Portfolio Issue 002 Will Anderson

002 Issue

[ A Deep Dive ] Instagram Flashback Madrid balconies Portugal Polaroids NYC Fierce Factor Summer Days @ RockhaveN unknown 5x7x5 Music Videos

A PUBLICATION OF MY LIFE IN ART AND PICTURES

Catalogue

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[A Deep Dive] Instagram

Flashback

Portugal Polaroids

Summer In The City

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FIERCE FACTOR

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Summer Days in Nor Cal*

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5x7x5

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Music Review

A DEEP DIVE * A DEEP DIVE * A DEEP DIVE * A DEEP DIVE * A DEEP 6.

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@_willanderson_

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I don’t interact with hundreds of people a day, but when it comes to my digital footprint and the mentality around it from Gen Z, the content we publish on Instagram reaches more and is a larger representation of you then your physical self. /

/ As of AUG, 2023 /

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First Post with Charlotte at Country View Shipping Crate on the new ig

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shot @ IBM HQ landing strip

Rando Road Store in N. Nevada

3D Scan of my room at Lost Ranch

Back to Back Billie and Tyler Concerts in Sac / Oakland

Mendicino LightHouse Trip down the coast while I had Covid

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Montmartre, PARIS ‘21

Portugal - ‘22 Summer Kickback

BearSkin Meadow Camp

Bol Park Photoshoot Outtakes

HAIGHT-ASHBURY, SF - ‘22

Favorite from A. Mary’s Boathouse - CAPE COD ‘23

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FLASHBACKS and

Cross Overs

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After backing-up a hard drive from our old computer, we found so many lost photos of from Carter and I were little and our parents were still together. I collected the best ones of me and of course they had to make their way into this project.

Tess Remi (Left), Me and Cameron Sui (Right) pictured in Pre-Kindergarten.

We would later attend Junior Prom together with Emily Verceles (unpictured)

/ Visual 001 /

First thing in the morning in Tulum from the 2019 Summer Trip when we rented the house on the beach with the chef. w/ Chris, A. Mary, Susan, Ben, Jacob and my family.

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Por tugal O Porto, Portugal

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Sho ot

Shot By - Chris Shrager Shot On Location - Douro Harbor,

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Norman F*ckin’ Rockwell Album Art - Lana Del Rey

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In O Porto, Portugal, one evening we took a private wine-boat tour of the city and harbor. Launching as the sunset, we ventured out in the bay and out of the protection of the penninsula and back in. Knowing that we would be on a beautiful sailing yacht, I brought my Polaroid with me and staged an improptue photoshoot. Huge shoutout to Chris Shrager for being behind the camera! This is also the Jacob Ellotie Cashmere sweater.

002 Day 1, I arrived and Ubered to Long Island City where Charlotte works to drop-off my bags. While she finished her shift, I went into Midtown to eat and sit at Bryant Park as a waited. I went back out to meet her at 9pm, where we took the Subway back into FIDI to her dorm at Pace.

We had a lil’ bev and decided to cut my hair, ( I only trust her to do it.) Risky as this was the night before I met an entirly new group of people.

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The next morning before the program, we met up with Jessie Erb at Tompkin Square Bagels and sat in the Square and cought up.

/ View from my dorm room in Maria’s Tower, Pace University /

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/ The Gurls /

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- Doris - Sonny - Bill - Veronica - ( I forgot the other people lol)

Field Trip to Dumbo, Brooklyn

We walked across the Brooklyn Bridge, and had literally 1 hour to explore Dumbo, not really enough time to do anything. Bill, Doris and I walked over to % coffee bar and got coffee, ( where he immediatly spilled his entire bev) and with little time left we went to a ridiculusly expensive thrift store, where I found nothing cute.

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/ Grand-Central Station /

My Qualmns The biggest issue I had with the program was the lack of communication and changing of the rules halfway through the program. On the website, the program information did not mention that we were not allowed to leave whenever we wanted. If we wanted to even step out of the building, we had to sign out, have a group of 3 and could only do that from 7-10pm on select days. The issue with this was...

1. Most stores aren’t opened at that time 2. Most of the days, I had planned to be signed out by Charlotte and go party with her, but they often would not allow this to happen after I had already confirmed plans with her and my intentions with the program.

