Rugrats in Retrospect: A Response to Saberspark's Video 'What RUINED Rugrats - The Untold Drama' and Why Paul Germain was Spot on about Good StorytellingRead Now
In the 1990's, animation was starting to evolve from toy commercial centric cartoons like Care Bears and My Little Pony to creator driven content as seen with Nickelodeon's hit shows of the time like Doug, Rocko's Modern Life and Nick's then pop cultural phenomenon, Rugrats. At the start of the decade, media and technology entrepreneur, Geraldine Laybourne served as Nickelodeon's first president from 1984 to 1996. She and the rest of the team set out to make Nickelodeon the first network for kids with their unique line-up of shows that were original creator content in order to differentiate themselves from other networks during those years. At the beginning, Doug, The Ren and Stimpy Show and Rugrats were the first three animated shows to be greenlit into production. Of the three, Rugrats would go on to be Nickelodeon's biggest hit, paving the way for the network's upcoming animated shows like Rocko's Modern Life, Angry Beavers and Hey Arnold!. More to the point, Rugrats became the face of Nickelodeon throughout most of the '90's, but then in the latter part of the decade and the start of the 2000's, its popularity gradually began to die down, eventually being eclipsed by Sponge Bob Square Pants.
There is a very specific reason as to why that happened. However, contrary to popular belief, the decline in popularity for Rugrats wasn't so much for the addition of new characters, though, there is some merit to that assumption. The real problem that caused this series to lose its momentum, as seen in Saberspark's video, What RUINED Rugrats? - The Untold Drama, had everything to do with the show creators failing to see eye to eye. The show was created by then married couple, Arlene Klasky and Gabor Cspuo along with fellow co-worker, Paul Germain. In this blog post, I'm not going to delve too much into the notorious drama that went on amongst the writers. I'm just going to pin point the main source of it. Rather, I'm going to discuss my thoughts on the situation from the perspective of an aspiring writer and early childhood teacher. Using my animation and illustration background as well as my experience so far working with children, I will explain with an in-depth analysis on why I favor Mr. Germain's side of the story.
For starters, before Rugrats made its debut, the trio worked on a few episodes of The Simpsons shorts for The Tracey Ullman Show from 1987 to 1989 before it made its debut as a television series itself on December 17th, 1989. The Klasky-Csupo team worked on this series during the first three seasons. The Simpsons, which was created by Matt Groening, has been a pop cultural icon for nearly three decades now, and is still going strong to this day, making it the longest running American animated sitcom in history. As we know, the show deals with the titular dysfunctional family and their interactions and responses toward American culture. As simple a concept that may be, what contributes a great deal to the success of The Simpsons is character development and stories that explore the human condition by going into the characters' minds and challenges. Having previously worked on the show, Paul Germain knew that the key to making a top tier animated series was quality storytelling, so his level of expertise would bode well for him in the long run. (I know The Simpsons did suffer a bit in quality over the years, but that's another topic for another day).
When pitching a show for Nickelodeon, Arlene Klasky created the concept for Rugrats with one basic idea in mind that made it truly memorable: "if babies could talk, what would they say?" Having been pregnant during the show's conception, making this a very personal show that was important to her, she had Paul Germain help her elaborate on the idea. Inevitably, Nickelodeon greenlighted production on the series and a total of sixty-five episodes would be in the contract. Rugrats debuted in the summer of 1991. Due to solid promotion, its success and viewership increased immensely. From films, to merchandise, and even a giant parade balloon making its debut in the 1997 Macy's Thanksgiving Day Parade, there was no denying Rugrats became the crown jewel for Nickelodeon. Unfortunately, as Saberspark pointed out, the events building up towards the show's success was ultimately what lead the show to crumble. There were several feuds between Klasky and Germain that would often put Csupo in the middle as the swing voter between the two.
Long story short, Arlene Klasky favored the idea of the baby characters acting more like their age rather than see them acting on adult-like behaviors as seen in the 1992 episode, The Trial in which the babies have a courtroom setup after one of the children destroys Tommy's favorite lamp. Paul Germain was all for writing plot driven narratives with solid character development like that of The Simpsons, but for kids. To make this disconnect between the show creators worse, it was the introduction of Angelica that increased conflict between Klasky and Germain. Germain created Angelica, feeling that the show having an antagonist would tip the scales in its favor. Klasky, having not created the character, strongly disliked Angelica and often complained about her portrayal being too cruel towards the younger children. Inspired by a childhood bully, Germain wanted to explore Angelica's character and craft character driven plots examining why some kids who bully other kids behave the way they do. After Paul Germain's departure in the mid-1990's along with other members of the writing staff, the quality of the writing began to shift. Although that was the time Rugrats skyrocketed in success, a few years later, it began to fizzle and eventually the show ended in 2004. Given all that was happening behind the scenes with this show and in regards to good writing and how children learn and develop through cooperative and explorative play, Paul Germain was definitely on-point when it came to what would have been best for this kind of series.
First of all, since Rugrats is a cartoon about children from ages one to three and a half years old, it should delve into topics that focus on the inner workings of early childhood development. The key ingredient that goes into good writing is having a deep understanding of your subject matter and drawing even more inspiration from the real world. It could be from personal experience, people you know or some new insights you've garnered working with others. All of those elements are vital to good storytelling, if not an important foundation for it. Arlene Klasky was right about one thing. When coming up with an idea for a story, it's a good idea to write something that is personal to you, but her unwillingness to listen to her peers left almost no room for personal growth. Good ideas become stronger when you garner deeper understandings of what you're writing about. If Klasky wanted to make a show that was about babies exploring the world around them, she'd be wiser to take those concepts into account. With Paul Germain's approach to writing, he was willing to add and explore those aspects of early childhood development blended with personal experiences and incorporate them into the plots. For example, when the children mimic adult behaviors, that's a prime example in early childhood development with children letting themselves think freely in a risk-free environment. What contributes to children's growth is their freedom to explore certain attributes of adult behaviors and thus, begin to learn about themselves and how the world works. As is the case with The Trial episode, the babies have a courtroom setting in the living room because they have already seen and know that adults attend jury duty. They are somewhat familiar with how that process works. Certainly they may not understand every little detail that there is to know, but at an early age, children observe adults on one side of a testimony and others representing the other perspective in order to determine who might be guilty and who might be innocent.
To add to this, from my experience so far working with preschoolers and what I've been studying, I've seen how children play certain games like house, kitchen, or store. Social referencing is something that occurs in infants between six to nine months, which is when babies observe how their caregivers react to certain situations and use that as a model for the appropriate response. Preschoolers already know this social cue from their infancy and build up from it. In terms of childhood development theories, Lev Vygotsky theorized that social interaction among other children is what adds to the child making meaning and gaining new knowledge. He also believed that, unlike Jean Piaget, who categorized childhood development in four stages, children's development is continuous and occurs through cooperative learning. Children, thus learn from each other. Jerome Bruner's Three Modes of Representation observes that children continuously and actively learn by adding on previous knowledge. Enactive, which is based inaction occurs during the early years. Iconic, which is image based, occurs during the mid-childhood years. Symbolic, which is rooted in language, takes place during adolescence. Applying this to The Trail, we see these examples playing out in the episode. We see that the children in the cartoon already understand why adults resolve disputes in a courtroom, so there is a bit of social referencing displayed as the babies are seen referencing adult behaviors to respond to their situation. The way that the Lev Vygotsky theory is depicted, the children are interacting with one another and thus, through this type of play, they are learning through cooperation and making meaning in order to find out who broke the lamp. The way that Bruner's theory plays a role is that at the age that the Rugrats characters are, they are learning through action or Enactive imagery and that is knowledge that gets built on with new knowledge over time.
