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'ONE OK ROCK' at 'Melkweg, The Max', Amsterdam on Tuesday, 29th of October 2013.
Band Members:
Vocal: Taka
Guitar: Toru
Bass: Ryota
Drums: Tomoya
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VRIES, de, Theun (1992). De Duivel. Een essay. De Beuk, Amsterdam. ISBN 90-6975-219-0
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Knight, Death and the Devil (German: Ritter, Tod und Teufel) is a large 1513 engraving by the German artist Albrecht Dürer, one of the three Meisterstiche (master prints) completed during a period when he almost ceased to work in paint or woodcuts to focus on engravings.
The image is infused with complex iconography and symbolism, the precise meaning of which has been argued over for centuries. An armoured knight, accompanied by a faithful and loyal dog, rides through a narrow gorge flanked by a goat-headed devil and the figure of death riding a pale horse. Death's rotting corpse holds an hourglass to remind the knight of the shortness of life. The rider moves through the scene ignoring or looking away from the creatures lurking around him. He appears to be almost contemptuous of the threats, and is often seen to be a symbol of courage; the knight’s armor, the horse which towers in size over the beasts, the oak leaves and the fortress on the mountaintop are symbolic of the resilience of faith, while the knights plight may represent Christian’s earthly journey towards the Kingdom of Heaven.
It was widely copied and had a large influence on later German writers. Nietzsche referenced the work in his 1872 "The Birth of Tragedy" to exemplify pessimism, while it was idealized in the 20th c by the Nazis as representing the racially pure Aryan, and was sometimes used in their propaganda imagery.
As with the two other of his Meisterstiche, it contains a skull, dog, and hourglass, while all three are identical in size. The engraving is heavily indebted to the Gothic style. Many of the forms blend into each other. The outline of the horse is built from a series of interlocking curves, while the knight's chin is woven into the line of his helmet. These two central figures are surrounded by a tangled mass of branches, harness and hair, which according to art historian Raymond Stites contrast with the relatively solid figure of the knight and his horse to set them as a "tangible idea in a world of changing forms".[5] The man is shown looking doggedly straight ahead, he does not allow his line of vision be interrupted or distracted by the demons beside him.
According to Elizabeth Lunday the "skeletal figure of death stands ghostly pale against the darkness of a shadowy crag, while the devil, a multihorned goatlike creature, skulks amongst straggly tree roots." Death is shown with his horse in the left background and rendered without nose or lips in lighter shades than the other figures. A skull seen in the lower foreground, directly in the Knight's path, whilst a dog is running between the two horses.
Death, the Devil, and the landscape are all rendered in a bleakly northern manner. The surrounding characters are threatening to the knight, who is seemingly protected by the literal and figurative armor of his faith. It is believed by some art historians to be linked with publications of the Dutch humanist and theologian Erasmus's Enchiridion militis Christiani (Handbook of a Christian soldier). The engraving draws from Psalm 23; "Though I walk through the valley of the shadow of death, I will fear no evil". Knight, Death and the Devil is dated and signed by the artist; the bottom left of the tablet is scribed "S. (=Salus/in the year of grace) 1513." In contrast, Ursula Meyer believes that the knight displayed in this print is not a Christian knight at all, but a raubritter, or a "robber knight." She insists that the iconography of the fox tail symbolizes the greed of the knight, and that Death and the Devil are merely the knight's companions on his journey, not omens.
The work was created while Dürer was in the service of the Emperor Maximilian but was not a commission and does not contain an overtly political message. Instead it reaches back to a medieval sense of morality, and is replete with Gothic imagery. The engraving bears similarities in mood and tone to one of Dürer's other great prints Melencolia I. The knight seems resigned, and his facial features are downcast. His gloomy posture is in contrast to the sturdy look of his horse. While his armor may protect him against the surrounding demons, the skull on a stump is held in front of the horse and the fall of the sand held by death in the face of the knight. According to writer Dorothy Getlein, "there is a sense of obsolescence about the knight accompanied by Death and the Devil." New York Times journalist Holland Cotter notes that the composition followed soon after Dürer's beloved mother died a painful death.