I wish Pace did a better job of making this know and especially in their communication, as there was an instance where I met the program director in the elevator, and she asked if I was signing out at 5pm that day. I said yes, confirmed this with my Task Leader and then as the time came, was told that I couldn’t leave the building. An issue as Charlotte and her friends had planned around my schedule.

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/ Junior Year /

SF MOMA Senior year Freestyle Field Trip to the SF Museum of Modern Art. I rode up on the bus with Avani, Luiza, and Felicia, talking shit the whole 1hr rive up. We later found out that the opps were in front of us both ways.

We ate a cookie in the museum, walked through pretty quickly and then left for lunch. We got the most bomb-ass chicken sandwich, which come to find out everyone ended-up there. I think the entire senior class was high bc.

Jensen also had a cart.

We also got food at the giradelli store but we were all so high. This was my first real time hanging out with Luiza and I love that girl.

Lexi and Jerard were kinda annoying but valid in their reasoning.

Lowkey similar group as Junior year but with a better lineup.

-Luiza -Eva -Lexi -Avani -Katie Jerard

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/ Salvador Dali Drawing from Summer 2022 - Figures /

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001.Thrifted Dexter Stompers 002. Ethen Edgar Tuxedo shoes 003. Kim Jones x Converse 004. Reebok 005. Leather Hiking Boots 006. Made in England 1460 Crazy Horse Boots 008. Vans Suade Wave 009. Blazer Mid 010. Dior B23 011. Made in England 1460 Crazy Horse Oxford 012. Nike Air Max 97

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/ Shoe Collection as of Autumn 2023.

It’s clear I have a problem with brown leather shoes. /

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2023 Couture Showings Daniel Roseberry In Daniel Roseberry’s third year at Schiaperelli, he refined the house’ design values under founder, Elsa Schiaperelli in the 1950/60s. From the exciting 2023 S/S showing highlighting the horror of hell through Dantes 12th century accound of the realm in The Divine Comedy. In the designer’s own words, “We all know this work, by name if not by heart. And yet when I revisited it recently, I was struck by something I’d missed when I first encountered it—not the horror of hell that Dante conjures so vividly, nor the sense of despair that overcomes you as you descend further and further into the realm—but by how the story is, at its core, an allegory of doubt.”

In

the ever-evolving world of fashion, it takes an extraordinary talent to breathe new life into an iconic brand. Daniel Roseberry, the creative director of Schiaparelli, has proven himself to be just that, leaving an indelible mark on the house and the fashion industry as a whole.

Schiaparelli, known for its avant-garde designs and unconventional approach, has a legacy of pushing the boundaries of fashion. When Roseberry assumed the helm in 2019, he took on the formidable challenge of carrying forward the spirit of Elsa Schiaparelli while injecting a fresh and modern sensibility into the brand.

Roseberry’s tenure at Schiaparelli has been nothing short of revolutionary. His designs have consistently blurred the lines between fashion and art, eliciting awe and admiration from the industry and fashion enthusiasts alike. With his daring creativity and avant-garde approach, he has successfully reimagined Schiaparelli’s legacy, making it relevant in today’s fashion landscape.

One of the defining characteristics of Roseberry’s work has been his attention to detail and craftsmanship. His collections are an embodiment of impeccable tailoring and extravagant embellishments, a testament to his dedication to the art of fashion. From oversized bows to surreal accessories, his creations have an undeniably

unique, almost surreal quality that resonates with Schiaparelli’s DNA. Notably, Roseberry has shown a keen understanding of the power of storytelling through fashion. His collections often carry strong narratives, exploring themes of feminism, sexuality, and social commentary.

In a world where fashion is more than just clothing— it’s a form of self-expression and a means to convey one’s beliefs—Roseberry’s designs have resonated deeply.

Roseberry’s remarkable tenure at Schiaparelli reminds us that fashion is a dynamic and ever-evolving art form. By embracing the unconventional and the surreal, he has given a fresh lease of life to a brand with a rich history, proving that innovation and heritage can coexist harmoniously in the world of fashion.

As Daniel Roseberry continues to push the boundaries of creativity at Schiaparelli, we eagerly anticipate what the future holds for this daring and visionary designer.