That being said, drawing from real-life examples and knowledge of how children develop are important elements that contribute to good writing. The topic or subject matter you are writing about may be personal to you, but if you don't take the time to build up a deeper understanding from other perspectives and real-life observations, your concept may still be good on paper, but stale in representation. This also leads me to another reason why Germain's approach to storytelling excels over Klasky's, one that should always be at the forefront when crafting a story: who is your target audience? This question may already be a matter of common sense, but its one that seems to get a bit lost as new writers join a team on a show or other type of creative project. As mentioned earlier, Paul Germain envisioned Rugrats being The Simpsons of children's television. What he meant was that the target demographic for Rugrats could appeal to not only children, but adults as well. Just because of the age of the main characters, it shouldn't imply that there can't be stories written in a way that would resonate with older audiences as well. From the sound of the debates between Arlene Klasky and Paul Germain, it was obvious that Klasky failed to understand her audience, much less ever listen to why Germain's writing team was on point. Klasky felt that if they were to make a show about babies, it automatically meant that the main characters should consistently do what babies do. However, there is a major flaw in this thought process: aside from it leaving very little room for character development, it leaves very little room certain topics to be covered, rendering the show's content too stale.
The main problem I see with Klasky's approach as to what she thought was right for Rugrats is that she wanted to play the show too safe. Audiences eventually get bored of that. They can easily tell when writers are taking creative risks and when they are selling themselves short. By having the main characters constantly act their ages, not only are there limitations on story and character growth, but it fails to resonate with audiences. If Rugrats was intended to be a show both kids and adults could relate to, this approach was absolutely not the ideal choice for that demographic. You can't just have one foot in the door for a certain age group and the other one stepping out for another. A good kids show written for both kids and adults in mind should always be an open space for writers to be adventurous and explorative when it comes to dealing with new ideas. Plus this is the type of audience that wants to see something beyond the comfort level. There have been episodes of Rugrats, like the PBS Kids edutainment show, Arthur, where difficult topics were covered, such as neglect, loss of a pet or family member, jealousy, generational differences and of course, child growth and developmental milestones. There have even been episodes that deal with fears adults struggle with and new experiences that come with each stage in life. Even most impressive was that there have been holiday specials that focus on Hanukah and Passover and their religious significance, something that not very many shows at the time were covering. Being open to topics like these make room for both kids and adults to have a dialogue with one another. Because early childhood development is the seed that shapes how we grow up as our earliest experiences shape us, our perception of others and the world around us, it makes more sense that character driven plots were the best way to construct an episode of a show like Rugrats. Playing it safe with very little for the characters to do eventually alienates viewers and thus, that is why Paul Germain had the right idea all along. Even so, when it came to Angelica, her role wasn't solely to be a one-dimensional bully as mentioned earlier, but rather to represent a figure of the type of kid everyone has to deal with at times. As children grow up, they will always encounter a bully. Contrary to some of the stereotypes portraying bully characters over the years prior to Rugrats and other shows afterwards, there are underlying reasons why some children lash out the way they do. Over simplifying or dodging the subject altogether is not only playing storytelling safely, but it's also denying the reality of the world we live in. (I would like to delve into the topic of bully/brat characters in kids shows in a separate blog post sometime because I think it's a topic deserving of its own post).
With all that has been said and done and how well Rugrats aged as a pop cultural icon, in the end, it was Paul Germain's values as a storyteller that made it stand the test of time. With all due respect to Arlene Klasky, who undeniably had a brilliant idea for a television show, her concepts sounded good on paper, but Germain had ideas to help take her concept up another step further. It was unfortunate that Klasky and Germain failed to find common ground, but one can't deny that it's one thing to have a good idea on your hands. It's a whole world of difference to build up on it. Going off of Klasky's approach, there would have left very little room for character development and growth due to limitations on plotlines as was the case with the later seasons. Germain had all the right pieces in mind that fit into crafting good stories that would resonate with the show's respective audience. With an understanding of real world examples, such as studies related to the subject matter that the series centers around and personal experiences along with comprehending who the show is for, those are all important factors that contributes to both a show's quality and increased level of success in the long run. Stories can teach us about our struggles and shed them in a different light when delved into correctly, inspiring viewers to ask themselves the right questions and reflect on their own situations. By playing it safe and shunning other suggestions to further improve your concept as well as knowing less about who your target audience is, you not only put limitations on the potential of your ideas, but also on yourself as a writer. The more explorative you become with your concept and how it relates to the real world along with knowing what kind of stories your audiences are hoping to see, the better rounded you become as a creator. Your concept will grow and flourish, reaching its full potential. As with any creative medium, it will always be a continuing process that no one ever stops learning from because our experiences never stop shaping us and endless knowledge is always being spread around. You yourself will never stop learning. It's either you're open to it or you just stick to what is already familiar to you. By the latter, you will have many missed opportunities. By the former, you will constantly be exposed to them and those new opportunities and insights are what you give your audiences in return.
In the age of online shopping via Amazon, the traditional American shopping mall has gone down a death spiral year after year. However, as the rate of dead malls in the United States continue to increase, so does a growing community of urban explorers on YouTube and other platforms who venture from state to state to visit and document these ailing malls for future generations to see and learn about. Among such talents in the dead malls community include Jack Thomas of www.deadmalls.com, Anthony at Ace's Adventures, Nicholas M. DiMaio of The Caldor Rainbow, Ron and Kristen of UniComm Productions, Anthony from Faded Commerce, Adam from The Vintage Spaces Channel, Ashley, The Neon Explorer on Instagram, Pat and Heather from Raw & Real Retail, Jon Rev of [jonrevProjects], and Salvatore 'Sal' Amadeo of Quite Studios, all of whom are active members of the Dead Malls Discord.
In his video, Century III Mall In Extremis, and Le Flâneur de Beaudelaire, the 36th of his Expedition Log Series and sequel to another video about Century III Mall, Sal and other members of the dead mall community meet at Century III Mall in West Mifflin, Pennsylvania for the Inaugural Dead Mall Summit of 2018. It was an event open exclusively for the members of the Discord sever and it mostly took place in the area where Century III Mall is located due to the over-saturation of malls in the area. Therefore most of them were in stiff competition. The main focal point of this video is an analysis of the philosophy of Le Flânuer, which was introduced by 1800's poet and art critic, Charles Baudelaire in 1872 and how it relates to the explorations of dead malls (or urban exploration in general), some of which these theories influenced the ideas of Walter Benjamin in the 20th century. Although the ideas Sal expresses in the video are speculative, he brings up some very interesting points and details as to how Le Flânuer relates to urban exploration and the art world, (specifically during the time period of the Impressionist painters such as Degas, Monet, Caillebotte and Renior) as well.
Early on starting in the 11:35 minute mark, Sal talks about how he got into the urban exploration community. He mentions that his interest in urban exploration peaked "quite sometime ago" and that he would venture out into the woods with friends, not to film, but solely out of intrigue. When he discovered Dan Bell's channel, "the interest really kicked into high gear because [he] learned that people were gathering and doing [urban exploration], that there were more people out there that were doing it and since then, [Sal] wondered why? What draws us to that? And if this is a new thing or not?". This is an important question to consider because although dead malls and other such urban exploration videos have gained popularity during the late 2000's and the 2010's, the concept of sharply observing society's urban areas, even in the most obscure corners dates back much further than it would seem.
