artists could be hired to “paint murals depicting the social ideals of the new administration and contemporary life on the walls of public buildings.” 

This idea dovetailed with the goal of the administration to tap into the skills of ordinary Americans in rebuilding the country by making sure people had work. After all, FERA administrator Harry L. Hopkins said, artists needed “to eat just like other people.” He promised $1,039,000 to be disbursed by the Treasury “for the purpose of alleviating the distress of the American artists” while decorating public property with world-class art. 

At the Washington, D.C., meeting, the attendees discussed how to “carry…forward the world of encouraging the fine arts as a function of the Federal Government.” Their first speaker was First Lady Eleanor Roosevelt, who “expressed her sympathy with the idea of the Government’s employing artists,” and all the other speakers followed suit. The following Monday, the Public Works of Art Project (PWAP) opened its doors, and artists lined up outside government offices to apply. By Saturday, December 16, artists were receiving checks. When the project ended four months later, 3,749 artists had been on the payroll, producing more than 15,000 paintings, sculptures, and public murals. 

The pilot project for the PWAP was Coit Tower in San Francisco’s Telegraph Hill neighborhood, located in the city’s Pioneer Park. The 210-foot Art Deco tower of unpainted concrete had been completed and dedicated in honor of volunteer firefighters on October 8, 1933 (perhaps not coincidentally, the date of the Great Chicago Fire of 1871). When the building was finished, it had 3,691 square feet of blank concrete wall space. 

By January 1934, thanks to the PWAP, twenty-six San Francisco artists and nineteen of their assistants were transforming that blank space into frescoes and murals depicting California life. Several of the artists had worked in Mexico with muralist Diego Rivera as part of the socially conscious mural movement of 1920s Mexico and adopted his techniques, creating frescoes in which the colors became part of the wall as they dried. To keep the colors at Coit Tower uniform, one artist-assistant ground the color pigments for all the different frescoes. 

But while they admired Rivera’s art, the New Deal artists, for the most part, focused not on revolution, as he did, but on the possibilities of the country’s new approach to government. Roosevelt was backing artists, and they backed him, painting not about revolution but about restoring healthy social and economic conditions in the United States. 

By the time the PWAP got under way, the exciting artistic experiments of the early twentieth century that had brought Picasso’s cubism, for example, had begun to seem foreign and alienating, and artists had begun to turn toward representational art in a national style. The government’s requirement that the public art be about the “American scene” in American style for American people built on that shift. Artists in the PWAP painted either as “Regionalists,” who painted rural America, or “Social Realists,” who painted the cities. The Regionalists tended to celebrate the nation, while Social Realists—most of whom came from New York City—tended to critique it, but both groups found intelligence, power, and beauty in the ordinary people and the ordinary scenes they painted. 

Coit Tower showed San Francisco’s people: striking workers, farmers, cowboys, travelers reading newspapers, news stenographers, chauffeurs, a rich man being held up at gunpoint, car accidents. People of color and women were underrepresented but not entirely ignored in this celebration of the possibilities of American life under the administration's new policies (one mural had an oil can in a corner to illustrate the government oiling the machinery of the economy for the mechanics in the next panel).  

The murals in Coit Tower, and the PWAP that supported them, were such a roaring success that the federal government would shortly launch four more projects to fund artists (including writers), most famously under the Works Progress Administration that operated from 1935 to 1942. Although to a modern eye, many of the fine artists’ depictions of Indigenous Americans and racial and gender minorities are eye-poppingly racist, these colorful presentations of the lives and histories of ordinary Americans that decorated libraries, schools, courthouses, bathhouses, and post offices, honoring community and hard work—and, in the edgier paintings, jabbing at stockbrokers, bankers, and industrialists—celebrated a hopeful, new, progressive America. 

For many Americans, who had never had access to fine art and were astonished to see fine art in local buildings, the medium was its own message: they realized their neighbors had talent they had never imagined. 

President Joe Biden has deliberately echoed FDR’s policies of the New Deal in his economic program, promising to build the economy from the middle out and the bottom up, even as Republicans have insisted the only way to build the economy is to concentrate wealth on the “supply side” by cutting taxes. Today, there was more evidence that Biden’s policies are paying off for ordinary Americans. The November jobs report showed the economy added almost 200,000 more jobs in November, making the total since Biden took office more than 14 million, while the unemployment rate has stayed below 4% for 22 months in a row and wage growth is strong.

