Blog

“The hardest part was knowing when to stop,” said Mr Murdock. “Believe me, I know I missed some.” In all, he found 222 fonts referencing places in the United States and its territories.

Map found here at The Statesider, reproduced with kind permission. For more dispatches from the weird interzone between geography and typography, check out Strange Maps #318: The semicolonial state of San Serriffe.What started as a quirky challenge turned into an obsession and a compulsion that would have the accidental font-mapper wake up in the middle of the night and think: Did I check to see if there’s a Boise font? (He did; there isn’t.)

Oh, and Route 66. Nearly all of the cities mentioned in the eponymous song have a typeface named after them. “We need Gallup and Barstow to complete the set.”

“Santa Barbara Streets, on the other hand, is quite nice because it captures the font that’s actually used on street signs in Santa Barbara. I prefer the typefaces that have a story and a connection to a place, but it’s a fine line between being artfully historic and being cartoonishly retro.”There’s a lot more to font psychology, but let’s veer toward another, less explored Venn diagram instead: the overlap between typography and geography. That’s where Andy Murdock spent much of his pandemic.Noticing a few blank spots on the map, Mr. Murdock helpfully suggests some areas that could do with a few more fonts, including the Carolinas, the Dakotas, Maine, Missouri, West Virginia, New Jersey, and Rhode Island.

In his opinion, the worst fonts reflect a stereotype about a place, rather than the place itself: “Saipan and Hanalei are both made to look like crude bamboo. Those are particularly awful. Pecos feels like it belongs on a bad Tex-Mex restaurant’s menu.”And finally, America’s oft-overlooked overseas territories could be a rich seam for type developers: “Some of these names are perfect for a great typeface — Viejo San Juan, St. Croix, Pago Pago, Ypao Beach, Tinian.”

Mr. Murdock is the co-founder of The Statesider, a newsletter about (among other things) travel and landscape in the United States. He remembers his first encounter with a home computer back in 1984 and learning from that Macintosh both the word “font” and the name for the one it used: Chicago.As an unexpected expert in the geographic distribution of location-based fonts, can Mr. Murdock offer any opinion on the qualitative relation between place and typeface?

Typography equals psychology. For example, you don’t want to get a message from your doctor, or anybody else in authority, that’s set in comic sans — basically, the typeface that wears clown makeup.It’s the sort of topic that in other times might never have gone anywhere, but this was the start of the pandemic. “I was stuck for days on end, so I actually started looking into it. At some point, I realized that I could probably find at least one per state.” Cue the idea for a map of the “United Fonts of America.”Glancing over the map, some regions seem more prone to “stereotypefacing” than others: “Tucson, Tombstone, El Paso — you know you’re in the Southwest. Art Deco fonts are mostly in the east or around the Great Lakes. In general, you find more sans serif fonts in the western U.S., and more serif fonts in the east, but that’s not a hard-and-fast rule.”You can see where this is going. Mr Murdock retained a healthy interest in fonts named after places. Over the years, he noted Monaco, London, San Francisco, and Cairo, among many others. “And then, the question of how many fonts are named for U.S. places came up in an editorial meeting at The Statesider,” Mr Murdock says.

For the most part, these fonts are distributed as the population is: heavy on the coasts and near the Great Lakes, but thin in most parts in between. California (23 fonts) takes the cake, followed by Texas (15), and New York (9).

Шрифт San Diego. Гарнитура содержит 1 файл и поддерживает 37 языков. Можно использовать в не коммерческой деятельности. Разработка San Diego велась Typeline Studio.

1. Font ini hanya dapat digunakan untuk keperluan “Personal Use”, atau untuk keperluan yang sifatnya tidak “komersil”, alias tidak menghasilkan profit atau keuntungan dari hasil memanfaatkan/menggunakan font saya. Baik itu untuk individu, Agensi Desain Grafis, Percetakan, atau Perusahaan/Korporasi.