I won't go into the history of how shopping malls came to be, since it's not the point of this blog post, but the history provided is still worth noting. It starts at the 13:10 mark. Later, around the 30:29 mark, Sal discusses the role Le Flânuer plays in the history of urban exploration. Starting in the nineteenth century, the world began to flourish with urban growth, mainly noted in Paris, France and in the United States. All over Europe and the United States, arcades opened and this concept of indoor shopping centers began to accelerate all across the globe. As Sal highlights:
"This idea of a vast interior shopping center was gaining traction around the world. This intense expansion of commerce was causing social waves among the classes and philosophers were beginning to take notice of a new type of urban figure who reveled in the details of architecture and observing the less traveled paths in a city and within buildings. This new urban figure was coined by Charles Baudelaire in Les Fleurs du Mal or The Flowers of Evil, and refers to somebody who observes a newly industrialized city and its structures while just taking a walk, pondering the philosophical implications of what these new passages and arcades have on society and looking for the secrets that common passers-by would otherwise miss."
This is where the term, Le Flânuer originated. In Sal's opinion, this term might have paved the way for today's urban explorers.
At the 40:50 mark, he goes on the explain that the French verb means to stroll as the noun is used to describe someone who strolls and "wants to discover the secrets of public passageways, arcades, tunnels backstage areas and the like and to see what the general public might never notice". Anywhere most people never walk, le flâneur will step just to take in every little detail one might not ponder on. As a result, this concept became prevalent in Paris, even among professions throughout the Impressionist period, such as the artists of the time. Monet, Caillebotte, Renoir and Degas were all deeply immersed in the concept, that they would venture down less visited paths to paint images of areas and scenes viewers rarely noticed, if at all. Sal offers an analysis of the Caillebotte painting, The Young Man at His Window (1875) as an example of how Le flâneur is depicted in the works of these painters:
"[R]ather than the view of what the man is seeing, you see the man, the man's pose, an orange, velvet upholstered chair and the marble guard just past the window. The idea is that you are now the spectator, gaining an intimate view of something you wouldn't otherwise see. We don't see the man's face or what he sees because he's not the focal point of the composition. The idea of spectating is the focal point".
The backstage areas of performing art centers depicted in the works of Degas are another instance we learn about in this video. Degas painted what happens behind the curtain, all of which is invisible during a stage show. Monet also took his easel and art utensils, ventured into the back of a train station, went behind the rails and illustrated what passengers almost never see. These famous painters might just have been the first urban explorers in Sal's point of view. Given the similarities between today's content creators capturing these mostly abandoned places on camera and the Impressionists painters painting subject matters most people don't typically consider, the commonalities are very uncannily striking. In Sal's narration, he goes on to say the following:
"These in my opinion were the first urban explorers and they brought the idea of preserving a scene for purposes of exposure and archival to mainstream audiences. These people were exploring places that passers-by would never see and they were painting these places. They were capturing that moment and showing other people what they aren't noticing in their daily travels. How fascinating is that that these people were going out and doing urban exploration well before this ever became a popular thing? And now their art is selling for millions".
Next, we hear about Walter Benjamin, a Jewish philosopher from Germany. Before World War II broke out, Benjamin wrote about Le Flâneur, describing it as a representation of modern strolling into the urban culture, walking through the crowds at the arcades and coming across every brand new, shiny thing behind glass. Benjamin believed that because of the rapid growth in which urban culture was increasing along with the changes in socio-economic leanings in Paris at the time, Le flâneur as a trend began to soar. According to Sal's commentary, "[t]his change, which was rooted in budding capitalism, involved the creation of the of the arcades, which again, were the passageways through neighborhoods, which had been covered with a glass roof, embraced by marble panels, so as to create a sort of interior exterior for vending purposes". From Baudelaire's observations, the reason the passageways in which the arcades were designed with such style and grace especially in their shops, was because the concept behind the shopping arcades was to be seen as a small scaled city or a new world. On a social level, he perceived the arcades as a means for visitors to find a relief from the complications and/or monotony of daily life. Taking a leisurely stroll, he'd observe everyone and everything for both pleasure and gaining new insights into what is beyond the surface level.
After describing the feeling of going inside the active JC Penney and then returning to the lifeless mall, Sal delves a bit further into Walter Benjamin's philosophy, pin pointing that "Benjamin laments on the extinction of Le flâneur, who disappeared as the commercial world slowly deserted the interior exterior of arcades for the carpeted, artificially lit department stores that were to replace them". He then quotes Charles Baudelaire in which the main point was that even as the arcades would soon fall out of favor to department stores, Le flâneur will still roam even through such changes. From Benjamin's perspective, the more commercialized, the less Le flâneur would have an incentive to stroll whereas, Baudelaire's saw it as regardless of changes, the explorer will always have a reason to stroll the walkways.
In any case, as arcades evolved into department stores and from department stores to the major shopping mall, the idea for the places in which the public shopped was for them to be pleasing on the eyes and offer a delightful experience for the customers. With the rapid rate in which shopping malls are dying, Sal reminds the viewer that "the same notion of Le flâneur captured the minds of modern day urban explorers" and that the buildings they set out to explore "were something that the public would no longer see because they were being demolished and removed from our everyday lives". Like the mindset of the artists of the Impressionist period, today's urban explorers "felt an urge to capture [the structures'] last moments or moments that society either forgot about or will never see again to preserve what once was for future generations". Just like how the painters of 1800's would use their art to delve into and preserve what the general public didn't see or didn't realize they were taking advantage of, the urban explorers of the 21st century are always capturing what people miss through the lens of a camera.
Sal concludes his observations with this statement:
"While Le flâneur was the rise of interest in seeing these places, Le flâneur gave rise to the Impressionists, who went out and found places of interest that nobody saw and painted those things so that we can see them. Their senses were then dulled by the artificial department stores, which were just bland and bleached out inside until you got stores like Wanamaker's and such, which were gorgeous.
But, for the most part, in the rural sections of the department stores were pretty boring and Le flâneur didn't want to see it anymore. But once these places started crumbling and growing mold and trees inside of the mall where the carpet was, this was a wholly fascinating experience and a cathartic one, too because as the urban explorers were seeing these things, the mall was closed, the department store was closed and nobody would see it, so they began capturing these events as the Impressionists did back in the 1800's and showed the public because it was fascinating. The pedigree of modern day urban explorers in summation comes the idea of Le flâneur and the urban expansion in the 19th century. Urban explorers get their roots from Le flâneur and the Impressionist painters of the 1800's"
While Sal makes it clear that this is just his own speculation based on his own research, it's easy to see the similarities between the Impressionists and today's content creators on YouTube. As someone who shoots to write and draw her own stories that dispel expectations and strives to offer new insights into expected ideas, I find Sal's analysis not only insightful, but accurate. As both the Impressionists painters and urban explorers show spectators of their art new insights into the things they take for granted or don't usually give a second thought to, they utilize creative means to expand the boundaries of their expectations and challenge their perceptions. Our perceptions might deceive us into seeing only what is on the surface without questioning if there is more beyond that surface layer. Once the spectator takes a moment to remove that surface layer, uncovering the underlying details, the spectator can't help but discover new insights into what they thought they knew. Urban explorers, through the content they produce use video as a means to communicate such ideas as the Impressionists did through painting. Works of art indeed are supposed to invoke, not only emotions, but new insights as well. If an urban exploration video inspires a viewer in such a way that offers the new insights and suspends what was perceived early on, the modern day urban explorer successfully accomplishes what the Impressionists accomplished centuries ago.