As Harvard professor Jason Furman notes, the U.S. is now 2 million jobs and 2 million employed above the pre-pandemic projections of the Congressional Budget Office. Dan Shafer of The Recombobulation Area observed, “If these numbers were happening during a Republican presidency, the usual business community folks would be celebrating in the streets. But when there’s a D next to the president’s name, it’s tumbleweeds.” Today, on the Fox News Channel, personality Maria Bartiromo noted that “the economy is a lot stronger than anyone understands.” 

The president also echoed the New Deal’s promotion of internal improvements today when he announced an investment of $8.2 billion in new funding for ten major passenger rail projects across the country to deliver the nation’s first high-speed rail projects. High-speed rail between California and Nevada, serving more than 11 million people annually; Los Angeles and San Francisco; and the Eastern Corridor, will create tens of thousands of union jobs, build communities, and promote climate-friendly transportation options. 

In a speech in Las Vegas, Nevada, announcing the rail plan, Biden called out his predecessor, who “always talked about infrastructure week. Four years of infrastructure week, but it failed. He failed,” Biden said. “On my watch, instead of having infrastructure week, America is having infrastructure decade.” 

“Trump just talks the talk. We walk the walk,” he said. “Look. He likes to say America is a failing nation. Frankly, he doesn’t know what the hell he’s talking about. I see shovels in the ground, cranes in the sky, people hard at work rebuilding America together.”

LETTERS FROM AN AMERICAN

HEATHER COX RICHARDSON

[justforbooks]

Raquel Welch, who has died aged 82, had only three lines as Loana in the 1966 film fantasy One Million Years BC but attained sex-symbol status from the role, in which she was dressed in a fur-lined bikini. The image made its imprint in popular culture and the publicity poster sold millions. The feminist critic Camille Paglia described the American actor’s depiction as “a lioness – fierce, passionate and dangerously physical”.

The tale of cavepeople coexisting with dinosaurs was Welch’s breakthrough film – and the beginning of a largely unsuccessful battle she waged to be taken seriously as an actor. When she arrived on set, she told the director, Don Chaffey, she had been thinking about her scene. She recalled his response as: “Thinking? What do you mean you’ve been thinking? Just run from this rock to that rock – that’s all we need from you.”

Ursula Andress, who had emerged from the sea in another famous bikini for the 1962 James Bond film Dr No, had turned down the role of Loana. It went to Welch, on contract to 20th Century Fox, when the American studio agreed to hire her out to the British company Hammer Films.

Welch had to contend with critics who believed her looks to count for more than any acting ability she possessed. It was true that the film was pure kitsch and noteworthy only for Ray Harryhausen’s remarkable special effects with stop-motion animation creatures – and for making Welch a star.

Nevertheless, Welch later showed her aptitude for comedy when she played Constance, the French queen’s married seamstress in love with Michael York’s D’Artagnan, in the 1973 swashbuckler The Three Musketeers, directed by Richard Lester. The performance won her a Golden Globe best actress award and she reprised the part in The Four Musketeers: Milady’s Revenge (1974).

She increasingly took roles on television and worked up an act as a nightclub singer that she took across the US. She showed her performing mettle when she made her Broadway stage debut, taking over from Lauren Bacall in the musical Woman of the Year at the Palace theatre (1981-83). In an updating of the Katharine Hepburn-Spencer Tracy 1942 movie of the same title, she gave a show-stopping performance as the TV news personality Tess Harding.

“When she makes her first appearance in a low-cut gold lamé gown, her attributes can be seen all the way to the mezzanine,” wrote the New York Times critic Mel Gussow, unable to ignore what Welch brought to the stage visually. “It would be inaccurate to say that Miss Welch is a better actress than Miss Bacall, but certainly at this stage of her career she is a more animated musical personality.”

Around that time, Welch said: “I have exploited being a sex symbol and I have been exploited as one. I wasn’t unhappy with the sex goddess label. I was unhappy with the way some people tried to diminish, demean and trivialise anything I did professionally. But I didn’t feel that from the public.”

