View allAll Photos Tagged PERCEPTIVE
Interestingly, both of the Boston area Banksy pieces are on Essex St:
• F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED (aka chimney sweep) in Chinatown, Boston
• NO LOITRIN in Central Square, Cambridge.
Does that mean anything? It looks like he favors Essex named streets & roads when he can. In 2008, he did another notable Essex work in London, for example, and posters on the Banksy Forums picked up & discussed on the Essex link as well.
Is there an Essex Street in any of the other nearby towns? It looks like there are several: Brookline, Charlestown, Chelsea, Gloucester, Haverhill, Lawrence, Lynn, Medford, Melrose, Quincy, Revere, Salem, Saugus, Somerville, Swampscott, and Waltham. Most of these seem improbable to me, other than maybe Brookline, or maybe Somerville or Charlestown. But they start getting pretty suburban after that.
But, again, why "Essex"? In a comment on this photo, Birbeck helps clarify:
I can only surmise that he's having a 'dig' at Essex UK, especially with the misspelling of 'Loitering'. Here, the general view of the urban districts in Essex: working class but with right wing views; that they're not the most intellectual bunch; rather obsessed with fashion (well, their idea of it); their place of worship is the shopping mall; enjoy rowdy nights out; girls are thought of as being dumb, fake blonde hair/tans and promiscuous; and guys are good at the 'chit chat', and swagger around showing off their dosh (money).
It was also the region that once had Europe's largest Ford motor factory. In its heyday, 1 in 3 British cars were made in Dagenham, Essex. Pay was good for such unskilled labour, generations worked mind-numbing routines on assembly lines for 80 years. In 2002 the recession ended the dream.
• • • • •
This photo appeared on Grafitti - A arte das ruas on Yahoo Meme. Yes, Yahoo has a Tumblr/Posterous-esque "Meme" service now -- I was as surprised as you are.
• • • • •
From Wikipedia, the free encyclopedia
Banksy
• Birth name
Unknown
• Born
1974 or 1975 (1974 or 1975), Bristol, UK[1]
• Nationality
• Field
• Movement
Anti-Totalitarianism
Anti-War
• Works
Naked Man Image
One Nation Under CCTV
Anarchist Rat
Ozone's Angel
Pulp Fiction
Banksy is a pseudonymous[2][3][4] British graffiti artist. He is believed to be a native of Yate, South Gloucestershire, near Bristol[2] and to have been born in 1974,[5] but his identity is unknown.[6] According to Tristan Manco[who?], Banksy "was born in 1974 and raised in Bristol, England. The son of a photocopier technician, he trained as a butcher but became involved in graffiti during the great Bristol aerosol boom of the late 1980s."[7] His artworks are often satirical pieces of art on topics such as politics, culture, and ethics. His street art, which combines graffiti writing with a distinctive stencilling technique, is similar to Blek le Rat, who began to work with stencils in 1981 in Paris and members of the anarcho-punk band Crass who maintained a graffiti stencil campaign on the London Tube System in the late 1970s and early 1980s. His art has appeared in cities around the world.[8] Banksy's work was born out of the Bristol underground scene which involved collaborations between artists and musicians.
Banksy does not sell photos of street graffiti.[9] Art auctioneers have been known to attempt to sell his street art on location and leave the problem of its removal in the hands of the winning bidder.[10]
Banksy's first film, Exit Through The Gift Shop, billed as "the world's first street art disaster movie", made its debut at the 2010 Sundance Film Festival.[11] The film was released in the UK on March 5.[12]
Contents
• 1 Career
•• 1.1 2000
•• 1.2 2002
•• 1.3 2003
•• 1.4 2004
•• 1.5 2005
•• 1.6 2006
•• 1.7 2007
•• 1.8 2008
•• 1.9 2009
•• 1.10 2010
Career
Banksy started as a freehand graffiti artist 1992–1994[14] as one of Bristol's DryBreadZ Crew (DBZ), with Kato and Tes.[15] He was inspired by local artists and his work was part of the larger Bristol underground scene. From the start he used stencils as elements of his freehand pieces, too.[14] By 2000 he had turned to the art of stencilling after realising how much less time it took to complete a piece. He claims he changed to stencilling whilst he was hiding from the police under a train carriage, when he noticed the stencilled serial number[16] and by employing this technique, he soon became more widely noticed for his art around Bristol and London.[16]
Stencil on the waterline of The Thekla, an entertainment boat in central Bristol - (wider view). The image of Death is based on a 19th century etching illustrating the pestilence of The Great Stink.[17]
Banksy's stencils feature striking and humorous images occasionally combined with slogans. The message is usually anti-war, anti-capitalist or anti-establishment. Subjects often include rats, monkeys, policemen, soldiers, children, and the elderly.
In late 2001, on a trip to Sydney and Melbourne, Australia, he met up with the Gen-X pastellist, visual activist, and recluse James DeWeaver in Byron Bay[clarification needed], where he stencilled a parachuting rat with a clothes peg on its nose above a toilet at the Arts Factory Lodge. This stencil can no longer be located. He also makes stickers (the Neighbourhood Watch subvert) and sculpture (the murdered phone-box), and was responsible for the cover art of Blur's 2003 album Think Tank.
2000
The album cover for Monk & Canatella's Do Community Service was conceived and illustrated by Banksy, based on his contribution to the "Walls on fire" event in Bristol 1998.[18][citation needed]
2002
On 19 July 2002, Banksy's first Los Angeles exhibition debuted at 33 1/3 Gallery, a small Silverlake venue owned by Frank Sosa. The exhibition, entitled Existencilism, was curated by 33 1/3 Gallery, Malathion, Funk Lazy Promotions, and B+.[19]
2003
In 2003 in an exhibition called Turf War, held in a warehouse, Banksy painted on animals. Although the RSPCA declared the conditions suitable, an animal rights activist chained herself to the railings in protest.[20] He later moved on to producing subverted paintings; one example is Monet's Water Lily Pond, adapted to include urban detritus such as litter and a shopping trolley floating in its reflective waters; another is Edward Hopper's Nighthawks, redrawn to show that the characters are looking at a British football hooligan, dressed only in his Union Flag underpants, who has just thrown an object through the glass window of the cafe. These oil paintings were shown at a twelve-day exhibition in Westbourne Grove, London in 2005.[21]
2004
In August 2004, Banksy produced a quantity of spoof British £10 notes substituting the picture of the Queen's head with Princess Diana's head and changing the text "Bank of England" to "Banksy of England." Someone threw a large wad of these into a crowd at Notting Hill Carnival that year, which some recipients then tried to spend in local shops. These notes were also given with invitations to a Santa's Ghetto exhibition by Pictures on Walls. The individual notes have since been selling on eBay for about £200 each. A wad of the notes were also thrown over a fence and into the crowd near the NME signing tent at The Reading Festival. A limited run of 50 signed posters containing ten uncut notes were also produced and sold by Pictures on Walls for £100 each to commemorate the death of Princess Diana. One of these sold in October 2007 at Bonhams auction house in London for £24,000.
2005
In August 2005, Banksy, on a trip to the Palestinian territories, created nine images on Israel's highly controversial West Bank barrier. He reportedly said "The Israeli government is building a wall surrounding the occupied Palestinian territories. It stands three times the height of the Berlin Wall and will eventually run for over 700km—the distance from London to Zurich. "[22]
2006
• Banksy held an exhibition called Barely Legal, billed as a "three day vandalised warehouse extravaganza" in Los Angeles, on the weekend of 16 September. The exhibition featured a live "elephant in a room", painted in a pink and gold floral wallpaper pattern.[23]
• After Christina Aguilera bought an original of Queen Victoria as a lesbian and two prints for £25,000,[24] on 19 October 2006 a set of Kate Moss paintings sold in Sotheby's London for £50,400, setting an auction record for Banksy's work. The six silk-screen prints, featuring the model painted in the style of Andy Warhol's Marilyn Monroe pictures, sold for five times their estimated value. His stencil of a green Mona Lisa with real paint dripping from her eyes sold for £57,600 at the same auction.[25]
• In December, journalist Max Foster coined the phrase, "the Banksy Effect", to illustrate how interest in other street artists was growing on the back of Banksy's success.[26]
2007
• On 21 February 2007, Sotheby's auction house in London auctioned three works, reaching the highest ever price for a Banksy work at auction: over £102,000 for his Bombing Middle England. Two of his other graffiti works, Balloon Girl and Bomb Hugger, sold for £37,200 and £31,200 respectively, which were well above their estimated prices.[27] The following day's auction saw a further three Banksy works reach soaring prices: Ballerina With Action Man Parts reached £96,000; Glory sold for £72,000; Untitled (2004) sold for £33,600; all significantly above estimated values.[28] To coincide with the second day of auctions, Banksy updated his website with a new image of an auction house scene showing people bidding on a picture that said, "I Can't Believe You Morons Actually Buy This Shit."[6]
• In February 2007, the owners of a house with a Banksy mural on the side in Bristol decided to sell the house through Red Propeller art gallery after offers fell through because the prospective buyers wanted to remove the mural. It is listed as a mural which comes with a house attached.[29]
• In April 2007, Transport for London painted over Banksy's iconic image of a scene from Quentin Tarantino's Pulp Fiction, with Samuel L. Jackson and John Travolta clutching bananas instead of guns. Although the image was very popular, Transport for London claimed that the "graffiti" created "a general atmosphere of neglect and social decay which in turn encourages crime" and their staff are "professional cleaners not professional art critics".[30] Banksy tagged the same site again (pictured at right). This time the actors were portrayed as holding real guns instead of bananas, but they were adorned with banana costumes. Banksy made a tribute art piece over this second Pulp Fiction piece. The tribute was for 19-year-old British graffiti artist Ozone, who was hit by an underground train in Barking, East London, along with fellow artist Wants, on 12 January 2007.[31] The piece was of an angel wearing a bullet-proof vest, holding a skull. He also wrote a note on his website, saying:
The last time I hit this spot I painted a crap picture of two men in banana costumes waving hand guns. A few weeks later a writer called Ozone completely dogged it and then wrote 'If it's better next time I'll leave it' in the bottom corner. When we lost Ozone we lost a fearless graffiti writer and as it turns out a pretty perceptive art critic. Ozone - rest in peace.[citation needed]
Ozone's Angel
• On 27 April 2007, a new record high for the sale of Banksy's work was set with the auction of the work Space Girl & Bird fetching £288,000 (US$576,000), around 20 times the estimate at Bonhams of London.[32]
• On 21 May 2007 Banksy gained the award for Art's Greatest living Briton. Banksy, as expected, did not turn up to collect his award, and continued with his notoriously anonymous status.
• On 4 June 2007, it was reported that Banksy's The Drinker had been stolen.[33][34]
• In October 2007, most of his works offered for sale at Bonhams auction house in London sold for more than twice their reserve price.[35]
• Banksy has published a "manifesto" on his website.[36] The text of the manifesto is credited as the diary entry of one Lieutenant Colonel Mervin Willett Gonin, DSO, which is exhibited in the Imperial War Museum. It describes how a shipment of lipstick to the Bergen-Belsen concentration camp immediately after its liberation at the end of World War II helped the internees regain their humanity. However, as of 18 January 2008, Banksy's Manifesto has been substituted with Graffiti Heroes #03 that describes Peter Chappell's graffiti quest of the 1970s that worked to free George Davis of his imprisonment.[37] By 12 August 2009 he was relying on Emo Phillips' "When I was a kid I used to pray every night for a new bicycle. Then I realised God doesn’t work that way, so I stole one and prayed for forgiveness."
• A small number of Banksy's works can be seen in the movie Children of Men, including a stenciled image of two policemen kissing and another stencil of a child looking down a shop.
• In the 2007 film Shoot 'Em Up starring Clive Owen, Banksy's tag can be seen on a dumpster in the film's credits.
• Banksy, who deals mostly with Lazarides Gallery in London, claims that the exhibition at Vanina Holasek Gallery in New York (his first major exhibition in that city) is unauthorised. The exhibition featured 62 of his paintings and prints.[38]
2008
• In March, a stencilled graffiti work appeared on Thames Water tower in the middle of the Holland Park roundabout, and it was widely attributed to Banksy. It was of a child painting the tag "Take this Society" in bright orange. London Borough of Hammersmith and Fulham spokesman, Councillor Greg Smith branded the art as vandalism, and ordered its immediate removal, which was carried out by H&F council workmen within three days.[39]
• Over the weekend 3–5 May in London, Banksy hosted an exhibition called The Cans Festival. It was situated on Leake Street, a road tunnel formerly used by Eurostar underneath London Waterloo station. Graffiti artists with stencils were invited to join in and paint their own artwork, as long as it didn't cover anyone else's.[40] Artists included Blek le Rat, Broken Crow, C215, Cartrain, Dolk, Dotmasters, J.Glover, Eine, Eelus, Hero, Pure evil, Jef Aérosol, Mr Brainwash, Tom Civil and Roadsworth.[citation needed]
• In late August 2008, marking the third anniversary of Hurricane Katrina and the associated levee failure disaster, Banksy produced a series of works in New Orleans, Louisiana, mostly on buildings derelict since the disaster.[41]
• A stencil painting attributed to Banksy appeared at a vacant petrol station in the Ensley neighbourhood of Birmingham, Alabama on 29 August as Hurricane Gustav approached the New Orleans area. The painting depicting a hooded member of the Ku Klux Klan hanging from a noose was quickly covered with black spray paint and later removed altogether.[42]
• His first official exhibition in New York, the "Village Pet Store And Charcoal Grill," opened 5 October 2008. The animatronic pets in the store window include a mother hen watching over her baby Chicken McNuggets as they peck at a barbecue sauce packet, and a rabbit putting makeup on in a mirror.[43]
• The Westminster City Council stated in October 2008 that the work "One Nation Under CCTV", painted in April 2008 will be painted over as it is graffiti. The council says it will remove any graffiti, regardless of the reputation of its creator, and specifically stated that Banksy "has no more right to paint graffiti than a child". Robert Davis, the chairman of the council planning committee told The Times newspaper: "If we condone this then we might as well say that any kid with a spray can is producing art". [44] The work was painted over in April 2009.
• In December 2008, The Little Diver, a Banksy image of a diver in a duffle coat in Melbourne Australia was vandalised. The image was protected by a sheet of clear perspex, however silver paint was poured behind the protective sheet and later tagged with the words "Banksy woz ere". The image was almost completely destroyed.[45].
2009
• May 2009, parts company with agent Steve Lazarides. Announces Pest Control [46] the handling service who act on his behalf will be the only point of sale for new works.
• On 13 June 2009, the Banksy UK Summer show opened at Bristol City Museum and Art Gallery, featuring more than 100 works of art, including animatronics and installations; it is his largest exhibition yet, featuring 78 new works.[47][48] Reaction to the show was positive, with over 8,500 visitors to the show on the first weekend.[49] Over the course of the twelve weeks, the exhibition has been visited over 300,000 times.[50]
• In September 2009, a Banksy work parodying the Royal Family was partially destroyed by Hackney Council after they served an enforcement notice for graffiti removal to the former address of the property owner. The mural had been commissioned for the 2003 Blur single "Crazy Beat" and the property owner, who had allowed the piece to be painted, was reported to have been in tears when she saw it was being painted over.[51]
• In December 2009, Banksy marked the end of the 2009 United Nations Climate Change Conference by painting four murals on global warming. One included "I don't believe in global warming" which was submerged in water.[52]
2010
• The world premiere of the film Exit Through the Gift Shop occurred at the Sundance Film Festival in Park City, Utah, on 24 January. He created 10 street pieces around Park City and Salt Lake City to tie in with the screening.[53]
• In February, The Whitehouse public house in Liverpool, England, is sold for £114,000 at auction.[54] The side of the building has an image of a giant rat by Banksy.[55]
• In April 2010, Melbourne City Council in Australia reported that they had inadvertently ordered private contractors to paint over the last remaining Banksy art in the city. The image was of a rat descending in a parachute adorning the wall of an old council building behind the Forum Theatre. In 2008 Vandals had poured paint over a stencil of an old-fashioned diver wearing a trenchcoat. A council spokeswoman has said they would now rush through retrospective permits to protect other “famous or significant artworks” in the city.[56]
• In April 2010 to coincide with the premier of Exit through the Gift Shop in San Francisco, 5 of his pieces appeared in various parts of the city.[57] Banksy reportedly paid a Chinatown building owner $50 for the use of their wall for one of his stencils.[58]
• In May 2010 to coincide with the release of "Exit Through the Gift Shop" in Chicago, one piece appeared in the city.
Notable art pieces
In addition to his artwork, Banksy has claimed responsibility for a number of high profile art pieces, including the following:
• At London Zoo, he climbed into the penguin enclosure and painted "We're bored of fish" in seven foot high letters.[59]
• At Bristol Zoo, he left the message 'I want out. This place is too cold. Keeper smells. Boring, boring, boring.' in the elephant enclosure.[60]
• In March 2005, he placed subverted artworks in the Museum of Modern Art, Metropolitan Museum of Art, the Brooklyn Museum, and the American Museum of Natural History in New York.[61]
• He put up a subverted painting in London's Tate Britain gallery.
• In May 2005 Banksy's version of a primitive cave painting depicting a human figure hunting wildlife whilst pushing a shopping trolley was hung in gallery 49 of the British Museum, London. Upon discovery, they added it to their permanent collection.[62]
Near Bethlehem - 2005
• Banksy has sprayed "This is not a photo opportunity" on certain photograph spots.
• In August 2005, Banksy painted nine images on the Israeli West Bank barrier, including an image of a ladder going up and over the wall and an image of children digging a hole through the wall.[22][63][64][65]
See also: Other Banksy works on the Israeli West Bank barrier
• In April 2006, Banksy created a sculpture based on a crumpled red phone box with a pickaxe in its side, apparently bleeding, and placed it in a street in Soho, London. It was later removed by Westminster Council. BT released a press release, which said: "This is a stunning visual comment on BT's transformation from an old-fashioned telecommunications company into a modern communications services provider."[66]
• In June 2006, Banksy created an image of a naked man hanging out of a bedroom window on a wall visible from Park Street in central Bristol. The image sparked some controversy, with the Bristol City Council leaving it up to the public to decide whether it should stay or go.[67] After an internet discussion in which 97% (all but 6 people) supported the stencil, the city council decided it would be left on the building.[67] The mural was later defaced with paint.[67]
• In August/September 2006, Banksy replaced up to 500 copies of Paris Hilton's debut CD, Paris, in 48 different UK record stores with his own cover art and remixes by Danger Mouse. Music tracks were given titles such as "Why am I Famous?", "What Have I Done?" and "What Am I For?". Several copies of the CD were purchased by the public before stores were able to remove them, some going on to be sold for as much as £750 on online auction websites such as eBay. The cover art depicted Paris Hilton digitally altered to appear topless. Other pictures feature her with a dog's head replacing her own, and one of her stepping out of a luxury car, edited to include a group of homeless people, which included the caption "90% of success is just showing up".[68][69][70]
• In September 2006, Banksy dressed an inflatable doll in the manner of a Guantanamo Bay detainment camp prisoner (orange jumpsuit, black hood, and handcuffs) and then placed the figure within the Big Thunder Mountain Railroad ride at the Disneyland theme park in Anaheim, California.[71][72]
Technique
Asked about his technique, Banksy said:
“I use whatever it takes. Sometimes that just means drawing a moustache on a girl's face on some billboard, sometimes that means sweating for days over an intricate drawing. Efficiency is the key.[73]”
Stencils are traditionally hand drawn or printed onto sheets of acetate or card, before being cut out by hand. Because of the secretive nature of Banksy's work and identity, it is uncertain what techniques he uses to generate the images in his stencils, though it is assumed he uses computers for some images due to the photocopy nature of much of his work.
He mentions in his book, Wall and Piece, that as he was starting to do graffiti, he was always too slow and was either caught or could never finish the art in the one sitting. So he devised a series of intricate stencils to minimise time and overlapping of the colour.
Identity
Banksy's real name has been widely reported to be Robert or Robin Banks.[74][75][76] His year of birth has been given as 1974.[62]
Simon Hattenstone from Guardian Unlimited is one of the very few people to have interviewed him face-to-face. Hattenstone describes him as "a cross of Jimmy Nail and British rapper Mike Skinner" and "a 28 year old male who showed up wearing jeans and a t-shirt with a silver tooth, silver chain, and one silver earring".[77] In the same interview, Banksy revealed that his parents think their son is a painter and decorator.[77]
In May 2007, an extensive article written by Lauren Collins of the New Yorker re-opened the Banksy-identity controversy citing a 2004 photograph of the artist that was taken in Jamaica during the Two-Culture Clash project and later published in the Evening Standard in 2004.[6]
In October 2007, a story on the BBC website featured a photo allegedly taken by a passer-by in Bethnal Green, London, purporting to show Banksy at work with an assistant, scaffolding and a truck. The story confirms that Tower Hamlets Council in London has decided to treat all Banksy works as vandalism and remove them.[78]
In July 2008, it was claimed by The Mail on Sunday that Banksy's real name is Robin Gunningham.[3][79] His agent has refused to confirm or deny these reports.
In May 2009, the Mail on Sunday once again speculated about Gunningham being Banksy after a "self-portrait" of a rat holding a sign with the word "Gunningham" shot on it was photographed in East London.[80] This "new Banksy rat" story was also picked up by The Times[81] and the Evening Standard.