Photo credit: Larry Estes
Last July, I wrote a blog post about Cool and Eclectic, a store located inside the Pembroke Mall at Virginia Beach. It's one of those rare and unique stores where you can come across all kinds of neat nostalgic items and find yourself exploring their selections for hours on end. I interviewed Mark and Diana for last year's post about the store and while it's been relocated in a new space at the mall, the variety the store offers continues to flourish and deliver on its slogan, "Where it is Usual to Find the Unusual".
This year's trip was an extra special treat. As part of a continuing series of giveaways, Cool and Eclectic was giving away prints of an original comic strip, Artchilles, illustrated and signed by store owner, Larry Estes. The story is about a Virginia Beach native who works at a factory owned by Kempsville Building Materials. As he continues to work there, he desires to keep his artistic dream afloat and goes out of his way to keep it alive, so he takes on the journey of the individual and puts his salvaged drawings together, revealing his story. I spent an afternoon chatting with Larry about the project and the themes he explores via its narrative and its imagery. The character, Artchilles reflects the journey Larry experienced (and continues to experience). We see that Artchilles takes a series of drawings, pieces them together like a puzzle and thus, we see his journey take shape. As stated by Larry himself in his video, Drawings Survive to Tell a Story, he is "piecing together this extraordinary journey, using copies of actual drawings from the journey to authenticate its unfolding". Through mixed media, Larry goes from a standard illustrated page, which is crafted similarly to that of the classic comics of the 1950's and 1960's and then on the next pages, he incorporates the copies of the drawings into some of the panels and arranges them to match the narration. For example, on page 2, we see a copy of each drawing laid out with one flat in the center of the first panel. The perspective of the ones on either side of the drawing are morphed to appear facing inwards. They are apparently going into the direction of the one in the center and all together, they are close to fading into a black hole. The letter boxes in yellow are from the narrator's perspective while the ones in white delve into what Artchilles is thinking. "Initially, Artchilles created sketches of random subjects he was to make into large paintings..." the narrator highlights. "[B]ut, as the prospect of acquiring a studio grew dim, drawing took over. Focus turned to his own life." The use of perspective in a panel painted pitch black accompanies this narration so effectively, especially with Artchilles' own words below the drawing in the center saying, "I yearned to paint..." The sentence is incomplete as if fading into the abyss along with the drawings. It highlights the sense of being on the brink of obscurity.
The next panel is a close up of the drawing on the right hand side, focusing on Artchilles' narration: "But the brush kept eluding my grasp". The drawing depicts the brush falling out of his reach as a foot steps on his hand. An onomatopoeia that reads crunch! is belted, all together demonstrating how limited in his options Artchilles really is.
In the third and final panel of the page, the narrator describes the monotony Artchilles is locked into. With six drawings of a man boxed in lined up in a perspective that gives the illusion of ascending forward, towards the reader's right hand side and descending into obscurity looking into the left, we see the repetitive nature of the job. Even so, Artchilles' words above the drawing facing the viewer boldly say "I Was Stuck!" This use of perspective fittingly gives the sense of endlessness.
Onto the next page, which as the title implies, "Taking the Leap", Artchilles does precisely that. He is seen surrendering and then dives into the unknown. Afterwards, he sees a vision of a muse, who guides him to his desired destination. When delving into the significance of this page (and the entire story at large), Larry offers a question that prompts readers to ponder for a moment over what might be holding them back from seeking his/her own journey: "Have you ever seen a more poignant expression of that pivotal moment before taking the leap? With arms raised, you have surrendered to the unknown". With that said, the third page not only serves as a rising action, but it also invites the readers to assess a time when he or she was confronted with such a moment. And if they haven't already done so, it encourages them to seek it. As Artchilles raises his hands to the sky before taking the plunge, the text in the yellow boxes is no longer written from the third person perspective. It transitions to Artchilles' point-of-view as if he's finally taking control once again. The next page depicts how Artchilles fares trying to balance out his work at the factory and listening to the muse, which eventually results into a sudden halt. It is then revealed in a typed text in yellow boxes that he conceived this series of drawings thirty years ago while he was still working in the factory, which eventually became a homeless center. With the old drawing board destroyed, Artchilles then resorted to using invoice paper to illustrate on. Below the drawing of the building, we see a real-life sample of the invoice paper.
The fifth page depicts Artchilles gradually freeing himself from the grip of the factory work. Although its a very small start, it serves as a spark to grow and flourish. All he has at this point is a brush and coffee. From there he lets his inner individual out as much as he can, but realizes he needs more to continue that journey of growth. "Duality continued to manifest. The path was filled with ups and downs. I needed more than a brush..." This gets us to think that while we are maintaining the endless cycle of monotony without taking the time to seek out our individual journey, eventually the desire to seek it starts to break through in some form or another. We may not be aware of it at first, but when we become too accustom to a routine, somewhere in the corners of our minds we are called to seek beyond that repetitive nature and consult every means possible to fulfill our individual journey and find who we truly are to reach our true potential.
Taking a moment to step back, the story of Artchilles is indeed the story of Larry's own journey. It's told in ways that simple words could not express. Through its imagery, the way mixed media is utilized and how text accompanies and plays into the narrative in unison showcase the journey. It's true that it's highly difficult to make art a full-time career and it's important to obtain a good paying job, but at the same time, being so caught up in an endless cycle where you function like a factory machine without any time for self-reflection whatsoever is detrimental. It will eventually lead to that craving for self-reflection. The desire to seek the individual journey, whether we are 100% aware of if or not will gradually make its way to our conscious mind and when the timing is right, we will seek our own journey of self-discovery tenfold. Taking such a concept into account, even as you go about your everyday life, I highly encourage you to take the time to reflect on your own journey. When you have some time free of monotony (and distraction), think of something that is inspiring to you or something you've written or pieces you've made that can be put together to tell a story. Experiment with those ideas and see what kind of story unfolds. That there is the road to discovering your journey as an individual.
Once again, huge thanks to Larry for his time and sharing his work with me. To learn more about Artchilles and Larry's other works, check out his website and his Instagram.
To learn more about Cool and Eclectic, visit their Facebook page.
Toys 'R' Us May Be a Thing of the Past, but the Toy Industry and Play Will Always Be Relevant, Especially for the Creative Minds of TomorrowRead Now
After 70 years of being known as the ultimate go to toy store for decades, Toys 'R' Us has finally closed its doors permanently in the United States. Years of fierce competition from Wal*Mart, Target and (not surprisingly), Amazon, leading up to a Chapter 11 bankruptcy in September of 2017 and then Chapter 7 bankruptcy in March early this year, the company hit too many hard times to stay afloat. As of June 29th, all Toys 'R' Us locations are completely vacant, leaving a behind a few traces of what once was.