She was born Jo-Raquel Tejada in Chicago, Illinois, the first of three children, to Josephine (nee Hall) and Armando Tejada. Her father, an aeronautical engineer, was Bolivian. When Raquel was two, the family moved to San Diego, California, and, five years later, she joined the city’s junior theatre, attached to the city’s Old Globe, as well as starting ballet classes.

She said her father was volatile and terrifying, and she never saw any tenderness between her parents. One escape from this unsettled childhood came through putting on plays in the garage for friends and neighbours, using bedspreads for curtains.

On leaving La Jolla high school, San Diego, in 1958, she won a scholarship to study theatre arts at San Diego state college, but dropped out after a year to marry James Welch and became a weather presenter on KFMB, a San Diego television station.

After giving birth to two children, Damon and Tahnee, she left her husband, intending to follow her acting ambitions in New York. In the event, she worked as a model and cocktail waiter in Dallas, Texas, before moving to Los Angeles.

She was screen-tested by the producer Cubby Broccoli, who had seen her in a Life magazine photo-spread, for a part in the 1965 Bond film Thunderball, and signed up by 20th Century Fox. But a technicality involving start dates and contract options ruled out the Bond film and she was cast in Fantastic Voyage (1966), a big-budget sci-fi submarine saga, clad in a wetsuit.

After One Million Years BC, Welch – again in a bikini – played Lilian Lust, one of the Seven Deadly Sins, alongside Peter Cook and Dudley Moore in Bedazzled (1967), a comedy irreverently resetting the Faust legend in 1960s swinging London.

Burt Reynolds and Jim Brown were the stars when she brandished a shotgun in the 1969 western 100 Rifles – another action role. But Welch made clear to the director, Tom Gries, that she would not be following his instruction to run naked through the desert with the weapon. She also disregarded attempts to get her to shower under a water tower minus her shirt.

She returned to comedy for the satire The Magic Christian (1969) to play Priestess of the Whip alongside Peter Sellers’s millionaire who adopts the homeless Ringo Starr. She took top billing in Myra Breckinridge (1970), as a transgender movie critic, in a misjudged adaptation of Gore Vidal’s landmark novel.

Welch had the chance to shine in The Wild Party (1975), a period drama about the demise of silent pictures from the producer-director partnership of Ismail Merchant and James Ivory, in which she was cast as Queenie, the lover of a fading screen comedian. But she fell out with Ivory over a number of issues, for example refusing to do a bedroom scene nude. “From nearly the first day, we were at loggerheads,” he recalled, “and no professional relationship, no working relationship, was ever established.”

Switching to television brought Welch cameos in everything from the sitcoms Mork & Mindy (in 1979, as a villain from outer space) and Evening Shade (1993) to Lois & Clark: The New Adventures of Superman (in 1995) and CSI: Miami (in 2012). She also comically played a temperamental version of herself attacking Cosmo Kramer (Michael Richards) and Elaine Benes (Julia Louis-Dreyfus) in a 1997 episode of Seinfeld.

She had a regular role in the comedy-drama series Date My Dad (2017) as Rosa, former mother-in-law of Ricky (Barry Watson), trying with his three children to find him love again following the death of his wife.

In 1997, there was another stint on Broadway, in the musical Victor/Victoria. She replaced Julie Andrews, who was undergoing throat surgery, for the final seven weeks of its run at the Marquis theatre. Variety described Welch as “at best a pleasantly passable singer”, suiting “the costumes better than she does the vocal and acting requirements”.

She returned to the cinema with a cameo role in the romcom Legally Blonde (2001), starring Reese Witherspoon. Her last film was How to Be a Latin Lover (2017).

Welch was married and divorced four times. She is survived by Damon and Tahnee, and by her brother, Jimmy.