Moritz Thausing suggested that Dürer created Knight, Death and the Devil as part of a four-work cycle, designed to illustrate the four temperaments. According to Thausing, Knight, Death and the Devil was intended to represent sanguinity, hence the "S" engraved in the work. It is generally believed that the portrayal is a literal, though pointed, celebration of the knight's Christian faith, and also of the ideals of Humanism. An alternative interpretation was presented in 1970 by writer Sten Karling, when he suggested that the work did not seek to glorify the knight, but instead depict a "robber Baron". Karling points to the lack of Christian or religious symbolism in the work and to the fox's tail wrapped on top the knight's lance – in Greek legend the fox's tail was a symbol of greed, cunning and treachery, as well as lust and whoring. Actually, knights were commonly depicted in contemporary art with a fox tail tied to the tip of their lance. Moreover the fox tail was a common form of protective amulet.
The work is considered one among three of Dürer's "Meisterstiche" (master prints); along with Saint Jerome in His Study (1514) and Melencolia I (1514). In particular, the horse is skillfully rendered in geometric shapes that call to mind Leonardo and reflect the Renaissance interest in natural sciences and anatomy.
In 1870 Nietzsche gave a print of the engraving to Richard Wagner. The work was significant to Nietzsche as a representation of a "brave future" and as such he gifted a copy to his sister on the eve of her emigration to Paraguay. After the First World War, writers Thomas Mann and Ernst Bertram described the work as close to what Nietzsche could teach about the fate of Germany; the embodiment of the Renaissance and the teachings of Martin Luther, and as described by Gary Shapiro, they believed it was "invoked in order to intensify the sense of resolute determination in the absence of all hope."
Dürer was idealised from the 1920s by ideologues within the Nazis party as "the most German of German artists". At a 1927 Nazi rally the philosopher and later convicted war criminal Alfred Rosenberg compared the assembled stormtroopers to the warrior in Knight, Death and the Devil, exclaiming that "in everything that you do, remember that for the National Socialists only one thing counts: to cry out to the world: And even if the world is full of devils, we must win anyway!" In 1933, the mayor of Nuremberg presented Hitler with an original copperplate engraving of Knight, Death and the Devil, and described Hitler as the "knight without fear or blame, who as the Fuhrer of the new German Reich, once again carried and multiplied the fame of the old imperial city of Nuremberg to the whole world."
Argentine writer and poet Jorge Luis Borges wrote two poems based on the engraving, titled "Ritter, Tod, und Teufel" (I) and "Ritter, Tod und Teufel" (II). In the first he praises the knight's courage, writing, "Being / brave, Teuton, you surely will be / worthy of the Devil and Death." In the second he compares his own state to the knight, writing, "It's me and not the Knight that the old, white-faced man, head crowned with writhing snakes, exhorts."
Most print rooms with a significant collection will have a copy, and there are many, often late and worn, impressions in private collections (Wikipedia).
The Elysium was FULL of retro arcade and fruit machines. Not really my subject but i bet some of them are pretty collectable. One room was literally so fully of them you couldn't get in it!
Can't think of another Flickr photo of Rick and I are out and about on our adventures. This is at Carlsbad Caverns, waiting for the bats to fly out. Unfortunately we didn't see any. We were told to be careful of lightning strikes and there was a flash flood warning. We had hired a Harley Davidson Electra Glide 1600cc motorbike and travelled by ourselves from LA to New Orleans. It was dark and wet when we wound ourselves back through the mountains to our accommodation. A time to remember!!!
Carlsbad Caverns National Park is an American national park in the Guadalupe Mountains of southeastern New Mexico. A wonderful place to visit.
A view of #Seattle from #KerryPark, you can see the #ClimatePledge Arena, #LumenField, #TMobilePark, the Seattle Great Wheel and other buildings. The day was one of the best this spring, with the sky really clear that you could see iconic Mount Rainier in the distance. Looks kind of Photoshopped, doesn't it?
This shot and the one next to it show a pinkish Gliophorus lilacipes in front of a yellow Hygrocybe cerinolutea, photographed a few days apart
I've been photographically inactive for some time, so I thought I'd post a picture. This one is a test image from my spanking new Fuji X-Pro1 - straight from the sensor with no changes. I've not been using the Nikon because it's just so damn big to carry about - so I'm starting to use something more portable, and so far so good. The X-Pro1 is everything I'd read about, particularly the sensor. This photo isn't the best example but boy, that sensor is good! Also it's a bit retro too - having that rangefinder style and manual controls - photography is fun again!
Anyone wanna buy an entire Nikon D200 rig?
I’ve been very lucky. I grew up surrounded by love and affection. My parents would have been married 63-years this past August, and my mom still mourns my dad. I was never told to hide my emotions, and I never felt ashamed of who I was. If I ever needed help, there was always someone I could depend on. No one ever gave up on me.
