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So I didnt much like what they did to her nose.. and I was bummed to find out that my DOTD Ghoulia that I made in the first place would not work on these Skelly bits. so I decided to make her a buddy :D
This is what I did tonight to relax after a crazy Day :D
WOW Im always excited when low and behold a picture of mine has been explored Dec 22, 2011 #19
The Jungle Corn Snake is a hybrid created in captivity between a California Kingsnake and a Corn Snake. This is the Albino version of the Jungle Corn Snake. I've been breeding snakes for about 20 years. That's what got me started in photography. Photo done with Yashica FX-3 Super 2000, Vivitar series One 28-90mm F2.8-3.5 Macro lens, Tiffen 81A Warming filter, Fuji Superia 400, Lighting was an SP Studio Systems SP920MDLVP Monolight in a Small Softbox and a Vivitar 283 with a Sto-Fen Omni Bounce. F16 @ 1/125 sec. Metered with a Sekonic L-508 Zoom Master Meter. Film was 1 month past expiration date.
Thierry Geoffroy / Colonel exhibit now at The Kuma Museum his tent from document Kassel d13 , 2012 ( unsolicited )
that created debates about contempoarary art , started occupy movement in front of Fridericianum museum ... got confiscated , inspired marble tent installation documenta14
read more here :
www.emergencyrooms.org/documenta_kassel.html
Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
The art work can be asking about "The Execution of Emperor Maximilian "where Manet paint an " after excecution moment "
Is art always too late ?
Can art prevent accidents ?
Does art always comes after the shooting or can art sometimes prevent it ?
Can artists have an impact ?
Could it be an art that could prevent and stop accidents not only witness and express about them ?
Thierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#venicebiennale
#documentakassel #documenta #d13 #documenta13
#manet #edouardmanet
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
Ikat, or ikkat, is a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.
In ikat the resist is formed by binding individual yarns or bundles of yarns with a tight wrapping applied in the desired pattern. The yarns are then dyed. The bindings may then be altered to create a new pattern and the yarns dyed again with another colour. This process may be repeated multiple times to produce elaborate, multicolored patterns. When the dyeing is finished all the bindings are removed and the yarns are woven into cloth. In other resist-dyeing techniques such as tie-dye and batik the resist is applied to the woven cloth, whereas in ikat the resist is applied to the yarns before they are woven into cloth. Because the surface design is created in the yarns rather than on the finished cloth, in ikat both fabric faces are patterned.
A characteristic of ikat textiles is an apparent "blurriness" to the design. The blurriness is a result of the extreme difficulty the weaver has lining up the dyed yarns so that the pattern comes out perfectly in the finished cloth. The blurriness can be reduced by using finer yarns or by the skill of the craftsperson. Ikats with little blurriness, multiple colours and complicated patterns are more difficult to create and therefore often more expensive. However, the blurriness that is so characteristic of ikat is often prized by textile collectors.
Ikat is produced in many traditional textile centres around the world, from India to Central Asia, Southeast Asia, Japan (where it is called "kasuri"), Africa and Latin America. Double ikats - in which both the warp and weft yarns are tied and dyed before being woven into a single textile - are relatively rare because of the intensive skilled labour required to produce them. They are produced in Okinawa islands of Japan, the village of Tenganan in Indonesia, and the villages of Puttapaka and Bhoodan Pochampally in Telangana and Gujarat in India.
TYPES
In warp ikat it is only the warp yarns that are dyed using the ikat technique. The weft yarns are dyed a solid colour. The ikat pattern is clearly visible in the warp yarns wound onto the loom even before the weft is woven in. Warp ikat is, amongst others, produced in Indonesia; more specifically in Kalimantan, Sulawesi, and Sumatra by respectively the Dayaks, Torajans and Bataks.
In weft ikat it is the weaving or weft yarn that carries the dyed patterns. Therefore, the pattern only appears as the weaving proceeds. Weft ikats are much slower to weave than warp ikat because the weft yarns must be carefully adjusted after each passing of the shuttle to maintain the clarity of the design.