🔔 Raquel Welch (Jo-Raquel Tejada), actor, born 5 September 1940; died 15 February 2023

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[rabbitcruiser]

International Day of Remembrance of the Victims of Slavery and the Transatlantic Slave Trade

Today we honor and remember those who suffered and died as a result of slavery: the victims of the transatlantic slave trade. As many as 15 million men, women, and children were cramped in slave ships, devoid of sanitation and any basic necessities, as part of the trade. Upon arrival at their destination, they faced a new life of perennial hardship and suffering. Enslaved Africans were spread all over the world, but most were sent to the Americas. Ninety-Six percent of those held captive on the coast of Africa were sent to South America and the Caribbean Islands. Not only does today’s holiday honor and remember the victims, but it also keeps one foot grounded in the present, by aiming to raise awareness about the dangers of racism and prejudice.

The United Nations General Assembly adopted resolution 62/122 on December 17, 2007. It declared the International Day of Remembrance of tBreaking the Chains by Melvin Edwardshe Victims of Slavery and the Transatlantic Slave Trade to be observed annually on March 25, beginning the following year. March 25, 2007, had previously been recognized as the International Day for the Commemoration of the Two-hundredth Anniversary of the Abolition of the Transatlantic Slave Trade, which illustrates why March 25 was chosen as the date for today’s holiday. (The Act Prohibiting Importation of Slaves in the United States had been passed in 1807 and went into effect on January 1, 1808.) The resolution for today’s holiday created it to complement the already existing International Day for the Remembrance of the Slave Trade and its Abolition.

Each year, today’s holiday has a different theme. Events are held at the United Nations Headquarters and have also been organized by United Nations Information Centres (UNICs) around the globe. Events have included discussions, visits to slave ruins, film viewings, and cultural performances. Other events apart from the United Nations have also been held around the world.

How to Observe

Here are some ways to remember victims of the transatlantic slave trade and observe the day:

Attend an event at the United Nations Headquarters or one organized by a United Nations Information Centre.

Visit The Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade.

Explore resources related to the day and information about past observances.

Reflect at a slave trading site in West Africa or a southern plantation in the United States.

Visit the International Slavery Museum or the National Museum of African American History and Culture.

Read a book about the transatlantic slave trade.

View a timeline of the banning of slavery and the slave trade throughout the world.

Learn more about the slave trade online at The Trans-Atlantic Slave Trade Database.

Explore UNESCO’s slave route project.

Watch a film about slavery or the slave trade, such as Amistad or 12 Years a Slave.

Watch a documentary about the transatlantic slave trade, such as “The Black Atlantic,” the first episode of The African Americans: Many Rivers to Cross.

Source

[dannyphantomarchive]

Early production deep-dive - Part 5: The first theme opening

Some of the newer phans might not know this yet, but the theme opening used on the show was actually the second version written and produced!

The first theme opening had Guy Moon’s vocals, who was the composer of the show, and had to be scrapped and rewritten because the channel wanted to include more of Danny’s story in the intro. The song that inspired the style of this first version was called, believe it or not, ‘The Invisible Man’ by Queen.

“Butch Hartman: Bob Boyle and I were in Korea in July of 2000. [...] Well, I thought I'd heard every Queen song there was up to that point (I'm a huge fan) but on comes this song called "The Invisible Man". It's a great song and it's all about, yes, a man who is invisible. The lyrics were cool, but the coolest part of the song was the awesome bass line right at the top. I wish I could sing it for you now, but, hey, computers aren't THAT great yet. Long story short, I listened to the song over and over, just really digging on the bass line. And the more I listened the more I thought, "Man, I'd love to use this song as a theme song for a show someday'. Seriously, that's what I thought. Anyway, about 18 months goes by, I pitch "Phantom", it gets going and now we need a theme. I wrote a bunch of lyrics and gave them to Guy Moon then I played him that awesome bass line. I said" I don't care what music you use, just give me a bass line like this". So he did. It's definitely not an exact replica of course, but it's most definitely the same flavor. And my lyrics? Well as many of you know there was another theme for Danny that was written before the current one. This one was a lot more vague about who Danny was and didn't really explain his origin. I thought it was awesome, but the Network wanted me to explain Danny's origin in the title so I had to go and rewrite. And that's how we ended up with the current theme.” (Source: https://web.archive.org/web/20080102092951/http://hometown.aol.com/zcat6/IntBH2006p8.html)

This version of the theme song was shared with the public in late July of 2003, during a Nickelodeon panel at the 2003 San Diego Comic Con. The schedule section for the 2003 Con shows which of the crew members went there along with Butch.

