Can you give us a brief history of Loveland? How did it come about?
I had a varied, 25-year-career in fashion and loved every minute of it. Prior to opening Loveland, I was a fashion journalist. But I felt New York belonged to a younger generation and I wanted to do something that I could touch and feel, and something social after 10 years of the solitude of a writer's life.
How would you describe your store to someone visiting for the first time?
Loveland "The Bohemian Marine" is a pirate ship, filled with treasure big and small, from near and far, costly and inexpensive. I'm the pirate captain, so the ship is filled with different things I love -- handmade ceramics, men's shirts in beautiful fabrics, vintage nautical décor, fine paintings, books, art supplies and an enticing apothecary. Loveland also features selected work made in Provincetown.
What are some of your favorite items currently in the store? What are some of the most popular?
I love paisley shirts made in Southwestern France, Royal Daulton Toby porcelain heads, the lemony fragrance of Agua de Colonia Concentrada from Alvarez-Gomez and Gail Browne's linoleum block prints, made here in town.
Have you had any memorable customer experiences? Is there a typical Loveland shopper?
At Loveland, all interactions are memorable and personal, but I am surprised when people ask me if I make everything in the shop!
What's unique about having a store in Provincetown? Why did you decide on this location?
I've loved Provincetown for 15 years -- small town life, good people, the spectacularly colorful skies, and being so near the shore. I think Commercial Street is a theater, and the shops here are part of that theater. That means that whether you're an exhibitionistic tourist, the Town Crier, a drag queen or a shop owner, every day is a performance.
Loveland, 120 Commercial St, Provincetown, MA 02657, (508) 413-9500
Photos from Loveland at 120 Commercial St.
For more on Provincetown, check out PAPERMAG.com/ptown
How long have you lived in New York and how long have you been coming to Provincetown? What initially brought you up?
I've been in New York City for 15 years and I live in Manhattan under the 59th Street Bridge. The specific area of town I live in doesn't have a name so I started calling it BEast for Bloomingdales East. I first visited Provincetown in 2012 when my friend Chris dragged me there for a summer trip. I had never heard of Provincetown before but I love an adventure so I said yes. I fell in love with the magical little town on my first visit and started making annual weekly trips out there.
When did you start splitting your time between the two locations?
In 2014 I was bartending in NYC and was itching to escape the city for the summer. I was tired of the heat and the anger levels of all the city inhabitants on those brutal summer days. On a whim I applied for a bartending job in Provincetown. I was lucky enough to get hired at a popular bar. When I arrived all my coworkers asked me where else in town I was working. I found out most people in Provincetown have two or three jobs so they won't have to work as much during the winter. I figured the only other place I'd work in town was at my favorite store, MAP. The owner, Pauline, has an amazing memory of her customers and she remembered me from my previous visits. I asked if she needed extra help and she said no. I left her my number and a few weeks later I got a call that she needed someone. Pauline and I just kind of clicked and now I'm a manager at MAP. I work at the shop in the mornings until I have to go over to bartend.
What's the best part of living in both "cities"? What do you tend to miss about New York when you're in Provincetown and vise-versa?
I love living in two different cities because it makes me appreciate the other one more. When I'm in Provincetown I miss the small amenities New York has to offer like late night food deliveries and dropping off your laundry. When I'm in New York I miss the laid-back vibe Provincetown has and being around nature, especially being able to take evening rides on my friend Maria's boat.
Biggest differences between the two places or populations? Unexpected similarities?
The bars in NYC close at 4am while bars in Provincetown close at 1am. It might seem annoying but there's usually an after-hours party happening. Provincetown gets a lot of visitors from all over the world, including New York. I get to meet and hang out with people who I may never have gotten to known in the "big city." Provincetown, like New York, also has a huge entertainment scene. I've gotten to see some amazing shows in Provincetown from acts that I might have missed in New York.
Photos are from Mickey Sery's Instagram.