Double Ikat is a technique in which both warp and the weft are resist-dyed prior to weaving. Obviously it is the most difficult to make and the most expensive. ouble ikat is only produced in three countries: India, Japan and Indonesia. The double ikat made in Patan, Gujarat in India is the most complicated. Called "patola," it is made using fine silk yarns and many colours. It may be patterned with a small motif that is repeated many times across the length of a six-meter sari. Sometimes the Patan double ikat is pictorial with no repeats across its length. That is, each small design element in each colour was individually tied in the warp and weft yarns. It's an extraordinary achievement in the textile arts. These much sought after textiles were traded by the Dutch East Indies company for exclusive spice trading rights with the sultanates of Indonesia. The double ikat woven in the small Bali Aga village, Tenganan in east Bali in Indonesia reflects the influence of these prized textiles. Some of the Tenganan double ikat motifs are taken directly from the patola tradition. In India double ikat is also woven in Puttapaka, Nalgonda District and is called Puttapaka Saree. In Japan, double ikat is woven in the Okinawa islands where it is called tate-yoko gasuri.
ETYMOLOGY
Ikat is an Indonesian language word, which depending on context, can be the nouns: cord, thread, knot and the finished ikat fabric as well as the verbs "to tie" or "to bind". It has a direct etymological relation to Javanese language of the same word. Thus, the name of the finished ikat woven fabric originates from the tali (threads, ropes) being ikat (tied, bound, knotted) before they are being put in celupan (dyed by way of dipping), then berjalin (woven, intertwined) resulting in a berjalin ikat- reduced to ikat.
The introduction of the term ikat into European language is attributed to Rouffaer. Ikat is now a generic English loanword used to describe the process and the cloth itself regardless of where the fabric was produced or how it is patterned.
In Indonesian the plural of ikat remains ikat. However, in English a suffix plural 's' is commonly added, as in ikats. This is true in other some other languages. All are correct.
DISTRIBUTION
Ikat is a weaving style common to many world cultures. It is probably one of the oldest forms of textile decoration. However, it is most prevalent in Indonesia, India and Japan. In Central and South America, ikat is still common in Argentina, Bolivia, Ecuador, Guatemala and Mexico.
In the 19th century, the Silk Road desert oases of Bukhara, Samarkand, Hotan and Kashgar (in what is now Uzbekistan and Xinjiang in Central Asia) were famous for their fine silk Uzbek/Uyghur ikat.
India, Japan, Indonesia and many other Southeast Asian nations including Cambodia, Myanmar, Philippines and Thailand have weaving cultures with long histories of ikat production.
Double ikat weaving is still found in India, Japan and Indonesia. In Indonesia, it is still woven in Bali, Java, Kalimantan or Borneo and Sumatra.
HISTORY
As textiles do not last well through history, scholars have so far been unable to determine where the technique of ikat originated. Nevertheless, some parts of Asia demonstrates strong ikat traditions which suggest its possible origin; they are Maritime Southeast Asia, Indian subcontinent and Central Asia. However, it probably developed in several different locations independently, since ikat was known to be produced in several pre-Columbian Central and South American cultures.
The term "ikat" has Indonesian origin, and it was introduced into European textile vocabulary back in early 20th century, when the Dutch scholars begin to study the rich textile traditions of East Indies archipelago (today Indonesia).
Uyghurs call it atlas (in IPA [ɛtlɛs]) and use it only for woman's clothing. The historical record indicates that there were 27 types of atlas during Qing occupation. Now there are only four types of Uyghur atlas remaining: Qara-atlas (Darayi, black ikat used for older women's clothing), Khoja'e-atlas (yellow, blue, purple ikat used for married women), Qizil-atlas (red ikat used for girls) and Yarkant-atlas (Khan-atlas). Yarkant-atlas has more diverse styles; during Yarkant Khanate (16th century), there ten different styles of Yarkant-atlas.
PRODUCTION
WARP IKAT
Ikat created by dyeing the warp are simpler to make than either weft ikat or double ikat. First the yarns - cotton, silk, wool or other fibres - are wound onto a frame. Then they are tied into bundles. The bundles may be covered with wax, as in batik. (However, in making batik, the craftsperson applies the resist to the finished cloth rather than to the yarns to be woven.) The warp yarns are then wrapped tightly with thread or some other dye-resistant material to prevent unwanted dye permeation. The procedure is repeated, depending on the number of colours required to complete the design. Multiple coloration is common, requiring multiple rounds of tying and dyeing. The newly dyed and thoroughly washed bundles are wound onto the loom to produce the warp (longitudinal yarns). Warp threads are adjusted for the desired alignment for precise motifs.