“July 20, 2003 K 1:30–3:00 Nickelodeon Presents: Teenage Robot and Fairly Oddparents— Find out what’s coming down the Nicktoons pipeline in a panel discussion with members of the Nickelodeon creative teams. First, get a sneak peak at episodes of Nick’s new show Teenage Robot, about a super-powered robot with a super-sensitive teenage heart, who was built to protect the planet but just wants to be a normal teenager, premiering on August 1st. Panelists include Alex Kirwan (art director) and Rob Renzetti (creator). Then join the Fairly OddParents gang and catch a clip from their first TV movie Abra Catastrophe, plus a sneak peak at two new shows coming from FOP creator Butch Hartman, Danny Phantom and Crash Nebula. Panelists include Butch Hartman (creator/executive producer of FOP, Danny Phantom and Crash Nebula), Steve Marmel (producer/story editor for FOP/Danny Phantom, creator/co-executive producer for Crash Nebula) and Bob Boyle (producer/art director for FOP and Danny Phantom). Each screening will be followed by a question-and-answer session. Room 6B” (Source: https://web.archive.org/web/20040603152428/http://www.comic-con.org/Pages/CCI03-SunProg.html)

As was customary in forums, the details on these events were shared by people who attended, like this LiveJournal user who mentioned the theme opening being played at the panel.

“Final News Update from ComicCon (Sunday) Ok, this is the last bit from ComicCon so enjoy it: [...] *Teenage Robot/Fairly Oddparents - 2 episodes of My Life as a Teenage Robot screened - Danny Phantom theme opening and Crash Nebula trailer screened - Crash Nebula is only a pilot for now, but uses a lot of celshading - another Fairly Oddparents TV movie is in the works where Timmy travels through television *2 PPG episode titles: Nuthin' Special, and Neighbor Hood Later” (Source: https://web.archive.org/web/20230821183005/https://adultswimfans.livejournal.com/7531.html)

Here’s the audio for the first theme opening of the show:

(Source: https://web.archive.org/web/20030716013439/http://butchhartman.com/html/danny.htm)

[Video Description - Screenshot of the site, the words ‘Butch Hartman’ are displayed in white on the top left, with seven circles with different images underneath, that each lead to a new section of the site. There’s a drawing of himself on the top right corner and the background of the whole site is a light green. The current section’s title ‘Danny Phantom’ is displayed in white colors, with the text ‘Coming Soon!‘ underneath. There’s an illustration of Danny on the left. The first Danny Phantom theme opening plays in the background. /end ID]

-Lyrics: 

(He’s a phantom) (Danny Phantom) (Danny Phantom) A key to his life has changed Molecules rearranged Ghosts are so deranged (He’s gonna catch them all ‘cause he is Danny Phantom) Spirits don’t stand a chance Senses all enhanced Powers so advanced (He’s a Phantom) (He’s gonna catch them all ‘cause he is Danny Phantom) Unleashing all the freaks Onto his hometown streets Now everyone he beats (He’s a Phantom) (He’s a Phantom) Gonna fly through the wall You can’t see him at all If they are big or small or tall He’s gonna catch them all ‘cause he is Danny Phantom Gonna catch them all ‘cause he is Danny Phantom Gonna catch them all ‘cause he is Danny Phantom

On another note, we wish all the phans who will participate in it a very chaotic Dannypocalypse tomorrow! 

We will also be posting a very rare and special content here later on that day, so be sure to come check it out amidst all the Dannos! 👻💚👻

First - Previous - Next 

[mostlysignssomeportents]

The Red Team Blues tour

In just a few days, my next novel, Red Team Blues, will be released in all English territories. It’s an “anti-finance finance thriller” — my most commercial novel to date, about a 67-year-old high-tech forensic accountant fighting for his life as he unwinds a cryptocurrency heist:

https://us.macmillan.com/books/9781250865847/redteamblues

If you’d like an essay-formatted version of this post to read or share, here’s a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/04/19/whats-wrong-with-iowa/#red-team-blues-tour

My publishers are sending me around the world on a tour of the US, Canada, and the UK, with a bonus stop in Berlin! When I do book tours, each stop is a mix of a reading, a little background talk about the book, and then a kind of AMA with the audience. They’re incredibly fun and rewarding, and over the decades I’ve been doing them, I’ve had some of the most memorable and important interactions of my life. What’s more, these tours are a great way to support indie booksellers and get my readers acquainted with the stores who really support my work, creating lifelong relationships between bookstores and the communities they serve.