For more on Provincetown, check out PAPERMAG.com/ptown
Mark's most legendary party, FAGBASH, has been a Wednesday night thrill fest for nearly a decade. The party is a bacchanalian queer rage, a small party riot burning brightly each week amidst the quieter Provincetown landscape. The name refers to an explosive party rather than any violence -- in fact, it's a queer club where any and all on the LGBTQ spectrum can feel like they've been given access to a strange, wonderful world inaccessible to the mainstream. It's an event that alone would earn him star status on the scene, but he's also created a wildly popular calendar of events during one of Provincetown's busiest weeks, Bear Week (mid July annually), called BEARMANIA. It includes alternative discos, bear poolside parties and more. He'll also DJ or promote a cool art gallery reception or work a Carnival week event, if they hit on the right mix of alternative and unforgettable. Part of an underground network of DJs who hit the road for different festivals, parties and woodland raves, Louque has DJ'd in cities like London, Berlin, Paris, Lisbon, Montreal and more. We caught up with him after a Ptown Carnival event just before he jetted off to a gig in Pittsburgh to hear a little insight into his party regimen.
How did FAGBASH come about?
FAGBASH began out of necessity, not just for the local fags and weirdos of Provincetown but because our global community was begging for something new. I had secretly been collecting rare disco records and other aural obscurities for years and decided I should share these sounds with others. I started with a podcast called "The Crave Club" (see if you can spot the Showgirls reference), which I broadcast live from the Cape 8 years ago -- this was when I realized I was a DJ. Ok that's a lie....I've know I was a DJ since I was 3 years-old playing the 7" of Cher's "Dark Lady" on my Fisher Price turntable. So anyway... myself and a few locals got together with the intention of creating a safe, creative space with an underground soundtrack -- that's when our party was born.
What should someone expect when they come to the party?
Here you'll find everything from drag terrorists to leather daddies in gowns and wigs. We set a VERY loose theme each week so no one ever really knows what to expect. The idea is to provide a space and vibe then lets attendees be the ones to color the event. What I CAN say is that each week for 8 years I have been blown away. As long as that keeps happening we will keep doing this party. LONG LIVE FAGBASH.
What's unique about the nightlife in Provincetown?
Provincetown is not reality and no one wants it to be. It's where we go to escape for a moment or in some cases permanently. Overall, the nightlife in Provincetown is what you might call mainstream but historically the freaks and misfits also flock to our little speck of land and that's who we cater to and exist for. We are channeling the 'Gayngels' of generations past (as Leo Herrera would put it). People often leave our event thinking they've gone back in time....this is the highest compliment.
What have been some of the highlights of the party this past summer? What's still to come?
All of this year has been a highlight! Special guests Include (but are not limited to): Bouffant Bouffant, Aaron Clark, NARK (Kevin Kauer) & Ambrosia Salad, Vicki Powell & Sindri, TNX (Bil Todd, Tommy Cornelis, Baronhawk), LeFox, Christeene, The Carry Nation, Sparber, Deejayzero, and Steamy Brown.
Follow Mark Louque and FAGBASH on Facebook for all upcoming events and details, including where and when to go.
Photo from Mark Louque's Facebook
For more on Provincetown, check out PAPERMAG.com/ptown
Kicking off our list with a bang, quite literally, Woodeson is renowned for creating work that shakes, spins, shatters and even ignites, challenging our perception of everyday materials. From precarious glass sheets and neon beams to clusters of surplus metal, his minimalist sculptures pull on both strength and fragility, exploring the equally unpredictable nature of man and material. He most recently exhibited his shock factor at the BERLONI Gallery in London, with a series of high-voltage glass and brass plates titled 'I love you, I want you, I need you... (Hot for Carl)' so-called after another inspirational and controversial minimalist artist, Carl Andre.
Playing with found imagery and objects, Hannah Farrell's provocative surrealist photography and collage pull on pop culture and consumerism, ranging from erotic magazines of the 1960s to the alluring work of French actresses such as Jeanne Mauro and Catherine Deneuve. Like these women, her work is elegantly mysterious, racing with sexually-charged undertones.
Frankfurt-born Malaysian-Chinese artist, Lawrence Lek is a sculptor, artist and writer based in London. He won the Dazed Emerging Artist Award 2015 for his dystopian virtual simulation, titled 'Unreal Estate', which used video game software to imagine a future in which the Royal Academy of Arts has been sold off as a privately-owned luxury estate. His multimedia work uses installation, performance and audio-visuals to create an immersive world of art and technology, which explores modern culture through a virtual lens.