Image Generator enables you to customize the background and font colors to make your texts visually appealing. You can choose your preferred colors or utilize color palettes to achieve specific color harmonies. This allows you to adjust your texts to reflect the identity of your projects or brand.2. DILARANG KERAS menggunakan atau memanfaatkan font ini untuk kepeluan Komersial, baik itu untuk Iklan, Promosi, TV, Film, Video, Motion Graphics, Youtube, atau untuk Kemasan Produk ( baik Fisik ataupun Digital) atau Media apapun dengan tujuan menghasilkan profit/keuntungan. Image Generator provides outputs in SVG and PNG formats based on user preferences. The SVG format allows you to save your texts as vector-based graphics, ensuring no loss of quality when resizing. The PNG format provides high-quality raster images. This allows you to obtain ideal outputs for using your designs on websites, social media platforms, or printed materials. San Diego Font is the perfect font for all your fun designs. The font subfamily is Medium. Click the download button to download the compressed file in .ZIP format. Don’t worry, our files are safe from malware or viruses.

The San Diego Font font provided is for typography style knowledge only. The download is completely free for personal use and the font cannot be used for commercial purposes.To evaluate the typeface, in this section there is a preview of which we select 31 special characters or with accents, 26 letters of the alphabet in upper and lower case and the numbering from 0 to 10. The letters will be the same after installed in your operating system, either for viewing or for printing. You can install the San Diego Font font on any operating system. For safety and to ensure that there is no Malware or malicious software, downloading the source file é compressed in ZIP format. Fonts are in OTF (OpenType) or TTF (TrueType) format. Be aware that the San Diego Font font is free for personal knowledge and use only. However, you need to contact the author for commercial use or for any support.Furthermore, about all the content of this source, we also provide some additional information from the author and/or company. Therefore, if you need to clarify doubts about the license for personal or commercial use, please contact the author.

Also, the San Diego Font font is perfect for branding projects, housewares designs, product packaging, or simply as a stylish text overlay on any background image.

To learn more about the font and typography of the San Diego Font font, simply enter the text in the field below and click GENERATE. The online preview allows you to know the fonts without the need to download and install the font. Also, choose the font color and size. You can also save the generated image by clicking on it after viewing. Finally, understand if the font meets your expectations and then download and install it on your computer.San Diego Handwritten Font is a type of handlettering font made with several advantages that can add different nuances to your work. Smooth Lines, Stunning alternates and Ligature. This font is Fabulous choice for a wide range of projects including Quotes, Book Covers, Logos, Branding, etc.

This font is perfect for any modern project including branding design, logos, invitations, wedding decor, website design, instagram, business cards, and more!Introducing Design School – our jam packed platform with its own mini search engine! Design School was made to help you learn all there is to know about fonts, graphics, templates, designs, file types, different software programs, Frequently Asked Questions and much much more.

The alternate letters are embedded into the serif font file. You can access these easily in most programs. Please check to make sure you know how to access the alternates in your program of choice.**If you have previously purchased my original font, The California Serif Duo – which is heavily textured, I have added this solid version to the file. You can download the new zip folder from your purchases to access this font**If that wasn\u2019t enough we have a suite of Design Tools such as DesignScape, PixaScape and our File Converter. Become a Gold Member today to access all 3.Our Plus Membership gives you access to over %counter% exclusive products, with credits to spend each month. You also get up to 15% off curated bundles and non-discounted marketplace products.

{%=o[i].description %} {% } %} {% if (o[i].guid) { %} {%=ouEmergencyAlerts[o[i].severity + “Archive”].readMoreText%} {% } %} {% if (o[i].description) { %}

Tiempos is used as a headline font while Proxima Nova should be utilized for a paragraph or body font. They each deliver a different tone but are more powerful when paired together, providing a nice contrast.In cases where there isn’t access to SDSU official fonts, use alternative fonts that evoke similar characteristics as Tiempos and Proxima Nova that are easily found on Google Suite and Microsoft.Communicating with consistent fonts is important to reinforce our brand personality and tone. All fonts are suitable for use in print and digital applications.The Tiempos Collection is a modern serif family for editorial typography. Tiempos Text gently updates the functionality of classic serif fonts for contemporary use. It’s robust and clear, perfect for economic and legible typesetting. Tiempos Headline is designed for larger headline sizes, striking a balance between practicality and elegance.

Proxima Nova bridges the gap between typefaces like Futura and Akzidenz Grotesk. The result is a hybrid that combines modern proportions with a geometric appearance.