I hope you’ll come out to see me on this trip! What’s more: if you don’t see your city on the list below, don’t despair: I’ve got three more books coming out in the next 12 months and I’m going on the road with all of them, so there’s a good chance I’ll see you in the future even if I miss you this time around.

Here’s where you can catch me:

Los Angeles:

I’m speaking at the LA Times Festival of Books this weekend (4/22–23).

https://events.latimes.com/festivalofbooks/schedule/

Sat at 12, I’m doing a panel called “Covering Silicon Valley” with Douglas Rushkoff, Winddance Twine, moderated by Wendy Lee from the LA Times.

Sun at 11, I’m signing for California Book Club at booth 111.

Sun at 12:30, I’m doing a panel called “The Accidental Detective” with Alex Segura, Margot Douaihy and SJ Rozan.

San Diego:

I’ll be at Myseterious Galaxy with Sarah Gailey on 4/25:

https://www.mystgalaxy.com/event/42523Doctorow

Burbank:

I’ll be at Dark Delicacies on 4/26:

https://www.darkdel.com/store/p2873/Wed%2C_Apr_26th_6pm%3A_Red_Team_Blues%3A_A_Martin_Hench_Novel_HB.html#

San Francisco:

I’ll be at the San Francisco Public Library with Annalee Newitz on 4/30:

https://sfpl.org/events/2023/04/30/author-cory-doctorow-red-team-blues

PDX:

I’ll be at the Powell’s in Cedar Hills with Andy Baio on 5/2:

https://www.powells.com/book/red-team-blues-martin-hench-1-9781250865847/2-1

Mountain View:

I’ll be at the Books, Inc with Mitch Kapor on 5/5:

https://www.booksinc.net/event/cory-doctorow-books-inc-mountain-view

Berkeley:

I’ll be at the Bay Area Bookfest with Glynn Washington on 5/6:

https://www.baybookfest.org/session/cory-doctorow/

Vancouver:

On 5/10 I’m doing an afternoon keynote for Open Source Summit:

https://events.linuxfoundation.org/open-source-summit-north-america/

And that evening I’ll be at Massy Arts with Sean Cranbury:

https://www.eventbrite.ca/e/red-team-blues-cory-doctorow-in-conversation-with-sean-cranbury-tickets-608877016547

Calgary:

I’ll be at Wordfest with Peter Hemminger on 5/11:

https://wordfest.com/2023/event/wordfest-presents-cory-doctorow/

Gaithersburg:

I’ll be at the Gaithersburg Book Festival on 5/20:

https://www.gaithersburgbookfestival.org/featured_author/cory-doctorow/

DC:

I’m keynoting Public Knowledge’s Emerging Tech conference on 5/22:

https://www.eventbrite.com/e/emerging-tech-tickets-600582126307

Toronto:

I’ll be on stage with Ron Deibert, Dave Bidini and Nancy Olivieri for WEPFest on 5/23:

https://www.westendphoenix.com/shop/wepfest-spring-fundraiser

Hay:

I’m speaking at the HowTheLightGetsIn festival on 28–29/5:

On May 28, I’m on a panel called “The AI Enigma” with Joshua Bach and Mazviita Chirimuuta:

https://howthelightgetsin.org/events/the-ai-enigma-12147

On May 29, I’m on a panel called “The Danger and Desire of the Frontier” with Nolen Gertz and Esther Dyson:

https://howthelightgetsin.org/events/the-danger-and-desire-of-the-frontier-12246

Oxford:

I’ll be at Blackwell with Tim Harford on 29/5:

https://www.eventbrite.co.uk/e/cory-doctorow-red-team-blues-with-tim-harford-tickets-574673793787

Nottingham:

I’ll be at Waterstones with Christian Reilly on 30/5:

https://www.waterstones.com/events/an-evening-with-cory-doctorow/nottingham

Manchester:

I’ll be at Waterstones with Ian Forrester on 31/5:

https://www.waterstones.com/events/in-conversation-with-cory-doctorow/manchester-deansgate

London:

I’m delivering the Peter Kirstein Lecture for UCL on 1/6:

https://www.eventbrite.co.uk/e/peter-kirstein-lecture-2023-featuring-cory-doctorow-registration-539205788027

Edinburgh:

 I’m speaking at Cymera with Ian McDonald and Nina Allan on 3/6:

https://www.cymerafestival.co.uk/cymera23-events/2023/4/4/connection-interrupted-with-nina-allan-cory-doctorow-and-ian-mcdonald

London:

I’m speaking at the British Library with Baroness Martha Lane Fox on 5/6:

https://www.bl.uk/events/an-evening-with-cory-doctorow-techno-thriller

Berlin:

I’m keynoting Re:publica on 7/6:

https://re-publica.com/de/news/rp23-keynote-von-cory-doctorow-rebecca-giblin-kreative-arbeitsmaerkte-und-monopole

[Image ID: The Red Team Blues tour schedule.]

[thenewwei]

11 years ago today, my first novel The Brotherhood was published. 5 years ago today, the second edition of The Brotherhood was published.

The Brotherhood remains my most popular book. I've been talking with some people in TV about making it into a limited TV series. If so, it would be as groundbreaking, if not more so, than the book: the first mystery/drama TV series with mostly Indian-American characters set in the USA, that I can think of.

Because of that, the project still remains an up-hill battle. Almost all American TV series with People of Color are comedies, and despite what they claim, very few industry insiders are interested in financing and screening content that's genuinely original and challenging. I'm looking to connect with more people in the TV/film industry, particularly of South Asian descent, who can make this happen: content acquirers, writers, directors, producers, actors, actresses, agents etc. If you know anyone who can help, please send them my way.

It's been 4 years since the publication of The Run and Hide, the second volume of The Brotherhood Chronicle. Despite getting the least acclaim and having won no awards, this remains my personal favorite book, and a darling for Desai diehards.

The Dance Towards Death was published 3 years ago, and it's won 13 literary honors in that time, my most acclaimed book so far.

In about a month, it will be the 10th anniversary of Good Americans, my most provocative book and a subject of divided opinion. Its anthology sequel, Bad Americans, is my longest and most ambitious book to date, a novel and short story collection in one. I'm working hard on it, and the polished manuscript should be ready to send out to agents etc. around January 2024.

I've stayed the course and maintained my literary independence for more than a decade. Let's see if I can do that and still convince a major publisher to bring Bad Americans out into the literary sphere and get it the wide acclamation and readership I believe it deserves.

The New Wei Literary Movement and its associated Salons are gaining traction. I've met many writers, artists, musicians, actors and filmmakers over the last six months and I hope we've inspired them to produce new dynamic projects.

I'm also working to interview provocative artists of many mediums and produce articles on them. Ultimately I plan to write a book on the wider literary/artistic scene, our tumultuous decade and The New Wei.

Then there are my travels: recently to Germany/Austria/Italy, across the USA and soon to Greece and Turkey too. I know a lot of people have been screaming for me to write a non-fiction book about all these crazy adventures, and that might finally happen.

In addition, there's plenty afoot at the library too: our annual Southeast Queens Author Festival at Cambria Heights Library on 9/30 at 1:30pm, dynamic planned panels for ALA in Baltimore and San Diego, a renovated Teen Center, new art installations, and plenty more.

Things have been busy in the best possible way, and I'm grateful for it.

[crankynewt]

Secret Invasion Doctor Doom End-Credit Scene Prediction

(NOTE: These are my own theories and interpretations of details from the show, upcoming releases, and supposed leaks). 

As in the comics the Skrulls - especially Super Skrull, who Gravik is shaping up to be - are heavily linked to the Fantastic Four. In fact, the show is using Groot, the Frost Beast, Cull Obsidian, and Extremis to substitute the powers obtained in the comics from Reed Richards, Sue Storm, Ben Grimm, and Johnny Storm, respectively. 