Aside from the failed business plans that lead to the chain's demise, some people often fault smartphones, iPads and other such gadgets for the downfall. When asking your friends what was the main reason Toys 'R' Us liquidated, the common assumption is that kids don't play with toys anymore. All they want for Christmas and for their birthdays these days are just technological devices. While there is some truth to that assumption, it's not entirely true! Childhood is indeed, very different in the 2010's than it was in decades prior and with the rise of smartphones dominating the market, it's no surprise today's kids are so tech savvy. However, this was not precisely the reason Toy 'R' Us went the route it did. In his video, Welcome to Rotting Acres Mall!| Episode 12: Talking about Toys R Us & Catastrophe! (mild profanity warning), Retail Archaeology briefly discusses what really sank Toys 'R' Us, debunking the 'kids don't play with toys' assumption. Between 24:21 to 26:09, he highlights that the company "was bought with a leverage buyout" where "somebody takes out a huge loan to buy Toys 'R' Us and then uses Toys 'R' Us, the company, as the collateral for the loan". Because of the $5 billion debt, Toys 'R' Us could't afford to payback and recover. Retail Archaeology also pin points that had Toys 'R' Us been in better shape when the minor drop in sales happened, "they would have survived that dip". For more information about Toys 'R' Us' financial issues, I highly recommend checking out Jake Williams' (Bright Sun Films), Abandoned - Toys R Us.
With the 'kids don't play with toys anymore' myth debunked by Toys 'R' Us' financial history, it's safe to say that there is still a market for toys, especially with the K B Toys revival taking place this Christmas and holiday season and that Party City is planning to open their own toy store, both of which will be pop up stores. Even so, small and/or independent toy stores are still thriving. But even if it's true that there is a growing trend in smartphone and iPad use among children, that also doesn't mean play is not important anymore. If anything, play has always been and always will be a major part of children's growth.
On Fisher-Price's official website, Child Development and Play Specialist, Kathleen Alfano, Ph.D. lists 10 tips about the importance of play. Examples of such consists of how children learn about themselves and the world around them, develop social skills, and practice different roles as they play. In terms of how play impacts creativity, Alfano also pinpoints that "[p]lay, simulates and enhances creativity and imagination" as well as that it encourages children's curiosity and attention to flourish. It also "is the integration of language, social, cognitive, imaginative and physical skills". But above all, play "fosters self-esteem, self-direction and values". When children play, they are able to create a story and scenario with a tangible object. As they interact with the toy, they input a personality and characteristic on it. Children act out a scenario based on everyday life and what is interesting to them. In the process, they are able to problem solve because they are encouraged to think critically. This gives them the desire to learn more outside of their comfort level. It's that type of attitude that inspires artists as artists are always expanding their knowledge and creative skills. In fact, children who play become more immersed in the arts. Even so, just as artists have a set of values and self-awareness that they showcase through their works, when children play, they learn that the most important thing to live by are a good strong set of values. It is important for them to develop self-confidence and with that mindset, they start to understand what defines good solid principles.
European scientist, Jean Piaget (1896-1980) once said how play is significant to a child's growth as highlighted by University of Amsterdam graduate, Alexander Burgemeester in his essay, Jean Piaget's Theory of Play. The selected quote by Piaget goes as follows:
"Our real problem is ̶ what is the goal of education? Are we forming children that are only capable of learning what is already known? Or should we try developing creative and innovative minds, capable of discovery from the preschool age on, throughout life."
The four developmental stages of intellectual development named by Piaget were sensory-motor, pre-operational, concrete operations, and formal operations. Throughout the child's early years before adolescence, which is the formal operations stage, the first three are the building blocks, leading up to the stage when the child is a teen, capable of critical thinking. The sensory-motor stage, which is during the infant to toddler years, is when a child is aware of his/her senses. During the years prior and going into the early elementary years (pre-operations), children begin to grasp the concept of symbols. They learn that symbols, words, objects, etc. have a meaning behind them. Due to the limits of their knowledge and imaginations, they start to ask more questions based less in the 'what' and more in the 'why'. In the concrete operations stage, which lasts throughout much of the remainder of elementary school, children build on what they had learned in the previous years, learn how to take items and work with them in a logical manner. Upon reevaluating Piaget's theory, in order for children to develop and exercise their knowledge and imaginations, play needs to be encouraged. As Burgemeester concludes his essay, he indicates that "because assimilation and accommodation take time, the period a child remains in each stage is controlled by their own cognitive development, not that of a teacher or parent". That means that as children age, parents and teachers can benefit from Piaget's theories as an important guideline. Children need to receive the 'most appropriate 'play'...at each stage or sub-stage to help them progress to the next', otherwise they will fall behind in their growth.
Finally, another point that Alfano emphasized on Fisher Price is one that relates to a child's use of a physical object and how it helps their coordination skills. What happens as children play, their "perceptual-motor skills (fine and gross, such as eye-hand coordination and balance)" advances and so does their "strength and coordination". When children work with tangible objects, they are learning how to properly interact with them and strengthen the grip of their hands and their abilities to observe how things function. Thus they learn how to effectively work with items they pick up.
While the mega toy chain may be gone, the toy industry and the importance of play will always be relevant. With modern business models making an attempt to adapt to today's rapidly evolving market in this retail apocalypse era, there's still a demand for the toy industry. Independent local toy stores are still thriving in today's world and major retailers and business people continue to find new ways to reinvent the business model. In addition, even if kids today are immersed in today's technologies, an iPad or smartphone app is not necessarily a good substitute over something tangible. Psychology demonstrates this point time and time again that children do benefit a great deal from play. As children play a made-up game together that involves team work or a child is building a tower with legos, they are letting their capabilities to think critically flourish and restructure and apply their knowledge to everyday life. When they play, they are developing their social skills, learning about the world around them, extending their curiosity and nurturing their imagination. From playing, they benefit from it physically, grow in self-esteem and develop a sense of values. The theories conducted by Jean Piaget also demonstrate how such interactions with tangible objects are advantageous in the long run and therefore, significant to children's growth and well-being. As today's technologies continue to advance, drawing more attention from its users with the abundance of apps, children shouldn't be limited to their screens only. They should be offered more options to expand their horizons and explore possibilities they might not have thought of before. By encouraging play and reinventing the toy industry to suit those values and knowledge, we are encouraging the creative minds of tomorrow's thinkers to flourish and reach full potential. Although the doors have closed for the iconic retailer, one could peer into an empty Toys 'R' Us building and see either of two things: An empty shell that signifies demise of childhood as we know it or a new door will open with endless options and new opportunities to innovate.
With a resurgence of 1980’s and early 1990’s nostalgia, there has been an abundance of art and music that draws inspiration from the decade of excess. From the creative visual and musical artists showcased on New Retro Wave to Indie pop to video games as well as revivals of classic characters and intellectual properties in mainstream popular culture, there’s no doubt that the retro styles of the recent past have their appeal.
Today I will be focusing on one very prominent visual artist of the 1980’s, who’s illustrative works have famously defined the entire decade and has become a major inspiration for some of our contemporary artists. Patrick Nagel (1945-1984) was an America illustrator known for his flat, 2-D art, which were simplistic, yet complex renditions of women. Although his birthplace was in Dayton, Ohio, he lived most of his life in Los Angeles, California. Nagel attended the Chouinard Art Institute after serving in the U.S. Army in Vietnam. He received his bachelor's degree at the California State University, Fullerton in 1969 and began his art career, teaching at the Art Center College of Design while building his value up as a professional illustrator and graphic designer.
In 1971, he worked as a graphic designer for ABC Television and as a freelance artist for other companies and magazines such as IBM, Rolling Stone, MGM and Universal Studios. in 1972. 1976 was the year that would hint at the direction Nagel’s later efforts would take. During that year, he worked on contributions for Playboy magazine, where his work received a wider audience and his signature “Nagel Woman” name.