In 1938 Goudy designed California Oldstyle & Italic, perhaps his most distinguished typeface, for private use of the University of California Press. In 1958 Lanston reissued it generally as Californian. Recently the roman was digitized for California by Carol Twombly; David Berlow redrew it when preparing italic & expert sets. Bold was drawn by Jane Patterson for the Font Bureau, who used it privately for four years before release.Goudy, Times New Roman and Arial are the typefaces for California Court Websites and digital applications that have not yet undergone a redesign. While they support the current California Courts brand, as we roll out a new design system, these fonts will be replaced with the new ones listed above. These online typefaces are still classic, clear, with proven readability and are also highly legible, flexible and have a wide range of typestyles interchangeable for headlines, subheads and body text. If your site has not yet undergone a redesign, please continue to use these fonts.The primary graphical text style is Goudy. The top line of the California Courts logo uses Goudy Extra Bold, while the bottom portion (the individual court name) uses Goudy Old Style. Samples of each font are shown below.The Judicial Council Web Digital Services team is in the process of updating the branch visual design style guide. Moving forward, new and redesigned web properties will use the following typography; additional changes may occur as our design system continues to develop.John Legend, who is listed as one of the film’s executive producers, clearly understands the tension in the film’s script. But Keith is not being entirely fair when he says that Seb wants to be a revolutionary. On the contrary, Seb is content to play the older, venerated music, and he never expresses a desire to reach out to young people.

Chazelle has also mined the rich veins of American musical comedy, especially the well-established trope of soon-to-be lovers transcending early stages of hostility through dance and song. We see this in the Fred Astaire and Ginger Rogers film Top Hat (1935), for which Chazelle has expressed admiration. Chazelle has also spoken of his affection for Singin’ in the Rain (1952), another film in which an attractive couple are joined in song and dance before finding romance on the other side of their initial antagonism. In terms of mise-en-scène, La La Land prominently looks back to Hollywood musicals in “Epilogue,” the long production number that closes the film and recalls the stylized, color-drenched scene designs for the extended ballet sequences that conclude An American in Paris (1951) and The Band Wagon (1953).Although I found much of the film exhilarating and moving, I am more than a little uncomfortable with La La Land’s racial politics. Nevertheless, I argue that the film navigates some treacherous waters with intelligence and charm and that it ultimately makes a strong case that jazz does indeed still matter.

A more crucial influence on La La Land is the work of the French director Jacques Demy. In interviews, Chazelle regularly singles out Demy’s The Umbrellas of Cherbourg (1964) as his favorite film. The use of bold colors for costumes, interiors, and even cityscapes in La La Land recalls the look of Demy’s film, as does an emotionally charged conclusion in which the lovers are not reunited. Demy’s The Young Girls of Rochefort (1967) also comes up in Chazelle’s interviews. As in Umbrellas, actors sing in a quickly articulated style with a conversational tone, much like the vocals of French performers Charles Aznavour and Jacques Brel. “Another Day of Sun” features several actors singing in English but imitating the conversational style of the songs in Demy’s films. And like the agile motorists at the beginning of Chazelle’s film, actors seem to spontaneously break into singing and dancing throughout Young Girls. In Umbrellas, of course, no one ever stops bursting into song.Still, La La Land has its racial problematics: for one, Seb essentially declares himself to be the savior of jazz. But I would add that Chazelle wanted Seb to be less sympathetic in earlier drafts of his script, even “something of a jerk.” He was to be more like the Seb of an early scene who scolds his sister for sitting on the fetishized stool he claims once belonged to Hoagy Carmichael. Even in the final version of La La Land, Seb is the kind of jazz purist everyone in the jazz community knows all too well: someone who not only loves the Real Thing, but also feels obliged to despise anything that does not measure up to his own notion of what jazz ought to be. Seb’s distaste for playing in a 1980s cover band at a pool party is not meant to be an endearing characteristic. In his conversation with Gross, Chazelle states that he has renounced his own purism and does not share the musical fanaticism he gave to Gosling’s character. Chazelle even claims now to like “I Ran,” the hit recorded by white rockers A Flock of Seagulls in 1982. In La La Land, Mia requests that the cover band play the tune, supposing–correctly–that it is exactly the kind of thing that Seb would despise.