Jesse Wine's beguiling glazed ceramics range from abstract goblets and Mediterranean fish to Young man red, in which clothing comes alive in the form of suspended garments and ceramic footwear. Responding to the quirks of modern life, his colorful cartoon approach bursts with personality and humor, drawing on the rich history of ceramic art.
Chinese-born, London-based artist Zhu Tian won the 2015 Caitlin prize for Dirty, a sculpture featuring colorful hanging torsos connected by pipes. She has previously sewn human hair onto fleshy high heels (Babe, 2013, commissioned by ELLE China), and bound herself to gallery curators using Clingfilm (Cling to a Curator, 2015), an installation that depicted young artists' desperation and dependency on gallery curators. Her provocative work is candidly honest, amusing and inventive, fast gaining her the reputation for one of the most original artists to emerge in the last few years. Tian describes herself as a 'Hiccup' -- unexpected, reactive and inappropriate -- which, incidentally, is also the name of a sculpture that won her the Broomhill National Sculpture Prize in 2014.
From plastic bags and cross-sectioned vegetables to twiglets encased in glass plinths, Jack Strange's playful laboratory transforms discarded and everyday objects into abstract sculptures. Laced with humor, his imaginative mixed-media installations have been exhibited internationally across Berlin and New York turning the mundane into the marvelous.
Armed with a photocopier and a stash of pastels, artist and illustrator Joe Cruz has already attracted commercial attention for his bold marks and tropical color schemes, applying chalky scribbles and expressive streaks to vintage fashion editorials, jazz record sleeves and photography of renaissance sculptures to create his surrealist cultural remixes. Inspired by the Brutalist architecture of the city, an oeuvre of his work over the past three years is currently in display at the Book Club, London.
Recent Central Saint Martins graduate Emma Corrall uses performance and sculpture to create hypnotic, surrealist videos. Her conceptual mop-heads, harlequin prints and bamboo backdrops sit somewhere between Leigh Bowery and Where the Wild Things Are, as she brings inanimate objects to life through her theatrical dance rituals. She was selected for the Helen Scott Lidgett Studio Award and the Caitlin Guide 2015, and has an upcoming solo show at the Acme Project Space, East London, where she currently holds residency.
If everything Midas touched turned to gold, everything Mary Stephenson touches turns to paper. Hailing from Scotland and now based in London, she creates intimate 'paper portraits' through an intricate process of prop-making, painting and photography. Call it the original Paper Towns, her cut-out narrative captures everyday life, from her daily routine to a butcher's shop.
Dubbed 'the next Banksy,' Stik's distinctive black-and-white figurative street art can be spotted across London, climbing down buildings in Hoxton or leaning on tower blocks in Ealing. He created his cartoon character while living homeless in the city -- a basic stick figure born out of necessity, as it was quick to draw, meaning he wouldn't be easily caught, and required only basic spray paint. His work has since traveled to the bricks of Berlin and New York and gained a celebrity following from the likes of Bono, Brian May and Elton John, as well as a collaboration with Berlin Wall artist Thierry Noir. While you can't readily buy a piece of his handiwork, you can now have it on your coffee table with the release of his first, self-titled book.
Alex Ross Perry's new film Queen of Earth is a portrait of two friends growing apart, struggling to reconnect while vacationing together at a lake house, but ultimately unable to move past old resentments. At least, that's how the film starts.
But in one of the most unexpected narrative mutations in recent American cinema (extremely vague spoilers ahead, but seriously just go watch it for yourself), a character does something you absolutely don't see coming, a party gets unnervingly out of hand, and you're then left with an ending that actively refuses to resolve any of the questions that you have accumulated. It's the sort of late act twist that indicates you weren't watching the movie that you thought you were, but something much bolder and more ambitious.
The same could be said for your preconceptions about the writer-director behind all this. Not that completely upending the idea of an Alex Ross Perry film was his plan going in, mind you.