Banksy, himself, states on his website:
“I am unable to comment on who may or may not be Banksy, but anyone described as being 'good at drawing' doesn't sound like Banksy to me.[82]”
Controversy
In 2004, Banksy walked into the Louvre in Paris and hung on a wall a picture he had painted resembling the Mona Lisa but with a yellow smiley face. Though the painting was hurriedly removed by the museum staff, it and its counterpart, temporarily on unknown display at the Tate Britain, were described by Banksy as "shortcuts". He is quoted as saying:
“To actually [have to] go through the process of having a painting selected must be quite boring. It's a lot more fun to go and put your own one up.[83]”
Peter Gibson, a spokesperson for Keep Britain Tidy, asserts that Banksy's work is simple vandalism,[84] and Diane Shakespeare, an official for the same organization, was quoted as saying: "We are concerned that Banksy's street art glorifies what is essentially vandalism".[6]
In June 2007 Banksy created a circle of plastic portable toilets, said to resemble Stonehenge at the Glastonbury Festival. As this was in the same field as the "sacred circle" it was felt by many to be inappropriate and his installation was itself vandalized before the festival even opened. However, the intention had always been for people to climb on and interact with it.[citation needed] The installation was nicknamed "Portaloo Sunset" and "Bog Henge" by Festival goers. Michael Eavis admitted he wasn't fond of it, and the portaloos were removed before the 2008 festival.
In 2010, an artistic feud developed between Banksy and his rival King Robbo after Banksy painted over a 24-year old Robbo piece on the banks of London's Regent Canal. In retaliation several Banksy pieces in London have been painted over by 'Team Robbo'.[85][86]
Also in 2010, government workers accidentally painted over a Banksy art piece, a famed "parachuting-rat" stencil, in Australia's Melbourne CBD. [87]
Bibliography
Banksy has self-published several books that contain photographs of his work in various countries as well as some of his canvas work and exhibitions, accompanied by his own writings:
• Banksy, Banging Your Head Against A Brick Wall (2001) ISBN 978-0-95417040-0
• Banksy, Existencilism (2002) ISBN 978-0-95417041-7
• Banksy, Cut it Out (2004) ISBN 978-0-95449600-5
• Banksy, Wall and Piece (2005) ISBN 978-1-84413786-2
• Banksy, Pictures of Walls (2005) ISBN 978-0-95519460-3
Random House published Wall and Piece in 2005. It contains a combination of images from his three previous books, as well as some new material.[16]
Two books authored by others on his work were published in 2006 & 2007:
• Martin Bull, Banksy Locations and Tours: A Collection of Graffiti Locations and Photographs in London (2006 - with new editions in 2007 and 2008) ISBN 978-0-95547120-9.
• Steve Wright, Banksy's Bristol: Home Sweet Home (2007) ISBN 978-1906477004
External links
Back in March 1982, I took a train trip to celebrate my pending college graduation. During spring break, I traveled from the Pacific Coast to Chicago twice. In the middle of the trip, I had an unforgettable meeting with some very unique people. This marginal image evidences a fun story.
The biggest highlight of my trip was going to be a ride on the RIo Grande Zephyr from Salt Lake City to Denver. At the time, the RGZ was the only intercity passenger train in the lower 48 not run by Amtrak. It ran three days a week (never on Wednesday) in each direction over the Denver & Rio Grande Western Railroad. The RGZ's 570 mile route between Colorado and Utah's state capitals crossed the heart of the Wasatch and the Rockies. When the Rio Grande once billed itself as the "Scenic Railroad of the World," there was no marketing exaggeration involved.
The first leg of my trip was an overnight journey on the Coast Starlight from my hometown of Klamath Falls, Oregon to Davis, California. After breakfast at a Dennys in Davis, I took a short, 10-mile ride on the short-lived Spirit of California train to Sacramento. I spent several hours at the California State Railroad Museum before I boarded Amtrak's San Francisco Zephyr for another overnight trip - this time to Ogden, Utah. At Ogden, I would detrain and take a limousine connection to Salt Lake for my ride on the Rio Grande Zephyr.
The following morning, I woke around a half hour before the scheduled arrival in Ogden. We were just starting to cross the Great Salt Lake on the long fill and trestle spanning the salty waters. As it turned out, we had lost over an hour during the night. Due to the delay, I missed my connection to the Rio Grande Zephyr by about ten minutes. One of the reasons the Rio Grande railroad ran their own passenger train was so that they would not have to suffer operational issues when Amtrak delays occurred on other rail lines. They did not hold their train for late connections. Needless to say, I was not a happy camper.
Because I missed the Rio Grande connection, I would have to continue riding Amtrak to Denver. Aside from two notable exceptions - Echo Canyon leaving Ogden, and the crossing of Sherman Hill east of Laramie - the Union Pacific line across southern Wyoming was an uninspiring jaunt through arid high desert. Besides sagebrush, often the only things to look at were the thousands of snow fences, built to keep drifts off the tracks.
What the trip across Wyoming lacked outside the windows, it more than made up for inside the train. Amtrak's San Francisco Zephyr crossed Wyoming during daylight hours in both directions. It was basic transportation for local residents, most of whom had some connection to the Union Pacific Railroad. I was sitting across from the train crew's work station in one of the coaches. The conductor from Green River to Denver was quite a character. He was 72 years old and had 55 years of service on UP, holding the number one seniority spot on the Wyoming Division of the railroad. I got the impression he knew most of the local passengers on the train, and they knew him. It seemed like everyone on Amtrak's Zephyr in Wyoming was one big, happy family.
At a spot in the middle of nowhere named Borie, the train stopped to receive and discharge passengers for Cheyenne. A small bus carried passengers to and from Wyoming's capital city. When we stopped during the afternoon, the two couples you see in the attached photo boarded the train. As they entered our coach, it was clear they were enjoying themselves - a lot. It turned out that they had quite a story to tell, which I learned when I talked to them in the SFZ's lounge car.
The men were physicians that had served together as Army doctors in Vietnam. After their military service ended, they returned to their hometowns of Dallas and Sacramento, entered private practice and married. Through the years, they kept in touch and often went on joint vacations with their spouses. The previous year, the couple from Dallas (cowboy hat, seated) were visiting the Sacramento couple (baseball cap, crouching behind chair) in NorCal. During the visit, the couples toured the brand new California State Railroad Museum. They asked one of the museum volunteers for recommendations on an outstanding train trip. The docent told them a ride on the Rio Grande Zephyr from Denver to Salt Lake was the best in the United States.
The doctors decided to take a skiing vacation in Utah the following winter. They thought it would be fun to fly into Denver, ride the Zephyr to Salt Lake, and then head for the slopes. The trouble was, in 1982 there were two Zephyrs that went west from Denver. Three days a week (Thursday, Saturday and Monday) the Rio Grande Zephyr departed Denver early in the morning for the stunning trip through the Rockies and the Wasatch. Amtrak's daily westbound San Francisco Zephyr arrived in Denver late in the morning from Chicago. After a long service stop, it left at midday for the deadly boredom of the run through the sagebrush across Southern Wyoming. When the docs talked to a travel agent, they said they wanted to ride "the Zephyr" from Denver to Salt Lake. The agent asked them what day they wanted to go, and they picked a Friday. Since the travel agent had no idea there were two Zephyrs, one of which did NOT go west on Fridays, reservations were made and tickets were issued. The couples flew into Denver, blissfully unaware they were booked on the wrong train.
About an hour after Amtrak departed Denver, the doctors discovered they were not on the train they wanted to ride. When they asked the conductor when they were going to get into the mountains and all the scenery, he smiled and told them that was the 'other' Zephyr - Amtrak's version went around the Rockies, not through them. Dismayed at their mistake, the doctors pondered their next move. The conductor, bemused by how anyone could possibly be on the wrong train in 1982 Colorado, told the doctors that they were on the Union Pacific, and the UP could handle it - just like their corporate motto suggested. He told the docs to detrain at Borie, go into Cheyenne on the bus shuttle, and explain their plight to the agent.
When the doctors and their wives got to the train station in Cheyenne, they related their story to the Amtrak personnel there. Some phone calls were made, and passage to Salt Lake on the next day's Rio Grande Zephyr was secured. The couples were sent back to Denver on the eastbound train in the afternoon. As a souvenir of their adventure, the doctors were given "UP - We Can Handle It" baseball caps.
Not long after the doctors related this story to me, we reached the outskirts of Denver. The Amtrak Zephyr passed a military train loaded with battle tanks. One of the doctors wondered if the tanks were on their way to some new war, and the other suggested all it would do would be to take the lives of a lot of young men. It was clear from the disgust in their conversation that they knew all too well of what they were discussing.
Before the train reached the station in Denver, I asked if I could take a picture. The two couples were happy to pose for me. As you can see from the image, they were having a great time, despite it all. I suspect they had not yet realized that their checked luggage was enroute to Salt Lake on the westbound Amtrak Zephyr.
When the train finally came to a stop at Denver Union Station, we went back to the coach to gather our belongings and detrain. The doctor from Sacramento took me aside and quietly asked why I had wanted to take their picture. I told him that without a photo, no one would ever believe the story. Also, I said that when I showed the picture to people, I would tell them I had met a real-life Hawkeye and Trapper John.
After I made that observation, the doctor got a very serious look on his face. Very deliberately, he said, "You're very perceptive. You are a helluva lot closer to the truth about us than you'll ever know." With that, we went our separate ways.
I completed my vacation with rides on the SFZ, Southwest Limited, Sunset Limited, Eagle, Empire Builder and Coast Starlight. However, I never forgot my chance encounter with these two couples. In case anyone recognizes these people, please thank the docs for their service from me, and also thank them for the memory.
intelligent, cautious, mental torture, shy, charismatic, distracted, hot head, beautiful, perfectionist, loyal, struggles, rare occasions of affection, hilarious, strong-minded, demands respect, disciplines, blunt, proud, wants, needs he rarely shares. those he surrounds himself with devotion, she, arrogant, perceptive, spelling corrector, private, impenetrable, irresistible, so attractive he makes my panties wet, diverse, open-minded, dominant, sensational shopper, angry, confident, vulnerable, cruel and raw which will keep you where you are, but I assure you...I don't want you anymore.
There is a long list of space illustrations which bother me for a variety of reasons, and images of protoplanetary disks are a big offender. While I'm not entirely pleased with my own rendition and may try again at a later point, several key issues are addressed:
1. The star is a point source. You will never see anything but a point source at the scale of planetary disks.
2. Just as you will never see the star as anything but a point, you will also never see any planets. At most, if you were looking in the infrared, you would see another point source many orders of magnitude dimmer than the parent star. It would have its own PSF (point spread function) and that's it. Maybe I could put a dim point source in one of those empty lanes. It's possible. I'll think about it.
3. Because there are no visibly large planets, there are no shadows being cast by them. Even if you were next to a planet, you probably wouldn't see any shadows because "god ray" style shadows depicted in sci-fi movies and art require very specific conditions to occur and probably never happen in space quite like that. Larger scale shadows, sure. We have even seen those recently, but that shadow is cast by perturbations of Earth-orbit-sized structures of the disk itself, not some puny little planet.
Anyway, here are some further thoughts running through my head when illustrating this:
Looking at ALMA and Hubble imagery of real planetary disks, I find them to be astonishingly regular. There are some leftover bumps and blips in Hubble's images, but that's from the star's PSF, not necessarily part of the disk itself. So I assume they are very, very circular and smooth. Something like Saturn's rings.
Understanding basic orbital mechanics and also from studying larger scale disk objects, I guess that they are fluffier as distance from the star increases. I tried to show that. I put some texture in the diffuse foreground ridge and made sure the dust significantly reddened the light passing through it. It might still be too dense at this point, which I imagine to be around 120 AU from the star.
I also imagined an extremely tenuous spherical orb of dust which is denser near the star and virtually nonexistent farther out. You can see it peeking out from under the foreground dust ring. The idea here is that even though this disk is regular now, in the past it had a tumultuous beginning before the angular momentum of the matter swirling around the star settled into its average position like this. Over millions of years this and all dust is dragged into the star, but before that happens, maybe a little is leftover to slowly spiral inward. Just an idea. Possibly totally wrong.
I used Hubble's PSF for the star. I'm a fan. So what. If you noticed that before reading this, then count yourself as either very experienced with Hubble or very perceptive. The PSF was modeled with Tiny Tim.
German postcard by Ross Verlag, Berlin, no. 1256/1, 1927-1928. Photo: Paramount Film.
American film actress Viola Dana (1897-1987) was successful during the era of silent movies. She was the wife of pioneer director John Collins and the lead actress in many of his early films. After his death during the 1918 flu pandemic, Dana became very successful in Hollywood.
Viola Dana was born Virginia Flugrath in 1897 in Brooklyn, New York, USA. She was the middle sister of three sisters: the other two were actresses Edna Flugrath and Shirley Mason. The girls' mother had dreams for her daughters being actresses and enthusiastically sought stage work for them. Viola appeared on the stage at the age of three. Much of her and her sisters' young lives was spent performing with touring companies, at Coney Island, Elks Clubs or anywhere else employment could be found. She read William Shakespeare and particularly identified with the teenage Juliet. Dana entered films in 1910. Since the Flugraths lived near the Edison studios, it was only natural that their mother would seek out jobs for them there. For the Edison Manufacturing company, she appeared in A Christmas Carol (J. Searle Dawley, Charles Kent, Ashley Miller, 1910), based on the Charles Dickens story and with Marc McDermott as Ebenezer Scrooge. Between 1910 and 1912, she made three more small appearances in the emergent film industry in New York, using her own name Viola Flugrath. She began also performing in vaudeville with Dustin Farnum in 'The Little Rebel' and played a bit part in 'The Model' by Augustus Thomas. In 1913, she won the title part in the David Belasco stage production of 'The Poor Little Rich Girl' and the hit show enjoyed a long run at the Hudson Theatre in Manhattan. Her breakthrough movie was Molly the Drummer Boy (George Lessey, 1914). She became a star with the Edison Company, working at their studio in the Bronx, a former riding academy on West 61st Street. There, she fell in love with Edison director John Hancock Collins and they married in 1915. Collins had come to Edison in 1904 and performed all sorts of tasks, including handyman until he was finally promoted to director. After marrying Viola, he became her director and wrote many of her films. Dana's starred in Collins's Edison features such as The Portrait in the Attic (John H. Collins, 1915), Children of Eve (John H. Collins, 1915) and The Cossack Whip (John H. Collins, 1916), and under his guidance, she became one of Edison's top stars. William K. Everson writes in his study American Silent Film (1978) that Collins's films were some of the best to come out of the Edison studio: "Despite extremely perceptive and laudatory reviews for his films of 1914-1918, he is an ignored and unknown figure to most American historians". He goes on to note that Collins' lack of recognition is due in part to the perception that no directorial talent ever came out of the Edison studios. "Collins' films show that not only were we wrong about him but that it is quite possible that other directors of his calibre lie buried with the unseen Edison films." The success of the films by John H. Collins with Viola Dana encouraged producer B. A. Rolfe to offer the couple lucrative contracts with his company, Rolfe Photoplays, which released through Metro Pictures Corporation. Dana and Collins accepted Rolfe's offer in 1916. The couple made several important films for Rolfe/Metro, notably The Girl Without a Soul (John H. Collins, 1917) and Blue Jeans (John H. Collins, 1917). Rolfe closed his New York-area studio down in the face of the 1918 flu pandemic and sent most of his personnel to California. Dana left before Collins, who was finishing work at the studio; however, Collins contracted influenza which rapidly turned into pneumonia and died in a New York hotel room.
Viola Dana had a romantic relationship (1919-1920) with daredevil Hollywood pilot Ormer Locklear, who was married at the time. His skills as an aviator made him perfect movie material, and, in 1920, he was making The Skywayman for Fox. The filming called for night flying scenes over oil fields in the Los Angeles area. Locklear was to take his plane into a tailspin heading dangerously toward the ground. Sunlight arcs were directed at the plane so it would show up against the night sky. The blinding lights were to be shut off just as Locklear reached the level of the oil wells indicating that he should straighten out the plane. However, whoever was in charge never took the lights off him, and he crashed. Viola was present a the time of the incident and would not fly again for 25 years. In 1925 she married Yale football star and actor Maurice 'Lefty' Flynn, but they divorced in 1929. For Metro, Dana continued to turn in great performances in light comedies, particularly as Katie O'Doone in Bred in Old Kentucky (Edward Dillon, 1926). She became one the best-paid stars of Metro, which of course became part of Metro-Goldwyn-Mayer. In 1926, she moved from MGM to Paramount. Throughout the 1920s she continued to act, but her popularity gradually waned when sound film was introduced. One of her last important roles was in Frank Capra's first film for Columbia Pictures, That Certain Thing (1928) with Ralph Graves. According to Wikipedia, she was unable to make the transition to sound films. According to the Chicago Tribune, her voice was not suited for sound pictures. By the time she made her final film appearance in 1933, she had played in over 100 films. In 1930 she married actor and professional golfer Jimmy Thompson. After a brief stint in vaudeville, she retired to tour with her husband, Jimmy Thomson. In 1945, the marriage with Thomson dissolved in a divorce. Dana briefly came out of retirement to appear on television in small part on the TV series Lux Video Theatre (1956) and My Three Sons (1963). Dana became a volunteer aide at the Motion Picture Country House before moving there permanently in 1979. More than 50 years after her retirement from the screen, Viola Dana appeared in the documentary TV series Hollywood (Kevin Brownlow, David Gill, 1980), discussing her career as a silent film star during the 1920s. Footage from the interview was used in a later documentary series on Buster Keaton, Buster Keaton: A Hard Act to Follow (1987), also by Kevin Brownlow and David Gill. At the age of 90, Viola Dana passed away in 1987 at the Motion Picture & Television Country House and Hospital in Woodland Hills, Los Angeles. In 1990, she was the subject of a documentary short by Anthony Slide, Vi: Portrait of a Silent Star, in which she talks about her life and career.
Sources: Tim Lussier (Silents are Golden), Hal Erickson (AllMovie), Denny Jackson (IMDb), The Chicago Tribune, Golden Silents, Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards..
Interestingly, both of the Boston area Banksy pieces are on Essex St:
• F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED (aka chimney sweep) in Chinatown, Boston
• NO LOITRIN in Central Square, Cambridge.
Does that mean anything? It looks like he favors Essex named streets & roads when he can. In 2008, he did another notable Essex work in London, for example, and posters on the Banksy Forums picked up & discussed on the Essex link as well.
Is there an Essex Street in any of the other nearby towns? It looks like there are several: Brookline, Charlestown, Chelsea, Gloucester, Haverhill, Lawrence, Lynn, Medford, Melrose, Quincy, Revere, Salem, Saugus, Somerville, Swampscott, and Waltham. Most of these seem improbable to me, other than maybe Brookline, or maybe Somerville or Charlestown. But they start getting pretty suburban after that.
But, again, why "Essex"? In a comment on this photo, Birbeck helps clarify:
I can only surmise that he's having a 'dig' at Essex UK, especially with the misspelling of 'Loitering'. Here, the general view of the urban districts in Essex: working class but with right wing views; that they're not the most intellectual bunch; rather obsessed with fashion (well, their idea of it); their place of worship is the shopping mall; enjoy rowdy nights out; girls are thought of as being dumb, fake blonde hair/tans and promiscuous; and guys are good at the 'chit chat', and swagger around showing off their dosh (money).
It was also the region that once had Europe's largest Ford motor factory. In its heyday, 1 in 3 British cars were made in Dagenham, Essex. Pay was good for such unskilled labour, generations worked mind-numbing routines on assembly lines for 80 years. In 2002 the recession ended the dream.
• • • • •
This photo appeared on Grafitti - A arte das ruas on Yahoo Meme. Yes, Yahoo has a Tumblr/Posterous-esque "Meme" service now -- I was as surprised as you are.
• • • • •
From Wikipedia, the free encyclopedia
Banksy
• Birth name
Unknown
• Born
1974 or 1975 (1974 or 1975), Bristol, UK[1]
• Nationality
• Field
• Movement
Anti-Totalitarianism
Anti-War
• Works
Naked Man Image
One Nation Under CCTV
Anarchist Rat
Ozone's Angel
Pulp Fiction
Banksy is a pseudonymous[2][3][4] British graffiti artist. He is believed to be a native of Yate, South Gloucestershire, near Bristol[2] and to have been born in 1974,[5] but his identity is unknown.[6] According to Tristan Manco[who?], Banksy "was born in 1974 and raised in Bristol, England. The son of a photocopier technician, he trained as a butcher but became involved in graffiti during the great Bristol aerosol boom of the late 1980s."[7] His artworks are often satirical pieces of art on topics such as politics, culture, and ethics. His street art, which combines graffiti writing with a distinctive stencilling technique, is similar to Blek le Rat, who began to work with stencils in 1981 in Paris and members of the anarcho-punk band Crass who maintained a graffiti stencil campaign on the London Tube System in the late 1970s and early 1980s. His art has appeared in cities around the world.[8] Banksy's work was born out of the Bristol underground scene which involved collaborations between artists and musicians.
Banksy does not sell photos of street graffiti.[9] Art auctioneers have been known to attempt to sell his street art on location and leave the problem of its removal in the hands of the winning bidder.[10]
Banksy's first film, Exit Through The Gift Shop, billed as "the world's first street art disaster movie", made its debut at the 2010 Sundance Film Festival.[11] The film was released in the UK on March 5.[12]
Contents
• 1 Career
•• 1.1 2000
•• 1.2 2002
•• 1.3 2003
•• 1.4 2004
•• 1.5 2005
•• 1.6 2006
•• 1.7 2007
•• 1.8 2008
•• 1.9 2009
•• 1.10 2010
Career
Banksy started as a freehand graffiti artist 1992–1994[14] as one of Bristol's DryBreadZ Crew (DBZ), with Kato and Tes.[15] He was inspired by local artists and his work was part of the larger Bristol underground scene. From the start he used stencils as elements of his freehand pieces, too.[14] By 2000 he had turned to the art of stencilling after realising how much less time it took to complete a piece. He claims he changed to stencilling whilst he was hiding from the police under a train carriage, when he noticed the stencilled serial number[16] and by employing this technique, he soon became more widely noticed for his art around Bristol and London.[16]
Stencil on the waterline of The Thekla, an entertainment boat in central Bristol - (wider view). The image of Death is based on a 19th century etching illustrating the pestilence of The Great Stink.[17]
Banksy's stencils feature striking and humorous images occasionally combined with slogans. The message is usually anti-war, anti-capitalist or anti-establishment. Subjects often include rats, monkeys, policemen, soldiers, children, and the elderly.