Whether intentionally or not, La La Land has much in common with a jazz film that fits Rick Altman’s definition of the show musical: Martin Scorsese’s New York, New York (1977). In Chazelle’s film as well as in Scorsese’s film, the leading man is much more devoted to jazz than is the leading lady. In both, the man ends up performing in his own jazz club while the woman ascends to movie stardom. In both films, the lovers break up and then reencounter each other in the last moments of the film. And in neither film do the lovers reconnect; the films do not shy away from the darker side of romance.La La Land is also distinguished by several scenes in which characters actually sing as they are being filmed, unlike the vast majority of performers in musical films who mouth words as they listen to playback. Often these words are supplied by someone other than the actor on screen. Chazelle has said that he likes “roughness,” and he is more than willing to sacrifice some of the surface sheen of the conventional Hollywood film. So, when Mia joins Seb at the piano for a short performance of “City of Stars,” when Mia briefly sings “Someone in the Crowd” in a lady’s room, and when Mia sings her climactic aria, “The Fools Who Dream,” they are singing in real time and, as in the dance sequences, without edits. Although directors can do as many retakes as they wish in these situations, the performers take great risks when they present themselves live and unedited. In some ways, Gosling and Stone are like jazz musicians flying above the music without a net.

To their credit, Chazelle and actors Emma Stone and Ryan Gosling labored to create the seamless dance numbers that distinguish many of Hollywood’s classic musicals. Compare the extended dance takes of Mia (Stone) and Seb (Gosling) with the screen performances of Fred Astaire, who insisted on long, unedited takes when his dances were filmed. Then compare these sequences to the numbers in a film such as Rob Marshall’s Chicago (2002), which are cobbled together from numerous shots, few of which last more than a second or two. When his solo ends, Guy looks up sheepishly, searching for a reaction. Chazelle ends his film just as we see Madeline breaking into a smile. But because of her performance of “Boy in the Park,” we have a good idea of how she feels. Madeline and Guy are a couple again. In a film that can only barely be called a musical, Chazelle has created an organic relationship between music and the inner lives of his characters. Chazelle has taken the folk musical to a different level by combining or, as he says, “smashing” the musical into the kind of emotional realism we associate with completely different film genres. And his goal in these collisions has been to make it all seem natural. This is precisely what Chazelle achieved in his first film, Guy and Madeline on a Park Bench (2009). Perhaps because he was working on an extremely limited budget (the film was his senior thesis as an undergraduate at Harvard), the film was shot in black and white, featured nonactors, relied heavily on improvised dialogue, and regularly used a hand-held camera to shakily zero in on the faces of actors.A catalog of the many films and cinematic traditions that Chazelle has addressed in La La Land should start with his joking reference to Frank Tashlin’s The Girl Can’t Help It (1956). At the very beginning of La La Land, the outer edges of a square space containing the word “Cinemascope” suddenly expand to the traditional wide-screen ratio, recalling the opening scene of Tashlin’s film in which actor Tom Ewell appears to physically push the walls of the image to the outer edges of the screen. Chazelle has claimed another minor bit of inspiration, admitting that “Another Day of Sun,” the production number that follows the Cinemascope gag, was based on the scene in Rouben Mamoulian’s Love Me Tonight (1932) that begins with Maurice Chevalier singing “Isn’t It Romantic” in a simple tailor’s shop. Different groups of people hear the song and sing it themselves so that anyone passing by can also pick it up. Thanks primarily to a singing troupe of soldiers marching across the country, the song is finally passed to Jeanette Mac-Donald, who gives it her own operatic interpretation from high up in her chateau. Chazelle had this scene in mind when arranging La La Land’s opening song “Another Day of Sun” to be passed from one motorist to another as they step out of their cars to sing in the middle of a gigantic traffic jam.