His contributions to the world of fashion are nothing short of extraordinary, and he stands as a testament to the enduring power of innovation and imagination in the realm of high fashion.

S/S 2023 COUTURE - INFERNO

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Gold body plates echoed the house’s high jewlery collection.

/ Hand-painted faux fur coat in black silk and wool with hyperrealistic wolf head handmade in resin / Bringing Naomi Campbell out as the final look.

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Doja Cat wearing look 18. to the BillBoard Music Awards

/ Kylie Jenner arriving to the show in a look that would later walk the runway infront of the guests. /

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Asymmetrical body-skimming infinite draping dress in black stretch velvet, worn with hyper-realistic lion faux fur and resin handmade head on the sleeve.

“ Elsa

always promised surprise in her work, and over the years, people have learned to come to Schiaparelli in a spirit of won-

der; you don’t know what you’re going to encounter here, but you know that the story will be different each time. This season, we concentrated less on deliberate artifice, such as our signature hyperstylized anatomy bijoux, and more on blurring the lines between the real and the unreal. Mimicry (is that a real lion?) becomes its own form of Surrealism in this collection, such that you’re never quite sure who made the piece you’re looking at—was it nature? Or was it man? Yet at the same time, we’ve prioritized and spotlit the artist’s hand more than ever before, in naif, rough-cut, earthy jewelry and hand-painted, gold-veined alligator “Secret” and “Face” handbags. If Dante

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learns how much life can deceive us, especially a life we think we know, then these clothes echo that deceit, reminding us of the necessity of occasionally finding ourselves somewhere we’re forced to re-see our assumptions.

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Extreme hourglass quilted coat in ecru silk satin embellished with an exaggerated collar and fully lace-up back.

Eye-shaped earrings in gilded brass in champagne color adorned with hand-facetted broken glass and inlaid with leather padded elements.

F/W 2023 COUTURE - . . AND THE ARTIST 002

Shown @ Paris Fashion Week (Fall 2023)

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“ After last season, which was about reducing each look to something concise and even sometimes arresting, my instinct here was to build the collection in a different way, for a collection that adventures, explores, and dares. One that feels more organic, more sensual, more impromptu. I found freedom in separates—a white shirt, perfect pants, enormous puffer coats and even knitwear basics like cardigans and tube skirts. I wanted to make an impossible wardrobe—impossible not because it’s not wearable, but because it’s so extraordinary, a Surrealist’s interpretation of a woman’s essential closet. There’s a sense of freedom, of disobedience; these are pieces a woman can assemble however she wants; that feeling of transgression and spontaneity she should experience when she does so is one I felt as well when I was creating them—most of the ‘looks’ you see here were put together in the days leading up to this show, as opposed to head to toe formulas that have been labored over for months. This approach felt like a revelation...”

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Uniting everything is Schiaparelli’s long connection to art and artists - their daring, their color, their process.

More than any other Maison, Schiaparelli has always been in conversation with art: one form of art talking to and inspired by another. In this collection, each piece has been somehow inspired by an artist, Elsewhere in the collection are tributes to Dali - those surrealist sunrises giving birth to a multitude of vibrant color degradé’s, Matisse (not his work, but the palm fronds at the hotel Regina, now in black long haired shearling as a fantastic faux - coat), and even a white marble Venus has made her way onto a winter white melton coat.

Extreme volume coat in ivory mohair fringes.

Oversized necklace in wooden beads, closed with a replica of the hands of Pascal and Pascaline, Schiap’s favorite models.

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Stretch skirt and cardigan set fully embroidered with painted wooden beads re-gilded by hand. Metal “leaf ” structure made of a hand-coated fabric in gold paint. Belt in gilded metal and hammered rush inlaid with a molded ear embellished with rhinestone piercing.