Some ikat traditions, such as Central Asia's, embrace a blurred aesthetic in the design. Other traditions favour a more precise and more difficult to achieve refinement in the placement of the ikat yarns. South American and Indonesian ikat are known for a high degree of warp alignment. Weavers must adjust the warp repeatedly to maintain pattern alignment.
Patterns result from a combination of the warp dye and the weft thread colour. Some warp ikat traditions are designed with vertical-axis symmetry or have a "mirror-image" running along their long centre line. That is, whatever pattern or design is woven on the right is duplicated on the left in reverse order about a central warp thread group. Patterns can be created in the vertical, horizontal or diagonal.
WEFT IKAT
Weft ikat uses resist-dyeing for the weft yarns. The movement of the weft yarns in the weaving process means precisely delineated patterns are more difficult to weave. The weft yarn must be adjusted after each passing of the shuttle to preserve the pattern.
Nevertheless, highly skilled artisans can produce precise weft ikat. Japanese weavers produce very accurate indigo and white weft ikat with small scale motifs in cotton. Weavers in Odisha, India have replicated fine Urdu script in weft ikat. In Thailand, weavers make very fine silk sarongs depicting birds and complex geometrical designs in seven colour weft ikat.
In some precise weft ikat traditions (Gujarat, India), two artisans weave the cloth: one passes the shuttle and the other adjusts the way the yarn lies in the shed.
As the weft is commonly a continuous strand, aberrations or variation in coloration are cumulative. Some weft ikat traditions incorporate this affect into their aesthetic. Patterns become transformed by the weaving process into irregular and erratic designs. Guatemalan ikat is well-noted for its beautiful "blurs."
DOUBLE IKAT
Double Ikat is created by resist-dyeing both the warp and weft prior to weaving.This form of weaving requires the most skill for precise patterns to be woven and is considered the premiere form of ikat. The amount of labour and skill required also make it the most expensive, and many poor quality cloths flood the tourist markets. Indian and Indonesian examples typify highly precise double ikat. Especially prized are the double ikats woven in silk known in India as patola (singular: patolu). These are from Gujarat (Cambay). During the colonial era, Dutch merchants used patola as prestigious trade cloths during the peak of the spice trade.
In Indonesia double ikat is only woven in the Bali Aga village of Tenganan. These cloths have high spiritual significance. In Tenganan they are still worn for specific ceremonies. Outside Tenganan, geringsing are treasured as they are purported to have magical powers.
The double ikat of Japan is woven in the Okinawa islands and is called tate-yoko gasuri.
Pochampally Sari, a variety from a small village in Nalgonda district, Andhra Pradesh, India is known for silk saris woven in the double Ikat.
The Puttapaka Saree is made in Puttapaka village, Samsthan Narayanpuram mandal in Nalgonda district, India. It is known for its unique style of silk saris. The symmetric design is over 200 years old. The Ikat is warp-based. The Puttapaka Saree is a double ikat.
Before the weaving is done, a manual winding of yarn, called Asu, needs to be performed. This process takes up to 5 hours per sari and is usually done by the womenfolk, who suffer physical strain through constantly moving their hands back and forth over 9000 times for each sari. In 1999, a young weaver C Mallesham developed a machine which automated Asu, thus developing a technological solution for a decades-old unsolved problem.
OSHIMA
Oshima ikat is a uniquely Japanese ikat. In Oshima, the warp and weft threads are both used as warp to weave stiff fabric, upon which the thread for the ikat weaving is spot-dyed. Then the mats are unravelled and the dyed thread is woven into oshima cloth.
The Oshima process is duplicated in Java and Bali, and is reserved for ruling royalty, notably Klungkung and Ubud: most especially the dodot cloth semi-cummerbund of Javanese court attire.
OTHER COUNTRIES
CAMBODIA
The Cambodian ikat is a weft ikat woven of silk on a multi-shaft loom with an uneven twill weave, which results in the weft threads showing more prominently on the front of the fabric than the back.
By the 19th century, Cambodian ikat was considered among the finest textiles of the world. When the King of Thailand came to the US in 1856, he brought as a gift for President Franklin Pierce fine Cambodian ikat cloth. The most intricately patterned of the Cambodian fabrics are the sampot hol - skirts worn by the women - and the pidans - wall hangings used to decorate the pagoda or the home for special ceremonies.