Every one of these guys is composing, they’re rearranging, they’re writing. Then they’re playing the melody. And now, look. The trumpet player, he’s got his own ideas. And so, it’s conflict and it’s compromise, and it’s just, and it’s new every time. It’s brand new every night. It’s very, very exciting. And it’s dying. It’s dying, Mia. It’s dying on the vine. And the world says, “Let it die. It had its time.” Well, not on my watch.Desirée Garcia, conversation with the author, July 27, 2017. Garcia has written about ethnic musicals in which people sing spontaneously, a research project with strong connections to what Damien Chazelle has tried to achieve with American musicals. In my conversations with Garcia, however, she denies that she had much influence on Chazelle’s work and vice versa. See Desirée Garcia, The Migration of Musical Film: From Ethnic Margins to American Mainstream (New Brunswick, N.J.: Rutgers University Press, 2014).

Damien Chazelle, commentary track on dvd release of La La Land (Santa Monica, Calif.: Summit Entertainment, 2016). Unless otherwise indicated, all statements attributed to Chazelle are from this source.Scorsese’s film concludes with Francine and Jimmy agreeing to meet later in the evening. But both independently decide not to meet, heading off in different directions as the film ends. At the end of La La Land, Seb and Mia also pass up a moment to reunite after several years of separation. And in addition to placing the name of one of America’s two largest cities in their titles, La La Land and New York, New York share the practice of placing the characters’ nonreunion immediately after a major production number. But there the similarities end. Instead of giving the production number to only one of his lead characters, Chazelle features them both. And instead of leaving the two leads entirely separate from each other, Chazelle brings them together in an extended sequence that could be one character’s dream, the shared dream of both characters, or perhaps even the audience’s fantasy. The first part of La La Land’s concluding number revises the romantic history of Mia and Seb to eliminate all conflict and obstacles to their love affair. It then takes them into a fantasy world where they even end up with the same married life we have already seen Mia living with her husband (Tom Everett Scott).

Among those critical of La La Land, the most vocal have denounced Emma Stone and Ryan Gosling for not being polished singers or dancers. But these criticisms ignore the extent to which Chazelle was trying to show real people going from ordinary speech and movement to song and dance without ceasing to be the same complex individuals they were before. Chazelle sought this effect in “A Lovely Night,” the first number in which Mia and Seb dance and sing together. Gradually working his way into the number, Seb first begins singing in a voice very much like his speaking voice. When Mia is about to join in, we hear her clearing her throat. When Seb picks up Mia’s purse and begins to look inside, she snatches it back in a gesture that is both choreographic and natural. Gradually, it all becomes choreography. And again, without edits.I would argue that La La Land is in some ways a response to New York, New York, whose glum ending probably prevented it from striking box office gold. The last big production number in Scorsese’s film is the boffo performance of the title song by Francine (Liza Minnelli), who has the screen all to herself. In the scene at Jimmy’s (Robert de Niro) club the Major Chord that immediately precedes Minnelli’s big number, the music is portrayed in a much less sensational fashion. In fact, we see a modernist jazz group performing only for a few moments and certainly not in a spotlight. The camera quickly cuts away and follows Jimmy to the bar, where he flirts with some young women, and then into his office. Late in the film but hardly at the end, jazz has disappeared from New York, New York.

For most of Guy and Madeline on a Park Bench, we could be watching an early Cassavetes film or even a documentary, so loose is the editing and the progress of the narrative. Music enters first when we see Guy (Jason Palmer) playing his trumpet along with a singer. Later, at a party scene, a character breaks into song and then joins one of the guests in a tap-dance competition. Audiences might tend to bracket off these early scenes with their diegetic soundtracks from the realism of the film’s mostly nonmusical moments. But the film is almost over when Madeline (Desirée Garcia) sings to herself with nondiegetic sound while wandering through the park. Even more strikingly, when she later learns that Guy is still interested in her even though they had broken up earlier in the film, she exuberantly sings “Boy in the Park” about her first kiss with Guy. Not only is she singing and dancing in the restaurant where she works, but music suddenly emerges from nowhere and her coworkers join in the dance. The scene culminates when two women join Madeline in a tightly choreographed tap-dance routine.