All through school and into my adult life, I’ve been just as lucky. Don’t get me wrong, I’ve met plenty of people who didn’t have my best interest in mind, but I’ve had many incredible teachers who encouraged me, and I’ve met many people who were kind and helpful.
I moved to Atlanta in 1996 when I was 22-years old, the next year I got a 2nd job on the weekends at Atlanta Water Gardens, Inc. They had just opened, and I was their very first employee. There was an elderly gentleman named Tom Troutman who would come in often to buy plants. He asked me that autumn if he could pay me to help him winterize his pond, and I agreed to go over that Sunday.
In the 1940’s, Mr. Troutman, as I called him, built the first house in his neighborhood after he returned from serving in World War II. He bought the lot he built his house on because there was a giant beech tree with someone’s initials carved into the trunk and the date “1848”. He had been the president of the local Hosta and Camellia societies, and he was also one of the original volunteers that raised money to build the Atlanta Botanical Garden in the 1980’s, so his yard was practically a private botanical garden.
As I rang the doorbell, I could see him just inside the door, and he shouted in a south Georgia accent, “Get inside this house!”, like we had known each other for years. We chatted in his den for a bit then we went out to the yard. We walked around the yard, and he showed me all his plants, giving me details on each one. Next thing I know he asked if I could go to lunch, which we did, and he insisted on paying.
After lunch, we looked at more plants, and then 5pm came around. We didn’t do a single bit of work, but he pulled out his checkbook and asked how much he owed me. I definitely needed the money, but I declined it, because I had figured out he was just lonely and wanted some company. This became a regular routine, and we developed a friendship that would continue for the next decade.
Mr. Troutman had been a psychologist for the State of Georgia and he taught me how to understand myself. He never told me what I wanted to hear; he always told me what I needed to hear. It didn’t always feel good, but he was always right.
In 2008, I was living in Nashville because I had been laid off from work due to the real estate crisis, and Nashville was the only place I could find a job. I still spoke to Mr. Troutman on the phone at least once a week, and I came down to visit him about every other month. He didn’t ask me to. I didn’t have to. It was the right thing to do.
That year, he became very weak after undergoing a procedure to remove a basal cell carcinoma, and his health declined rapidly. I got a call one afternoon from his neighbor who told me that if I wanted to say goodbye, I didn’t have much time, so I left work and drove straight to Atlanta. I got to town just in time to give him one more hug. He passed away shortly after at the age of 88.
He was the best friend and mentor I’ve ever had. I was a naive kid from a tiny town in Tennessee with only one stop light. Even with his guidance, I still made lots of mistakes, but he never gave up on me. Instead, he helped me learn from my mistakes. I think that if I had not met him, my life might not have turned out so great. Almost every day, I think of some bit of advice he gave me.
I was reminded recently of one of the best things Mr. Troutman taught me. A real friend loves you, and accepts you, “warts and all”. By this, he meant that, due to no fault of our own, we all have things about us we can’t change. A real friend recognizes that and accepts us anyway. They don’t try to change us, because that’s not possible, but they try to help us be happy.
Mr. Troutman not only gave me lots of valuable advice, but he also lived by example. He never said, “goodbye”, instead he always waved and said, “Be kind to yourself” in his south Georgia accent.
Over the last few weeks, I've had to remind myself several times to follow this simple, but valuable piece of advice. In case anyone I know might also be going through something difficult, I thought I'd take a second to also remind you - be kind to yourself.
A pilot gives his ww2-era AT-6 Texan trainer one final polish before leaving for the night. Virginia Beach (Virginia) Air Museum, 2010.
Zeiss Ikon
Contax III (1938)
Zeiss f2 5cm Sonnar (fixed) lens
Ilford Delta 400
Kodak D-76 developer (10 min.)
Digitally scanned from negative
Another shot from my India trip last November....well done India on winning the cricket world cup in such style.
Hugo taking a break between licking the chopping board of animal fat. Unfortunately Hugo only has one eye, but makes up for it in his playfulness.
Gareth Evans Coaches,Brynamman has several School coaches in the fleet.Sorry about the picture quality on this one(drizzle !) though here is SC04 OOL at the LC2 last week.
Performing the Dance of the Four Stags (Sha Tsam): one of the traditional Bhutanese dances.
The Tourism Council of Bhutan says this about it: "A dance that depicts Guru Rinpoche subduing the God of Wind who is believed to have created unhappiness on earth. Dancers dress as stags in yellow knee length dress and masks of the deer. The stag represents the mount of the God."