Unfortunately, Cambodian culture suffered massive disruption and destruction during the mid-20th century Indochina wars but most especially during the Khmer Rouge regime. Most weavers were killed and the whole art of Cambodian ikat was in danger of disappearing.
Kikuo Morimoto is a prominent pioneer in re-introducing ikat to Cambodia. In 1995, he moved from Japan and located one or two old lady weavers and Khmer Rouge survivors who knew the art and have taught it to a new generation.
THAILAND
In Thailand, the local weft ikat type of woven cloth is known as Matmi (also spelled 'Mudmee' or 'Mudmi'). Traditional Mudmi cloth was woven for daily use among the nobility. Other uses included ceremonial costumes. Warp ikat in cotton is also produced by the Karen and Lawa tribal peoples in northern Thailand.
This type of cloth is the favourite silk item woven by ethnic Khmer people living in southern Isaan, mainly in Surin, Sisaket and Buriram.
LATIN AMERICA
Ikat patterns are common among the Andes peoples, and native people of Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, Guatemala, Mexico, Peru, and Venezuela. The Mapuche shawl or poncho of the Huaso cowboys of Chile is perhaps the item best known in the West. Wool and cabuya fibre are the most commonly used.
The Mexican rebozos can be made from silk, wool or cotton and are frequently ikat dyed. These shawls are seen as a part of the Mexican national identity and most women own at least one.
Latin American ikat (Jaspe, as it is known to Maya weavers) textiles are commonly woven on a back-strap loom. Pre-dyed warp threads are a common item in traditional markets- saving the weaver much mess, expense, time and labour. A Latin American innovation which may also be employed elsewhere is to employ a round stick around which warp threads are wrapped in groups, thus allowing more precise control of the desired design. The "corte" is the typical wrap skirt used worn by Guatemalan women.
ACCREDITATION
As of 2010, the government of the Republic of Indonesia announced it would pursue UNESCO Intangible Cultural Heritage accreditation for its ikat weaving, along with songket, and gamelan having successfully attained this UNESCO recognition for its wayang, batik and the kris.
WIKIPEDIA
Our Maker Art class created a Haunted House in fall 2016. In this after-school workshop at the Lycée Français, students ages 7 to 10 built a fantasy world together, with magical creatures, ghosts, witches and other spooky characters.
We combined arts and technology to bring their creations to life: each student created their own room in our haunted house, and animated their characters with motors and simple mechanisms, adding lights and sounds to tell their stories.
Students started by designing their rooms and characters, and built them in their own cardboard ‘wonderboxes.’ We then asked them to sketch up their individual visions of the Haunted House and combined them together. Children worked in teams to build some of the more complex features: a clock tower, an elevator and an animated graveyard zombie, all powered with Arduino boards.
I’m very grateful to my associate teachers for this class: Sarah Brewer and Edward Janne were amazing partners and empowered our students to create their own interactive art, helping them bring their ideas to life in a playful way that made learning more fun.
We taught this class weekly at the Lycée Français in Sausalito, with 8 school students in grades 3, 4 and 5. We met every Thursday at 3:30pm, from September 15 to December 8, 2016. Many of the materials we used in this class were prepared at Tam Makers, our makerspace in Mill Valley.
Learn more about our Haunted House class:
View more photos of our Haunted House class:
bit.ly/haunted-house-2016-photos
See our Haunted House course slides:
bit.ly/haunted-house-2016-slides
Learn more about our Maker Art programs:
Original Caption: Water Lies in a Trench Created by Coal Company Strip Mining Off Route #800 near Barnesville, Ohio. 07/1974
U.S. National Archives’ Local Identifier: 412-DA-13158
Photographer: Calonius, Erik
Subjects:
Barnesville (Belmont county, Ohio, United States) inhabited place
Environmental Protection Agency
Project DOCUMERICA
Persistent URL: research.archives.gov/description/555610
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
We will pull no punches nor silly puns, and put together a poster for a boxing event, for the second tutorial exploring the complete vintage designer’s kit.
The process will have us explore the customization abilities of the bundle’s typefaces, layout ideas to accommodate the long swashes and tall capital letters, and weathering tips and tricks.
Adam Sessler, Ken Levine (Irrational Games creative director), Courtnee Draper (voice of BioShock Infinite's Elizabeth), and Troy Baker (voice of BioShock Infinite's Booker DeWitt).