I should also point out that all four of the people in Keith’s group doing tacky dance moves, not to mention the featured piano player, are white. Are we to assume that Keith has a racial agenda? A better way of thinking about the white people in Keith’s band is to associate them with La La Land’s scrupulously multicultural casting. Think of the multiethnic dancers in “Another Day of Sun,” as well as the Afro-Cuban band that suddenly appears in the back of a truck. Consider also the African American fiancé of Seb’s sister, the numerous black jazz artists who regularly appear throughout the film, and the black dancers surrounding Mia when she dances at the Lighthouse. This is not to deny the centrality of white characters among so many people of color, but any race-based critique of La La Land must acknowledge the film’s consistently multiethnic milieu. At any rate, John Legend’s character is by no means the villain of La La Land. A crucial scene in the film takes place when Seb has just begun rehearsing with Keith’s band. Knowing that Seb is still an incorrigible jazz purist, Keith tries to talk him out of it. Chazelle has said that he wrote several drafts of dialogue for Legend. But after several takes, Legend insisted on ad-libbing his own dialogue. When asked to list his favorite drummers, Chazelle has named Roach, Jo Jones, and Buddy Rich, adding that he liked the “theatricality” of solos performed by Rich and Gene Krupa. This preference is surely compatible with Chazelle’s larger ambitions. He told Terry Gross that he always wanted to be a filmmaker, even when he was working hardest at becoming a jazz musician. At least according to Justin Hurwitz, Chazelle won awards as a jazz drummer at competitions when he was in high school. Nevertheless, Chazelle told Gross that his playing never “measured up” to that of his idols. He aspired to be an excellent drummer, in part because of an aggressive high school band director who was fond of saying “not my tempo” to the musicians in his ensemble. The conclusion of La La Land allows us to have it both ways, first revealing how painful it is for Mia and Seb to recall the intense feelings they once had for each other. Chazelle abandons the feelgood conventions of the classical musical when the former lovers agonizingly lock gazes for the first time in five years. But this moment is immediately followed by a joyous fantasy of what their life together might have been and, for a moment, what it actually was. Comparing La La Land and New York, New York as “jazz films,” Liza Minnelli’s performance of “New York, New York” stands out: it is all Broadway and Las Vegas and prominently set off from the truncated jazz moment at the Major Chord that precedes it. Chazelle’s film is much more a celebration of the music, infusing the final moments with jazz artists on-screen as well as Justin Hurwitz’s jazz-inflected Legrand-esque score. The audience even gets a glimpse of Caveau de la Huchette, a jazz club in Paris that was a home for lindy hoppers after World War II and is still in operation today. Everything we have learned about Madeline, including her mostly affectless and musicless reactions to other people, has led up to the moment when a musical number reveals what has been inside all along. In the final moments of Guy and Madeline, when the title characters are reunited in Madeline’s apartment, they return to the same low-key, matter-of-fact demeanor they exhibited before Madeline began singing “Boy in the Park.” After making perfunctory small talk, Guy plays a long, unaccompanied trumpet solo while Madeline listens. Significantly, Guy does not need to sing or dance. He has jazz. And Guy is played by Jason Palmer, a professional jazz trumpeter who plays
the filmed solos live. Clearly, Chazelle knows how difficult it would be to separate a jazz artist–and his inner life–from jazz. His casting of jazz artist Jason Palmer in Guy and Madeline is consistent with his request that Ryan Gosling develop his skills as a pianist prior to his appearance in La La Land. Whenever the audience sees Seb’s hands on the piano keys, they are hearing a performance by Gosling, who frequently exhibits real talent and agility as a jazz pianist. (When we do not see Gosling’s hands, the pianist is Randy Kerber, who has played with Nancy Wilson, Diane Schuur, Tom Scott, Al Jarreau, and Quincy Jones, among others.)

For an extended reading of the film, see Krin Gabbard, “Paris Blues: Ellington, Armstrong, and Saying It with Music,” in Uptown Conversation: The New Jazz Studies, ed. Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin (New York: Columbia University Press, 2004), 297–311.As was often the case when Strayhorn’s contributions were unacknowledged, the opening credits for Paris Blues simply read “Music by Duke Ellington.” Critics who have examined the scores for the film’s music argue that the majority of what we hear in Paris Blues was composed and arranged by Billy Strayhorn. See David Hajdu, Lush Life: A Biography of Billy Strayhorn (New York: Farrar, Straus and Giroux, 1996), 208–211.

