All the glass is missing from the skylight at Legacy Counseling Center
Yesterday’s torrential storm did damage all around the city, and one space not spared was Legacy Counseling Center.
Melissa Grove, executive director of Legacy, jokes that she was “lying in her office getting a suntan,” because the storm blew out the atrium skylight window at the agency’s McKinney Avenue headquarters and counseling office.
“Despite the roof being blown off, we continued to serve our clients, because that’s what we do,” Grove said.
She said the building lost electricity and suffered some water damage. Pieces of the skylight smashed through the windshield of one agency counselor’s car.
Grove said everyone is safe and agency operations continue as normal, but I suggested it might be a good fundraising opportunity.
“Hey, I’ll always ‘ho’ out for donations,” Grove said. Donations to help repair office damage can be made here.
The DMA’s exhibit on the fashions of Jean Paul Gaultier exudes sex appeal with a big dose of flamboyance
DRESSED TO KILL IT | Gay fashion pioneer Jean Paul Gaultier oversees his own exhibit (Below) as an Animatronic mannequin, a fascinating technology that only accentuates the brilliance of the designs. (Photography by Arnold Wayne Jones/Dallas Voice)
For a man best known for creating the Valkyrie-like conical breastplate that shot Madonna into the pop culture stratosphere, Jean Paul Gaultier is a surprisingly humble person. While he’s clearly delighted to have his fashions on display — as they are at the Dallas Museum of Art in the traveling exhibit The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk, which runs through February — he makes one thing plain: He does not consider fashion “art.”
“My work is not art,” he says flatly. “My job is to make clothes that have to be worn. My role is not to create in the abstract but to be inspired by the needs and desires of the people. So I am in service to that. Art is art — it is a personal vision of the artist.” He pauses, then adds with a smile, “My collections are my babies, though.”
While the designer himself may not consider his work product “art” in an academic sense, there are probably few who would agree with him. More so than most fashion designers, Jean Paul Gaultier’s style is instantly recognizable, even without seeing the label.
He almost single-handedly moved the bustier from the boudoir to the arena stage, cladding Madonna in a corset for her Blonde Ambition tour in 1990, immediately making legends of them both.
It’s not just brassieres, but lace bodysuits, silk leotards, men in skirts — Gaultier takes fashion rules and sets them on their heads, turning out wearable art (there, we said it) that is both old-fashioned, even classical, and futuristic — but always oozing sex.
“My love for fashion belongs to the fact I saw a movie from the 1940s when I was 12,” he says. “In the movie, they did a beautiful description of couture.” (Now, when he works with a film director — as he did recently with Pedro Almodovar on The Skin I Live In, or Luc Besson on several films — “it is like I return to that [moment]”.)
But really, the germ of his style was started by what a pre-teen Jean Paul found in his grandmother’s wardrobe.
“I was fascinated by the whole world of my grandmother’s closet — it was beautiful and different,” he says. “It was underwear that could be worn as outerwear. I stole my ideas from her.”
Though not just her. Gaultier was inspired by television, by old movies, by showgirls — anything that offered a view of beauty he could re-imagine on the runway.
“My definition of beauty — there’s not one type. Beauty is beauty — you can find it in different places,” he says.
It’s a keystone not only of his design style, but of the DMA’s astonishingly exciting exhibit. (Anyone who doesn’t think a Gaultier gown deserves formal museum treatment obviously hasn’t seen the show.) In just a handful of rooms, we move from camp to punk — with many, many visits to edgy haute couture.
In the first gallery, visitors are introduced to Gaultier himself, talking about his fashions via a quasi-Animatronic mannequin that captures his actual face and voice, projected with unnerving authenticity. That happens with a lot of the mannequins, some of whom seem to look back, even judge you. (One Mohawk’d man in tights and a codpiece seemed to be flirting with me; I bet he does that with all the boys.) Lanky sailor boys in striped Apaché T-shirts look as if they leaped from a Tom of Finland drawing; that cone bra is also unmistakable.
Walk further, and the second room oozes the dark romance of a bordello, approximating (with its window-like display cases) the red-light district of Amsterdam. “I think when you exit this room, they should give you a cigarette,” I told another patron. She didn’t disagree.