Aside from Playboy, Patrick Nagel also designed album covers of popular musicians of the time, most notably Duran Daran’s 1982 album, Rio. Other recording artists’ albums included Think It Over (1978) by Cissy Houston, In Touch (1976) by Tommy James, and I’ve Got the Music in Me (1975) by Thelma Houston & Pressure Cooker.
According to the official website of Patrick Nagel regarding his poster art, during the 100 years prior to his time, “poster art has been one of the most humble, influential and pervasive of all the arts.” Unfortunately, it was a dying artform in the United States in the 1970’s as it was losing much of its effectiveness to capture audiences’ attention. Nagel reinvented the art form by displaying something of value to the market that he could offer with his skills:
“[I]n partnership with Mirage Editions and fine art printer Jeff Wasserman, [Nagel] sought to recapture the beauty and power that posters once held in popular culture by returning to a model created at the turn of the century with artists such as Toulouse Lautrec and A.M. Cassandre. They sought to produce the highest quality hand screened art prints that would also serve as collectable advertising art for businesses. Over Nagel’s career, 60 limited edition silk-screened prints were completed and were sold out upon release and Nagel’s iconic women found their way to worldwide recognition.”
Because Nagel showcased rare works that the market could reward, his career proved to be a major success, not only in quality, but also in subject matter. The women depicted in his prints were always known to be “complicated”, creating a rather fascinating ambiguity into her mind. What the Nagel women wants from the viewer is lure their attention towards her. There is a bit of self-importance, yet she’s very reserved. There is also a sense of indifference, yet astuteness and elegance that adds to that ambiguity in her character. There was a reason Nagel retained this vagueness as his official bio adds:
“Nagel often said that he didn’t really want to know these women too well. He imagined them as creatures of the night who drank and smoked too much. Perhaps, but they remain always in control. In the pin-up tradition of women as object, Nagel’s portrayal of them was a break from the past, reflecting the rapidly changing role of women in America. His style evolved subtly along with the times. His women of the seventies are shown as softer, more vulnerable and innocent than his stronger, more self assured women of the eighties.”
Because of the way Nagel portrayed his subject matter, it made his work and their traits memorable. As the Nagel Women continued to take shape throughout his career, he kept increasing their worth in the the art world and market. Even in the fashion and music scene, his works became iconic.
In the years after Patrick Nagel’s death in 1984, his works remain highly regarded worldwide. Zach Kelly’s piece on New Retro Wave covers Nagel’s impact on today’s artists as well as his contemporaries. Examples of such include Comedy Central’s short-lived 2015 adult animated series, Moonbeam City, created by Scott Gairdner (Parental Advisory Warning for language and adult humor). Kelly highlights that “Gairdner encapsulates many facets of the [retro] movement, through a nostalgic Miami-Vice theme, however the distinctive character illustrations and some of the execution of colour is a direct throw to the art of Nagel”. He then describes the album covers of the artists whom are often featured on NRW. ALEX’s 2017 EP, entitled Youth features art by Jacqueline Ruther, Mizucat, which adopts a similar approach to how Nagel portrayed women, while incorporating color and more detail to the woman in the image. The woman featured on Trevor Something’s 2014 release, Trevor Something Does Not Exist, displays a similar art style, by Ariel Zucker (Parental Advisory Warning for gruesome imagery), with the figure’s own elegance and ambiguity blended with more detail. Synthwave musician, SelloRek/LA Dreams pays homage to Nagel with a track, titled Nagel Girl, which Kelly praises how it “matches Nagel’s art well.”
As for Nagel’s contemporaries whom Kelly mentions, such as Carlos Sanchez, Dennis Mukai and Luis Preciado, they each have created works of art, depicting the Nagel-esque woman, while “[adding] their own flavour to the artsphere”. Kelly includes one piece from each artist to illustrate the similarities and contrasts to Nagel’s work. Thrill Me by Carlos Sanchez shows a woman smoking, expressing a similar aloofness to that of the Nagel Women. In contrast to Nagel’s works, however, Sanchez illustrated more detail on the woman’s face and features much like that of the styles of Ruther and Zucker. Dennis Mukai’s Special Friend compares to Nagel’s style by adopting a slightly different, yet similar minimalistic technique in the design, while retaining that sense of elegance seen in Nagel’s posters. Genevieve by Luis Preciado is similar in composition, concept and style. It is distinguishable in its spotty backdrop, making the piece a bit more playful than Nagel’s design.
Without a doubt, Patrick Nagel's short lived career has left major impact for the culture of his time as well as today's creative artists. By reinventing the art of the poster and expressing a unique perspective for his subject matters, Nagel not only created memorable works of art that art lovers would remember him by, but he displayed a tremendous amount of value through his skills that both the market and the art world could reward. When looking back on the traits that made Nagel's art distinctive, it's not just the sense of nostalgia one feels from viewing his work, but the vision and craftsmanship behind them that extends one's appreciation for them.
Disney has been a staple in animated films for eighty years since its release of Snow White and the Seven Dwarfs in 1937 and continues to enlighten children and adults with their clever storytelling, memorable characters and of course, timeless tales through the art of animation. Walt Disney, the man himself behind the famous company name once reminded us “that it was all started by a mouse”, which made its debut in 1928 in the short film Steamboat Willie. From the early days of Mickey Mouse in short films to full-length animated features like Snow White, Fantasia (1940), Bambi (1942), Cinderella (1950) and Lady and the Tramp (1955), Walt Disney and his creative team continuously pushed the boundaries of the art form, capturing realism and life for their characters and the world they inhabit by using techniques such as the multi-plane camera, cel animation and (when it would be effective), rotoscoping. Until his death in 1966, Walt Disney had spent his career, adding to his creative and innovative repertoire. With live action films, theme parks and animatronics also a part of his company’s innovative collection, no one can doubt if Walt Disney was alive today he would be welcoming of 3D (CGI) animation as well and thus, be ready and willing to explore is creative potential. In fact upon the debut of Pixar’s first full-length CGI animated feature, Toy Story in 1995, which the Disney company distributed, Walt’s nephew, Roy E. Disney said so himself that his uncle would loved the film.
Given the Walt Disney Animation Studios’ success in the 1990’s during the Renaissance era to its decline in the early 2000’s and downsizing throughout the entire decade to its resurgence in the 2010’s, one might be wondering, will Disney ever create a new film using traditional animation? Perhaps the best way to answer that is to evaluate what happened in the 2000’s and what the company is experimenting with nowadays.
Surely it would seem that with the success of Pixar, today's popular releases like Frozen (2013) and Big Hero 6 (2014) and the decline of Disney in the 2000’s, it does seem that hand drawn animation would be a thing of the past. As Pixar released hit after hit with Toy Story 2 (1999), Monsters, Inc. (2001), Finding Nemo (2003) and The Incredibles (2004), Disney would have a few successes like Lilo and Stitch (2002), but suffered major failures with Atlantis: The Lost Empire (2001), Treasure Planet (2002) and Home on the Range (2004). The following year, Disney released its first CGI animated feature, Chicken Little, which was a financial success, but was completely out of favor with critics for its notorious lackluster story and dislikable characters. Throughout the remainder of the decade, Disney released three more animated features, two of which were CGI, Meet the Robinsons (2007) and Bolt (2008) and a 2D feature, The Princess and the Frog (2009). Meet the Robinsons was not as successful as Bolt and while The Princess and the Frog was a box office success, it failed to exceed expectations for two reasons. One of which was as current president of Disney and Pixar, Ed Catmull indicated in his and the late Amy Wallace’s book, Creativity Inc, Overcoming the Unseen Forces That Stand in the Way of True Inspiration that the “marketing folks warned us: Having the word princess in the title would lead moviegoers to think that the film was for girls only” (Catmull, Wallace p. 268) and that there was also the issue that it was released five days prior to James Cameron’s Avatar. Another set back, which was highlighted by Pixar and Disney’s current chief creative officer, John Lasseter in an article by Variety, he stated that “[he] was determined to bring back [hand-drawn animation] because [he] felt it was such a heritage of the Disney studio” and that after delving into details via research, the results revealed that the film “was viewed as old-fashioned by the audience”.