Chazelle says he sympathizes with both Keith’s and Seb’s positions, implying that he also understands someone’s preference for the older utopian Hollywood musicals as well as for the time-honored recordings of the first generations of black jazz artists. As the film ends, we see that Seb has opened his own jazz club where, as with most of the urban venues where people go to hear the music today, the setting is elegant, the audience sedate and mostly white. And what we hear in the club most definitely looks back to canonized jazz traditions. One of the first things the camera reveals inside “Seb’s” is Francis Wolff’s classic photo of a pensive John Coltrane in 1958. This is exactly the kind of place where I love to hear jazz in New York. Yet the positive images of Seb’s club undermine Chazelle’s assertion that there is a correlation between the film’s revisionist approach to musicals and the need for jazz musicians to move past the music of the 1950s and 1960s. Chazelle has in fact pushed the musical into new territory, but Seb is still playing the older music. We know that Keith’s performance of “Start a Fire” is not where jazz ought to go, if only because Chazelle has asked us to regard the music with the disappointment we see in Mia’s face.Shortly after the scene at the Lighthouse when Mia and Seb joyfully improvise their own call-and-response, the film lets us know that Seb has made a painful compromise by joining Keith’s band. When we first see Keith and his large ensemble on stage with Mia in the audience, Seb has a moment alone in the spotlight playing what is clearly his own music on a grand piano. Little by little, however, as Keith takes over and begins to sing “Start a Fire,” the music loses its magic. Although he smiles throughout the process, Seb moves from the grand piano to a stylized keyboard that looks more like a child’s toy than a real musical instrument. Although the crowd reacts enthusiastically to the music, Emma Stone’s capacious eyes reflect increasingly higher levels of disappointment as the camera cuts back and forth between the band and her reaction shots. Regardless of whether La La Land’s real-life audience is fond of John Legend, the film definitively characterizes the music as suspect when the stage becomes overpopulated with backup singers and gyrating dancers. Seb should not be surprised when he looks up to see that Mia has left the building.

At worst, Seb is aspiring to be the savior of helpless jazz musicians, including the black artists on the stage–over whose music he is talking! And he is, of course, “mansplaining” to Mia, who may or not be impressed with his verbiage. One might also object to Seb’s military metaphor of “not on my watch.” Nevertheless, Seb delivers a compelling account of how jazz artists perform, and he most assuredly makes the case for the lasting importance of the music. For people like me, who are highly ambivalent about La La Land, this sequence at the Lighthouse Café is emblematic.

There are not many examples in cinema of actors singing in real time, but a few that do exist are worth mentioning. For Pierrot le fou (1965), Jean-Luc Godard recorded Jean-Paul Belmondo and Anna Karina singing outdoors, making sure that their vocals reflected their body movements, including the moment when Belmondo continues singing as he jumps down from a tree. This is as good an example as any of Godard’s project of exposing and problematizing the conventions of dominant cinema. In a completely different appropriation of this tradition, Anne Hathaway laboriously tugs at our heart strings when she exudes “I Dreamed a Dream” live and in tight close-up in Les Misérables (2012).Rick Altman describes the folk musical primarily as a vehicle for building a community, but for my purposes, the films in this subgenre are distinguished by spontaneous song and dance in unlikely locations, almost always with nondiegetic music. People also sing in unexpected places in fairy tale musicals, but Altman puts these films into a separate category, having built his subgenres primarily around plot mechanics.Chazelle has expressed admiration for Dudley Murphy’s two pioneering short films, St. Louis Blues and Black and Tan, both released in 1929. St. Louis Blues was a vehicle for blues empress Bessie Smith and her only performance on film. Black and Tan featured the young, regal Duke Ellington just as his music was beginning to make him a star. Chazelle has also mentioned Bertrand Tavernier’s Round Midnight, a French film from 1986 that cast the eminent jazz saxophonist Dexter Gordon in a major acting role. The fact that all of these films are built around real-life jazz artists may explain why Chazelle took a chance on Jason Palmer as a protagonist in Guy and Madeline even though he had never acted before.