{There is no Photoshop Manipulation of this photo, it is one exposure. Converted to Jpeg in Camera Raw}
Created for the 2011 Create Your Style Australian Swarovski Competition (closes 30 Sept.) The base of the neckpiece is a Swarovski zipper embellished with 100's of Swarovski elements. I fell in love with Soutache earlier this year, so have been experimenting with this medium. The cascade of briolettes has a flash of purple hues as you move with the neckpiece.
Every bead has been sewn by hand, no glue. This competition does not allow seed beads!
SOLD. Private Collection.
Students of color, the LGBTQ community and female students convened in Reeve Union Ballroom April 2 to hone their networking skills with professionals at Creating Connections: Empowering through Networking, a Social Justice Week event hosted by University of Wisconsin Oshkosh Career Services.
Nathalie Andre, Alliance Global Director Tech Partnerships, Groupe Renault, France speaking during the Session "Creating Shared Value from Data 1" at the World Economic Forum, Annual Meeting of the Global Future Councils 2019. Copyright by World Economic Forum / Benedikt von Loebell
Created this Stiletto cake as a surprise for a 40th birthday. The cake was a total surprise and she sent me the nicest letter afterward. She loves cherries and that's the reason for the cherries all over the shoe and the large oversized cherry on the side which is RTK. The cake itself was chocolate with peanut butter icing.
Created for We're here visiting Double Indemnity
License to kill, from the album Infidels. Infidels is the twenty-second studio album by American singer-songwriter Bob Dylan, released on October 27, 1983 by Columbia Records.
Lyrics
Bob Dylan
Man thinks ’cause he rules the earth he can do with it as he please
And if things don’t change soon, he will
Oh, man has invented his doom
First step was touching the moon
Now, there’s a woman on my block
She just sit there as the night grows still
She say who gonna take away his license to kill?
Now, they take him and they teach him and they groom him for life
And they set him on a path where he’s bound to get ill
Then they bury him with stars
Sell his body like they do used cars
Now, there’s a woman on my block
She just sit there facin’ the hill
She say who gonna take away his license to kill?
Now, he’s hell-bent for destruction, he’s afraid and confused
And his brain has been mismanaged with great skill
All he believes are his eyes
And his eyes, they just tell him lies
But there’s a woman on my block
Sitting there in a cold chill
She say who gonna take away his license to kill?
Ya may be a noisemaker, spirit maker
Heartbreaker, backbreaker
Leave no stone unturned
May be an actor in a plot
That might be all that you got
’Til your error you clearly learn
Now he worships at an altar of a stagnant pool
And when he sees his reflection, he’s fulfilled
Oh, man is opposed to fair play
He wants it all and he wants it his way
Now, there’s a woman on my block
She just sit there as the night grows still
She say who gonna take away his license to kill?
www.youtube.com/watch?v=UkEx4BDhRjw
License to kill is also the name of a song used as the soundtrack to the 16th James Bond film of the same name, performed by Gladys Knight and released by MCA Records in 1989.
Lyrics
Gladys Knight
Ooooh
Oh-hooo
I feel, I've got to hold on to your love
Oooh.
Hey baby, thought you were the one who tried to run away.
Ohh, baby, wasn't I the one who made you want to you?
Please don't bet that you'll ever escape me
Once I get my sights on you.
Got a license to kill to kill
And you know I'm going straight for your heart.
Got a license to kill
Got a license to kill to kill
Anyone who tries to tear us apart.
Got a license to kill
License to kill.
Hey baby, think you need a friend to stand here by your side
Yes you do your side
Ohh, baby, now you can depend on me to make things right (things right)
Please don't bet that you'll ever escape me
Once I get my sights on you
Got a license to kill to kill
And you know I'm going straight for your heart.
Got a license to kill
Got a license to kill to kill
Anyone who tries to tear us apart.
Got a license to kill
Say that somebody tries to make a move on you
In the blink of an eye, I will be there too
And they better know why I'm gonna make them 'em pay
Till their dying day
Till their dying day
Till their dying day
Got a license to kill to kill
And you know I'm going straight for your heart.
Got a license to kill
Got a license to kill
Anyone who tries to tear us apart.
Got a license to kill
Got a license to kill to kill
And you know I'm heading straight for your heart.
Got a license to kill
Got a license to kill
Anyone who tries to tear us apart.
Got a license to kill
License to kill
Gotta hold onto your loving.
License to kill
Ooohooo!