In late 2001, on a trip to Sydney and Melbourne, Australia, he met up with the Gen-X pastellist, visual activist, and recluse James DeWeaver in Byron Bay[clarification needed], where he stencilled a parachuting rat with a clothes peg on its nose above a toilet at the Arts Factory Lodge. This stencil can no longer be located. He also makes stickers (the Neighbourhood Watch subvert) and sculpture (the murdered phone-box), and was responsible for the cover art of Blur's 2003 album Think Tank.
2000
The album cover for Monk & Canatella's Do Community Service was conceived and illustrated by Banksy, based on his contribution to the "Walls on fire" event in Bristol 1998.[18][citation needed]
2002
On 19 July 2002, Banksy's first Los Angeles exhibition debuted at 33 1/3 Gallery, a small Silverlake venue owned by Frank Sosa. The exhibition, entitled Existencilism, was curated by 33 1/3 Gallery, Malathion, Funk Lazy Promotions, and B+.[19]
2003
In 2003 in an exhibition called Turf War, held in a warehouse, Banksy painted on animals. Although the RSPCA declared the conditions suitable, an animal rights activist chained herself to the railings in protest.[20] He later moved on to producing subverted paintings; one example is Monet's Water Lily Pond, adapted to include urban detritus such as litter and a shopping trolley floating in its reflective waters; another is Edward Hopper's Nighthawks, redrawn to show that the characters are looking at a British football hooligan, dressed only in his Union Flag underpants, who has just thrown an object through the glass window of the cafe. These oil paintings were shown at a twelve-day exhibition in Westbourne Grove, London in 2005.[21]
2004
In August 2004, Banksy produced a quantity of spoof British £10 notes substituting the picture of the Queen's head with Princess Diana's head and changing the text "Bank of England" to "Banksy of England." Someone threw a large wad of these into a crowd at Notting Hill Carnival that year, which some recipients then tried to spend in local shops. These notes were also given with invitations to a Santa's Ghetto exhibition by Pictures on Walls. The individual notes have since been selling on eBay for about £200 each. A wad of the notes were also thrown over a fence and into the crowd near the NME signing tent at The Reading Festival. A limited run of 50 signed posters containing ten uncut notes were also produced and sold by Pictures on Walls for £100 each to commemorate the death of Princess Diana. One of these sold in October 2007 at Bonhams auction house in London for £24,000.
2005
In August 2005, Banksy, on a trip to the Palestinian territories, created nine images on Israel's highly controversial West Bank barrier. He reportedly said "The Israeli government is building a wall surrounding the occupied Palestinian territories. It stands three times the height of the Berlin Wall and will eventually run for over 700km—the distance from London to Zurich. "[22]
2006
• Banksy held an exhibition called Barely Legal, billed as a "three day vandalised warehouse extravaganza" in Los Angeles, on the weekend of 16 September. The exhibition featured a live "elephant in a room", painted in a pink and gold floral wallpaper pattern.[23]
• After Christina Aguilera bought an original of Queen Victoria as a lesbian and two prints for £25,000,[24] on 19 October 2006 a set of Kate Moss paintings sold in Sotheby's London for £50,400, setting an auction record for Banksy's work. The six silk-screen prints, featuring the model painted in the style of Andy Warhol's Marilyn Monroe pictures, sold for five times their estimated value. His stencil of a green Mona Lisa with real paint dripping from her eyes sold for £57,600 at the same auction.[25]
• In December, journalist Max Foster coined the phrase, "the Banksy Effect", to illustrate how interest in other street artists was growing on the back of Banksy's success.[26]
2007
• On 21 February 2007, Sotheby's auction house in London auctioned three works, reaching the highest ever price for a Banksy work at auction: over £102,000 for his Bombing Middle England. Two of his other graffiti works, Balloon Girl and Bomb Hugger, sold for £37,200 and £31,200 respectively, which were well above their estimated prices.[27] The following day's auction saw a further three Banksy works reach soaring prices: Ballerina With Action Man Parts reached £96,000; Glory sold for £72,000; Untitled (2004) sold for £33,600; all significantly above estimated values.[28] To coincide with the second day of auctions, Banksy updated his website with a new image of an auction house scene showing people bidding on a picture that said, "I Can't Believe You Morons Actually Buy This Shit."[6]
• In February 2007, the owners of a house with a Banksy mural on the side in Bristol decided to sell the house through Red Propeller art gallery after offers fell through because the prospective buyers wanted to remove the mural. It is listed as a mural which comes with a house attached.[29]
• In April 2007, Transport for London painted over Banksy's iconic image of a scene from Quentin Tarantino's Pulp Fiction, with Samuel L. Jackson and John Travolta clutching bananas instead of guns. Although the image was very popular, Transport for London claimed that the "graffiti" created "a general atmosphere of neglect and social decay which in turn encourages crime" and their staff are "professional cleaners not professional art critics".[30] Banksy tagged the same site again (pictured at right). This time the actors were portrayed as holding real guns instead of bananas, but they were adorned with banana costumes. Banksy made a tribute art piece over this second Pulp Fiction piece. The tribute was for 19-year-old British graffiti artist Ozone, who was hit by an underground train in Barking, East London, along with fellow artist Wants, on 12 January 2007.[31] The piece was of an angel wearing a bullet-proof vest, holding a skull. He also wrote a note on his website, saying:
The last time I hit this spot I painted a crap picture of two men in banana costumes waving hand guns. A few weeks later a writer called Ozone completely dogged it and then wrote 'If it's better next time I'll leave it' in the bottom corner. When we lost Ozone we lost a fearless graffiti writer and as it turns out a pretty perceptive art critic. Ozone - rest in peace.[citation needed]
Ozone's Angel
• On 27 April 2007, a new record high for the sale of Banksy's work was set with the auction of the work Space Girl & Bird fetching £288,000 (US$576,000), around 20 times the estimate at Bonhams of London.[32]
• On 21 May 2007 Banksy gained the award for Art's Greatest living Briton. Banksy, as expected, did not turn up to collect his award, and continued with his notoriously anonymous status.
• On 4 June 2007, it was reported that Banksy's The Drinker had been stolen.[33][34]
• In October 2007, most of his works offered for sale at Bonhams auction house in London sold for more than twice their reserve price.[35]
• Banksy has published a "manifesto" on his website.[36] The text of the manifesto is credited as the diary entry of one Lieutenant Colonel Mervin Willett Gonin, DSO, which is exhibited in the Imperial War Museum. It describes how a shipment of lipstick to the Bergen-Belsen concentration camp immediately after its liberation at the end of World War II helped the internees regain their humanity. However, as of 18 January 2008, Banksy's Manifesto has been substituted with Graffiti Heroes #03 that describes Peter Chappell's graffiti quest of the 1970s that worked to free George Davis of his imprisonment.[37] By 12 August 2009 he was relying on Emo Phillips' "When I was a kid I used to pray every night for a new bicycle. Then I realised God doesn’t work that way, so I stole one and prayed for forgiveness."
• A small number of Banksy's works can be seen in the movie Children of Men, including a stenciled image of two policemen kissing and another stencil of a child looking down a shop.
• In the 2007 film Shoot 'Em Up starring Clive Owen, Banksy's tag can be seen on a dumpster in the film's credits.
• Banksy, who deals mostly with Lazarides Gallery in London, claims that the exhibition at Vanina Holasek Gallery in New York (his first major exhibition in that city) is unauthorised. The exhibition featured 62 of his paintings and prints.[38]
2008
• In March, a stencilled graffiti work appeared on Thames Water tower in the middle of the Holland Park roundabout, and it was widely attributed to Banksy. It was of a child painting the tag "Take this Society" in bright orange. London Borough of Hammersmith and Fulham spokesman, Councillor Greg Smith branded the art as vandalism, and ordered its immediate removal, which was carried out by H&F council workmen within three days.[39]
• Over the weekend 3–5 May in London, Banksy hosted an exhibition called The Cans Festival. It was situated on Leake Street, a road tunnel formerly used by Eurostar underneath London Waterloo station. Graffiti artists with stencils were invited to join in and paint their own artwork, as long as it didn't cover anyone else's.[40] Artists included Blek le Rat, Broken Crow, C215, Cartrain, Dolk, Dotmasters, J.Glover, Eine, Eelus, Hero, Pure evil, Jef Aérosol, Mr Brainwash, Tom Civil and Roadsworth.[citation needed]
• In late August 2008, marking the third anniversary of Hurricane Katrina and the associated levee failure disaster, Banksy produced a series of works in New Orleans, Louisiana, mostly on buildings derelict since the disaster.[41]
• A stencil painting attributed to Banksy appeared at a vacant petrol station in the Ensley neighbourhood of Birmingham, Alabama on 29 August as Hurricane Gustav approached the New Orleans area. The painting depicting a hooded member of the Ku Klux Klan hanging from a noose was quickly covered with black spray paint and later removed altogether.[42]
• His first official exhibition in New York, the "Village Pet Store And Charcoal Grill," opened 5 October 2008. The animatronic pets in the store window include a mother hen watching over her baby Chicken McNuggets as they peck at a barbecue sauce packet, and a rabbit putting makeup on in a mirror.[43]
• The Westminster City Council stated in October 2008 that the work "One Nation Under CCTV", painted in April 2008 will be painted over as it is graffiti. The council says it will remove any graffiti, regardless of the reputation of its creator, and specifically stated that Banksy "has no more right to paint graffiti than a child". Robert Davis, the chairman of the council planning committee told The Times newspaper: "If we condone this then we might as well say that any kid with a spray can is producing art". [44] The work was painted over in April 2009.
• In December 2008, The Little Diver, a Banksy image of a diver in a duffle coat in Melbourne Australia was vandalised. The image was protected by a sheet of clear perspex, however silver paint was poured behind the protective sheet and later tagged with the words "Banksy woz ere". The image was almost completely destroyed.[45].
2009
• May 2009, parts company with agent Steve Lazarides. Announces Pest Control [46] the handling service who act on his behalf will be the only point of sale for new works.
• On 13 June 2009, the Banksy UK Summer show opened at Bristol City Museum and Art Gallery, featuring more than 100 works of art, including animatronics and installations; it is his largest exhibition yet, featuring 78 new works.[47][48] Reaction to the show was positive, with over 8,500 visitors to the show on the first weekend.[49] Over the course of the twelve weeks, the exhibition has been visited over 300,000 times.[50]
• In September 2009, a Banksy work parodying the Royal Family was partially destroyed by Hackney Council after they served an enforcement notice for graffiti removal to the former address of the property owner. The mural had been commissioned for the 2003 Blur single "Crazy Beat" and the property owner, who had allowed the piece to be painted, was reported to have been in tears when she saw it was being painted over.[51]
• In December 2009, Banksy marked the end of the 2009 United Nations Climate Change Conference by painting four murals on global warming. One included "I don't believe in global warming" which was submerged in water.[52]
2010
• The world premiere of the film Exit Through the Gift Shop occurred at the Sundance Film Festival in Park City, Utah, on 24 January. He created 10 street pieces around Park City and Salt Lake City to tie in with the screening.[53]
• In February, The Whitehouse public house in Liverpool, England, is sold for £114,000 at auction.[54] The side of the building has an image of a giant rat by Banksy.[55]
• In April 2010, Melbourne City Council in Australia reported that they had inadvertently ordered private contractors to paint over the last remaining Banksy art in the city. The image was of a rat descending in a parachute adorning the wall of an old council building behind the Forum Theatre. In 2008 Vandals had poured paint over a stencil of an old-fashioned diver wearing a trenchcoat. A council spokeswoman has said they would now rush through retrospective permits to protect other “famous or significant artworks” in the city.[56]
• In April 2010 to coincide with the premier of Exit through the Gift Shop in San Francisco, 5 of his pieces appeared in various parts of the city.[57] Banksy reportedly paid a Chinatown building owner $50 for the use of their wall for one of his stencils.[58]
• In May 2010 to coincide with the release of "Exit Through the Gift Shop" in Chicago, one piece appeared in the city.
Notable art pieces
In addition to his artwork, Banksy has claimed responsibility for a number of high profile art pieces, including the following:
• At London Zoo, he climbed into the penguin enclosure and painted "We're bored of fish" in seven foot high letters.[59]
• At Bristol Zoo, he left the message 'I want out. This place is too cold. Keeper smells. Boring, boring, boring.' in the elephant enclosure.[60]
• In March 2005, he placed subverted artworks in the Museum of Modern Art, Metropolitan Museum of Art, the Brooklyn Museum, and the American Museum of Natural History in New York.[61]
• He put up a subverted painting in London's Tate Britain gallery.
• In May 2005 Banksy's version of a primitive cave painting depicting a human figure hunting wildlife whilst pushing a shopping trolley was hung in gallery 49 of the British Museum, London. Upon discovery, they added it to their permanent collection.[62]
Near Bethlehem - 2005
• Banksy has sprayed "This is not a photo opportunity" on certain photograph spots.
• In August 2005, Banksy painted nine images on the Israeli West Bank barrier, including an image of a ladder going up and over the wall and an image of children digging a hole through the wall.[22][63][64][65]
See also: Other Banksy works on the Israeli West Bank barrier
• In April 2006, Banksy created a sculpture based on a crumpled red phone box with a pickaxe in its side, apparently bleeding, and placed it in a street in Soho, London. It was later removed by Westminster Council. BT released a press release, which said: "This is a stunning visual comment on BT's transformation from an old-fashioned telecommunications company into a modern communications services provider."[66]
• In June 2006, Banksy created an image of a naked man hanging out of a bedroom window on a wall visible from Park Street in central Bristol. The image sparked some controversy, with the Bristol City Council leaving it up to the public to decide whether it should stay or go.[67] After an internet discussion in which 97% (all but 6 people) supported the stencil, the city council decided it would be left on the building.[67] The mural was later defaced with paint.[67]
• In August/September 2006, Banksy replaced up to 500 copies of Paris Hilton's debut CD, Paris, in 48 different UK record stores with his own cover art and remixes by Danger Mouse. Music tracks were given titles such as "Why am I Famous?", "What Have I Done?" and "What Am I For?". Several copies of the CD were purchased by the public before stores were able to remove them, some going on to be sold for as much as £750 on online auction websites such as eBay. The cover art depicted Paris Hilton digitally altered to appear topless. Other pictures feature her with a dog's head replacing her own, and one of her stepping out of a luxury car, edited to include a group of homeless people, which included the caption "90% of success is just showing up".[68][69][70]
• In September 2006, Banksy dressed an inflatable doll in the manner of a Guantanamo Bay detainment camp prisoner (orange jumpsuit, black hood, and handcuffs) and then placed the figure within the Big Thunder Mountain Railroad ride at the Disneyland theme park in Anaheim, California.[71][72]
Technique
Asked about his technique, Banksy said:
“I use whatever it takes. Sometimes that just means drawing a moustache on a girl's face on some billboard, sometimes that means sweating for days over an intricate drawing. Efficiency is the key.[73]”
Stencils are traditionally hand drawn or printed onto sheets of acetate or card, before being cut out by hand. Because of the secretive nature of Banksy's work and identity, it is uncertain what techniques he uses to generate the images in his stencils, though it is assumed he uses computers for some images due to the photocopy nature of much of his work.
He mentions in his book, Wall and Piece, that as he was starting to do graffiti, he was always too slow and was either caught or could never finish the art in the one sitting. So he devised a series of intricate stencils to minimise time and overlapping of the colour.
Identity
Banksy's real name has been widely reported to be Robert or Robin Banks.[74][75][76] His year of birth has been given as 1974.[62]
Simon Hattenstone from Guardian Unlimited is one of the very few people to have interviewed him face-to-face. Hattenstone describes him as "a cross of Jimmy Nail and British rapper Mike Skinner" and "a 28 year old male who showed up wearing jeans and a t-shirt with a silver tooth, silver chain, and one silver earring".[77] In the same interview, Banksy revealed that his parents think their son is a painter and decorator.[77]
In May 2007, an extensive article written by Lauren Collins of the New Yorker re-opened the Banksy-identity controversy citing a 2004 photograph of the artist that was taken in Jamaica during the Two-Culture Clash project and later published in the Evening Standard in 2004.[6]
In October 2007, a story on the BBC website featured a photo allegedly taken by a passer-by in Bethnal Green, London, purporting to show Banksy at work with an assistant, scaffolding and a truck. The story confirms that Tower Hamlets Council in London has decided to treat all Banksy works as vandalism and remove them.[78]
In July 2008, it was claimed by The Mail on Sunday that Banksy's real name is Robin Gunningham.[3][79] His agent has refused to confirm or deny these reports.
In May 2009, the Mail on Sunday once again speculated about Gunningham being Banksy after a "self-portrait" of a rat holding a sign with the word "Gunningham" shot on it was photographed in East London.[80] This "new Banksy rat" story was also picked up by The Times[81] and the Evening Standard.
Banksy, himself, states on his website:
“I am unable to comment on who may or may not be Banksy, but anyone described as being 'good at drawing' doesn't sound like Banksy to me.[82]”
Controversy
In 2004, Banksy walked into the Louvre in Paris and hung on a wall a picture he had painted resembling the Mona Lisa but with a yellow smiley face. Though the painting was hurriedly removed by the museum staff, it and its counterpart, temporarily on unknown display at the Tate Britain, were described by Banksy as "shortcuts". He is quoted as saying:
“To actually [have to] go through the process of having a painting selected must be quite boring. It's a lot more fun to go and put your own one up.[83]”
Peter Gibson, a spokesperson for Keep Britain Tidy, asserts that Banksy's work is simple vandalism,[84] and Diane Shakespeare, an official for the same organization, was quoted as saying: "We are concerned that Banksy's street art glorifies what is essentially vandalism".[6]
In June 2007 Banksy created a circle of plastic portable toilets, said to resemble Stonehenge at the Glastonbury Festival. As this was in the same field as the "sacred circle" it was felt by many to be inappropriate and his installation was itself vandalized before the festival even opened. However, the intention had always been for people to climb on and interact with it.[citation needed] The installation was nicknamed "Portaloo Sunset" and "Bog Henge" by Festival goers. Michael Eavis admitted he wasn't fond of it, and the portaloos were removed before the 2008 festival.
In 2010, an artistic feud developed between Banksy and his rival King Robbo after Banksy painted over a 24-year old Robbo piece on the banks of London's Regent Canal. In retaliation several Banksy pieces in London have been painted over by 'Team Robbo'.[85][86]
Also in 2010, government workers accidentally painted over a Banksy art piece, a famed "parachuting-rat" stencil, in Australia's Melbourne CBD. [87]
Bibliography
Banksy has self-published several books that contain photographs of his work in various countries as well as some of his canvas work and exhibitions, accompanied by his own writings:
• Banksy, Banging Your Head Against A Brick Wall (2001) ISBN 978-0-95417040-0
• Banksy, Existencilism (2002) ISBN 978-0-95417041-7
• Banksy, Cut it Out (2004) ISBN 978-0-95449600-5
• Banksy, Wall and Piece (2005) ISBN 978-1-84413786-2
• Banksy, Pictures of Walls (2005) ISBN 978-0-95519460-3
Random House published Wall and Piece in 2005. It contains a combination of images from his three previous books, as well as some new material.[16]
Two books authored by others on his work were published in 2006 & 2007:
• Martin Bull, Banksy Locations and Tours: A Collection of Graffiti Locations and Photographs in London (2006 - with new editions in 2007 and 2008) ISBN 978-0-95547120-9.
• Steve Wright, Banksy's Bristol: Home Sweet Home (2007) ISBN 978-1906477004
External links
That'll do it for the interior photos from the Horn Lake Target for summer 2018. In this shot we find ourselves back outside in the parking lot, taking a look at the storefront on a nice-looking March 29th afternoon, framed with a lone Target cart front-and-center in the corral in the foreground.
“But wait,” you're probably asking, “isn't this a bit early to be ending today's photoset, since you normally upload ten photos at a time?” How very perceptive of you! You are indeed correct that this set isn't over yet; I simply chose to include this exterior pic here because I knew it would serve as a good segue... (cont.)
Target // 7255 Interstate Boulevard, Horn Lake, MS 38637
(c) 2018 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
"There are worlds of experience beyond the world of the aggressive man, beyond history, and beyond science...we can grasp them only in the depths of our perceptive spirit." - Ansel Adams
Canon 550D (t2i) with Tokina 11-16mm f2.8 with B+W 77mm Kaesemann Circular Polarizer
Found it! I recognized the dark formation at the base through an image search. There are over 3,000 arches in Utah! Wilson Arch is on Route 191 between Monticello and Moab. Those are the Abajo Mountains in the background. I only wish someone was there for a human perceptive.
See full size print here: fishersphotos.com/p1069676191/hc96e288
Beautiful prints available for purchase from www.FishersPhotos.com
Visit my Facebook page!
María de los Buenos Aires, operita de Piazzolla-Ferrer
producción fotográfica realizada en Buenos Aires para la puesta de la obra en el Norfolk and Norwich Festival de Gran Bretaña (2004).