See Krin Gabbard, “The Hypertexts of Short Cuts: The Jazz in Altman’s Carver Soup,” in Robert Altman: Critical Essays, ed. Rick Armstrong (New York: McFarland, 2011), 20–37.When talking with Terry Gross about Whiplash, Chazelle was careful to add that his own teacher, on whom the character of Fletcher (J. K. Simmons) is based, was not at all as sadistic and violent as the character in Whiplash. Obviously, it makes a better story when Fletcher turns out to be so devoted to bringing out the potential he sees in Andrew that he is prepared to go to almost any extreme, even losing his job at the conservatory. What’s missing from Whiplash is a compelling reason why someone would want to suffer through brutal initiation rituals to play lightning-fast, bombastic compositions with the kind of military precision that Fletcher demands. Late in the film, when Andrew goes to hear Fletcher in a jazz club, I was amazed to hear him playing jazz piano in the soft, lyrical mode associated with someone like Bill Evans, who never recorded anything like the harsh compositions in Whiplash.

But you say you wanna save jazz. How you gonna save jazz if no one’s listening? Jazz is dying because of people like you. You’re playin’ to 90-year-olds at the Lighthouse. Where are the kids? Where are the young people? You’re so obsessed with Kenny Clarke and Thelonious Monk. These guys were revolutionaries. How you gonna be a revolutionary if you’re such a traditionalist? You’re holding on to the past, but jazz is about the future.UC San Diego is passionate about telling our story and connecting with the world through our messaging. Typography plays an extremely important role in ensuring that our content is dynamic, recognizable and legible. Following is an overview of our primary brand fonts as well as recommendations for alternate fonts for flexibility across mediums. Together, these fonts create a vibrant and bold brand while having an easy-to-use system for university use. Refrigerator Deluxe is available for use via Adobe Fonts for those with an Adobe Creative Cloud subscription. Individual licenses are also available. Visit marksimonson.com for purchasing options. Chronicle is a transitional serif font that is both warm and adaptable. It is best paired with Brix for more formal occasions or for creating hierarchy in extended passages of text. Chronicle is available in both text and display versions. In most cases, use the text version when setting body copy. Use Chronicle sparingly in headlines — a sans-serif such as Brix is usually more reflective of the campus.Refrigerator Deluxe is a geometric condensed sans-serif that is used primarily in headlines. Its bold yet grounded nature reflects UC San Diego’s spirit of curiosity and is perfect for high-impact designs.

If you do not have access to Brix Sans, Source Sans Pro is our recommended alternate. Source Sans Pro is a clean sans-serif with a wide range of weights similar to Brix. Brix and Source Sans Pro should never be used at the same time on materials. Source Sans Pro can be downloaded from Google Fonts or accessed through the Canva platform. If you cannot download Source Sans, Myriad Pro or Calibri (both available through commonly used software) may be used as a last resort; however, these are not recommended for use on external-facing materials.

Headlines often serve as the focal point on the materials we produce. While readability is crucial, ensuring visual interest and variation on materials is necessary to keep the audience engaged. UC San Diego’s headline styles are simple and bold, leveraging contrasting size, fonts and colors to amplify our message. All headlines should be set in our brand fonts — Refrigerator Deluxe and Brix.The primary font for all university materials, Brix is a modern sans-serif that prides itself on legibility. Available in a wide range of weights, Brix can provide contrast and emphasis to establish clear hierarchy in text. Brix should be your go-to font for anything UC San Diego.

Teko is our recommended substitute for Refrigerator Deluxe. Teko is available to download for free from Fontshare and can be used on the Canva platform.Most fonts are licensed on an individual user basis or for a specific medium (for example web). Licenses can vary based on the application you are purchasing for, so we recommend reading and understanding a font license prior to purchasing.

Yasashii Bold font was utilized for the movie title on the poster. This art deco font was created by Ryoichi Tsunekawa, inspired by Japanese cosmetic packaging and posters of the late 1800s and early 1900s.The San Diego Padres are a Major League Baseball (MLB) team based in California. Established in 1969, the Padres have become a prominent team in the National League. Competing in the highly competitive National League West division, the Padres remain an exciting team to watch in the MLB.

Add a little spice to your font library at a discount — sign up for the list, get 20% off (PLUS be the first to know about new fonts & get free demos before they’re released!).You’ll need as many licenses as users. So if you work at a design firm where 30 designers on your team will need access to the font, you’ll need to purchase 30 of the appropriate license.