I saw a guy on the train the other day with a look that you just don't see any more — dark hair, a receding widows peak, arch eyebrows and a goatee. I felt sorry for him, because it's a look whose time has passed. Sixty years ago, he could have been a shady night club owner, a slightly sinister magician, or even an interplanetary despot.
Nowadays, he just looks like a used car salesman.
In my attempts to avoid staring at Mandrake the magician (see above) I glanced out the window of the train and caught sight of one of those Glenn Beck billboards that are all over town. You know, the ones that say "cut the crap" only Glenn's head is covering the "a" in "crap" so that it isn't profane.
For the first time I noticed that there's not enough space between the "r" and "p" in crap to have an whole letter in the bold monospaced font they're using. So unless there's a really weird ligature between "r" and "a" in this font, or the kerning for "a" is just really weird in general, there's no way that the billboard actually says "cut the crap." I guess you could fit an "i" in there, but then it would say "cut the Crip."
What I'm saying is, I think Glenn Beck is a Blood.
The City Theatre is putting on a production of The Vagina Monologues and they've completely plastered the South Side with posters. They're not very good posters, though.
The title is done up in bold sans-serif letters, except for the letter "i" in vagina, which is written in a streak of red lipstick. The problem is, the faded color they've chosen for the lipstick isn't bold enough to register at first glance, so the posters all look like they say "The Vag Na Monologues," which sounds like a play about ancient Atlantis or something. I think I understand the effect the designer was aiming for, but I just don't think it works.
Plus, I'm not sure they used lipstick. I suppose it's traditionally feminine, but it's not really the sort of feminity that I really associate with The Vagina Monologues, though.
So I brainstormed to see if I could come up with way to salvage their type treatment that still emphasized the "i" and drew a connection to femininity, and this was all I could come up with.
It's probably a good thing that I'm not designing posters for the City Theatre.
I would like to thank the anonymous Joseph-Beth employee whose decision to shelve the following two books side-by-side made my filthy-minded day.