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2023 Ready To Wear

t u o h t i w t s i x e t o n n a c e n O : o s i d a r a P , o i r o t Infer no, Purga s a g n i h t h c u s o n s i e r e h t t a h t r e d n i m e r a s i t the others. I o n s i e r e h t ; w o r r o s t u o h t i w y o j o n s i e r e h t heaven without hell; r e y a r p y M . t b u o d f o e r u t r o t e h t t u o h t i w n o ecstasy of creati t s o m y m n o , t a h t � s y a lw a t a h t r e b m e m e r I for myself is that r e b m e m e r I , e m o c ’t n o w t s u j n o i t a r i p s n i n e h w , difficult days o t p i r t a t s r i f t u o h t i w le b i s s o p s i n e v a e h o t n that no ascensio t i e c a r b m e e m t e L . t i h t i w s e m o c t a h t r a e f the fires, and the always.

Daniel Roseberry

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FIERCE FACTOR Erykah Badu and Grace Jones are two iconic figures who have made significant contributions to the AfroFuturism art movement, each in their unique and powerful way.

WHAT- Afrofuturism is a cultural and artistic movement that reimagines the future by blending elements of African and African diasporic history, culture, and aesthetics with science fiction and technology.

Grace Jones, Eryka Badu, & Afrofurturism

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Erykah Badu and Grace Jones are two iconic figures who have made significant contributions to the Afro-Futurism art movement, each in their unique and powerful way.

central role. Badu’s enigmatic stage presence, characterized by her elaborate headwraps and eclectic fashion choices, adds a visual dimension to her Afro-Futurist expression.

Erykah Badu, often referred to as the “Queen of Neo-Soul,” is known for her distinctive music, fashion, and artistry that seamlessly blend the past, present, and future. In her music, she combines elements of soul, R&B, and hiphop with experimental and electronic sounds, creating a sonic landscape that defies traditional boundaries. Her lyrics often explore themes of self-discovery, empowerment, and social consciousness, reflecting the AfroFuturist idea of imagining a future where the African diaspora plays a

Grace Jones, the Jamaican-American model, singer, and actress, has been a trailblazer in challenging conventions and pushing the boundaries of art and culture. Her distinctive androgynous style, along with her avant-garde music and performances, embody the Afro-Futurist concept of transcending gender and societal norms. Jones’s music incorporates elements of new wave, reggae, and electronic genres, often accompanied by striking visuals and stage designs.

Her work challenges preconceived notions of identity and empowers

individuals to embrace their unique and multifaceted selves, resonating with Afro-Futurism’s core idea of celebrating diversity and individuality.

Both Erykah Badu and Grace Jones have used their artistic platforms to disrupt traditional narratives and inspire a sense of selfawareness and cultural pride within the African diaspora.

Through their music, fashion, and performances, they have become prominent figures in the Afro-Futurism movement, influencing countless artists and fans to envision a future where the past is celebrated, the present is redefined, and the future is shaped by the rich tapestry of African and African-American culture.

/ Black Panther is Perfect Example /

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/ Afrofuturism is a dynamic and multifaceted cultural movement that envisions a future where Black people are not only present but also central to narratives of progress, innovation, and self-determination. It invites us to explore the intersection of technology, culture, history, and spirituality while advocating for a more inclusive and equitable future for all. /

Prominent figures in the Afrofuturist movement include authors like Octavia E. Butler, Nnedi Okorafor, and Samuel R. Delany, musicians such as Sun Ra and Janelle Monáe, and visual artists like Jean-Michel Basquiat and Wangechi Mutu. These creators have used their respective mediums to challenge preconceptions, expand the boundaries of storytelling, and inspire a new generation of artists and thinkers to engage with Afrofuturist themes.

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Eryka Badu

Erykah Badu’s influence in Afrofuturism is profound and far-reaching, as she has become a revered figure within this artistic and cultural movement. Her impact can be observed across multiple facets of Afrofuturism, from music and fashion to ideology and empowerment.

Lyrical Depth: Badu’s lyrics often delve into themes of self-discovery, empowerment, and social consciousness. She consistently challenges the status quo and encourages self-reflection and awareness. Her songs, such as “On & On” and “Bag Lady,” echo Afrofuturism’s emphasis on personal growth and a deep connection to one’s roots.

Visual Identity: Erykah Badu’s distinctive style and fashion choices are an integral part of her Afrofuturist influence. Her elaborate headwraps, eclectic clothing, and use of natural elements like crystals and gemstones create a visual narrative that merges African and futuristic aesthetics. Her appearance celebrates both heritage and innovation, mirroring Afrofuturism’s blending of past and future.