Now there have been a number of supposed Doctor Doom leaks over the years, the two central to this theory are a (again, supposed) leaked concept art and knowing Marvel planning release dates around reveals and keeping spoilers. In the concept art we have the rear view of the character whose hair and clothing is quite similar to Ben-Adir’s as Gravik facing Doom in full armour. While not identical, the key here is similarity as it is not a photograph but concept art. 

While yes, he is not the first marvel character to have a fade or wear collared clothing/a hoodie, both villains have very common roots it would be a plausible interaction given that apart from The Marvels, the next time we will likely see Skrulls may be the Fantastic Four. 

Where this theory begins to gain more foundation is in the timing of Secret Invasion’s final episode, which is the Wednesday following San Diego Comic-Con, 3 days later to be exact. SDCC is of two events Marvel is known to announce projects/casting and play exclusive footage they are yet to release to the public. The F4 casting is arguably the most anticipated of any project and with the supposed leaks, Marvel will probably want to get ahead of it if they have a finalized casting (as there are rumours of Adam Driver and Margot Robbie falling through if that leak had even be real). Regardless if they are announcing a cast that has already been finalized or they have not finished casting but still want to set up the film to feed anticipation, starting to tease Victor von Doom is a fairly obvious choice. Further, it is not guaranteed F4 will be the first time we see or hear of Doom in the MCU, as they may want to establish Von Doom Industries as a point of tension beforehand (so we may get a cameo or start hearing about him sooner, and then we have a face to go with the name). Regardless, Feige has time and time again shown “exclusive” footage at these conventions that is released to fans days or weeks later and timed their announcements/reveals for different projects or events to not leave too much time between them. Most notably of the latter would be Hawkeye and Spider-Man: NWH to not reveal Charlie Cox’s return as Daredevil by releasing Hawkeye episodes with D’Onofrio far in advance. 

Marvel is most likely going to announce their Doom and show this end credit scene (or even not show the scene and let it generate additional excitement for their recent SDCC reveal a few days later) as Secret Invasion doesn’t need to set up The Marvels - Ms. Marvel already did that. What it is, however, is the only plausible link to the Fantastic Four with heavily connected characters from the comics that had a release likely planned to line up with one of the major events they use to announce castings.

But who will be playing Doctor Doom? Thankfully, we may know more than we think. 

Secret Invasion filming took place from September 2021-April 2022, and in May 2022 there was a “leak” shared in this article by Giant Freaking Robot that Nikolaj Coster-Waldau had joined the MCU, most likely as Doctor Doom. While one rumour does not prove anything, the dates line up in a way that would mean this “trusted insider” likely learned this casting if Coster-Waldau had recently been involved with Secret Invasion. While this is in no way any confirmation that he will in fact play Doctor Doom, he has been a fan-favourite choice behind Cillian Murphy and if this was in fact when they would have filmed this end-credit scene, it may in fact be credible.

We also know Marvel likes to take advantage of hype from other shows like Game of Thrones, like that interaction between Richard Madden and Kit Harrington as Ikaris and Dane Whitman in Eternals mirroring their farewell as Robb Stark and Jon Snow. While we probably wouldn’t see Emilia Clarke and Coster-Waldau as G’iah and Doom interacting in Secret Invasion, Marvel knows how fans make these connections of their actors having worked together before (like how half of the Secret Invasion cast has been in Star Wars). They know a lot of their fanbase know Clarke predominantly as Daenerys Targaryen and to put Jaime Lannister on the opposite side of the struggle would take advantage of this notoriety.

And we can’t forget which might have been a little hint in this Secret Invasion interview at 1:06, where Ben Mendelsohn goes on and on about Doom’s character arc and him being the best Marvel villain. While this very well may be just him loving Doom and being a fan himself, Mendelsohn being a Marvel fan may mean that he would want to leave this kind of hint to look back on later. Some of this adoration could also come from him seeing Coster-Waldau’s scene already and knowing he is going to do an incredible job. Either way, if this is a hint, thanks Talos!

**Although Coster-Waldau is a phenomenal actor and would play a MCU villain very well, it must be noted that Victor von Doom is a Romani character and should in fact be played by a Romani actor. Yet as Marvel has unfortunately not been competent in their appropriately cast Romani or Jewish characters of actors of a shared heritage, I find it difficult to believe that this behaviour had been amended in time for this casting.**