Another room shows the movement of the pieces, sort of, with a moving catwalk that is like a time machine of Gaultier runway fashions, including representative designs from his famous Men in Skirts that took MOMA by storm some years ago. That’s only the most obvious example of the genderbending that is a Gaultier hallmark — and a central theme of the sexual forthrightness of the DMA’s exhibit.
“Androgyny is part of the thing that interests me,” he says, “that moment when the young can pass to adolescence [and] their beauty is between feminine and masculine at the same time. I use it to show in reality how [both sexes] can assume [the identity of the other sex]. In Scotland, you will see me in kilts and they are very masculine — it’s not feminine to wear a skirt [in that context].”
That, Gaultier says, is the essence of freedom, showing that “men can cry just as well as women can fight.”
And this exhibit shows that a designer can be an artist with a bold sense of sex — even if he doesn’t think so.
Visit DallasVoice. com/ category/ Photos to see more of the Jean Paul Gaultier exhibit at the DMA.
This article appeared in the Dallas Voice print edition November 18, 2011.
Patriot PAC has unveiled Operation Black Storm, a national coalition effort to unite the nation behind the 15 black conservative congressional candidates running in key districts around the country as Republican nominees for the upcoming November elections.
Helping to lead the charge among the Tea Party and Patriot movement in America for substantive political reform, Operation Black Storm will fight to fundamentally reshape the makeup of the U.S. Congress on November 2, 2010.
. . . This coalition has put its collective weight behind these highly qualified conservative black candidates to provide the resources and exposure they need to win on Election Day. Coalition members helping with voter education and candidate scorecards include Break the Bonds of Tyranny, Unite in Action, The ConservativeMESSENGER, The Frederick Douglass Foundation, and The Black Sphere, among others.
And the kicker? On the website under the above videos are the pictures of the 15 black conservatives wanting to be elected behind this mess. Call it what you want, but I say it's an endorsement of the insane, paranoid message in the video.
And by the way, this isn't a joke. There are legitimate organizations pushing this. The Frederick Douglass Foundation claims to be
. . . a public policy and educational organization which brings the sanctity of free market and limited government ideas to bear on the hardest problems facing our nation. We are a collection of pro-active individuals committed to developing innovative and new approaches to today's problems with the assistance of elected officials, scholars from universities and colleges and community activist.
Black Sphere is an extreme right-wing blog/organization.
And Conservative Messenger seems to be an organization run by one man, K. Carl Smith, who “claims” to espouse the free labor system of government
Quite simply, this is the most God-awful piece of crap I have ever seen in my life. It goes beyond the ideas of respecting black conservatives simply because they have a difference of opinion when it comes to the majority of the African-American community when it comes to the ballot box.
It's like a mad scientist crossed the DNA of a stereotypical Uncle Tom with that of a stereotypical House Negro, made clones, weaned them all on Fox News and then sent them out loose in the world.
I think we need holy water and 15 copies of The Autobiography of Malcolm X.
I got two emails this afternoon that, unfortunately, complement each other perfectly. The first was from someone who watches the DC political game pretty closely:
What’s even more outrageous is that two Democrats joined the Republican filibuster. Lincoln and Pryor are shameful. But what’s more shameful is that I strongly doubt Pres. Obama even lifted a finger to call moderate Republicans or Democrats (like Lincoln and Pryor) to push them to vote to protect our troops and protect equality. The Republicans once again have seized the debate, in part by pressuring their moderate members to reverse stance. Too bad that Democratic leaders don’t ever pressure their own in the same way.
So, no lobbying whatsoever from Obama on the Defense Authorization bill that’s being filibustered while we’re engaged in two wars.
Obama must have been really busy, right? Oh, he was working the phones today. I got this via email, too:
Earlier today, President Obama called members of the Seattle Storm organization, to congratulate them on winning the WNBA Finals for the second time, on their success during the regular season and their undefeated run in the playoffs. The President told them that they are an inspiration to everyone, especially his daughters. Members of the Storm organization on the call told the President that they appreciated his call and that it was a highlight for their organization. President Obama said he looks forward to congratulating them in person at the White House.
He does loves his sports talk. And, the Seattle Storm’s championship warrants Presidential recognition.
But, that the White House thinks this is just business as usual is what’s extremely problematic. And, it would have been nice to get an email with a readout of the President’s calls to target Senators. But, that didn’t happen.