"There was a scene that made what is happening very explicit. But it was like, 'you know what would be more fun? Let's get out of this scene right here, let's skip the next scene and jump ahead in order to really make sure this is a mysterious moment,'" Perry says. "Most independent films would narratively copy the storytelling formula of the biggest Hollywood films and just be like 'Don't worry about it, let me tell you what's happening.' My instinct is to inch a little bit away from that."
Perry is sitting in the New York offices of IFC, sporting a light glaze of stubble and a chipper but not too-chipper attitude. A long afternoon of interviews alongside his star Elisabeth Moss, who just left the building, hasn't dampened his enthusiasm, and he's not even annoyed that someone brought him a chicken salad for lunch even though he specifically asked for something meat free. He's an urbane, witty guy known for making urbane, witty films, and he is here to talk about a mood piece-turned-psychological thriller that is quite sophisticated but most assuredly lacking in quips.
A crackling origin story isn't mandatory for a young filmmaker looking to establish a foothold, but it certainly helps, and Perry's is better than most. He moved from Pennsylvania to attend New York University's film program, and also worked as a clerk at the iconic cinephile hub Kim's Video, an experience that helped make him agnostic to genre snobbery. "You can take home a cheap Italian horror movie and a masterpiece of French cinema on the same night and watch them both, and each has its own experience," he says. "But to say that one is more valuable than the other, I don't agree with that and I don't plan to implement that in the movies that I want to make."
His first two features, 2009's Impolex and 2011's The Color Wheel, were made on the cheap, acclaimed by the critics who saw them and barely distributed outside of a handful of New York theaters and bittorrent sites. His third film, last year's Listen Up Philip, attracted not just national distribution but a high-profile cast and even better reviews, many of which used some variation on the term "Philip Roth-ian." It starred Jason Schwartzman as a difficult young novelist and Moss as his girlfriend who begins to realize that she deserves better, and it seemed to cement Perry as a filmmaker firmly in the witty, world-weary lineage of Woody Allen and Noah Baumbach.
Queen of Earth features no jokes, no ruminations on the indignities of urban life or the anxieties of the modern beta male. He insists that he wasn't consciously trying to avoid being pigeonholed with the tonal shifts of Queen of Earth, but it's a welcome side benefit.
"If this was my first movie and it was received well, and then I wanted to make a literary comedy, people would be like 'that doesn't make any sense'" he says. "It's just a challenge to myself to see if I had learned as much as I thought I had learned about making movies that I could do something fairly different than what I had made before. Can I put something very familiar inside of a totally different box, using a lot of these people that I trust and work with?
"I knew everyone else could pull this off," he says. "The only person who was at risk of failing to do this was me."
Queen of Earth, which also stars Katherine Waterston and a surprisingly unlikable Patrick Fugit ("I hope to have a whole career where I just endlessly prove I can take any actor and turn them into a repellant monster of a character"), was written in the aftermath of Philip premiering to rave reviews at Sundance. After more than a year of constant work to get his breakthrough off the ground, Perry wanted nothing more than some time alone. "I thought 'I've earned the right to sit at home and do nothing for the rest of the winter, and people said 'You didn't earn anything. You aren't entitled to your own privacy, you aren't the King of England.'"
The "difference between what you're saying you want and what you remotely could have" informed the journey of Moss' character, who claims she just wants to be left alone in the wake of a break-up and death in the family, but then immediately goes on a vacation with a difficult friend. As for why she does this, and what she might see or do later in the film, you'll have to figure it out on your own, as Perry refuses to make things easy on himself, his characters or his audience.
You could easily say that Moss' character is suffering from depression, but Perry would never say that himself, he says, because "Then it's just a factual movie, instead of a very mysterious movie that takes place in a sense of logic between real and fantasy, dreams and nightmares and all that stuff." He wanted to let the tone of the movie "be very neutral, instead of saying 'I've diagnosed this character. Here's what they have. Here's how you should treat them.' And most independent movies do say 'here's how you should treat these characters.' That's very uninteresting to me. The only characters I want to be that black and white about are superheroes."
It should be noted here that Perry's remarks should, in no way, be interpreted as a slam against superhero films. He's as liable to reference Roman Polanski and "Eastern European-style black humor" when discussing his film as he is to posit that "the subjective experience of what we're doing doesn't have to be any different than the subjective experience of the thrill ride you get from watching Mad Max." Perry loves himself some mainstream popcorn filmmaking, and if anything seems to hold it in higher esteem than the majority of current independent cinema, which he deems too safe and television-like.