Social and Political Engagement: Badu’s Afrofuturist influence extends beyond her music and fashion. She actively participates in social and political discussions, addressing issues related to the African diaspora and marginalized communities.

Her commitment to social justice aligns with Afrofuturism’s goal of creating a more equitable and inclusive future.

Empowerment and Self-Expression: Erykah Badu’s influence lies in her ability to empower individuals to embrace their uniqueness, to question norms, and to seek a deeper understanding of themselves. Her music and persona encourage self-expression and self-acceptance, key principles of Afrofuturism that call for a reimagining of identity and culture.

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The

New

CX

GTI

TURBO

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Janelle Monae

Jonelle Monea’s art is a captivating exploration of Afro-futurism, where she skillfully blends traditional African influences with futuristic elements. Her work transcends time and place, offering a glimpse into a world where technology and cultural heritage coexist harmoniously. Monea’s vibrant and thought-provoking pieces challenge conventional narratives and invite viewers to contemplate the limitless possibilities of Afro-futurism, where past, present, and future converge in a dynamic and visually striking fusion.

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SUMMER’S I

IN NOR-CAL

AND Guadalajara AND Sawtooth AND New York AND the Mid-Coast

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Summer Days on RockHaven

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Summer and Rockhaven go hand-in-hand.

During the weeks I’m up in Mountain View working and hanging out with my friends.

But when the weekend comes, Saturday and Sunday are for Dad’s.

The Pool, The Food, and the People make Rockhaven into the perfect Summer Oasis.

I sit, bascing in the sun, reading, eating fresh peaches off the trees and green smoothies from the kitchen.

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/ Summer Reading /

/ The Boy /

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Garden

of Eden Felton, CA - Henry Cowell Park

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Celebrity Court Fashion

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Cardi B

Megan Thee

Kim K.

Celebrity

fashionin courtrooms has long been a subject of fascination for the public and media. It offers a unique intersection of the legal world and the glitz and glamour of Hollywood, creating a blend of high-stakes drama and style. Celebrities facing legal battles often choose their courtroom attire carefully, as it serves as a form of self-presentation and can convey a range of messages.

One of the most prominent aspects of celebrity courtroom fashion is the careful selection of outfits that can project a certain image. For some, it’s a chance to appear humble and remorseful, with subdued colors and conservative styles. This is often employed to gain favor with the judge and jury and elicit sympathy from the public.

Conversely, some celebrities opt for more assertive or even flamboyant fashion choices, using their court appearances as a platform to maintain their image of confidence and control. This can include designer clothing, statement pieces, or bold colors, which may be seen as a display of defiance or a means of making a statement.

Celebrities often employ skilled stylists to curate their courtroom looks, taking into consideration every detail, from clothing and accessories to grooming and makeup.

These choices can significantly impact public perception and media coverage of their cases.

In addition, courtroom fashion raises questions about the appropriateness and respect for the legal process. The debate over whether celebrities should be allowed to express their individuality through clothing in such a formal setting continues.

Some argue that everyone has the right to self-expression, even in court, while others contend that a courtroom should be a space of neutrality and seriousness.

Ultimately, celebrity fashion in courtrooms provides a unique lens through which to examine the intersection of fame, power, and the legal system. It underscores the role of clothing as a means of communication and expression, even in the most formal and regulated of settings.

/ Kim Kardashion playing judge, prosecuter and plantif at the same time /

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The boy

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Salt Wood Kitchen and Oysteria, located in Monterey, CA, is a renowned restaurant that offers a unique dining experience.

The restaurant is known for its focus on seafood and a farm to table concept, sourcing fresh ingredients from local farms and fisheries.

Saturday, September 3

Monterrey

Brunch on the Water

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/ Along PCH /

/ The mobile setup /

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/ Been fuckin’ with these pants lately /

JADED LONDON COLOSSUS JEANS

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UPDATE Senior year so far is going...

Academically, it’s going fine. Classes are pretty chill, but the senior-itis is in full swing. I’m skipping so much class already and it’s only October. Besides that, college apps are coming along, I’m applying to 16 school and am excited to just get those done.