In an article by Mitchell Stein on The Mickey Mindset Blog, entitled Will Disney Ever Return to Making Hand-Drawn Animated Films?, there is mention of how The Princess and the Frog and the 2011 Winnie the Pooh both failed to compete with other film releases and financially fell short of expectations. Stein goes on to further explain that after Moana, although Disney has no 2D animated films announced in the years to come, he reminds readers that “traditional 2D animation still continues to live on in different forms at the Walt Disney Animation Studios in unexpected forms. In recent years, Disney has found ways to blend unique styles of animation between CG and hand drawn 2D to create stunning results”. He discusses the Academy Award winning 2012 short, Paperman, which made its debut alongside Disney’s 52nd feature animated film, Wreck-It Ralph and pinpoints that Disney “blended the use of traditional animated over CG-rendered work. The result is both stunning and immersive, showcasing Disney’s ability to push innovation and creativity to unexplored frontiers”. (To learn more about the making of Paperman, the film’s director, John Kahrs discusses his process in an article by fxguide, which you can find here).
In addition to Paperman, other short films such as Feast (2014) and Inner Workings (2016) were also created with this technique. Even so, Moana, which is mostly CGI animated, there are also a few aspects that are animated in 2D, such as the opening and the tattoo character, Mini Maui. According to an article entitled Disney’s Oscar-Winning Software Brought ‘Moana’ to Life, But Could a Full Length Movie Be Coming Soon? by Sam Cooper on Movie Pilot, Disney is creating these new animated techniques via Meander, a program that juxtaposes 3D and 2D and delves a bit into how it works. To put it simply, Cooper highlights in bold letters that the program “takes the first layer—a moving, multidimensional image—and allows it to drag the lines of the second layer along with it, filling in the gaps of the hand drawings and letting the hard lines take the spotlight”.
With Disney continuing to innovate as they have always done over the past 80 years, possibilities are as endless today as they have always been in the past. The company has no doubt, had its ups and downs as, especially after Walt Disney's death. It can be a major challenge for a company to adopt a similar mindset as its founder, an example seen in recent years with Apple, Inc following Steve Job’s death, but once a company understands what made their past projects great, they are able to display that same craftsmanship and spirit as the company’s pioneer. The studio was able to bounce back in the 1990’s with the Renaissance era by adopting new innovative approaches to storytelling while retaining the spirit of the classics that made Disney famous and are doing it again in the 2010’s. Innovation in both animation and narrative are the reason the company continues flourish and therefore, 2D animation is not a thing of the past. It’s simply evolving with the times. Disney appears to be exploring new techniques so that the art form would continue to be fresh and new rather than look like they are trying to recreate the past. This is actually no different than the early days of Pixar, experimenting with CGI short films before Toy Story’s debut or how Walt Disney himself experimented with new techniques by starting small and then building up. What is important to note is that Disney, like every other company built around innovation is constantly evolving and failure occurs in the process, not because of the art style, but because of the timing of their releases, how they go about marketing and of course, lack of innovation in the animation techniques. That being said, Disney can make a successful new 2D animated feature through innovation in their animation techniques and retaining their classic spirit without trying to blatantly repeat what they had already done before.
Finding new good music on the mainstream radio has become increasingly rare these days. Flip through stations playing the latest Top 40 hits and you’ll mostly hear songs about clubs and sex with repetitive patterns and bland rhythms. On occasion, you’ll come across a good recent song containing meaningful and relatable lyrics or a feel-good song with a memorable melody and variation in its rhythm, but in today’s mainstream, listeners are usually bombarded with some rather lifeless beats and dull melodies. The question is not only how do you find good music these days, but also where do you find good music these days?
Before exploring the answer to this question, remember when in previous decades, whenever something was new to the mainstream, it was met with critics who also romanticized older music? When people discuss music they like from the 1980’s or 1990’s for instance, most of their selection is based on some of the most memorable hits, not the ones they would have deemed the worst. As with any opinion, listeners’ definition of what is ‘good’ or ‘bad’ music always has been and always will be subjective. The way to distinguish a ‘good’ song from a ‘bad’ song is not based on the decade it came out or what instruments were used (i.e. synthesizers or acoustics). Sometimes our mentality favors the ‘what I like’ bias thought process rather than examining what goes into the making of a good song. With that mindset in place, listeners can make informed choices and discussions about what’s working in modern music and what isn’t.
So, what does today’s music offer that previous decades didn’t? The Internet, of course! It’s an obvious answer, but there’s no denying it. Because of websites like SoundCloud, Bandcamp and perhaps the most obvious, YouTube, independent musicians can start a fan following online. If you search artist after artist, you will find there is an abundance of music you might not have thought was being made today. In her article, 10 Reasons Today’s Music Industry Doesn’t Suck on GuitarWorld.com, Laura B Whitmore delves into the many ways today’s musicians collaborate, communicate and distribute their music. Options that didn’t exist twenty or thirty years ago are now at artists’ and their listeners’ fingertips. One of the examples Whitmore pinpoints is that “[t]here are more options than ever to get your music heard”, in which she writes “[w]ith loads of media outlets, blogs, distribution sites and more, there’s no doubt you can take matters in your own hands when it comes to music distribution”. The wealth of outlets enables today’s musicians to showcase their talents where listeners have easy access to. They are not limited to just the radio.
A little personal story, this was how I discovered most of my new favorite music and artists. I simply Googled 2016 love ballads in hopes of finding modern music that gave me the same positive, pleasant feeling as popular hits of the 80’s and 90’s. Sure enough, I found plenty, if not more than I expected. I came across a New York based pop duo known as Paperwhite and their song entitled Pieces, which I found on a YouTube channel called NewViceCity by Fernando Martinez. The channel features a wide variety of songs and artists from recent years whose music is influenced by the classics with a modern spin. There’s Haim, Pure Bathing Culture, St. Lucia, Susanne Sunfør, Fire Tiger, Allie X, Great Good OK Fine, Savior Adore, Gavin Turek and Phoenix to name a few who might peak the curious music fan’s interest. Even Carly Rae Jespen’s latest tunes are featured on the channel, (which are a huge contrast from her Call Me Maybe days).
Another YouTube channel I also listen frequently is New Retro Wave, where I’ve discovered some interesting 1980’s and early 90’s influenced musicians such as Wolf and Raven, Dance with the Dead, N I N A, KRISTINE, Dana Jean Phoenix, Le Brock, FM 84, Timecop 1983, Michael Oakley, The Midnight and Robert Parker. While I consider New Retro Wave a favorite of mine, to step out of my own bias, I'll address the channel’s shortcomings. There are some songs (mostly the non-vocal tracks), that sound rather similar. Because the channel is catered to fans of retro music and 80’s/early-90’s pop culture, this is where personal taste can easily overshadow other perceptions of what constitutes as ‘good’ music. What listeners critique about today’s mainstream music, regarding it to sounding all the same can also be said about some of the music showcased on NRW. That’s not to say NRW is not recommendable, but it has its intended audience who would be looking for the familiar synthwave tropes, which brings us to another pointer in finding new music: niches.