"If I'm going to give a film 90 minutes of my time, there should be something to it that goes above and beyond what an episode of my favorite show does," he says. "A lot of people toiling in the trenches and making independent movies ... prefer to really manipulate you with their script and not even bother to take you on a ride with their camera. And for me, I want to manipulate you with the camera and let the script suggest things to you that are yours now."
This summer has seen two of the more young and adventurous voices in relatively low-budget cinema get promoted to the Hollywood big leagues with decidedly mixed results. Colin Trevorrow, who won raves for 2012's Safety Not Guaranteed, had one of the biggest hits of the summer in Jurassic World. Josh Trank, who won raves for 2012's Chronicle, had one of the biggest flops of the summer in Fantastic Four. For his part, Perry is currently "inching into that world" beyond just being an avid fan. Once the promotional tour for Queen of Earth wraps up, he will return to his Brooklyn apartment and get back to work on a script for a live action-remake of Winnie the Pooh that he is writing for Disney. Perhaps you find yourself surprised by this development. Perry does not. "I really felt from the very beginning, absolutely beyond a doubt, that I was the best person for this job."
The idea that independent cinema types are inherently obligated to sneer and renounce the mainstream world is an old and inaccurate one (Quentin Tarantino script-doctored The Rock and Crimson Tide and John Sayles wrote for Roger Corman, to name but two examples). But it's still an idea with enough institutional weight that, much like musical poptimists that love Taylor Swift and Godspeed You! Black Emperor with equal fervor, Perry feels emblematic of a new generation of filmmakers who are actively looking to deconstruct outdated binaries, and do away with the "90s idea," he says, of selling out.
The notion of selling out, he says, is "based on a system where there are opportunities to keep going without selling out. And that system doesn't really exist anymore. I could make three movies like Queen of Earth every year, and I wouldn't have enough money to live for more than four months. The system where an independent filmmaker doesn't, financially, chase bigger jobs really doesn't exist," he says. "At this point, everyone knows you gotta do what you gotta do, and they know with the diminishing audiences and the diminishing theatrical opportunities and just diminishing returns, everyone knows that from journalists to critics to filmmakers and musicians, if you're putting out stuff that you care about, you're scrapping by.
"I could make Queen of Earth and write for Disney, or I could just write for Disney. But I can't just make Queen of Earth."
Perry is relaxed and confident in conversation, happy to discuss his aesthetic and commercial choices but never once hinting that he feels the need to justify them. Why should he feel bad about working for Disney, after all, when unlike many of his indie-minded peers, they can actually deliver on their end of the bargain?
"When I go see The Avengers I don't want to debate what the ending means for 90 minutes. I want to have a good time, I want to go for a ride with the superheroes and I want to watch stuff explode, and I buy a ticket and I have that experience and that's why those movies make hundreds of millions of dollars," he says. "On a certain kind of movie, that's exactly the experience that I love.
"But you buy a ticket for a film like this, the deal should be: challenge me."
Queen of Earth is playing at some of our nation's finest independent theaters and is also currently available on video on demand.
Happy birthday to the one and only, Queen 🐝! Thank you for being a role model for young girls around the world, @Beyonce. -mo-- The First Lady (@FLOTUS) September 4, 2015
Lucille Ball's sad attempt to play the beloved Auntie Mame is a joyless affair, noted more for the fact that every time the aged actress appears, the hazy screen looks like it was shot through a keg of KY Jelly. When she dons a transparent mask and croaks "We need a little Christmas" she's more frightening than Freddy of "A Nightmare On Elm Street" fame.
The Wiz (1978)
"Mama, why is Dorothy so old?" I heard a child ask during the 1978 remake of "The Wizard Of Oz" in which a mature Diana Ross plays the tornado-transported tot that made Judy Garland famous. It's hard to say what's scariest: the sweat stains under her arms as she eases on down the road, the tacky sets, the hideous costumes, the awful choreography, or Michael Jackson as the Scarecrow.