María, socialmente excluida como los desaparecidos. Junta a las víctimas - lanzados desde helicópteros o eliminadas a garrote vil, después de dar a luz - es el alma de luto en el país, el asesoramiento de las abuelas que buscan los hijos robados y a sus descendientes ". La pieza es tanto sobre el pasado, o la redención eterna, pero gráfico Abulafia, lanzado hacia el decenio de 1970 la interpretación, horriblemente evocado tanto en el escenario y las retroproyecciones, de una excelente percepción, a menudo reflejadas en el texto. (sigue el texto en la próxima foto).
ver album en www.flickr.com/photos/susanet/sets/72157623512704106/
Maria, as socially debarred as these junta victims - hurled from helicopters or garrotted after giving birth - is the country's grieving soul, counselling the grandmothers seeking vainly for their offsprings' stolen offspring. The piece is as much about the past, or about timeless redemption, but Abulafia's graphic, forward-thrown 1970s interpretation, horrifyingly evoked both on stage and by rear projections, is excellently perceptive, often mirrored in the text.
Photographic production made in Buenos Aires for the Norfolk and Norwich Festival of the United Kingdom (2004) for the staging "María de Buenos Aires" by Piazzolla-Ferrer.
see set in www.flickr.com/photos/susanet/sets/72157623512704106/
flickrhivemind.net/Tags/bailandotango/Interesting
Copyright © Susana Mulé
© All rights reserved.
© Please don't use this image on websites, blogs or other media without my explicit permission
A breach of copyright has legal consequences
If you are interested in this picture, please contact me. Thanks.
susanamul@yahoo.com.ar
Okinawan skateboarder on the new Sunabe Seawall in Okinawa, Japan. This photo has received a lot of publicity because it was taken with a very basic "Point and Shoot" camera, the Fujifilm FinePix A900. This was my first published photo ever, appearing in the March 2009 issue of Okinawa Living. They asked me for some background information on the photo and quoted my explanation: "The photo was taken from the steps, so it appears like I was on the ground level. I propped my elbow on my knee to steady and took three exposures. He turned around soon after." This photo was also awarded the "daily deviation" on Deviant Art.
Beautiful prints available at my new personal website at www.FishersPhotos.com
きれいなプリントとその他 Beautiful Prints & More! きれいなプリントとその他たくさんあります
Johanna Schweizer's fiber chrochet sculpture "Zwilling" (couple).
Size: 61 x 30 x 17 cm, made 2008.
View from the current Strich & Faden art show at Kunstraum Richard Sorge in Berlin-Friedrichshain.
Johanna Schweizer (Netherlands)
Johanna Schweizer is often - lazily - described as the Dutch Louise Bourgeois. This may refer to the surrealist aspects of her work; her perseverance and consistent vision; or the long time it took for the world to catch up with her work.
After impressive presentations at Brutto Gusto fine_arts (Berlin), and her recent participation in the "Just Different" Queer-art exhibition in the Amsterdam Cobra Museum, the interest in Schweizer's oeuvre is now steadily growing.
The artist's extensive collection of crocheted fiber sculptures are made in the last six years. Both profound and witty, it has a wholly un-academic rootedness in contemporary life, alluding to a wide array of themes, from cross-genderness and cross-speciesness; to religious suffering and sexual ritual. Folkloric, pagan, and fairy tale elements are incorporated as well, the sensually playful and the deadly serious going hand in hand. The colorful sculptures offer a perceptive, amused female view of male sexuality and chauvinism that is arguably unique in contemporary art.
From the exhibition "Strich & Faden - Heimat, Folk-art and Travesty:
The folksy German expression "nach Strich und Faden" means to do something thoroughly, with great artistry and precision, or according to the rules of an art or craft. In contemporary language the term has gained connotations of trickery, deceit and travesty. Travesty (in the sense of deceit and role playing) is a device present in many works in this show, either as an artistic attitude, or as a subject matter. The participating artists use it to challenge and extend both the traditions of Art & Crafts and our expectations of art.
Part II of Strich und Faden (May 2009) presents outstanding representatives of the thriving US-american Neocraft scene - some of which are shown in Germany (or Europe) for the first time - and presents them alongside their (Eastern) European colleagues. Strich und Faden II goes beyond crafting however, also incorporating conceptual and neo-traditional works on folklore and regionalism.
Gregg Museum of Art & Design's first opening reception in over two years celebrating three current exhibitions: Frank Lee Craig – Near Distance, Across the Threshold of India and Eric Serritella – Sharing Spaces."
Frank Lee Craig – Near Distance features multimedia work, collages, paintings and sculptures by the late architect and NC State College of Design graduate Frank Lee Craig. Margret Kentgens-Craig, a professor of the practice in the College of Design, and Roger Manley, director of the Gregg, co-curated the exhibition, which can be seen through Aug. 20.
Across the Threshold of India – Martha Strawn Photographs features photographs that make up a work of visual ecology that perceptively portrays one of India’s and the world’s longest and least-known religious practices — the art of sanctifying space through the creation of threshold diagrams. Objects from the Gregg Museum’s permanent collection also accompany the photographs. The exhibition will be available for viewing through Nov. 12.
Eric Serritella – Sharing Spaces features hyper realistic, trompe l'oeil ceramic sculptures by Chapel Hill artist Eric Serritella and can be seen through Dec. 3.
It's interesting how perceptive some people can be that come into my office. Recently I had these things sitting on my desk, and with no other photography gear visible, they said, "so you do photography?"
Developed originally to serve as a fast light armor asset for quick hit and run tactics as well as integrated reconnaissance fire-support, the Harasser quickly became popular as an all-encompassing multi-role 'mech. Variants ranged from basic front-line squad based units to domestic police law enforcement.
Channeled some Red Spacecat decal goodness and gave printing my own waterslides a try. Worked out reasonably well, although the perceptive will notice some bubbles. As always, fits a fig in a cockpit with a functioning hatch that I forgot to photograph.
#12: As of 1/23/18, under Flickr's popularity rankings of my 800+ pics, this is listed as #12 in "interestingness."
I've been engaging in some short, private crossdressing opportunities at home recently, after acquiring and trying out some new clothes, shoes, and accessories. This is the 165th pic posted from this recent CD activity, and taken just in September.
As usual, I really enjoy color-coordinating attractive/sexy/cute outfits, and this one features Bisou Bisou black/white striped matching pieces from JC Penney: a cold-shoulder scoop-neck top and a tight pencil skirt. These are coordinated with black patent ultra-high-heel peep-toe slingback pumps, and a complementary waist belt, fishnet tights, and jewelry.
More about this and other new 2017 pics was written up recently in a descriptive Update provided in my profile or "About" page here on Flickr. It details some choices made for these 2017 pics.
Let me know your thoughts... :-)
P.S. Perceptive folks may notice a couple flaws here, having to do with the breast plate I'm wearing:
(1) With the black choker seen here, it was meant to straddle the top edge of the breast plate on my neck, but it slipped, and so the edge is revealed -- doh!
(2) The skin tone of the breast plate isn't precisely matched to my real skin, and with this cold-shoulder-style top, the coloration difference can be seen in close proximity when you look at my shoulder/top of the arm. This difference is seen in each pic with this top, and could be noticed if I were to wear this out in the real world, so it does make me wonder if this outfit would be ok for wearing out in public...
DUCKIE: "Paddy! Scout! My Granny has arrived."
PADDY: "Oh good, come into the dining room Duckie and bring Granny Duck with you!"
GRANNY DUCK: "Oh what a lovely house you live in my Grand Sunny granddaughter. There look like lots of nice nooks and crannies to nest in."
DUCKIE: "Well, some I'm not allowed to, especially Daddy's pretty china teacups and sugar bowls. Here we are Granny!"
PADDY and SCOUT: "Surprise! Surprise! Welcome Granny Duck!" *Clap paws in delight.*
GRANNY DUCK: "Oh! Oh my goodness! A nice morning tea for me? What lovely and kind bears you like with my Grand Sunny granddaughter!" *Flaps wings in delight.*
DUCKIE: "Yes, they are very kind and loving bears."
SCOUT: *Shyly.* "Hullo Granny Duck. We have heard so much about you from Duckie. It's so nice to meet you." *Smiles.* "I thought that since you are a duck, you might like to take tea from our Goosey, Goosey Gander tea set."
GRANNY DUCK: "Oh how thoughtful, sweet little Scout!"
SCOUT: "Goodness! How did you know it was me, Granny Duck? Are you magical?"
GRANNY DUCK: "Goodness no, Scout. It was your kind sweet attitude that gave you away. No-one could be best friends with little Peter and not have a big and kind heart like you."
SCOUT: "Do you know mijn beste vriend Peter, Granny Duck?"
GRANNY DUCK: "Oh yes I do, Scout. He is a very kind and helpful bear."
PADDY: "We hope that you will enjoy your stay here with us, Granny Duck."
GRANNY DUCK: "Thank you Paddy. It is Paddy, isn't it?"
PADDY: "It is, Granny Duck. How perceptive you are."
GRANNY DUCK: "Well, to be best friends with Oleg, you would have to be kind and mannerly, Paddy."
DUCKIE: "And drink lots and lots and lots of Twinings English Breakfast Tea."
GRANNY DUCK: "Indeed my sweet Grand Sunny granddaughter! Oh it is lovely to be celebrating Easter with you as I'd hoped!"
DUCKIE: "I'm so happy you are, Granny!" *Snuggles against Granny Duck.*
PADDY: "Now that he is home, we have Daddy making tea for us. We thought we'd let you get settled in first, have some tea and then we will introduce you to everybear else, Granny Duck."
GRANNY DUCK: "Oh that's very kind of you. Thank you."
SCOUT: "Did you and Duckie have a nice ride on the tram from St Kilda Beach with Daddy, Granny Duck?"
GRANNY DUCK: "Oh I did, Scout! I've never been on a tram before!"
SCOUT: "I like trams! They go fast and take you to wonderful places where you can have adventures!"
GRANNY DUCK: "Oh yes, I'm sure they do, Scout."
SCOUT: "And hopefully we will have some adventures tomorrow. We are just waiting for the Easter Bunny to deliver some yummy Easter eggs. Easter eggs Granny Duck! Easter eggs!" *Rubs tummy vigorously.*
PADDY: "And did you sleep comfortably in Mrs. Kanga's pouch last night, Granny Duck?"
GRANNY DUCK: "I did, thank you Paddy. It was very cosy and warm. Perfect to snuggle in, and almost as good as a nice nest."
PADDY: "Well, Daddy has organsied a very lovely nest for you to share with Ducky during the duration of your stay."
GRANNY DUCK: "Oh how kind he is!"
DUCKIE: "Oh look! You've been good enough to leave us an empty bowl."
PADDY: "Oh dear! That's the sugar bowl. I forgot to fill it with sugar. I'll just go and do that now."
DUCKIE: "Oh no! Don't do that, Paddy!"
PADDY: "Why ever not, Duckie?"
DUCKIE: "Because this empty bowl will suit us just fine for our purposes, won't it Granny?"
GRANNY DUCK: "Oh indeed it will, my clever Grand Sunny granddaughter!"
SCOUT: "Why, Granny Duck and Duckie?"
PADDY: "What are you going to do with it?"
DUCKIE: "Well, Granny had brought us a delicious treat all the way for the Netherlands!" *Licks beak with cute little pink duck tongue.*
SCOUT: "Oh wow! have you brought some Tom Poucen, Granny Duck?"
GRANNY DUCK: "Oh its much, much nicer than Tom Poucen, Scout!"
PADDY: "What is it then, Granny Duck?"
DUCKIE: "Delicious dried insects!" *Flaps wings with excitement and licks beak with cute little pink tongue again.*
PADDY and SCOUT: "Dried insects? Yuck!" *Stick out cute little pink bear tongues.*
DUCKIE: "See Granny! I told you that bears have no appreciation for fine cuisine."
GRANNY DUCK: "Tisk... tisk! You bears really don't know what you're missing out on. Dried insects are delicious!" *Licks beak with cute little pink duck tongue.*
DUCKIE: "See Paddy and Scout! Don't be hasty to judge them until you've tried them! Actually they are delicious!"
PADDY and SCOUT: *Look at one another doubtfully. "Yuck!" *Stick out cute little pink bear tongues.*
My bears Paddy and Scout have made very good friends with two bears in Holland called Peter and Oleg (www.flickr.com/photos/40262251@N03/galleries/721577154558...) and their Mummy (www.flickr.com/photos/66094586@N06/). Granny Duck who is Duckie’s Grandmother suddenly turned up one day at Mummy Marian’s house after being absent for almost a year! Granny Duck did indeed swim the VOC (Batadvia) route and finally made it here after a somewhat circuitous route that took in Malibu, Christmas Island and New Zealand before finally arriving on picturesque St Kilda Beach! You can see here: www.flickr.com/photos/66094586@N06/albums/721777203151324... or in the first comment below.
This beautiful nursery pantomime nursery dinner set was made in England by the Shell China Company in the 1920s. It features multiple cups, saucers and plates as well as a teapot, milk jug, sugar bowl, platter, sandwich plate, a lidded soup tureen on its own dish and a gravy or cream jug on its own dish. Each piece is gilt edged and decorated and feature different nursery rhymes, but today I have only included the "Goosey, Goosey Gander", ones in honour of Granny Duck's visit. The set I acquired from England, and it is a sister set to a 1930s Shell China Company faerie tale tea set. This set was given as a gift some years ago by a close friend who knows I collect nursery ware and children's tea sets. There are also doll (bear) sized tea spoons which are sterling silver salt spoons.
My Paddington Bear came to live with me in London when I was two years old (many, many years ago). He was hand made by my Great Aunt and he has a chocolate coloured felt hat, the brim of which had to be pinned up by a safety pin to stop it getting in his eyes. The collar of his mackintosh is made of the same felt. He wears wellington boots made from the same red leather used to make the toggles on his mackintosh.
He has travelled with me across the world and he and I have had many adventures together over the years. He is a very precious member of my small family.
Scout was a gift to Paddy from my friend. He is a Fair Trade Bear hand knitted in Africa. His name comes from the shop my friend found him in: Scout House. He tells me that life was very different where he came from, and Paddy is helping introduce him to many new experiences. Scout catches on quickly, and has proven to be a cheeky, but very lovable member of our closely knit family.
Duckie I saw when I was at a Sunday market on a stall of homemade knitted and crocheted items. She caught my eye straight away with her happy, smiley face and bright colours. I think she finds life with my bears intriguing and perhaps a little confusing, however she is learning.
Thank you to [https://www.flickr.com/photos/66094586@N06] for the use of Granny Duck's photo in my photo montage.
Wall Brown or Wall Butterfly. First time I've spotted this butterfly in The Netherlands.
Very edgy & alert fellas. Never before have I encountered a butterfly-species that flew off so often at the exact moment I pressed the shutter release button, resulting in countless blurry & failed images....must be those perceptive 'Argus'-eyes... (-;
Developed originally to serve as a fast light armor asset for quick hit and run tactics as well as integrated reconnaissance fire-support, the Harasser quickly became popular as an all-encompassing multi-role 'mech. Variants ranged from basic front-line squad based units to domestic police law enforcement.
Channeled some Red Spacecat decal goodness and gave printing my own waterslides a try. Worked out reasonably well, although the perceptive will notice some bubbles. As always, fits a fig in a cockpit with a functioning hatch that I forgot to photograph.
Developed originally to serve as a fast light armor asset for quick hit and run tactics as well as integrated reconnaissance fire-support, the Harasser quickly became popular as an all-encompassing multi-role 'mech. Variants ranged from basic front-line squad based units to domestic police law enforcement.
Channeled some Red Spacecat decal goodness and gave printing my own waterslides a try. Worked out reasonably well, although the perceptive will notice some bubbles. As always, fits a fig in a cockpit with a functioning hatch that I forgot to photograph.
