Micah's reblog centre

don't forget sleeve garters and suspenders

Sleeve garters are just so you can keep your cuffs right where you want them, typically used professionally by people like bartenders, who are wearing dress shirts to do manual labor and don't want their cuffs brushing through spills when they are wiping down the bar etc... but also useful for keeping cuffs exactly the right length for your suit without having to tailor all your shirts, or, if you have several suit coats with slightly different length sleeves, you can always have your dress shirt's cuffs showing that perfect half inch below the suit sleeve or whatever the fashion is for the time

right now it's about 1/2 an inch, but that's the sort of thing, like tie length, that can change a little with fashion trends -- but basically, you never want your shirt cuffs to be doing this

Because that looks SO sloppy, right? Looks like you're wearing your father's shirt under your little brother's jacket

BUT! you do want the cuffs showing, like this

because it makes the suit sleeve look precise and on purpose, or you might push it and show even more if you are wearing nice cuff links

because this clearly still looks purposeful and precise, and shows off your jewelry.

often, fashion dictates taking any opportunity to show your layers -- for example in medieval europe it was fashionable to literally slash expensive outer garments so you could ALSO see some of the expensive clothing underneath, which is how before long you get "slashed" sleeve patterns like this becoming popular among the wealthy

(notice the roughly half inch of sleeve cuff showing at the bottom here as well)

“this isn’t true because the ex-friendship that traumatized me ended explosively after they were mad at me and never told me why” that’s not good. they shouldn’t be doing that

“i don’t think this is true because my current friend group is constantly icing me out until i figure out what ive done to upset them and properly apologized without being told” hey thats not good. they should not be doing that

STOP-

Carb starts your engine, protein keeps it going.

Cookie

Fruit (canned or fresh)

Chips

Piece of bread

Popcorn

Crackers

Easy protein add on:

Nuts

Spoonful of nut butter

Cheese

Roasted chickpea snacks

Glass of milk (dairy or non dairy)

congrats! Now you have a motif! A recurring theme! A focus for your art! Something to haunt you!

Seventeen still lives of dandelions? Three hundred poems about grief? A sketchbook dedicated to your grandmother’s house? Two books trying to unravel the complexities of familial relationships?

An early exploration of the themes Hokusai would keep coming back to is Spring in Enoshima, done in 1793 when he was 33. The wave is small and there are no boats, but Mt Fuji is clear in the background, and Enoshima is in Kanagawa, so we are clearly beginning to work towards something here.

A second pass, eleven years later in 1803 when he was 44. The title of this one begins to get more familiar: The View of Honmoku Off Kanazawa. It has a towering wave over a smaller boat, but Mt Fuji is not present, and the boat is considerably larger and has a sail. But the feeling of danger in the wave and the smallness of the boat are here, and of course the general composition is definitely recognizable.

This is A View Of Express Delivery Boats, done in 1805, merely two years later at age 46. Here we find the wave and the boats almost exactly as we'll find them in The Great Wave Off Kanagawa, though Mt Fuji isn't present, and the location is uncertain. And it's a good picture! The wave is threatening, the boats are small -- but the feeling of "ocean" isn't really there yet, is it? It's unlikely this picture would have become a classic for the ages. But that's okay, there's still time.

And here we have it, a full 26 years later, done by Hokusai in 1831 at the age of 72. The Great Wave Off Kanagawa, one of the most recognizable pieces of art in the world. The boats are there, the mountain is there, the wave is there, and the FEELING is there. He did it! He reached the apex of his ongoing motif and theme!

Or did he? Because the whole point of a motif is not that you're striving to get to the perfect version of it, the one idealized image you carried in your head all along, and when it is done, you are also done. Hokusai is on record at the age of 73 saying he'd only just begun to feel like he was learning how to draw things properly, and that "if I keep up my efforts, I will have even a better understanding when I was 80 and by 90 will have penetrated to the heart of things. At 100, I may reach a level of divine understanding, and if I live decades beyond that, everything I paint — dot and line — will be alive." He had drawn The Great Wave, but he didn't believe he was finished -- he thought that he was still just beginning to get started.

And he wasn't finished with his ocean motif, either. Please check out his Mt Fuji At Sea, done in 1834 at the age of 75.

The first-edition of The Joy of Gay Sex, published in 1977, declared, “Vegetable shortening may be the best lubricant, since it is not only greasy but also digestible”[4] Such a statement perhaps gives new meaning to the companies boastful declarations that “Its digestible” and “Crisco has been making life in the kitchen more delicious for years.”  Similarly, in the 1978 sex manual The Advocate Guide to Gay Health, Crisco even earned an entry in the book’s index.  Discussions of the shortening’s use as an anal lubricant indicate its popularity, with statements such as: “The lubricant, typically the cultic Crisco, must be copious.”[5]  In fact, Crisco was so synonomus with gay sex that discos and bars around the world took on the name, such as Crisco Disco in New York City, which was one of the premiere clubs during the 1970s and early 1980s.  Other clubs or bathhouses, such as Club Z in Seattle, even featured murals with Crisco.  Thus, Crisco was conversely also one of many things that led to the formation of gay identities during the 20th century.

from this essay: http://www.columbia.edu/~sf2220/TT2007/web-content/Pages/drew2.html