Lost Horizon (1973)
A ludicrous musical version of Frank Capra's mythical tale of the survivors of a Himalayan plane crash who discover the secret kingdom of Shangri-La, where no one grows old...or can carry a tune. The low point is watching famed Ingmar Bergman actress Liv Ullmann leading a group of unattractive children over a hill in an arm swinging, mind-numbing, ditty entitled "The World is A Circle".
Paint Your Wagon (1969)
Three words: Clint Eastwood sings.
At Long Last Love (1975)
Peter Bogdanovich's painfully charmless, big budget, disaster attempting to re-create the spirit of the Fred Astaire/Ginger Rogers musicals by employing the unlikely crooners Cybill Shepherd and Burt Reynolds to belt out 16 Cole Porter Tunes. The one saving grace is the sublime Madeline Kahn.
Sgt. Pepper's Lonely Hearts Club Band(1978)
The Bee Gees star in this lame attempt to weave 29 Beatles songs in a whimsical fantasia. Peter Frampton stars as Billy Shears, who lives in Heartland and is in love with Strawberry Fields. The stars suckered into this fiasco include Tina Turner, Billy Preston, George Burns and Alice Cooper. Halfway through you'll want to swallow ant poison.
Can't Stop The Music (1980)
This camp, idiotic, film capitalizes on the marginal popularity of the heterosexually challenged disco group The Village People. It features a jaw-dropping Busby Berkeley-like number set in a locker room in which partially nude men whip towels at each other and dive into a pool to "YMCA". Oh yes, and before Caitlyn here is a young Bruce Jenner in short shorts.
The Apple (1980)
Set in the future- 1994- this movie posits the devil is a record producer named Mr. Boogalow who has started a dance craze called "The Bim". He uses drugs and sex to seduce a sweet, folk-sing, duo (Alphie & Bibi), until an old hippie named Mr. Tops saves the day by taking everyone to a new planet to start over. This beats out other musical turds like "Godspell" and "Jesus Christ, Superstar" in terms of hippie horror film.
The Phynx (1970)
This rock comedy was so bad that Warner Brothers, who made the film, never released it. It's now out on Warner Archive DVD and it will scar you for life. It's about a dastardly dictator in Albania who has kidnapped several American celebrities (Pat O'Brien, Colonel Sanders, Xavier Cugat, Dorothy Lamour, Butterfly McQueen, Ruby Keeler etc.) and a CIA computer called MOTHA that creates a four-member rock band called The Phynx who will become so popular they will be invited to Albania so they can rescue the stars. The awful songs the Monkees-like group sings: "What's Your Sign?" and "Nearly Blew My Mind" were written by famed team Jerry Leiber and Mike Stoler. But you'd be better off jamming pencils in your eardrums.
Almost fascinating in its awfulness, the moronic premise is that Zeus has sent one of his daughters (Olivia Newton-John) to Earth to inspire an artist (handsome Michael Beck) and a retired musician (Gene Kelly) to open a giant glitzy disco roller rink called Xanadu. Really? The worst of 80s flash, with garish costumes, klutzy choreography and even baffling animated sequences. Watching people roller skate on screen is so irritating you fantasize throwing out a bag of marbles. The great Gene Kelly tries to retain his dignity even during a cringe-inducing segment where he is dragged to a clothes store and dressed in silly outfits. Olivia Newton-John, God bless her, sings her Aussie ass off. And the finale is so God-awful you want to scream "Xana-don't!"
Prepare to have your mind blown with one of the strangest, creepiest pictures of all time. Reply w/ your caption. pic.twitter.com/JSSUZWcXnU-- Shaun King (@ShaunKing) September 3, 2015
Angel That Was Sent From Heaven Above of the Week: Kevin Spacey's older brother, Randy, who happens to be a Rod Stewart-impersonating limo driver in Boise. What a guy! -- Abby Schreiber
Bone-Headed Old People Comment of the Week:Chrissie Hynde's remarks about rape, followed by a distant second-place finish from Keith Richards who called rap fans "tone-deaf."-- A.S.