When it comes to defining good music, the target audience a radio station or a YouTube channel is dedicated to can also play a major role in the listener’s selections. Whether the music is ‘indie’ or ‘mainstream’, the listener can also tune into any station playing their favorite genre. Take Sirius XM for instance. When scrolling for a specific station and you’re looking for adult contemporary ballads or light pop, stations like The Blend or Velvet might appeal to you. Some good examples of today’s best artists listeners can find on Sirius XM include Tori Kelly, Gavin James, Josh Kaufman, The Revivalists, Mary Lambert, Matt McAndrew, Colbie Caillat, Rachel Platten, Michael Buble, Jordan Sparks, Josh Groban, Leona Lewis, Adele, Susan Boyle, Alicia Keys, Sam Smith, Kelly Clarkson, Idina Menzel, John Legend and (I kid you not) One Direction.
To further illustrate this point about the relevance of niches, author and Wall Street Journal writer, Jim Fusilli examines older listeners’ bias towards the music they listen to and why they refuse to engage with modern music in his book, Catching Up: Connecting with Great 21st Century Music. According to Fusilli, the target audience for music has always been geared towards youth and that the music business always knows how to effectively market towards them. Music catered to older listeners don’t receive the same amount of airplay or promotion. Because of this approach to marketing music, older listeners tend to feel alienated from most of the current music scene and therefore, often don’t know where to begin their search. He also has a website called www.renewmusic.net, which as its tagline, “Music for Grownups” implies, is devoted to helping adults find new music that appeals to them.
Finding good music today can be a bit of a challenge if you only restrict your selections to the radio only, but if you expand your searches online and on various stations, outlets, streaming services and YouTube channels you might be surprised by what you find. Because music is at its most expansive in its reach than it’s ever been, discovering your new favorite songs and artists can be sought out with a simple click of the mouse.
Imagine a store where shoppers could scour scores of timeless memorabilia with no expectation of what they might discover. It could be a vinyl record for a popular band from the 1950’s or a collection of photos from a bygone era. It could even be a small set of trading cards or figurines from the early days of famous cartoons from the 20th century. At first glance, it sounds like the type of store that the younger generation might not easily latch onto. But if you happen to visit Virginia Beach and swing by the Pembroke Mall, you will be in for a big surprise when you come by a store filled in every nook and cranny with neon lights, statues and images of iconic film and animation characters like the Blues Brothers and Betty Boop and portraits of Marylin Monroe and Elvis Presley.
Cool and Eclectic, fittingly known for its slogan, ‘Where it is usual to find the unusual’, is an independently owned gift shop, consisting of a wide variety of vintage and contemporary items. From vinyl, to comics, to décor, to toys, to even clocks, their inventory will not only invite the customer to shop for hours, but also encourage both the older and younger generation to bond over icons from both past and present.
This year was my 9th annual family vacation to VA Beach and as always when I’m there, I never miss an opportunity to stop by Cool and Eclectic. It has always been one of my favorite stores from the area and knew it would be a great topic for the blog. As usual, the store owner, Larry never fails to deliver on the store’s promise. Although Larry was away when I visited, I had the pleasure of speaking to two other employees, Mark and Diana, whom I briefly interviewed for this post:
Q: In terms of the lease, how much longer do you suppose Cool and Eclectic will remain at the mall?
Mark: Well, it’s kind of up in the air. We don’t know exactly as far as expenses and things like that. We don’t really know if we’re doing well or not. I know we are hindered by the construction at the [main] entrance [to the mall]. I think it has affected our sales.
Diana: Yeah, the construction has affected it. We used to get a lot of traffic through there.
Mark: The construction has taken longer than they said. It’s been months beyond what it was supposed to be. Sunday was not a good day for me in the morning, but later on, we did really well.
Diana: Usually we used to get maybe two or three slow days, but the rest of the days, it was busy. And usually weekends, Fridays, Saturdays and Sundays used to be busier.
Mark: I think our loyal customers have helped us exceedingly to stay afoot. They appreciate our variety. They appreciate us being there for them to find them things that they like and the regular customers come regularly because they know we’re going to help them out. We appreciate our VIPs a lot. We give them extra discounts cause they’re regulars. We value them and that’s why they stay with us.
Q: When it comes to your customers, do they rank from just about any generation? They could be millennials or baby boomers.
Mark: Absolutely across the border of all generations. We have every generation come in and like our variety. Because we have a good enough variety, they all appreciate their own time period. We have enough to cover everybody’s time period and we find that they come back because we match their time period very well, whether it’s a millennial or it’s, like me, a baby boomer. We appreciate a lot of stuff and even beyond the baby boomer.
Diana: We get younger generations and they appreciate very old memorabilia, which is very surprising.
Mark: It is. It’s refreshing to see younger people like the older stuff, too. They’re getting a bit of history when they come in.
Q: How did the store concept come to be?
Mark: If Larry was present, he could tell you more about that, but…he’s being doing this store for a very long time, far beyond me and before our friendship has evolved. He’s been doing this for quite some time…at least twenty years.
Diana: Yeah, I don’t know how long, but he’s been doing it a long, long time.
Mark: Cool and Eclectic has probably been around at least then. Maybe twenty years. I might be off a little bit, but it’s a long history. We’ve moved to different locations.
Q: At first there were two stores, one at the Lynnhaven Mall and this one here at Pembroke. Eventually the Lynnhaven location was moved to this mall. Thus, Pembroke operated two Cool and Eclectics under one roof and now it’s just this one.
Mark: Yes. Not out of our desire. It was out of our control (laughs). Basically, they got bumped out of both [malls]. The Lynnhaven [location] was bumped out of there first and we moved here into [Pembroke] mall. And we got bumped out again and not having another location to go to, we merged our two Cool and Eclectic stores together. So, we are now one and hopefully we have the best benefits of both, the old and the new. The old one, which is this one, tended the older stuff, but now that we’re infused with the other one, we have a lot more new stuff. And I think that’s a good, positive thing for this company.
Q: Sounds like it’s a huge blessing especially when you have people from all walks of life really appreciate what they see here. When people come to Cool and Eclectic with their kids, does it become more of a chance to bond over the classics and the contemporary?
Mark: Oh, yes! The children come in and they buy the things that they have seen with their parents. The parents buy them for them and they’re all happy and excited when they’re going out. And they’re good family heirlooms that these kids, if they keep them, they can pass them onto their kids and their grandkids.
Q: How do you feel about the future of the store?
Mark: I’m very hopeful it will continue because everybody can appreciate a little bit of history, which this [store] has. It has the history. It has the vintage items. The LPs, I hear, are experiencing a resurgence because the sound quality is unmatched. The digital does not hold a candle to the LPs and apparently, they can do it with the LPs. So, it’s going to be something amazing if we see a resurgence of LPs coming back again. I’m hoping to see them back into the movie soundtracks again, too…and hopefully [this trend will] infuse our company to put some new stuff and keep it fresh and alive and going.
Once again, a huge thanks to Mark and Diana for their time. To learn more about Cool and Eclectic, check out their Facebook page.
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