The most significant update is that I’m gaining more friends and more popularity. I’ve come to realize how well-known I am and I think as everyone’s understanding it’s senior year, branching out of their highschool groups to become more friendly. Hanna has really been dropped ( eventhough I had to beg her for an Ocracle newspaper media pass for HoCo as I forgot to get a ticket in time. ) Lexi Davis is the biggest opp and I;m glad shes been removed from the schedule, everyone’s hating on her (validly) but I do feel bad for the guy. She also asked me out to HoCo and I just never responded.

Im spending more time with Luiza, Ryan (the sexiest mf around) and the my Freestyle classmates. I’m excited for the year- It’s stressful right now but by the years end, I think it’ll all be over and we can party for the next few months before finals.

I’m still at Icicles- starting year 2. AND I got a parking ticket when my mom was out of town and I was driving her car.

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APESHIT Beyoncé Knowles-Carter . Shawn Carter

The Carters

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THE VIDEO

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The music video for the song was directed by Ricky Saiz, produced by Iconoclast, and filmed in the Louvre in Paris and Los Angeles, California in May 2018. The video premiered on the second night of the London show during their On the Run II Tour at the London Stadium. The clip lasts for six minutes. It opens with a man who has wings, seen crouching as bells and sirens are prominent in the background, and features visual imagery suggesting comparisons and linkages between wealth, status, and royalty in the Renaissance-era artwork and the eventual evolution of these characteristics into the Carters.

The visual narrative moves on to reveal the empty halls at the Louvre and the pair posing in front of Leonardo da Vinci’s masterpiece the Mona Lisa.

Once the song starts playing, the scene cuts to the duo poised atop a marble staircase while dancers lay across the descending steps contracting and releasing their torsos to the rhythmic flow of the song. Statues and paintings such as Winged Victory of Samothrace, Venus de Milo, and The Coronation of Napoleon are featured throughout the video as the duo lip-sync the lyrics to the track.

The cost of the music video is unconfirmed, but details regarding renting out the Louvre for private events can be found on their website. Otir Hard of NPR called the video “extravagantly produced six minutes, filled with high art, pastel suits and turnt up museum parties”. Kory Grow writing for Rolling Stone deemed the clip “stunning” and noticed how the duo looked “serene” in it resembling “works of arts themselves”. Later in the year, Rolling Stone declared the video the best one of 2018, and would later name it the 29th greatest music video of all time. Slant Magazine named Apeshit the 17th greatest music video of all time.

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Reclaiming Artistic Spaces:

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The Louvre, a historically significant institution filled with classic artworks, is often associated with Euro-centric perspectives of art and culture. By choosing this location, Beyoncé and Jay-Z reclaimed this space and redefined it in their own terms. The video challenged the notion that black artists should be confined to certain genres or spaces, asserting that their creative influence is as valid and impactful as any other.

Throughout the video, Beyoncé and Jay-Z celebrated black culture and excellence. The choreography, fashion choices, and overall aesthetic showcased their pride in their heritage while simultaneously addressing the racial inequities that persist in the world of art and beyond.

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The music video gained immediate attention for being shot at the Louvre, one of the most iconic museums in the world. The choice of location itself challenged traditional perceptions of who belongs in such spaces and demonstrated a sense of empowerment for black artists in historically white-dominated artistic environments.

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The video contained subtle and overt references to issues like colonialism, race, and power. The visuals juxtaposed the opulence of the artworks with scenes of Beyoncé and backup dancers, effectively challenging the historical dominance of white art and culture. This juxtaposition conveyed a message about reclaiming power and challenging dominant narratives.

The “ApeShit” video engaged in conversations about race, identity, and power. The title itself carries a loaded history, invoking the derogatory term “ape” often used to dehumanize black individuals. By using this term as a reclaiming gesture, Beyoncé and Jay-Z confronted racial stereotypes head-on, encouraging discussions about the devaluation of black bodies and cultural appropriation.

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APESHIT MUSIC VIDEO

2018

Directed by Ricky Saiz Written by Beyoncé Knowles and Shawn Carter Produced by Pharrell Williams, Beyoncé Knowles-Carter, Shawn Carter, Stuart Wild

@ the Louvre Mueseam Paris, France

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The video ignited a global conversation about the intersection of art, race, and power. People from various backgrounds engaged in discussions about representation, cultural appropriation, and the potential for change within the art world. This dialogue transcended entertainment and spilled into broader social discussions, exposing the need for more inclusive narratives.