NYC Food News of the Week: Sadelle's, the Jewish deli/appetizing shop/bistro from Major Food Group -- aka the team behind Manhattan favorites Carbone, Santina, Parm, Dirty French and ZZ's Clam Bar (RIP Torrisi) -- opened the appetizing section of the place earlier this week where they're dishing out insane-looking bagels, spreads and bakery treats. But what's really making our mouths water is the soon-to-be-available smoked fish tower. I mean, c'mon! -- A.S. [pic via Grub Street]
Best Fall Fashion Advice on Tumblr: It's jants season, baby! -- Elizabeth Thompson
Worst Festival Horror Story: Apparently a woman at a British "fish festival" thought she had teleported across the festival harbor when her toilet was accidentally forklifted across the grounds...with her still in it. And horrifyingly enough, apparently this isn't an uncommon occurrence. -- S.S.
Most ~Unique~ Fashion Trend of the Week: The plastic bag trend taking Taiwan by storm whereby girls (and a few dudes) turn the sacs into mini-dresses and other garments. You do you, Taiwan. -- A.S.
The story is fascinating enough on its own, but Ferrier starts her piece by discussing a fashion show called The Dad Fashion Show, which should raise centuries-old memories of old internet memes. Yes, it's back: "Dadbods are more than a fad," Ferrier writes, silencing the screams of countless people who spent too much time online in May.
As you'll recall from the last time dadbods were a thing, there are a few factors to keep in mind when discussing soft-edged male bodies:
- Generally speaking, people should not be made to feel ashamed about their bodies by society, a maxim that includes men.
- However, men have historically gotten off pretty lightly on this front thanks to patriarchy, which means no one thinks it's weird when shlubby dudes date extremely attractive women. Men have to put far less work into their appearance, and many of the same people defending their dadbods would never date someone with the same body type.
- And yet women report enjoying dating these men because it makes them feel comfortable with themselves, which is good (see first bullet).
So does this revelation mean that men who look like Jason Segel or Hitch-era Kevin James need to get their strut on and start going out for modeling jobs? Maybe! It'd be cool to see a more representative body of work from agencies, as well as a greater diversity of ideas of beauty in general. But please, men, don't think you're going to become a model overnight.
Because I need those jobs.
Watch the promo for the new season of Billy on the Street. [PopCultureBrain]
Wait for it.... [LaughterKey]
We've found it: The photo that is the Platonic embodiment of ''wut." [FYeahDementia]
Side effects may include turning into a screaming, bigot misogynist butthole in a wig made of Big League Chew. See your doctor immediately. [Mlkshk]
Can't belieb it. [FYouNoFMe]
Us this weekend. [TastefullyOffensive]
So tell the world about your dream last night, your commute! Shout it from the rooftops! [FYouNoFMe]
Where is the lie. [LaughterKey]
A super-chill video of a pug playing "Enter Sandman" on the drums. We're off to never ever land indeed. [TastefullyOffensive]
CIA sucks at twitter. [FYouNoFMe]
Every kiss begins with 'za. [Mlkshk]
Eric the cockatoo puts the family dog on blast. [TastefullyOffensive]
The kind of marketing for 18-45 year old men we came here for. [FYouNoFMe]
Watch this video about Roo, the handicapped Chihuahua and her best friend, Penny, the silkie chicken, then scream forever. [TastefullyOffensive]
Remember when Bill O'Reilly was sued for allegedly sexually harassing a Fox News associate producer and the lawsuit included a transcript of him telling her he wanted to rub a loofah all over her breasts but he called the loofah "a falafel?" I think about that almost every day. [HopeYouGetWellSoon]
New York Fashion Week is nigh: Models are walking the streets of New York with their books on the way to castings, catwalks are being constructed at NYFW's new Skylight Locations (RIP Lincoln Center) and anyone you know who works in "the industry" is currently crying at their desks. But let's not forget the stone-cold chicness that goes hand-in-hand with this time of year, which could not be better encapsulated than in this new Women's Show Package video from Wilhelmina, featuring the insanely gorgeous faces and a-game glaring you can expect to see on the runways this season. Meet Veronika Vilim, Sofia Tesmenitskyaa, Altyn, Valerie S., Lula, Embry, Olivai A., Sydney Nelson, Augusta, Beegee in the clip above.
Let's do this NYFW.