Sartorial prescription dictates that black and blue aren’t a color match made in heaven. Yet when conducting everyday business, blue is tediously paired with black. His pairing of such inky colors carried no signs of color fatigue. His dexterity with black and blue was inspiring. A simple, navy Burberry trench deliciously complemented the remainder of ensemble, which was all made of black leather and fabric.
© 2013 words and art by Faris Habayeb
As a glyph, the interrobang is a peculiar typographical creation. However, we often use it without realizing. Sometimes known as the interabang, it is exhibited in written language as an expression of sudden emotion, alongside an inquisitiveness that remains also unanticipated. We see this a ?!, or a !?. The combination of these two punctuation marks is not uncommon, especially in fiction or script writing. But more commonly, as we have come to grow and love our sixth appendage, that is our smartphone, we are inundated with trigger-happy exchanges of simultaneous curiosity and excitement.
Yet as a glyph, the interrobang remains a peculiar, used-less-often, typographical hybrid. Its inception harks back to the 1960s. Martin K. Speckter, head of a New York advertising agency, believed that copy for ads would appear more visible should a single symbol convey the rhetorical questions advertisements posed. Subsequently, the interrobang glyph was born, drawn from Latin for “rhetorical question”, interrogatio. Alas, the interrobang did not witness the durable glyph life of other symbols. Its lifespan did not extend beyond the 1960s, albeit it had a short stint, running in printed articles and advertisements. Today, use of ?!, or!?, even !, in advertising copy has become a thing of the past. This is mostly due to the fact that we have become a culture that’s desensitized to exclamation. Frankly, everything these days seems to allude to strong feelings or loudness.
As a glyph, the interrobang is ungainly. It is awkward, lacking the grace and poise of other ligatures. It often looks like a misprint, or a glitch in the system. Nonetheless, the interrobang is noteworthy. While it’s durability is questionable, it is a praiseworthy experiment that remains a testament to typographic endeavor and design initiative.
© 2013 interrobang by Faris Habayeb employing Plantin MT Std Light
1. Fashion! – Lady Gaga
2. Happy – Pharell Williams
3. Love In Stereo – Sky Ferreira
4. Do You – Miguel
5. The Haste – Casa Del Mitro
6. All The Days – Haerts
7. You’re Not Good Enough – Blood Orange
8. Les Espaces & Le Sentiments – Vanessa Paradis
9. Awakening – Empire of The Sun
10. Perfume – Britney Spears
© 2013 Art by Faris Habayeb
Trousers: Topman black coated stretch slim jeans, T-shirt: Uniqlo Heattech Fleece, Boots: Hudson
© 2013 Faris Habayeb
In order for Artpop to do well Lady Gaga need not to worry about the world’s first flying dress. The nefarious 21st century has forced musicians to be more than music makers, but social media authorities too, influencing the masses with their reflections on politics (think gay rights), culture, and the application of creativity, otherwise known as art. While this formula may have worked to Gaga’s advantage prior to the release of Born This Way, it seems that Artpop is yet to successfully match its predecessor’s accomplishment. Perhaps because 2013 isn’t so much like 2011, or perhaps there are some new things Gaga needs to sort out in her ammunition dump.
“Artpop” the album’s namesake, is actually a great track. The song waxes lyrical over the metaphysical, alongside gyrating future sounds perfectly fit for a post Born This Way follow up. ”Dope” is a reminder of Gaga’s ability to write and hold a percolating tune. Employing only piano, it’s an ode to the humbling and vulnerability-inducing consequences of love. It’s an urgent number, filled with a beautiful sense of desperation and hair-raising lyrics. ”Fashion” is the track you wanted to hate but can’t deny its marvel. While the lyrics may be a schlocky attempt to pander to the fashion industry, it’s a wonderful song with a great disco-tinged chorus. Taking cues from Bowie’s “Let’s Dance”, it’s something Gaga does so well—that is not to necessarily imitate, but emulate. Other triumphs are “Applause”, the quick-witted summer hit that celebrates an artist’s requisite for a standing ovation, and “Do What U Want”, which toggles between 80′s-inpired pop and R&B seamlessly, making an R. Kelly collaboration appear like perfect sense.
The rest of the album isn’t likely to cause horror, but concurrently is not worthy of comment. Artpop will probably not do as well as Gaga’s previous records. It isn’t that it’s a bad album, on the contrary, it has its fair share of bright moments. Having said that, when the voice behind the music has become expected to fulfill not only a musical requirement, but also serve as cultural rhetorician, Artpop starts to suffer, sounding more garish than Gaga.