In conclusion, Beyoncé and Jay-Z’s “ApeShit” music video holds multifaceted signifi cance. It goes beyond the realm of a traditional music video, becoming a thought-provoking artistic statement that challenges norms, redefi nes spaces, and contributes to ongoing dialogues about culture, race, and identity. Its impact serves as a testament to the power of art to create meaningful change and inspire critical conversations on a global scale.

The other boy

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The Haus of Gaga’’s

BAD ROMANCE

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LADY

GAGA

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/ The Razor-Blade Sunglasses are a pair of specially designed sunglasses by Tom Talmon Studio after an idea by the Haus of Gaga /

The creation of Lady Gaga’s iconic “Bad Romance” music video stands as a testament to the singer’s boundless creativity and her ability to push artistic boundaries. Released in 2009 as the lead single from her second studio album “The Fame Monster,” the song and its accompanying visual extravaganza became instant sensations, propelling Gaga to new heights of fame and solidifying her status as a pop culture icon.

Conceived as a collaboration between Lady Gaga and director Francis Lawrence, the “Bad Romance” music video was set to be a groundbreaking piece of art that would not only entertain but also challenge societal norms and expectations. Gaga’s vision was to present a provocative and thought-provoking narrative that would captivate viewers and leave a lasting impact on pop culture.

Filmed over several intense days, the music video was a grand production in every sense.

Its striking visuals, elaborate choreography, and avant-garde fashion choices elevated it beyond a traditional music video. Each scene was carefully crafted to reflect the song’s lyrics and themes of desire, passion, and societal commentary.

One of the most memorable elements of the video was its distinctive fashion.

From the towering Alexander McQueen Armadillo shoes to the futuristic Haus of Gaga creations, the wardrobe became a character in itself. Gaga’s visionary collaboration with fashion director Nicola Formichetti and designers like Alexander McQueen and Hussein Chalayan pushed the boundaries of style, inspiring a new generation of

artists and fashion enthusiasts.

The music video’s storyline was open to interpretation, and Gaga herself described it as a representation of her “fear of suffocation” in relationships.

The narrative delved into themes of control, manipulation, and the objectification of women, providing a stark

commentary on the darker aspects of fame and desire.

The choreography in “Bad Romance” further added to the video’s allure.

The intricate dance sequences, led by Laurieann Gibson, showcased Gaga’s versatility as a performer and her dedication to delivering visually stunning performances.

Upon its release, “Bad Romance” instantly became a cultural phenomenon. It shattered records on video-sharing platforms and won numerous awards, including multiple MTV Video Music Awards. The music video’s influence extended beyond the realms of pop music, inspiring fashion trends, dance routines, and even academic discussions on its social commentary.

Lady Gaga’s “Bad Romance” music video remains an enduring work of art that continues to captivate and inspire audiences to this day. It encapsulates the essence of Gaga’s fearless creativity and her unyielding commitment to pushing the boundaries of pop culture, leaving an indelible mark on the world of music and beyond.

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/ (feat.) Designs from Alexander McQueen’s S/S 2010 PLATO’S ATLANTIS /

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/ behind the scenes /

/ Shot by- Thomas Whiteside /

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Cover Shoot his article delves into the transformation of Taylor Swift’s music style with the release of her fifth album, “1989,” shifting from her country roots to a more pop-oriented sound. Swift’s transition from country to pop is discussed, highlighting her embrace of a new musical direction while still maintaining her signature lyrical depth. The article also touches on Swift’s resilience in the face of challenges, her experimentation with pop sensibilities, and her commitment to creating layered and meaningful music.

The piece provides insights into Swift’s growth as an artist, her foray into acting, and her ability to connect with her fanbase through her music and lyrics. It emphasizes her evolving image and her knack for keeping fans engaged through hidden messages and themes in her work.

Overall, the article celebrates Taylor Swift’s musical evolution, her enduring popularity, and her willingness to explore new sounds and styles while staying true to her core identity.

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