EMERALD GREEN MANDALA AVATAR RAINBOW AURA PROTECTION PRESERVATION RESURRECTION REFLECTION GUARDIAN DRAGON SPIRIT WATER TEMPLE TOWER LIBRARY CASTLE MEMORY PALACE CITADEL SANCTUARY TREEOFLIFE STAIRWAYTOHEAVEN RAINBOWBRIDGE STARCASTLE HEAVENISAPLACEONEARTH RAINBOWINTHEDARK OVERTHEHILLSANDFARAWAY RAMBLEON THANKYOU 1000YEARS GODLOVESAMERICA EVERYTHINGINITSRIGHTPLACE PYRAMIDSONG WHENIGROWUP IFIHADAHEART KEEPTHESTREETSEMPTY INTRO OUTRO MIDNIGHTCITY SPIRALWIZARDTOWER NOVACITY RAINBOWTOWER MYSTICMEMORY CROSSROADSINN IMAGINATIONSTATION LABYRINTH LEGEND +++++ #TREEOFLIFE #STAIRWAYTOHEAVEN #RAINBOWBRIDGE #RAINBOWMAGIC #HEALING #TEMPLE #TOWER #LIBRARY #CASTLE #PALACE #LABYRINTH #STAIRWAY #WATERFALL #ISLAND #CONTINENT #FANTASY #SURREAL #PSYCHEDELIC #FLOWER #LIFE #HEAVEN #AURA #BUTTERFLY #CAT #TURTLE #EARTH #WATER #FIRE #AIR #SPIRIT #ELEMENTAL #BALANCE #CENTER #MANDALA #GEOMETRIC #ORDER #CREATION #DREAM #RIVER #LIGHT #SAPPHIRE #EMERALD #AMETHYST #GOLDEN #SILVER #SUN #MOON #STAR #NOSTALGIA #IMAGINATION #MUSIC #STATION #BRIDGE #TREE #SPIRAL #INNBETWEENWORLDS #BLUEMANDALA #LUCK #DRAGON #COSMIC #CONSCIOUSNESS #LUCID #ASTRAL #MEMORY #GATEWAY #NEXUS #FADEINTOYOU #OLDANDWISE #CHIMESOFFREEDOM #BEAUTYANDTHEBEAST #HOLYMOUNTAIN #RITUAL #MOUNTAIN #WAITINGFORTHEMIRACLE #DEMOCRACY #HALLELUJAH #DREAMDREAM #BANDONTHERUN #LIGHTINTHEBLACK #INVISIBLE #RAINBOWINTHEDARK #NOQUARTER #OVERTHEHILLSANDFARAWAY #TANGERINE #TYGER #SMILE #STARCASTLE #LADYOFTHELAKE #ARTHUR #MERLIN #GUINNEVERE #MYTHSANDLEGENDSOFKINGARTHUR #APRILSKIES #RESCUE #SACREDSONGS #1983AMERMANISHOULDTURNTOBE #LINDENARDENSTOLETHEHIGHLIGHTS #WEEPINGWALL #TRIPTHROUGHYOURWIRES #VIRGINIAPLAIN #THANKYOU #YOUMAKEMYDREAMSCOMETRUE #INTROSWEETJANELIVE #ASISATSADLYBYHERSIDE #VISIONSOFJOHANNA #OTHERSIDEOFTHEWORLD #CANWESTILLBEFRIENDS #FLYLIKEANEAGLE #IWEARYOURRING #BEMYWIFE #PRETTYINPINK #EDITIONSOFYOU #DOTHESTRAND #LAKESHOREDRIVE #FULLMOONINMYPOCKET #HERESTOTHESTATE #PICTURESOFYOU #DISINTEGRATION #PLAINSONG #TOMORROWISALONGTIME #NOMORE #TAKEACHANCEWITHME #PATIENCE #IWANNABEYOURLOVER #BLUEMONDAY #GUARANTEED #DANCEAWAY #GIMMESHELTER #FORWHAITSWORTH #HERITAGESURVIVAL #CANYOUPLEASECRAWLOUTYOURWINDOW #PERFECTDAY #MAINTHING #SOCIETY #CANTYOUHEARMEKNOCKING #FARBEHIND #THIEVESLIKEUS #OOHLALA #UP #SOUTHERNNIGHTS #LOOKINGFORLOVE #DANCINGINTHEDARK #RAINFOREST #REMAKEREMODEL #TONIGHTWILLBEFINE #HUMALLAHHUM #THISMUSTBETHEPLACE #DIGNIFIEDANDOLD #SHIPSONG #FARFROMME #REDCAVE #NOMORETEARS #WITHOUTTEARS #EARTHMAGIC #CRYLITTLESISTER #PEOPLEARESTRANGE #BLUEROOM #CITYOFDREAMS #SAXANDVIOLINS #NOTHINGBUTFLOWERS #ROADTONOWHERE #LIVEMILES #TANGRAM #WAITFORTHESUMMER #PROMISEOFWATER #BIRD #SPEEDOFLIFE #TOWERSONG #TOWEROFSONG #SONGOFSOPHIA #LOVEISTHEDRUG #JANITOROFLUNACY #CADENCEANDCASCADE #UPTOME #2080 #KOSINSKI #SPRAWLII #WAKEUP #REBELLION #NEIGHBORHOOD #WEUSEDTOWAIT #WITHINYOU #LOOKBACKINANGER #LETTHEREBELIGHT #ASCENSION #LAMENTFORATLANTIS #ATLANTIS #DARKSTAR #SUNJAMMER #CLEARLIGHT #INDULCEJUBILO #RAINBOW #VINYL #RECORD #STORE #GOINGTOCALIFORNIA #LOVESONG #PRAYERSFORRAIN #OMMADAWN #GLORIA #GOVINDA #SHIVA #JOURNEY #UNICORN #MAGICDANCE #TIMEWILLCRAWL #LOVINGTHEALIEN #FLYT #SONGTOTHESIREN #JOKERMAN #DESIRE #YOUREGONNAMAKEMELONESOMEWHENYOUGO #THERESHEGOESMYBEAUTIFULWORLD #BREATHLESS #FORWHATITSWORTH #WHENDOVESCRY #PURPLERAIN #FOOLONTHEHILL #HELLOGOODBYE #CARRYME #HERECOMESTHESUN #WALKINGONSUNSHINE #WHENWILLYOUCOMEHOME #LETSDANCE #MAGIC #PROTECTION #PRESERVATION #RESURRECTION #REVIVAL #CURE #MEDICINE #WATERSPIRIT #BUCKETSOFRAIN #TANGLEDUPINBLUE #GHOSTEEN #HEAVENORLASVEGAS #STATIONRAINBOW #INN #CELESTIAL #CITADEL #SANCTUARY #TO #OF #DREAMS #LOVE #GUARDIAN #PEACE #WIZARD #HEART #WWWMUSIC1978COM #CLOVER @#THERHYTHMSECTION78 @#MOUNTAINMALL @#VISITGATLINBURG #RHYTHMSECTIONGATLINBURG #TN #SMOKYMOUNTAINS #RECORDSTORE #MUSICSTATION #COMESEE #COMEVISIT #MOUNTAINMALL #RAINBOWINN #SPIRALCASTLE #MEMORYPALACE #CELESTIALCITADEL #WATERFALLMOUNTAIN #LAKEISLAND #DREAMWORLD #IMAGINATIONFANTASY #SURREALSYMMETRY #KNOWLEDGEWISDOM #ENERGYPROTECTION #AURALIVING #TECHNOLOGYMAGIC #DEFENSEDRAGON #TURTLEPEOPLE #BUILDINGFUTURE #CITYGIANT #HOMELIGHT #LUCKDRAGON #MOTH #SNAKE #CHILDRENOFTHESUN #STARS #LUCKDRAGONIMAGINATION #STATIONCREATIONLIBRARY #SPIRALTOWERRAINBOW #GUARDIANSPIRITMOTH #SNAKECATTURTLE #DRAGONPEOPLE #WORLDLUCK #CITYOFLIGHTGIANT #RIVEROFDREAM #BEESHONEY #MEDICINEHEALING #SNAKECAT #TURTLEDRAGONPEOPLE #CITYOFLIGHTGIANTS #RIVEROFDREAMBEES #HONEYMEDICINE #HEALINGREFLECTION #RUNNINGONEMPTY #CHINAGROVE #SWEETNESSANDLIGHT #ROLLWITHTHECHANGES #SOBER #STATIONTOSTATION #DONTLOOKBACK #HANDOFGOD #SISTERCHRISTIAN #TAKEITONTHERUN #HEATOFTHEMOMENT #ARTDECADE #SAVEASECRETFORTHEMOON #AROUNDTHEWORLD #HARDERBETTERFASTERSTRONGER #HER #ENJOYTHESILENCE #AVATAR #GREEN #EVOLUTION #CHANGE #GROWTH #FAERY #LIVING #BLUE #FOREST #UFO #MOEBIUS #IWANTTOKNOWWHATLOVEIS #TOTALECLIPSEOFTHEHEART #BETTEDAVISEYES #IDONTBELIEVEYOU #HEAVENISAPLACEONEARTH #RUBYCON #HYPERBOREA #LILYPOND #OURHOUSE #WALKLIKEANEGYPTIAN #DUSTINTHEWIND #IWASNEVERYOUNG #KIDSINAMERIA #RELAX #CRUELSUMMER #DANCEHALLDAYS #1999 #REFUGEE #VOODOOCHILD #YOUMAYBERIGHT #SEEYOUONTHEOTHERSIDE #CRAZYTRAIN #MRCROWLEY #LILY #YOUREABIGGIRLNOW #HOUNDSOFLOVE #DONTBLAMEME #PRIMETIMEOFYOURLIFE #BRAINWASHER #KOKOMO #TALKTALK #JANESAYS #REMOTEVIEWING #SONGOFTHEWHALE #SPHINXLIGHTNING #SCUBASCUBA #TRUTHANDFICTION #SUPERNATURALACCOMPLICE #SPEED #SILVERSEAL #ABRACADABRA #ADDICTEDTOLOVE #WEDIDNTSTARTTHEFIRE #KINGOFPAIN #INVISIBLESUN #DOITAGAIN #LONGTRAINRUNNIN #OVERTHEMOUNTAIN #RUNNINGUPTHATHILL #SCHISM #HEROES #SWAMPTHING #DONTANSWERME #EYEINTHESKY #DIRTYWORK #BROKENWINGS #FASHION #CHANGESIV #CARRYON #COMEINTOMYSLEEP #OCHILDREN #17DAYS #ISTILLHAVENTFOUNDWHATIMLOOKINGFOR #LETSGOCRAZY #TWOHEARTSBEATASONE #CHERRYCOLOUREDFUNK #SUGARFORTHEPILL #ITSMYLIFE #STARINGATTHESUN #LOVEREIGNOERME #ALLALONGTHEWATCHTOWER #SUNFOREST #DANCINGINTHESTREET #PITCHTHEBABY #SUNDAYBLOODYSUNDAY #HEARTOFGOLD #MUSHROOM #PALCECLOUDEDWHITE #GOODBYEHORSES #MAYONAISE #IDIOTPRAYER #SOON #ASHESTOASHES #WHENYOUSLEEP #GAMESWITHOUTFRONTIERS #REBELREBEL #ONEILOVE #MASTERSOFWAR #BARRACUDA #PALESHELTER #EVERYBODYWANTSTORULETHEWORLD #DONTCHANGE #SUICIDEBLONDE #NEEDYOUTONIGHT #NEVERTEARUSAPART #TELEVISIONRULESTHENATION #CRESCENDOLLS #MIDNIGHTCITY #IWANTYOU #LEVIATHAN #DEARGOD #NOCEILING #GIVENTOFLY #ANASTASIS #GALLEONSHIP #WATERSEDGE #BOOKOFLOVE #KILLINGMOON #LIPSLIKESUGAR #DUNE #MOONBOAT #PROPHECY #ONE #TOOLONG #STEAMMACHINE #LOVEWILLTEARUSAPART #NATUREBOY #ALLMYLITTLEWORDS #WAITINGFORYOU #HOLLYWOOD #AREYOUTHEONETHATIVEBEENWAITINGFOR #ONETHATIVEBEENWAITINGFOR #LIMETREEARBOUR #BROMPTONORATORY #WITHORWITHOUTYOU #TVC15 #WILDWORLD #DREAMER #MODERNLOVE #GIVEALITTLEBIT #CATPEOPLE #YOUMAKELOVINGFUN #WHATISLIFE #SWEETESTTHING #JOETHELION #RASPBERRYBERET #WHERETHESTREETSHAVENONAME #WALKINGONTHEMOON #UNDERPRESSURE #KINGDOMCOME #JUSTLIKEHEAVEN #TAKEMYBREATHAWAY #FOREVERYOUNG #MORETHANTHIS #ANGELEYES #YOUANGELYOU #BRASSINPOCKET #MESSAGETOLOVE #ACEOFWANDS #KILLER #REFUGEES #BOATOFAMILLIONYEARS #HEARTOFTHESUNRISE #YOUNGAMERICANS #HOCUSPOCUS #RIDEONTHERAY #LOCOMOTIVEBREATH #WANTEDMAN #PUMPITUP #CARNIVALOFLIGHT #STEVEMCQUEEN #CHILDRENOFTHEREVOLUTION #MIRAGE #SUNNYAFTERNOON #INTHEEYESOFNATURE #SAVED #GODLOVESAMERICA #GOLDENYEARS #JUMPTHEYSAY #DAYINDAYOUT #SWEETEMOTION #EVERYGRAINOFSAND #CLOSERTOTHEHEART #SUPERNATURALLY #FOREPLAYLONGTIME #WHIPPINGPOST #MELISSA #JESSICA #TALESOFBRAVEULYSSES #HEAVENISINYOURMIND #CANTFINDMYWAYHOME #HADTOCRYTODAY #BLOODYWELLRIGHT #MOONLIGHTSHADOW #IVESEENALLGOODPEOPLE #BARGAIN #INTHEBACKROOM #ONEWORD #SMOKIN #SIMPLETWISTOFFATE #COMESAILAWAY #SHAMBALA #FLYBYNIGHT #LAWOMAN #ONETREEHILL #CHINAGIRL #SEEKER #EMINENCEFRONT #COMESATIME #WINDONWATER #WINDONWIND #WHEELINTHESKY #HIGHERLOVE #INVISIBLETOUCH #INCANTATIONS #KISS #GETREADYFORLOVE #IWANNADANCEWITHSOMEBODY #FAITH #WAIT #ALLOUTOFLOVE #LADYINRED #RICOCHET #TRUECOLORS #UPTHEHILLBACKWARDS #OHSISTER #MANICMONDAY #IRANSOFARAWAY #OSLOINTHESUMMERTIME #VIDEOKILLEDTHERADIOSTAR #SHEBLINDEDMEWITHSCIENCE #PUTASTRAWUNDERBABY #UNDERICE #OBSESSION #EVERYBODYHAVEFUNTONIGHT #SUNGLASSESATNIGHT #MADWORLD #NOTHINGCOMPARESTOU #SLAVETOLOVE #ANDDREAMOFSHEEP #SOWINGTHESEEDSOFLOVE #NEWSENSATION #TIME #ISAVEDTHEWORLDTODAY #WHENYOUDANCEICANREALLYLOVE #OCEAN #REDSHOES #NOMOREILOVEYOUS #BOYSKEEPSWINGING #HERECOMESTHERAINAGAIN #GOBLINS #YOUSPINMEROUND #SAMEDEEPWATERASYOU #ONANIGHTLIKETHIS #HEARTOFGLASS #BECAUSETHENIGHT #SPIDERANDI #SWEETDREAMS #CRYSTALCLEAR #GROOMSSTILLWAITINGATTHEALTAR #CHANGINGOFTHEGUARDS #EASYMONEY #HARDRAINSAGONNAFALL #ALLTHETIREDHORSES #HUSH #BANGBANG #WORRIEDBLUESHEAVENISAPLACEONEARTH #REFLECTIONSUNFLOWER #SECRETSTARSTATION #WIZARDMOUNTAIN #FORESTVALLEY #GATEWAYTEMPLE #LABYRINTHSCHOOL #STARSPIRAL #LIBRARYOFOLYMPUS #VALHALLAAVALON #VIOLETASTROLOGY #AIRHEAVENLY #SPINNINGAWAY #FOOTSTEPS #NEEDAWOMAN #MOONCHILD #NEVERLETMEDOWN #CIVILWARS #DOLPHINDANCE #PROTECTORGUARDIAN #SPIRITSKY #IMAGINATIONRAINBOW #TOWERCOSMIC #OCEANSEASTARTOWER #AMETHYSTOPAL #EMERALDAVATAR #GREENPROTECTION #EVOLUTIONCHANGE #GROWTHAURA #FAERYCASTLE #MANDALAMAGIC #LIVINGHEART #BLUEWATERUNDERWORLD #NEWANCIENT #LOVEUNDERSTANDING #CONSCIOUSNESSREFUGE #RESTAURANTDREAM #RIVERLIGHT #PEACESHIP #OCEANINN #THEATERCITY #FUTUREWORLD #DOORWAYOFTIME #WINDOWINTIME #NEXUSSPACE #GOLDENSILVERVINYLRECORDS #CDS #BANDSHIRTS #STICKERS #PATCHES #GATLINBURG #GREATSMOKYMTNS #SHIRT #STICKER #SHOP #MAGNETS #BUTTONS #HEAVYMETAL #ROCK #COUNTRY #BLUEGRASS #KPOP #SMOKYMTNS #SMOKYMOUNTAINSTRONG #SMOKY #MOUNTAINS #RECORDS #CLASSIC #NEW #RAP #SOUNDTRACKS #METAL #HEAVY #TREASURETROVE #IMAGINATIONLIBRARY #GREATSMOKYMOUNTAINS #STRONG #BAND #SHIRTS #RHYTHM #SECTION #MTNS #TREASURE #TROVE #COME #VISIT #MALL #GREAT #RIDGE #HAVEN #REFUGE #CITY #GATLINBURGTENNESSEE #TAYLORSWIFT #DAVIDBOWIE #SMASHINGPUMPKINS #GRATEFULDEAD #THERHYTHMSECTION #DOLLYPARTON #SOUL #RADIOHEAD #STICKERSHOP #JOHNNYCASH #MUSICSTORE #MUSICSHOP #YES #VINYLRECORDS #LEDZEPPELIN #ALICEINWONDERLAND #WWWFLICKRCOMPHOTOSMUSIC1978 #WWWRHYTHMSECTIONGATLINBURGCOM #ADVENTURETIME #METALLICA #STURGILLSIMPSON #TOOL #JIMIHENDRIX #BARBIE #ELTONJOHN #NIRVANA #QUEEN #ALICEINCHAINS #TOMPETTY #MOTLEYCRUE #OLIVIARODRIGO #JEFFBUCKLEY #LANADELREY #NINEINCHNAILS #REDHOTCHILIPEPPERS #BLACKSABBATH #MICHAELJACKSON #MFDOOM #THECURE #WUTANGCLAN #GORILLAZ #DEFTONES #TEARSFORFEARS #RAGEAGAINSTTHEMACHINE #GUNSNROSES #M83 #NIGHTMAREBEFORECHRISTMAS #BOBDYLAN #NEONGENESISEVANGELION #KINGCRIMSON #BACKTOTHEFUTURE #NEUTRALMILKHOTEL #ARCTICMONKEYS #TYLERTHECREATOR #DEFLEPPARD #SOUNDGARDEN #MGMT #OZZYOSBOURNE #SLIPKNOT #MYBLOODYVALENTINE #PINKFLOYD #MISFITS #COCTEAUTWINS #ROLLINGSTONES #BEATLES #BEASTIEBOYS #TAMEIMPALA #WEEZER #PRINCE #BEETLEJUICE #STONETEMPLEPILOTS #MACDEMARCO #MACMILLER #IRONMAIDEN #FLEETWOODMAC #MELANIEMARTINEZ #KORN #STRANGERTHINGS #TYPEONEGATIVE #DIO #TYLERCHILDERS #DIRTYDANCING #FOOTLOOSE #GENESISSHIVA #REFLECTION #MIRROR #UNIVERSE #METAVERSE #OMNIVERSE #UNIVERSAL #CROSSROADS #HOLY #PLANETRAINBOWINN #PLANET #ICEBLINKLUCK #PASTISAGROTESQUEANIMAL #TAKEMEHOME #IFIHADAHEART #FORWHOMTHEBELLTOLLS #WHENTHESHIPCOMESINRAINBOW #INNBETWEEN #WORLDS #EARTHWORLD #CENTRAL #DREAMTREE #FRACTAL #STELLAR #INBETWEEN #RAINBOWTOWERLIBRARY #RPRAYERSFORRAINIMAGINATIONMANDALA #STATIONCROSSROADS #CITYOFLIGHT #GUARDIANDRAGON #HALLWAYOF1000DOORWAYS #PEACELOVEUNDERSTANDING #SPIRITOFIMAGINATION #PROTECTIONTOWER #GUARDINGTHEMULTIVERSE #GODOFNATURE #SCIFI #DREAMRIVER #IMAGEREFLECTION #SPIRALLABYRINTH #FIFTHDIMENSIONAL #WINDOWSINTIME #LIFESTATION #BUTTERFLYHEALING #TEARSINRAIN #FAERYFOREST #INVISIBLEUNIVERSITY #MIRROROFWATER #MEMORYBRIDGE #LIVINGMIND #STARSEA #GRACE #MOVING #RECEPTIVITY #SILVERSTAR #REALM #FLOWEROFCONSCIOUSNESS #FLOWEROFLIFE #PAST #ETERNITY #MYTH #BECOMING #HEALTH #INSIGHT #ULTRAMARINE #COMMUNICATION #SYNTHESIS #STUDENT #WRITING #GARDENING #DRAWING #WILDERNESS #OCEANS #JUSTICE #FREEDOM #ENVIRONMENT #SUSTAINABILITY #FIREFLIES #LONGNIGHTS #BRIGHTHORSES #SONGOFTHESTARS #THEWORDFORWORLDISFOREST #ITSNOGAME LT3 LT3<3 #RECORDSTORES #THE #MTNS #MUSIC1978COM #POSTERS #PINS #SMITHS #DOLLY #TENNESSEE #REPRODUCTIONPOSTERS #RECORDSHOPPING #COWBOYBEBOP #SMOKYMTN #ELVISPRESLEY #SLEEPTOKEN #FRANKSINATRA #ACDC #AEROSMITH #ALLMANBROTHERS #THECROW #THEDOORS #EAGLES #FOOFIGHTERS #GENESIS #GHOST #GREENDAY #JOYDIVISION #JUDASPRIEST #LYNYRDSKYNYRD #BOBMARLEY #THESMITHS+MORRISSEY #MOTORHEAD #NIRVANA+KURTCOBAIN #PANTERA #PEARLJAM #PRIMUS #RAGEAGAINSTHEMACHINE #RAMONES #RUSH #SISTERSOFMERCY #BRUCESPRINGSTEEN #SUBLIME #SYSTEMOFADOWN #U2 #VANHALEN #STEVIERAYVAUGHAN #VENOM #WOODSTOCK #ENAMELPINS #LPALBUMS #NATIONALPARK #LOTSOFNEWARRIVALRECORDS+ #RESTOCKS! #NEWARRIVALS #THESMITHS #DAFTPUNK #MITSKI #BADOMENS #PIERCETHEVEIL #ARIANAGRANDE #GATLINBURGTN #LOTS #ARRIVAL #AND +++@#VISITGATLINBURG #GOOD #KEEP #MATRIXWATER #FORYOU #3 #NEILGAIMAN #FIONNAAPPLE #FIVESECONDSOFSUMMER #HOZIER #DEATHGRIPS #GOJIRA #TREX #ELLIOTTSMITH #SUICIDEBOYS #BILLYJOEL #MILESDAVIS #STEVIENICKS #ZACHBRYAN #MIKEOLDFIELD #DEATH #GRIPS #ELLIOTT #SMITH #BILLY #JOEL #MILES #DAVIS #STEVIE #NICKS #SZA #LOSTBOYS #DAZEDANDCONFUSED #NEWORDER #AKIRA #CAGETHEELEPHANT #MORGANWALLEN #TSHIRTSHOP #MARCBOLAN #WHAM #TRIBECALLEDQUEST #GRIMES #PURPLE #RAIN #BOB #DYLAN #TOURISTATTRACTION #MYSTERY #AQUARIUM #NEIL #GAIMAN #UNDERTHEPRESSURE #NOSTALGIANOSTALGIANOSTALGIANOSTALGIAN #THESMITHSMORRISSEY #NIRVANAKURTCOBAIN #SMOKYMTNS #TOURISTDESTINATION #SINCE #1978 #TSHIRTS #CONCERT #REPRODUCTION #ENAMEL #MUCH #MORE #PLEASE #CALL #BETWEEN #10 #AM #2 #PM #EST #8654364342 #FOR #ALL #PRODUCT #AVAILABILITY #SPECIAL #ORDERS #MAIL #REQUESTS #611 #PARKWAY #A3 #37738 #ALBUMS #LPS #TREASUREHUNT #JIMMYBUFFET #ROCKYHORRORPICTURESHOW #VINYLJUNKIE #VINYLCOLLECTION #VINYLCOLLECTOR #VINYLCOMMUNITY #RECORDCOLLECTION #RECORDSFORSALE #COMESEEUS #COMEVISITUS #MUSIC1978 #GOLD #CHANGES #POWEROFSOUL #WEGOTTALIVETOGETHER #STARWARS #OBROTHERWHEREARTTHOU #MANY #IGGYPOP #LIVE #RARE #BESTSELLERS #RELATIVELY #HARD #FIND #JAZZ #THOUSANDS #T #FROM #SIZE #SMALL #2XL #ALSO #HUNDREDS #GRAB #BAGS #JEWELRY #GUITAR #PICKS #CLEARANCE #PICTURE #DISCS #PREMIER #TOURIST #DESTINATION #IN #YOU #CAN #HIKE #A #COUPLE #HOURS #THEN #POSSIBLY #BEST #KNOXVILLE #ASHEVILLE #NC #AREA #NEWVINYLRECORDS #3@THERHYTHMSECTION78 #3@THERHYTHMSECTION78DREAMREALMEXPLORATION #RECORDSRECORDS #NOSTALGIAFOOTLOOSE #LOTSOFNEWARRIVALRECORDS #RESTOCKS #FLEETWOOD #MAC #WAYLONJENNINGS #TREECITY #WATERFALLS #HIKING #SHOPPING #RIVEROFDREAMS #PARK #PSYCHEDELICLANADELREY #SCOTTPILGRIM #ELECTRICMAYHEM #MUPPETS #ELVIS #TOPGUN #RESERVOIRDOGS #COLORPURPLE #SUPERMETROID #NEONGENEISEVANGELION #REXORANGECOUNTY #CHEECHANDCHONG #DOORS #INXS #BABYDRIVER #BOSTON #BRITNEYSPEARS #KINGGIZZARDANDTHELIZARDWIZARD #UTOPIA #TAYLORNATION #TSHIRTS #TSHIRTSTORE #TSHIRTSTORES #IMAGINATIONLIBRARYGOINGTOCALIFORNIA #LT3 #MOVIE #DAVID #BOWIE #LED #ZEPPELIN #PEARL #JAM #IGGY #POP #BLACK #SABBATH #OZZY #OSBOURNE #WAYLON #JENNINGS #JOHNNY #CASH #REX #ORANGE #COUNTY #MOONSMOKYMOUNTAINSEVERYTHING #ITS #RIGHT #PLACE #SISTERS #MERCY #TELEVISION #RULES #NATION #AROUND #WORLD #RAKIM #WHEEL #FORTUNE #ROUND #TABLE #ETERNALFLAME #BIKO #HERECOMESTHEFLOOD #DANCINGWITHTHEMOONLITKNIGHT #SUPPERSREADY #MEMORYISLAND #STATIONGEOMETRIC #DREAMTREEOFLIFE #COSMICCROSSROADS #STCENTRAL #DREAMGEOMETRIC #DREAMRAINBOW #WATERFALLTREEOFLIFE #WWWMUSIC1978COM #TONIGHT #UNDERGROUND #HAPPINESSISEASY #BREAKINGGLASS #DJ #FAME #HANGONTOYOURSELF #HOLDONTOYOUREGO #POLKA #PUNKADIDDLE #CRISES #SHADOWONTHEWALL #WOODHENGE #PUSHTHESKYAWAY #DOMINION #LOGOS #EXIT #FAIRIES #KIEWMISSION #DREAMISALWAYSTHESAME #MOSTOFTHETIME #SEVENDAYS #SLOWTRAIN #IDIOTWIND #PYRAMIDSONG #EVERYTHINGINITSRIGHTPLACE #PLEASEREMEMBERME #LOVEWILLSAVEYOU #GLASSSPIDER #JIGOFLIFE #DRUGS #CREATURESOFLOVE #LIFESWHATYOUMAKEIT #TIMEITSTIME #OVERLOAD #PAPER #LIFEDURINGWARTIME #EDEN #SOUNDANDVISION #SENSEOFDOUBT #NEWCAREERINANEWTOWN #WORDONAWING #STAY #SECRETLIFEOFARABIA #THERHYTHMSECTION78 #VISITGATLINBURG #DEADCANDANCE #WWWFLICKRCOMPHOTOSMUSIC1978 #WWWRHYTHMSECTIONGATLINBURGCOM #M8 #GOLDENSILVER #SAPPHIREDIAMOND #SOULDREAMS #FRACTALCENTERSANCTUM #SKY #GARDEN #CIRCLE #FAIRY #PORTAL #LANDSCAPE #FRACTALS #BODHISATTVA #KINDNESS #DIMENSION #LUCIDITY #ENTRANCE #PAISLEY #LEGEND #FORTRESS #AVALOKITEVARA #ARCANE #HOUSE #MOVIES #SEASCAPE #FLOWERS #COMPASSION #WAYSTATION #MAGICIAN #COSMOS #CONNECTION #ELF #MULTIVERSE #WALL #MYSTIC #LAVENDER #EYES #WINDOW #DOORWAY #VILLAGE #MAP #MULTIVERSAL #IMAGINARY #CRYSTAL #TREASURY #POCKET #NETWORK #INTERDIMENSIONAL #BEAUTY #ELFLAND #PLANE #ELYSIUM #EYE #MIND #RA #STORYTELLING #FAERIE #ALCHEMY #BLOGGER #CREATIVITY #RESTORATION #DREAMING #ANGEL #FLOATING #TAROT #TRANSFORMATION #HAPPINESS #MIRACLE #MEANING #LOCAL #MATRIXWATEROFLIFE #MANDALASTARWILDERNESS #GATEWAYSTATION #MIRACLEOFLIFE #SPACEPYRAMID #WINDOFCHANGE #TIMEWIND #MIRACLEOFLOVELUCK #LEGENDARY #PSYCHEDELICSTYLE #MAGICAL #TIMEWINDMANDALA #THEKEEP #LIFEMATRIX #WATEROFLIFE #STARWILDERNESS #MIRACLEOFLOVE #MIRACLEOFLIGHT #SECRETCOLLEGE #SACREDHEART #WORLDTREE #SACRED #JUSTONEVICTORY #LOVEISTHEANSWER #ONEWORLD #ANGELIC #ASTRALPALACE #MEMORYCASTLE #IMAGINATIONMANDALA #SEAOFSTARS #EYEOFRA #CHAKRA #SPACETIME #SYNTHWAVE #MAGEWAVE #WIND #DOOR #SWANS #HEALINGISAMIRACLE #PSYCHEDELIA #AWESOME #DREAMSCAPES #SKYSCAPE #MULTIPANEL #EGYPTIAN #ASTRALTRAVELER #OPIUMEYES #ROXYMUSIC #PROSPERITY #LEONARDCOHEN #BLONDIE #DANCINGWITHTEARSINMYEYES #ANGELSOFLIGHT #EYEOFHORUS #INTOMYARMS #CATPOWER #FATHERJOHNMISTY #GEOMETRY #INSPIRATIONAL #ALIEN #MADONNA #EMERALDCITY #DIONYSUS #POPLIFE #KING #PRETTYCOOL #LIBRARIANS #MAGNETICFIELDS #CHAKRAS #LASTINLINE #DAWN #WIT #CHANGING #VICTORY #FREEWORLD #SAFETY #MASTERS #ALCHEMYOFTHEHEART #MATTED #DIARYOFAMADMAN #ARRIVALS #PARADISE #SHIPOFFOOLS #GLASSPIDER #LONDON #ELYSIAN #SUNLANDICTWINS #POPDAYS #VANGELIS #MOUNTAINSCAPE #TIEDYES #BMO #RAINBOWS #POWERTOTHEPEOPLE #ALCHEMICALART #PORTALS #CLUSTER #ISYOURLOVESTRONGENOUGH #WHITEEAGLE #SARASWATI #WATCHTOWER #QLAZARUS #FIGURE8 #GOBLINCORE #EXPERIMENTAL #ARTCORE #MEDIA #REALITI #GUARDIANCONSCIOUSNESS #EXPLORATION #GOODVIBESONLY #STARSHINING #SOULSHIP #LIKEAPRAYER #ANGELCORE #CHILDISHGAMBINO #BEGINNINGS #EMERALDGREEN #BLOODYKISSES #UNIVERSITYOFNATURE #YEARS #BENEVOLENCE #MORNING #IMAGINARYSEASCAPE #CREATING #SHINING #ENCHANTING #EMPTINESS #FANTASYFOREST #SANQUENTIN #PAULMCCARTNEY #JOY #KATEBUSH #LEGENDTREE #BEGINNER #BRIGHTCOLORS #CLINTEASTWOOD #SCENES #GRANDEUR #SOLARIZING #CALMING #COSMOLOGICAL #MUSICLOVER #GODDESSOFCOMPASSION #LOVER #HAITI #STAIR #WELLBEING #WHIPLASH #HOT #FIREWOMAN #PATHWAY #DREAMSFRACTAL #MANDALAS #HELPME #STEVEHACKETT #SKELETONTREE #ULTRA #DREAMY #JEREMY #CATHEDRAL #SOMEONESGOTAHOLDOFMYHEART #CALIFORNIADREAMING #MANUSCRIPT #MYTHPUNK #TOUR #CONSIDER #TOWARDTHEWITHIN #ELIZABETHFRASER #STAIRS #BLONDEONBLONDE #GLORIOUS #SQUARE #OTHERWORLDLY #CONCERTREPRODUCTION #TOUCHIT #TEMPLEBLUE #ROCKNROLLSTORE #HIEROGLYPHICS #DREAMWAVE #WONDER #SHAKTI #NEONGENESIS #DIMENSIONAL #INSPIRATION #CHROMATICART #CROSS #DIAMONDDIARY #GEORGEHARRISON #LIBRARIAN #COUNTRYMUSIC #DREAMLIKE #STILLIMSAD #LUSHMOTIFS #SHAMBHALLA #INTRICATEDETAIL #APPALACHIAN #FLAME #ELECTRICLIGHTORCHESTRA #MUSICLOVERS #SPRING #LOUREED #BALANCED #LORELEI #GLASSSPIDERLIVE #JIMMYBUFFETT #LEVITATION #HIDDENGEM #SORCERER #ACEOFSPADES #SPACECORE #SUNDAY #ULTRABLUE #PLATINUM #IMPORTS #MYTHICAL #POSITIVITY #AURAOFPROTECTION #SUNDRY #STARSCAPE #LUCIDDREAMING #MASKSOFDREAM #STARFLOWER #BOXOFRAIN #ASTRALCASTLE #OMNIVERSITY #MEDITATION #BERYL #BEACHHOUSE #CLUTCH #TERRAPINSTATION #OCTOBERRUST #LABYRINTHGARDENS #UNIVERSITY #RHYTHMSECTION #CITIES #SEASON #PINKFLOYDLIVE #PRIESTESS #AI #TRIANGLE #IMAGE #FLORAL #GOBLINBATTLE #FAIRIE #OBSERVATION #VIRGO #HUMOR #INTIME #BLISS #FIELDS #PRECURSOR #ELECTRIC #SPECIALAVAILABILITY #LEVITATING #MANDALACORE #PERSERVATION #CONCERTPOSTERS #PSYCHEDELICA #PROTECTIONLIFE #SPIRITUAL #ANIMALCOLLECTIVE #ALLMANBROTHERSBAND #MANDALAJUNG #BRINGINGITALLBACKHOME #MAGICMOUNTAIN #IROBOT #ELFLEGEND #AWAKENING #LOVELETTER #REFLECTING #TOWN #RAINBOWRISING #BEING #GROUNDS #ARMYDARKNESS #NEWANDOLD #ARCHITECTURE #LOVEOFLIFE #LETITBE #JOHNCALE #GOODVIBES #BEAUTIFUL #AFTERFOREVER #INYOUREYES #GOD #SEAPUNK #SPACEWAVE #TRUTH #RAINBOWCASTLE #ASIA #ASTRALPLANE #DARYLLHALL #RAINBOWSILVER #PHENOMENOLOGICAL #EVANGELINE #FEAROFMUSIC #SO #CREEDENCE #MULTIVERSITY #AMETHYS #GIANT #BEES #HONEY #SECRET #STARSTATION #LAKE #SYMMETRY #KNOWLEDGE #WISDOM #ENERGY #TECHNOLOGY #DEFENSE #PEOPLE #BUILDING #FUTURE #HOME #IMAGINATIONSTATION #CREATIONLIBRARY #SPIRALTOWER #RAINBOWGUARDIAN #SPIRITMOTH #MOUNTAINSARECALLING #SMOKYMOUNTAINSNATIONALPARK #NATIONAL #86546442 #778 #STICKERSTORE #STICKERSTORES #SHIRTSTORE #SHIRTSTORES #MUSICSTORES #MUSIC1978COM #2XL #THERHYTHMSECTION78DREAMREALMEXPLORATION #SHIRTNEW #SMOKYMOUNTAINSRECORDS #DEEPPURPLE #GOODMUSIC #SUNRISE #GABRIEL #ANCIENTFUTURE #GATEWAYS #SUPPORTSMALLBUSINESS #MORRIS #CATCORE #LANADELRAY #BLUEGREEN #OKCOMPUTER #REVOLUTION #ROCKBANDS #CITADELSUNFLOWER #SCOOBYDOO #INSTAGRAM #MINDSCAPES #EDWARDSCISSORHANDS #FUNNY #CONSTELLATIONS #MURALS #FLOWERSSPIRAL #FLIGHT #HOMEWORLD #AURORAPUNK #TIMBUCKLEY #KABBALAH #STARGATE #RADIO #LIVEAID #CHRISTIANWOMAN #ULTRAVIOLET #WHITE #PEACEEARTH #TALK #CELESTIALCASTLE #UNCUTGEMS #HIPHOP #ASTRALFORTRESS #ALCHEMICAL #RED #INTERCONNECTION #ROCKANDROLL #PSYCHEDELICFURS #MUSICDISCOVERIES #BIRDSOFFIRE #HYPERSPATIAL #ROXY #LOGICALSONG #MIME #YESALBUM #LIFESAVING #PHILOSOPHY #AZURE #EXILEONMAINSTREET #HEALINGISAMIRACLELEARNING #RETRO #INTHECOURTOFTHECRIMSONKING #LIGHTPATHWAY #SKYBLUE #STARCITY #WESTERNLANDS #TAKINGTIGERMOUNTAINBYSTRATEGY #MAGICMEADOW #BILLYSTRINGS #BLIZZARDOFOZZ #SPIRALBEARS #LIVEALBUMS #NATURE #RARITIES #HANDLEWITHCARE #BLISSFUL #MAGICMUSHROOM #FRESH #WONDERLAND #FANTASYFORESTMANDALA #DANMORRIS #SUNANDMOON #BRIANENOMUSIC #GEMSTONE #MAYONNAISE #TOBEFREE #MINDGAMES #BITCHESBREW #ANKH #WELCOMETOTHEMACHINE #CREATE #FRACTALGEOMETRY #NEILYOUNG #GIGANTIC #KIND #STRINGS #VIBRANTACADEMIA #ELLIOTSMITH #MORRISSEY #WATERTEMPLE #OCEANLIFE #REPUTATION #FRANKZAPPA #WARDENS #NEWARRIVAL #DREAMTIME #CHARM #BAROQUE #MERKABA #PRINCESSBUBBLEGUM #LADDER #CAMP #GOOGLEDOCS #ENLIGHTENMENT #AQUARIUS #ARCADEFIRE #OCEANOFSTARS #NICE #REDBUBBLE #ONLYTIMEWILLTELL #LAMBLIESDOWNONBROADWAY #GUARDIANSOFTHEGALAXY #WUTANG #SAPPHIRESANCTUARY #SEE #WIMMELBILDER #STORY #IWILLFOLLOW #WILLIENELSON #CLOCKWORK #HALSEY #LIQUID #GIVEPEACEACHANCE #DANCE #CLOUD #SUNLIGHT #SPEARS #DEADKENNEDYS #FEW #LONGING #SECRETHOLY #CHARLIEBROWN #EVOLVING #FIVEFINGERDEATHPUNCH #YGGDRASIL #VIVID #TOPAZ #CHAMELEONS #PRINCESS #TEMPLEOFLOVE #CELTIC #BLOOM #EARTHLINGS #BABAOREILY #RILKEANHEART #SAVE #TOTAL #MOVEMENT #PERCEPTION #ROCKANDROLLWITHME #COLORED #DAY #WATCH #HOLOGRAPHIC #HUNGERGAMES #KINGDOM #ALOYSIUS #DAYS #SPIRITOFLIFE #TECHNICOLOR #KEY #JONANDERSON #AQUARIAN #LIGHTING #HARDRAIN #VERDANT #MUSHROOMS #INVISIBLECOLLEGE #INTRICATE #MULTICOLORFUL #KEYCHAINS #LETSBUILDACAR #TEMPERATE #GONG #IMAGINING #SAVING #ABBEYROAD #OMNIVERSAL #HAPPYMONDAYS #MERMAID #LIGHTYOUTUBE #TREES #FOLKLORE #ELEVATOR #THIEF #LANGUAGE #ASTRALTHEATER #IDONTKNOW #RICKANDMORTY #CHILDRENOFTOMORROW #LIMINALSPACE #STONEROSES #AVENTURETIME #SPARK #WINDFLOWERS #MUSICSECTION #CALLFORPRODUCTINQUIRIES #KEYCHAIN #DREAMLETTER #ROBOTROCK #SUZANNE #SPELL #ETHEREALFANTASY #TRANSFORMATIVE #PEACETRAIN #CASHMONEY #DESTINY #AN #LUCIDDREAM #LIMINAL #LAND #DANZIG #DAZECORE #MATRIX #CELESTIALPALACE #FIFTHELEMENT #CONANTHEBARBARIAN #SUFFERFORFASHION #ROCKMUSIC #LETLOVEIN #TREASURES #NIGHT #SHINEALIGHT #MENTAL #GREENDESERT #LABYRINTHLIBRARY #LEMONGRAB #MUSIKMOVIES #DRAGONS #CRYSTALCORE #UNICORNCORE #HORSES #SHAKESPEAREAN #WRONGWAYUP #STATIONTOTSTATION #TANGERINEDREAM #TALKINGHEADS #BEAUTIFULBUTTERFLY #CITYOFSTARS #WORDPRESS #ETC #MASK #QUEENSOFTHESTONEAGE #LOVINGCUP #FALL #MOTHER #ENGINEERS #POEM #BORGES #POETIC #EVENFLOW #PETERFRAMPTON #DANNYELFMAN #II #MEATPUPPETS #AMAZING #SYMMETRICAL #BOYNAMEDSUE #ROUNDABOUT #BRIDGEGUARDIAN #ENIGMA #FRAGILE #SIRIUS #CLOUDBURSTFLIGHT #AURORACORE #ACADEMIA #MEDITATIVE #MUSICRAINBOW #KINDOFMAGIC #SPECIALREQUESTS #SECRETLIBRARY #ARCHITECTURAL #TOURISM #ALEXGREY #EMBRACED #HELPFULNESS #TRAINSPOTTING #GOODTIMES #GARDENS #PRIMES #FAIRYTALE #COLLECTION #80SMUSIC #KIDS #WUTHERINGHEIGHTS #EMBRACEDPEACE #VISHNU #CELESTIALCORE #HARMONY #TEN #SHAREYOURBOWIELOVE #GEIDIPRIMES #RODRIGO #ALLTHINGSMUSTPASS #MAGICALMANDALA #ANGELS #ANOTHERGREENWORLD #LIKEAROLLINGSTONE #BILLYCORGAN #MINDBENDING #MANINTHEMIRROR #SOCIAL #INSTANT #LATTICE #ENDOR #ARTISTIC #ADVENTURE #PETERGABRIEL #CAMPING #BUTTON #FUTURISM #LABYRINTHIAN #RINGOFFIRE #GEORGESTRAIT #STOMPING #MOTHEROFEARTH #MOTHEROFPEARL #SPARKLE #BOX #FLOATINGCONTINENT #GROWING #ETERNAL #GOODMORNING #PERCEPTIVE #ANIME #TOTALLYWIRED #THESHINS #NORTHSTAR #DARKNESS #EYEHORUS #YESSONGS #PROTECTIONSPIRIT #ARTNOUVEAU #ABANDONEDLOVE #GHOSTEENSPEAKS #GETTINGINTUNE #MATTER #DONTGIVEUP #SMOOTHCRIMINAL #WIZARDTOWER #PICTUREDISCS #STORYTELLINGWATERFALLRAINBOWBRIDGETREE #EVENINGSTAR #DIVINITY #IVORYTOWER #WEARETHEWORLD #COLORFUL #OR #NICKCAVEANDTHEBADSEEDS #BLOOMS #IMAGES #HYPERCOLORFUL #FREDDIEMERCURY #CRIMSON #BLOOMCORE #PRINCEANDTHEREVOLUTION #MULTICOLOR #ECOCENTEREDCONSCIOUSNESS #DESIGN #UNDERABLOODREDSKY #SOL #JANISJOPLIN #TERRACE #FUTURISTIC #COMPLEXITY #ANDTHROUGHTHEWIRE #HEAVENANDHELL #MYSTERIES #VAPORWAVE #CONAN #TARA #LEO #TECHNOLOGIC #PREMIERE #FANTASTICAL #BANDS #ALWAYS #IMAGINED #HEALINGISAMIRACLERAINBOW #MASTERSOFTHEUNIVERSE #CROSSROADSSTATION #SEA #HARDTOFIND #JUMP #TREEWORLD #PRETTY #SWELLMAPS #RAINBOWINNLEGEND #SACREDGEOMETRY #ENTERSANDMAN #HEADOVERHEELS #MYTHOLOGICAL #YINYANG #VARIOUS #CROW #PSYCHOLOGICAL #LIVEPERFORMANCE #ACTION #VINTAGE #SAGITTARIUS #SOMENEWTHINGS #DOWNBYTHEWATER #DIRESTRAITS #SLOWDIVE #MERKABAH #RAINBOWCORE #MAGE #STARGAZER #MASTEROFREALITY #CATSTEVENS #JOSHUATREE #HOUSES #SPIRALBEAR #EATAPEACH #LIFEWATER #WEAREHIM #HURTING #NICKCAVE #RETROSHOP #RANDYRHOADS #BEYOND #CD #ILLUMINATED #NAVYBLUE #NIGHTCORE #MINDSCAPE #DEER #WHIMSICAL #EYEOFHORUSRA #REMAININLIGHT #CHANGELIFE #WOODYGUTHRIE #SERPENT #MANINME #SANDMAN #SIAMESEDREAM #ELTOPO #IT #BATMAN #KIDA #SANJACINTO #RELIGION #INTERGALACTIC #EARTHCORE #POETRY #SECURITY #AVENGEDSEVENFOLD #BADCOMPANY #MULTILAYERED #ROXYMUSICLOVER #SONGOFTHESUN #TOUROFLIFE #DAZEWAVE #JOHNLENNON #GALAXY #SCARYMONSTERS #OLYMPIAN #HOOKEDONAFEELING #MERMAIDS #LUNA #STAROCEAN #XANADU #IMAGINATIVE #HEAVENS #SYSTEM #WHITETOWER #FIGURE #CLOUDBUSTING #LUCIDDREAMS #SOULPOWER #SOLITUDE #ELEPHANT #HIGHWAY61REVISITED #ATLANTEAN #WALLEN #BRIANENO #ANDROMEDA #SPIRITCHASER #MAGICMANDALA #AQUAMARINE #ENO #OFMONTREAL #VIBRANT #NEVERENDING #PHILCOLLINS #CARPETCRAWLERS #ELVISCOSTELLO #DANCING #DESCENDENTS #MARCELINE #ANDMANYMORE #PRISMATIC #SAMURAI #MAKINGTIME #YEAR #LOW #INTEGRATIVE #HURRICANE #DRAGONCORE #ULTRAVOX #BYZANTINE #ANIMIZED #HOLIDAY #MEMORYLABYRINTH #SPELLS #FINNTHEHUMAN #ILLUMINATION #FASCINATING #DISCOVERY #GLAMROCK #NYCNY #SILENTLUCIDITY #KARMA #HOPE #BEAR #LOTUS #BEASTIE #BLINK #NEWWAVE #MYSTICAL #SHELTERFROMTHESTORM #REFLECTIONS #DEMONDAYS #FINTHEHUMAN #QUEENSRYCHE #FLICKR #CLOUDBURST #OMMANIPADMEHUM #PULPFICTION #HUMANSBEING #ADVENTURETIMESMOKYMTNS #EDGE #TRAVELLING #AVATARRAINBOW #PUNKROCKNROLL #TRANSCENDENTAL #INDIGO #MULTIDIMENSIONAL #WHYICRY #WOMANINCHAINS #GEMSTONES #COMING #GARDENTREE #HEALER #SPEAKTHETRUTH #HOMEGALAXY #MUSICISLIFE #WAVE #CULT #MASKSOFGOD #VISIONS #ASTROLOGICAL #ECLECTICPLAYLIST #CHURCH #PINKFLOYDMUSIC #MONTYPYTHON #FLAMINGLIPS #POLEDOURIS #MANYMORE #BORDER #WEEKND #MORNINGSTAR #GIEDI #GENEROSITY #GLOWING #MAGICALMYSTERYTOUR #SCIENCE #HARDSUN #SPACESHIP #OBSERVING #PYRAMID #SONGSOFLOVEANDHATE #SHIELD #DIMENSIONS #GHOSTINYOU #FLASHBACK #MUSICANDMOVIES #SKYWORLD #IZIMBRA #TIMEBANDITS #WATERCOLOR #HENDRIX #BORNTORUN #ARTACADEMIA #PEACEANDLOVE #BRIGHT #STATIONMOEBIUS #GEMINI #FULLSHOW #LIBRARYIMAGINARY #FLOWERING #LOVECATS #CHRONOLOGICAL #BETTER #FRACTALPUNK #ELFTREE #ACIDWAVE #INTOTHEWILD #AEON #COEXISTENCE #MUCHMORE #CAPTIVATING #DREAMSNEVEREND #RAYPUNK #FAIRYCORE #SIMPLICITY #LUSTFORLIFE #NEWYORK #CITADELSUNFLOWERSUNFLOWER #EUROPE #LODGER #POWERFUL #NINEREALMS #SOLARSYSTEM #NEWYEARSDAY #STARSHIP #FRACTALART #TAURUS #MANONTHESILVERMOUNTAIN #MEADOW #HIGHLANDER #BRAZIL #IMAGINARYLANDSCAPES #INTENSE #WISHYOUWEREHERE #WIZARDCORE #CREATIVE #DREAMSPACE #RETURNOFTHESHEKING #BRIGHTDRAGON #WOULD #MASTODON #VACATION #INDIEMUSIC #GOODNIGHT #LABYRINTHINE #ICEKING #JUNGIANMANDALADIAMOND #BLUERIDGE #COMETOGETHER #PROGRESSIVE #STORES #LOADOUT #LAKEOFFIRE #SYMBOL #INFINITY #CONFESSIONAL #MYTHOLOGY #GLOW #SHANTI #SHINEONYOUCRAZYDIAMOND #ROBERTFRIPP #POSSESSED #MULTICOLORED #SPIDER #CATS #CLEANLINESS #LOVELIGHT #PURE #SPIRITLIFE #UNDERSTANDING #CARNAGE #MELLONCOLLIEANDTHEINFINITESADNESS #NEWAGE #MEMORABLE #METHODOLOGY #ANDJUSTICEFORALL #EMPRESS #FADETOBLACK #HYPERREAL #WISE #MUSICSHOPS #YEAROFTHECAT #PANAMA #STORYOFMYLIFE #DIVINE #GRANDILLUSION #TWOWOMEN #REFLECTIVE #MELLONCOLLIE #SPINNINGSONG #HELLRAISER #MEMORYSCHOOL #HAMMERHORROR #PRINCESOFTHEUNIVERSE #COMPACTDISCS #GODDESS #AMNESIAC #ART #ELFPOWER #VIRGOSUPERCLUSTER #TRANSCENDENCE #DOVE #INTERLOCKING #SPIRITEMERALD #LUMINOUS #EMPATHY #EAGLE #MONSTERS #MOONSHADOW #COSMICTEMPLE #SOMETHING #XL #VARIOUSTREASURES #SPARKLING #MOTHERSOFRAIN #REALITY #NATURECORE #HOLYDIVER #BLUERIDGEMOUNTAINS #LIBRA #MANDALAPUNK #MEACULPA #COOL #PRETTYNATURE #MASTEROFPUPPETS #BROKEN #RECOGNITION #ECOSYSTEM #BLADERUNNER #ELECTRICLADYLAND #CELESTIALPUNK #COSMICFAIRY #ONEWAYOUT #EDDIEVEDDER #BUSH #SPECTACULAR #STAPLETON #FACES #MORERHYTHM #MOONFLOWER #OPIUMTEA #ANIMECORE #MERCHANDISE #LANDSCAPES #SIMONANDGARFUNKEL #SIOUXSEANDTHEBANSHEES #ALLAPOLOGIES #HAPPY #ALANPARSONSPROJECT #POPULAR #BEGINNING #ALICE #FULLCONCERT #PRISMATICFORMS #VULTURECULTURE #HORUS #ELVES #MULTISENSORY #MANWHOSOLDTHEWORLD #BREAKFASTINAMERICA #PSYCHE #SLEEP #VISIONARY #TONIGHTTONIGHT #POSTER #SURREALISM #LOVELESS #SPECIALORDERS #INFIDELS #LUMINESCENT #MYSTERIOUS #BEAUTIFULMIND #VISION #FEVERRAY #GENTLEGIANT #MTN #CLASSICROCK #PAINTINGS #BELLEANDSEBASTIAN #SPARKLECORE #ROCKNROLL #ACOLYTE #PERFECTSPOT #REVOLVER #WILBURYS #CENTERED #GRATEFUL #THEDREAMISALWAYSTHESAME #MAHAVISHNUORCHESTRA #SUMMER #1000YEARS #PILOTS #PINKFLOYDTRIBUTEBANDS #EMERALDLABYRINTH #REPETITION #EVENING #ICEPULSE #FLYING #GHOSTBUSTERS #SUPERCLUSTER #LION #OUTERWORLDS #RADIORADIO #ANGELWAVE #LIGHTFANTASY #ETHEREAL #9TO5 #SERIESOFDREAMS #MINDTREE #INVISIBLES #HOUSEOFDREAMS #ORGANIC #MUSICAL #DAYSARENUMBERS #BONO #HEARTANDSOUL #HALFAXA #GODS #STARLIGHT #IMAGINE #STARRY #HUNT #PASTEL #WOLF #USA #SAGE #PARALLELWORLDS #USANDTHEM #PERFECT #TUBULARBELLS #SATURATED #RESOLUTION #HIGHWAYREVISITED #VINTAGESTYLE #QUEENRADIOHEAD #HOUSEOFMYSTERY #SONG #JUSTLIKEHONEY #BACKGROUND #AVATARS #HUMMER #PSYCHEDELICBUTTERFLY #COLORFULCOLORFUL #CDSTORE #GLASS #DEVO #GODLINESS #INTHEWAKEOFPOSEIDON #GUARDIANS #METAPHYSICAL #ORACLE #GEOMANTIC #GANGOFFOUR #LEARNING #BRAINDAMAGE #RETROWAVE #IMAGINARYWORLDS #GOODBYEYELLOWBRICKROAD #WAY #INTUITION #MULTIVERSALLIBRARY #SUNFLOWERBLUE #SUNMOON #PROSEMUSIC #DRAWINGDREAMS #INFINITEWORLDS #FREEDOMENVIRONMENT #ABSTRACT #PROGRESS #MAGICALNEXUS #STYLE #INFORMATION #TRANSCENDING #HUMAN #FRIENDSHIP #HUMANITY #PROSE #FIVE #REALMS #WHEELS #ELEVEN #TWENTYTWO #PATHWAYS #IMMANENCE #TEMPLARSBLUE #TIMEWINDMANDALUCKDRAGON #SKYGUARDIAN #IMAGINATIONLIBRARIAN #KURTCOBAIN #OUTERWORLD #VIOLETAURA #WATERFALLRAINBOWBRIDGE #IMAGINATIONSTAR #CROSSROADSINN #BANDITS #BARRY #LYNDON #SKYBLUETREEOFLIFE #EVIL #OUTER #PATTERN #STATIONELF #STORYTELLINGPSYCHEDELIC #WATERFALLRAINBOWBRIDGETREE #FAR #AVALON #SPIRITBLACKSABBATH #SPIRITMUSIC1978COM #TEMPLARS #DWARVES #WIZARDS #WITCHES #SPIRITS #GIANTS #TITANS #TROLLS #ORCS #ELEMENTALS #VAMPIRES #DEMONS #SHADOWS #WRAITHS #SPECIES #PLANETS #FAIR #FOLK #KINDS #DEMIGODS #CHAOS #FUTURES #ELEMENTS #VOYAGER #COMMUNITY #TRIPLE #WITHIN #ANCIENTS #FAERIES #INSPIRATIONS #LOVING #WORLDBUILDING #BOOK #SERIES #ASGARD #ORION #TWO #UNITY #DIVERSITY #UPANISHADS #GALAXIES #COMBINING #PARTING #TOGETHER #SOURCE #HIGHEST #FULL #GODDESSES #MERU #AFTERWORLD #DEVAS #NINTH #JUST #BELOW #VOID #MIDWORLD #INCLUDING #ARM #GROUP #FORGIVENESS #INTO #BLESSED #REFRACTIONS #CROWNED #BY #SOPHIA #APPEAR #FIRST #MUSE #OUT #PRESENCE #APPEARS #ELDREN #GIANTHOME #ABOVE #UNIVERSES #PLANES #WAKING #PLEIADES #SEVEN #CARINA #KEYHOLE #NEBULA #THORS #HELMET #HUMANS #EQUALITY #HERMETIC #SPHERES #ROSICRUCIANS #MAGICIANS #PRIESTS #DEVA #ALCHEMISTS #LABORATORY #SAMUDRA #MANTHAN #LAKSHMI #ISIS #FREYA #ODIN #HERA #ZEUS #APPRECIATION #RESEARCH #ARTS #FRIENDS #LOVERS #COMPANIONS #PRESENT #ELEANOR #VANESSA #LILAC #ARNICA #ADRIENNE #AUTUMN #JULIA #WOMEN #LADIES #ASPECTS #GABRIELLE #KUAN #YIN #JASMINE #ELIZABETH #ROSEMARY #EMILY #LAUREL #LAUREN #HELEN #WINTER #STELLA #AURORA #HEATHER #TRANSCENDENT #ATLANTEANS #FROST #STORM #DARK #ALIENS #GHOSTS #OLYMPIANS #MIDDLE #OTHERWORLD #CELESTIALS #TRIBUNAL #ELEVENTH #INFINITE #TWELFTH #LAPIS #POWER #RUBY #LAZULI #TOWERS #OMNISCIENCE #PRAGMATISM #READING #FICTION #FORESTS #CLUSTERS #SUPERCLUSTERS #WALLS #BUBBLES #MEMBRANES #SELF #ECOLOGY #PLANETOLOGY #ORGANIZATION #EDITING #EDUCATION #WRITER #AUTHOR #ARTIST #PHILOSOPHER #TEACHER #PARTON #MISTY #DOWNTOWN #RECORDSHOP #COEXIST #WITHOUT #TEARS #INDIE #PRESIDENTGAS #LIBRAAGEOFWINTERS #HORNEDGODDESS #SONGFOREUROPE #HOMEBYTHESEA #FUNERALFORAFRIEND #LOVELIESBLEEDING #COSMICSHIVA #MINEMINEMIND #ECHOES #CATERPILLAR #CARNIVALISOVER #KANYEWEST #KATE #VOYAGE #PETER #TSHIRT #TURTLES #DOWN #UNKNOWN #SHESELLSSANCTUARY #CONCERTREPRODUCTIONPOSTERS #GATLINBURG2024 #PJHARVEY #GUARDIANSOFTHEGALAXYSOUNDTRACK #SHIRTDESTINATION #THEMOUNTAINSARECALLING #MAILORDERS #BOBDYLANFAN #TNVINYL #EMINEM #BRIANENOFAN #RECORDSANDCDS #JCOLE #BLACKFLAG #LP #BAJAS #BLUERIDGEMOUNTAIN #BANDSHIRTSETC #ENDOFTHELINE #WHATSYOURFAVORITEPINKFLOYDSONG #BLACKOUT #KOR #HEAVYMETALMUSIC #BESTSHIRTSTORE #YOUTUBEMUSIC #PINKFLOYDTRIBUTE #BLINK182 #GATLINBURGVIBES #BURST #SOUTHPARK #POSTMALONE #NIRVANASHIRT #TOOLBAND #GLASSSPIDER87 #THECLASH #RECORDSGATLINBURG #XO #GATLINBURGRHYTHMSECTION #POISON #BOWIEFANS #VINYLFINDS #MUSICFANS #INDIEVINYL #PLAYBOICARTI #JOPLIN #ASTRALLABYRINTH #NIRVANATSHIRTDESIGN #LUMPYSPACEPRINCESSTHE #JAKETHEDOG #CLASSICROCKLEGEND #SMOKYMOUNTAINCHRISTMAS #GLASSSPIDER1987 #PINKFLOYDFAN #BESTSHIRTSHOP #NO #SINGING #LUMPYSPACEPRINCESS #HOLIDAYSEASON #PRESENTS #LABYRINTHSOUNDTRACK #SCORPIONS #SMOKEYMOUNTAINSNATIONALPARK #PLEASESHOPLOCAL #SUPERMAN #HANKWILLIAMS #SINCE1978 #GLASSSPIDERTOUR #TIEDYETSHIRTS #EVANESCENCE #RAREALBUMS #TSHIRTSTYLE #MAGNET #TRAVELLINGWILBURYS #LIQUIDBLUE #TAYLORNATIONTSHIRTSHOP #PATCH #PARKWAYGATLINBURG #PUNKROCK #ZOMBIES #POLICE #TIEDYEISART #GATLINBURGTNSMOKYMOUNTAINS #GATLINBURGRECORDSTORE #THEKEEPSOUNDTRACK #VINYLCOLLECTORS #THEPOLICE #MUSICDISCOVERY #TIEDYEFASHION #HOODIES #SEPIA #SOUVLAKI #RECORDSHOPRHYTHM #METALSTICKERS #TAYLOR #DELICATESOUNDOFTHUNDER #HEAVYMETALVINYL #1987LIVE #PIN #WHATINTHEWORLD #CREEDENCECLEARWATERREVIVAL #MOUNTAINSTRONG #NATIONALPARKSTICKERSTORE #DRAKE #GLASSPIDER1987 #CROWSOUNDTRACK #NIRVANATSHIRT #KIDCUDI #BADRELIGION #STRAIT #LIQUIDBLUESHIRTS #RHYTHMSECTIONGATLINBURGRECORDSTORE #SHIRTDESIGN #TIEDYE #HARRYSTYLES #PLAYBOI #COLLECTOR #JOLENE #80SROCK #GEIDI #PINKFLOYDLOVE #SHIPPING #ROXYMUSICFAN #VINYLRECORD #RAPMUSIC #THERHYTHMSECTIONGATLINBURG #KATEBUSHFAN #NIGHTRAID #RECORDSTOREGATLINBURG #MORELPS #RHYTHMSECTIONTN #SMOKYTHEMOUNTAINSARECALLING #GATLINBURGSTORE #THREEDAYSGRACE #SOUNDTRACK #PINKFLOYDFANS #TSHIRTSLOVERS #WITCHITAITO #RISKYBUSINESS #SPACEBETWEEN #IMMIGRANTSONG #SOBEGINSOURALABEE #JUBILEESTREET #FOUNTAINS #CLOSETOME #DARE #WHENIGROWUP #AIKEAGUINEA #WAITINGROOM #FUGAZI #MICKJAGGER #SUSSUDIO #COLORADOFARM #GYPSYEYES #LETSSTICKTOGETHER #CARRYONWAYWARDSON #CEREMONY #GOLDENHOURS #ALIVEANDKICKING #LOVEISABATTLEFIELD #PATBENATAR #AEGIANSEA #APHRODITESCHILD #TEMPTATION #SABBATHBLOODYSABBATH #NATIONALACROBAT #FLUFF #SABBRACADABRA #INDARKTREES #SPACEAGELOVESONG #NEWSENSATIONS #HELPMESOMEBODY #REGIMENT #IJUSTWANTYOU #LOVEONAREALTRAIN #ATMOSPHERE #STRANGEPOWERS #THISTIMETOMORROW #KILLINGYOURSELFTOLIVE #WHOAREYOU #LOOKINGFORTODAY #SPIRALARCHITECT #UPTOWN #PROLOGUE #LOVEMYWAY #SEXBEAT #TOUCHITTECHNOLOGIC #NEVERENDINGSTORY #ABOUTAGIRL #BRYANFERRY #WAITINGMAN #EXPOSURE #AERODYNAMICBEATS #INTRO #YOUTH #TOOLONGSTEAMMACHINE #ROBOTROCKOHYEAH #OUTRO #IMPORTED #KILLERS #FRACTALSSPARKLING #BIGSHIP #THOUSANDARMED #SHIRTSHOPS #RISING #RESEARCHRECORDS #RUBYLAZULI #MADE #STRANGERSWHENWEMEET #VEIL #BOY #HEARTHEALING #TALE #NIN #KNOWLEDGEINFORMATION #ISEEADARKNESS #STUDENTOFGOOD #AMETHYSTBRIGHT #AGAINST #CREATOR #CURRENTLY #SUNSHINEDAYDREAM #SOME #SOULFRIENDSHIP #MUSICGATLINBURG #SPIRALLIBRARY #BECAUSEYOUREYOUNG #LODGE #LANA #AVATARWATER #TIMEWINDTHE #1000 #MEDIEVAL #DOORWAYSTAIRWAY #MULTIVERSEOFHEAVEN #RHCP #THIEFSOUNDTRACK #IMGINATIONSTATION #RAREVINYL #BABYSONFIRE #AWARENESS #THANK #BRIAN #ABOUT #SHIRTSHOP #WHATS #INDIVIDUAL #TEMPLELABYRINTH #DIMENSIONBLUE #WRITINGGARDENING #PRESLEY #RANGE #PUNK #RECORDSHOPPINGSTICKERSTORE #SUNANCIENT #LIFESAVINGRECORDS #FLOYD #MOTLEY #OCTOPUS #SACREDFRACTAL #SECTIONS #LOCATION #TIEDYESHIRT #MOST #MAGNETO #PISTOLS #GREATSMOKYMOUNTAINSNATIONALPARK #LIFESECRET #JANIS #PICTURES #FACEBOOK #RETROSTORE #MAGICALCONSCIOUSNESS #MASKS #CROSSOFCHANGES #COMPLEXITYSIMPLICITY #BLACKSTAR #DEVELOPMENT #THAT #MACHINE #HUMORGARDEN #INTODUST #ENGINEER #ITERATIVE #AGEOFWINTERS #ASTRALMANUSCRIPT #TAME #MISTAKE #TUMBLR #MUSICISLOVE #UNITYINDIVERSITY #PRIEST #COSMICHEALING #ULTRARESOLUTION #TRANSCENDENTALPRAGMATISM #THORSHELMET #MOREGREATSMOKYMOUNTAINSNATIONALPARK #VINYLLPS #MEMOIRSOFAMADMAN #TRANSCENDINGHUMAN #IWOULDDIE4U #THEWAYSTATIONWIND #PATTISMITH #LABYRINTHRECEPTIVITY #WORLDDREAM #JIMIHENDRIXVINYL #GUARDIANSAVATAR #JACKSON #STORYTELLER #INTERDIMENSIONALCELESTIAL #O #TOWERAVATAR #EASTTENNESSEE #STARRYEYES #BESTRECORDSHOP #GATLINBURGRECORDS #BILLIEEILISH #WOODSTOCK1 #CHROMATIC #TWIN #LEPPARD #RHYTHMS #DO #OVER #FLOODLAND #MANDALARAINBOW #PINK #ATLANTISREALM #FAMILY #REALISTIC #JUDAS #HOLYIMAGINATION #INEEDYOU #STONES #TYLERCHILDERSRECORDS #ASSORTED #WATERFALLPROTECTION #CASHRECORDS #TSHIRTDESTINATION #SOCIALDEMOCRACY #HIPHOPMUSIC #BETH #SAPPHIRESPIRIT #ALLMAN #MF #HALLWAY #KUANYIN #WATERDIMENSION #AFICIONADO #FORRESTGUMP #STONE #HIGHDETAIL #SCALE #LEARNINGGROWING #RELEASES #SAFETYDANCE #NEGATIVE #NELSON #GRONLANDICEDIT #WINDOWCITY #DEVI #KRISHNADAS #WEST #WILDISTHEWIND #ROSES #PRIME #ANSWER #UHDIMAGE #SUPPORTLOCAL #LIES #POSSIBLE #ETERNALS #TRANSCENDENTALELEPHANT #IWALKEDWITHAZOMBIE #TENWHEELS #MYSTERYMALL #COULEURS #REMINDER #FLAMEIMAGINATION #CHANGINGEVOLVING #ROOM #ENGLAND #2000 #PILGRIM #PEACERECORD #HAVE #BLISSFULAURAOFPROTECTION #GATLINBURGTIME #SURREALDRAGON #YEARONEONEUFO #SPACEGUARDIAN #COLLEGEDROPOUT #FEAR #QUALITY #LIFEMOVING #SPRINGSTEEN #CHRISSTAPLETON #COLOR #MILLER #CRUE #MORNINGBELL #RESURRECTING #PINKFLOYDRECORDS #SENSUALWORLD #TIMEAFTERTIME #5 #PEOPLEHAVETHEPOWER #GHOSTBAND #TIMESPACEMATRIX #MACMILLERMFDOOM #MAIDEN #THERHYTHMSECTION78THERHYTHMSECTION78 #HIGHLYDETAILED #LOVEBALANCE #DEAD #SPIRALBEAUTY #ELEVENDIMENSIONS #CHILDERS #APPALACHIANMOUNTAINS #FM #SPIRALMANDALA #HURRYUPWEREDREAMING #TWELFTHVALLEY #LADYTRON #TRUELOVEWAITS #DISARM #AVALONNEW #BRAHMA #LAPISPOWER #PLACING #MOUNTAINTOWER #N #ROLL #EILISH #WEWEREBORNTHEMUTANTSAGAINWITHLEAFLING #BUT #TODDRUNDGREN #GIEDIPRIMES #FANTASYLIBRARY #OMNAMAHSHIVAYA #ALCHEMISTSLABORATORYLAKSHMI #DETAILED #SEX #BABAORILEY #SELFECOLOGY #MEDICINAL #DAN #STARMAN #MOUNTAINMALLSMASHINGPUMPKINSBUTTERFLY #CARTI #AVENGED #GALAXYENLIGHTENMENT #FRACTALBODHISATTVA #ITEMS #LETTER #REGULARLY #UNFORTUNATELY #BRITNEY #LIVEMUSIC #IF #SCHEME #COMPACT #OFTEN #AROUNDTHEWORLDHARDERBETTERFASTERSTRONGER #NEWYESTONETEMPLEPILOTS #WE #OCEANJUSTICE #182 #LAZARUS #ANCIENTPORTAL #SUSTAINABILITYWISDOM #FUTURISMPROGRESSIVE #CROWNEDBYSTARLIGHT #BONNIEPRINCEBILLY #TIEDYELOVE #PERCEIVING #EMERALDANDROMEDA #OUTOFTHEBLUE #DAZE #PERSERVATIONOFENVIRONMENT #COMIC #EVERYONE #MOUNTAINFOREST #CLASSICROCKFANS #PORTALGATEWAY #WHOLE #ROLLING #ALREADY #FUNERAL #SISTERSOFTHEMOON #GOLDENHAIR #IMPORTSFROMEUROPE #MILKYWAY #STEVEWINWOOD #WINGS #SAVEDMIRACLE #RERELEASES #SUNFLOWERTOWER #GUNS #NAILS #PROSEMUSICWATEROFLIFE #PEOPLEWHODIED #VAUGHAN #BANDTSHIRTS #DOOM #WHO #HALEN #BODHISATTVAOFCOMPASSION #SWIFT #REFRACTIONSOFDAWN #BRUCE #JACKSONBROWNE #COLE #SMASHING #RAY #BLADERUNNERSOUNDTRACK #APPROXIMATELY #PUERNATUSESTNOBIS #GATLINBURGMUSICSTATION #JOHN #BESTSELLER #WIDE #RECEPTIVITYSPACE ************ #HOLYMOUNTAINSOUNDTRACK #PARKGATLINBURG #HEAVENLYPYRAMID #WHATSYOURFAVORITEBOWIELIVE #GATLINBURGGARDEN #SCOTT #TUPELOHONEY #RUNINTOFLOWERS #GATLINBURG2024EMERALD #PEACELIFE #THIS #VALLEYGATEWAY #CANVA #ABSOLUTEBEGINNERS #PIERCE #REDRAIN #VINYLSTICKERS #IS #OBSCURE #EARTHAVATAR #WEEK #GATLINBURGMUSIC #LARGE #DEF #TREEOFLIGHT #RIVERMAGIC #DIVISION #BROADCASTS #TOURISTDESTINATIONRHYTHM #BLUERIDGEMOUNTAINAREA #CHAINS #NEWALBUMS #12 #VOICESFROMACOMMONLAND #VAN #EAR #KANYE #VINYLADDICT #REY #BROTHERS #STRAYKIDS #SYDBARRETT #RECORDSTOREFINDS #IRON #LITTLEREDCORVETTE #BE #BETWEENFLOWERS #GUARDIANOFWORLDS #INNBETWEENWO0RLDS #JOSHUASTARLIGHT #HIPPIE #PUMPKINS #TMETALLICA #NINTHREALITY #TIEDYESHIRTS #VAPOR #SOULSPIRIT #BOTTOM #ASTHEWORLDFALLSDOWN #SMOKIESMUSIC #SMOKYMOUNTAIN #RAGE #RHYTHMSECTIONRECORDSTOREGATLINBURG #GUARDING #COSMOSBLUE #GEORGE #SHIRTSMANDALA #LOVETHEONEYOUREWITH #LETITDOWN #PRODUCTINQUIRIES #CAVE #PLUS #WARDEN #PETTY #JUNG #BOYS #UNDERTHEMILKYWAY #FIELDSOFTHENEPHILIM #SCHOOLOFSTARS #OFFICIAL #LEGENDARYHEARTS #AURAGARDEN #WILLIE #MORERECORDS #TOM #SECRETSOL #ELTON #WELL #GATLINBURGINN #ECHOANDTHEBUNNYMEN #SILVERTOWER #PICTUREDISC #AVALOKITESHVARA #77RHYTHMSECTIONGATLINBURG #MOUNTAINMALLTEMPLARS #MANASA #OLIVIA #WAYLONGJENNINGS #ARE #ENVIRONMENTAL #DEMONSANDWIZARDS #THECARNIVALISOVER #SIMPLICITYANDCOMPLEXITY #ELIZABETHAN #INVISIBLEWORLD #WISDOMANDKNOWLEDGE #BECAUSE #THOUSANDANDTHOUSANDS #CLEANLINESSGODLINESSEMPTINESS #MOVEMENTIMAGINATION #TYPE #SOUNDCHECK #SUPERCLUSTERRAINBOW #NEWBEGINNINGS #BILLIE #BESTRECORDSTORE #ARTMORNINGBELL #STORYTELLINGHUMANITYLUCK #YESHALLBECHANGED #YOUCHANGEDMYLIFE #NOTDARKYET #BLOWININTHEWIND #CANTARA #PILGRIMAGE #SINAI #OPIUM #FROMBEYOND #TEENAGEWILDLIFE #87ANDCRY #ROMANCEINDURANGO #DOMINIONCONCERT #WHATISTHIS #AWAKE #IPITYTHEPOORIMMIGRANT #FUTUREMYTH #IREMEMBER #SONSOFTHESILENTAGE #BIGTIME #HERGESTRIDGE #GREATPLAIN #MAYAGOLD #MOONSHINE #CHAMBER #FIRSTLANDING #ONSOMEFARAWAYBEACH #OVERFIREISLAND #PALANQUIN #SECRETLIFE #SKYSAW #SOMBREREPTILES #SOMEOFTHEMAREOLD #SPIRITSDRIFTING #STELMOSFIRE #TRUEWHEEL #THROUGHHOLLOWLANDS #TWOAGAINSTTHREE #ILLCOMERUNNING #ALTEREDSTATE #BELL #WEIGHTLESS #PRAYERSFORRAININBETWEEN #WHENTHESHIPCOMESIN #BEATOFYOURDRUM #BLUEJEAN @#MOUNTAINMALL #RECORDSHARDERBETTERFASTERSTRONGER #WWW #COM #FRIEDRICH #NIETZSCHE #SPOT #CARRYING #UNIQUE #CONSTANTLY #RESTOCKED #WITH #WWWFACEBOOKCOMGATLINBURGTNMALL #SEND #MESSAGE #ASK #NOTHING #VERY #TRY #AVOID #EATING #FAT #READ #EVERY #NOW #GET #WALKING #CREEDS #NATIONS #MONTY #PYTHONS #MINDSCAPEEVOLUTIONCHANGE #8654364342 #A3 @#THERHYTHMSECTION78DREAMREALMEXPLORATION #STORYTELLINGHUMANITY #GETEMPLE #ELYSIANFIELDS #PLAYFULLY #ASGARDIANS #SEVENFOLD #MUSHROOMHAVEN #INCH #INNINDIGOMOEBIUS #REMASTERED #TYLER #AUDIOPHILE #TWOHEADEDDOG #CHRIS #IMPALA #700 #VINYLALBUMS #ELEVENTHINFINITE #BAD #FUNCTION #DOLLYPARTONCOUNTRY #U #NEWALBUM #AVAILABLE #FLAMEBLUE #SPIRALWIZARDTOWER #GATLINBURGUSA #PRECOGNITION #SISTERSOFTHEMOONCOME #SHIRTSTYLE #DIRECTLY #JANISSTYLE #CLOVERS #DIFFERENT #WWWRHYTHMSECTIONTNCOM #HALLOWEEN #HELL @#MOUNTAINMALLTEMPLARS #USED #PRICES #MICHAEL @#MOUNTAINMALLSMASHINGPUMPKINSBUTTERFLY #VALLEY @#GATLINBURGTN #TYLERCHILDERSINN #OLYMPUS #1988 #MORGAN #RICH #NARRATIVE #YOUR #DREAMSCAPE #THEMES #EMERGED #CORE #CENTERS #FORTIFIED #SYMBOLIZING #STABILITY #POTENTIAL #SELFDISCOVERY #POPULATED #RESCUED #SCIENTISTS #REPRESENTING #INTELLECTUAL #TRAUMA #PROTECTORS #BRUNO #OFFSPRING #SAFEGUARD #INNER #SIGNIFYING #PROTECTIVE #FORCE #COLLABORATION #FORCES #CORPORATION #EXPLOITING #LEADS #EMERGENCE #DRAGONTURTLE #THEY #SYMBOLIZE #STRENGTH #ADAPTABILITY #DEEP #ESTABLISHES #ALLIANCE #WHERE #PROTECT #COASTLINES #BUILD #VAST #SHOWCASING #MUTUAL #RESPECT #TANGIBLE #BENEFITS #WORKING #TRAIN #EMISSARIES #CAPABLE #COMMUNICATE #EMPHASIZES #IMPORTANCE #OPEN #FINDING #COMMON #GROUND #DIVERSE #INTERPRETATIONS #EMPOWERMENT #CONTINUOUS #RECLAMATION #SIGNIFY #ABILITY #OVERCOME #NEGATIVITY #TRANSFORM #SOURCES #EMPHASIS #ON #PERSPECTIVES #SPECIALIZED #ROLES #HIGHLIGHT #COMMITMENT #HARMONIOUS #WELLPROTECTED #PROVIDES #SAFE #WHILE #EXTERNAL #ENSURE #OVERALL #APPROACH #SELFEXPLORATION #ADDRESSING #THREATS #UNLOCKING #HIDDEN #UNDERWATER #BASE #ROLE #TRANSFORMED #CREATURES #ALLIGATOR #CATFISH #SUGGEST #FOCUS #EXPLORING #SUBCONSCIOUS #RESOURCES #PAINT #DYNAMIC #TEEMING #ONGOING #REFLECTS #INTEGRATION #HARNESSING #PERSONAL #LET #ME #KNOW #THERE #ANY #OTHER #SPECIFIC #YOUD #LIKE #SUMMARY #WANT #DIVE #DEEPER #SYMBOLISM #RICHNESS #LEAVES #PLENTY #EXCITING #CONTINUATIONS #FURTHER #HERE #DIRECTIONS #COULD #EXPLORE #INHABITANTS #WHAT #SIGNIFICANCE #CREATURE #SECRETS #POWERS #MIGHT #FOUND #CONFLICT #CONFLICTS #MISUNDERSTANDINGS #FACTIONS #HOW #NAVIGATE #THESE #CHALLENGES #MAINTAIN #COMPLEX #TRANSFORMATIONS #OCCUR #EMERGE #EXISTING #CONTINUES #EVOLVE #SCARY #REPRESENT #OFFER #SIGNIFICANT #INSIGHTS #FEARS #FACE #EXPANDING #SYMBOLS #EXPERIENCES #VASTNESS #QUESTIONS #EMOTIONS #FEEL #WHEN #HAVING #EXCITEMENT #CURIOSITY #SENSE #RECURRING #FIGURES #STAND #HOLD #IMPORTANT #KEYS #PATTERNS #IM #EXCITED #TAKES #NEXT #FREE #SHARING #EXPERIENCESTHATS #BRILLIANT #INTRODUCES #COMPELLING #ELEMENT #SHARED #PURPOSE #INTERPRETATION #FITS #1 #LEGACY #SCAFFOLDING #REMNANT #BRUNOS #PREVIOUS #ACT #SERVES #FOUNDATION #INTERSTELLAR #HIGHLIGHTS #BREAKTHROUGHS #FACILITATING #COLLABORATIVE #SHELL #REINFORCES #THEME #SUGGESTS #UNIFIED #EFFORT #TOWARDS #EXPANSIVE #POTENT #RESOURCE #LEFT #BEHIND #UTILIZED #HIGHER #SIGNIFIES #REMNANTS #TOOLS #4 #OFFERS #SUPPORTIVE #CONTRIBUTES #THEIR #STRENGTHS #GREATER #DOES #ITSELF #REMAIN #STRUCTURE #WHICH #SHAPE #MANNER #CLUES #INCORPORATED #INTERACT #REVERENCE #INTERACTION #VALUED #STORYLINE #WONDERFUL #CONTINUITY #HARNESS #PLAYS #CURIOUS #FORM #EVENTUALLY #I #CANT #PROVIDE #FERTILE #CONTINUED #NARRATIVES #CONTINUE #PLANETARY #WILL #ISLANDS #REVEAL #ENCOUNTER #DISCOVER #YOURSELF #DEVELOP #INTEGRATE #ULTIMATELY #TAKE #CAPABILITIES #EXPLORATIONS #ADDRESS #ALLIGATORCATFISH #PLAY #SOLUTION #PROTECTOR #ARISE #PEACEFUL #REMEMBER #SYMBOLIC #FLUID #EXPERIENCE #MOTIFS #THOSE #GUIDEPOSTS #SELFUNDERSTANDING #UNCOVERING #INCREDIBLE #RESIDES #TRULY #FOLLOW #MIDNIGHTS #ASTROLOGY #MYCHEMICALROMANCE #JIMI #LYNYRD #BEHEMOTH #PEPPERS #HEAVENLY #ZZTOP #VIOLET #MEGADETH #WI #RECORDSRECORDSNATURE #AWAY #YET #CLOSE #FIGHTING #SKYNYRD #CANNIBALCORPSE #CLASH #VINYLS #NEWYORKDOLLS #RECORDSHOPS #SLAYER #FALLOUTBOY #ACCESSORIES #ANTHRAX #DISTURBED #MAYHEM #VINYLCOLLECTIONS #BURZUM #CHINACATSUNFLOWERIKNOWYOURIDER #RHYTHMSECTIONGATLINBURGCOM #FLICKRCOMPHOTOSMUSIC1978 #3 #RECORDSOFNATURE #CHILIPEPPERS #STARISBORN #VALHALLA #SCHOOL #RAINBOWTREE #MOONSMOKYMOUNTAINSSUNFLOWER #NOTHINGELSEMATTERS #WONTGETFOOLEDAGAIN #NOVEMBERRAIN #TOUCH #WECAREALOT #ISTILLBELIEVE #RENEGADE #PURPLEHAZE #OZZYMEDICINEHEALING #EVERYTHING #HAS #HUGE #SELECTION #THEM #SIZES #REISSUES #REMASTERS #AUDIOPHILEQUALITY #SELL #AT #ROCKBOTTOM #BOWIETHE #SECTIONRECORDSTORES #RECORDSGOLDEN #PALETTES #JUICEWRLD #KENDRICK #FIFTH #BARBARIAN #KENDRICKLAMAR #AGAIN #PINKFLOYDFLASHBACK #NINE #COLLEGE #SOLAR #PRINTS #DREAMCORE #MILKY #BOYGENIUS #BRAHMASOCIALDEMOCRACY #RAINBOWHARDSUN #SUNFLOWER #GREATSMOKYMTNSGATLINBURGTENNESSEE #STICKERSTOREWWWFLICKRCOMPHOTOSMUSIC1978 #DIAMOND #CHRISTMAS #CHILI #RHYTHMSECTIONTNCOM #SPACE #REDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP @#GATLINBURG #BTS #ACIDBATH #BEACHBOYS #TNRHYTHMSECTION #GRABBAGS #HIGHLANDERSOUNDTRACK #THEATER #MALLRECORDS #6 #OPAL #FORCEMAJEURE #THRUMETAMPORPHICROCKS #CHIMESANDCHAINS #1979 #NEWYEARSDAYRECORDS #STICKERSRHYTHMSECTIONGATLINBURG #GATLINBURGTENNESSEERHYTHM #WEEN #BANDSHIRTSETCBANDSHIRTSETC #SMOKYMTNSMALL #MOONCHILDLOVE #TEAR #US #APART #99999999 #777777 #PARKMUSIC #GATLINBURGRECORDSTOWWWRHYTHMSECTIONGATLINBURGCOMOCHET #SMOKYMTNSRECORDS #MUSICSTATIONRECORDS #GATLINBURGTENNESSEERADIOHEAD #TYLERCHILDERSSUNFLOWER #MERMAIDSMUSIC #GRATEFULDEADRARITIES #TRANSFORMATIONSUPERMANCROSSROADS #HURRICANERECORDS #TYLERCHILDERSTOTALLYWIRED #BLOGGERRECORDS #28 #THROUGH #ANCIENT #YOUTUBE #NIRVANASHIRTDESIGN #27 #DAFT #ALONG #TENNSEE #PISCESISCARIOT #GISH #17 #HEARTRECORDS #BRAHMAMANY #OZZYGOODTIMES #PRAYERSFORRAINGREENHGOLDEN #AMERICAN #GRAFFITI #BONJOVI #JPEGMAFIA #FALLINGINREVERSE #FRANKOCEAN #BOBSEGER #MEATLOAF #JELLYROLL #BEYONCE #MAGGIEROGERS #VELVETUNDERGROUND #WHITESTRIPES #STRONGRECORDS #IMAGINATIONLIBRARYRECORDS #STRONGGATLINBURG #RECORDSGATLINBURGRECORDS #PROTECTIONSPIRITABANDONEDLOVE #PICTUREDISCSRECORDS #IMAGINATIONLIBRARYGOLDEN #FORESTRAINBOW #CITYPROTECTION #DOORWAYS #WINDOWS #SHIP #UNDERWORLD #ABSOLUTELY #LCITADEL #VISIONSTICKERSTOREWWWFLICKRCOMPHOTOSMUSIC1978 #PRAYERSFORRAINGREENHIMAGINATIONLIBRARY #THEWIND #PINKORANGERED #HERRAINBOW #OCEANIA #SUPERNOVA #LAMAR #EMBRACEDGOINGTOCALIFORNIA #TSHIRTSHOPGOINGTOCALIFORNIA #EXILES #CHORONZON #MACHINEGUN #GOTMYMINDSETONYOU #GIVEMELOVE #GOODTIMESROLL #DOMEBABY #THEFTANDWANDERINGAROUNDLOSTRAINBOW #L #WWWRHYTHMSECTIONGATLINBURGCOMTREE #COWMIC #MOUNTAINSGOINGTOCALIFORNIA #GATLINBURGSTONETEMPLEPILOTS #WWWREDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #CHECK #HOLYMOUNTAINGOINGTOCALIFORNIA #LRECORDSTORES #POSTERSRAINBOW #GATLINBURGNATURE #PRAYERSFORRAINGOINGTOCALIFORNIA #PRAYERSFORRAINPURP #PRAYERSFORRAINPURPTENNESSEE #PRAYERSFORRAINGOLDEN #PRAYERSFORRAINGOINGTOCALIFORNIAOCEANIA #PRAYERSFORRAINGOINGTOCALIFORNIALUCK #PRAYERSFORRAINGOINGTOCALIFORNIARAINBOW #PREMIERRAINBOWIMAGINATIONLIBRARY #PRAYERSFORRAINIMAGINATIONMANDALA #PRAYERSFORRAINGREENH #MAGEWAVEMOONSHADOW #NOAHKAHAN #KINGGIZZARD #YEAHYEAHYEAHS #VAMPIREWEEKEND #DAMNED #D4VD #CRANBERRIES #PHOSPHORESCENT #ARTENSEMBLEOFCHICAGO #TROYESIVAN #NECKDEEP #LINKINPARK #FREDDIEGIBBS #AMERICANGRAFFITI #PICKOFDESTINY #PRAYERSFORRAINRECORDS #RECORDSBUTTERFLY #RECORDSIMAGINATIONLIBRARY #PRAYERSFORRAINCDS #RECORDSNEW #RECORDSSTATIONTOSTATION #MAGINATIONLIBRARY #INBETWEENRAINBOW #NESTLED #HISTORIC #PRISTINE #BEFORE #GOING #BEEN #SHOPS #WAITING #OTHERS #WWWFACEBOOKCOMGATLINBURGMTNMALL @#VISIT #RECORDSUNIVERSAL #FATHERJOHNMISTY75 #MSPELL #YOUCHAMGEDMYLIFE #FOREVER #YOUNG #DONTYOUFORGETABOUTME #STATIONRECORDS #INNWHATISTHIS #DOLLYRAINBOW #LIFERHYTHM #LABYRINTHMAGNETS #GRATEFULDEADSHIRTS #LIFETREEOFLIFE #LIFEPRAYERSFORRAINGREENH #GRHYTHM #LIFEUNSNROSES #CITADELMUSIC #PRAYERSFORRAINGATLINBURG #ALICECOOPER #SUNNYDAYREALESTATE #DAYTOREMEMBER #VIOLENTFEMMES #LEDZEPPELIN+ ! #STILL #PUTTING #SEVERAL #PERFORMANCES #MORE! +++++#NEW + ++ ++#RECORDS ++++#RECORDS +++++ +++++#RECORDS +++++#WHATISTHIS #GUIDE #LIMITED #SHELVING #PUMPKIRS #COOPER #FRANK #DE #MARCO #DEL #SUICIDE & #AREA! #ELSE #SHOULD #MAIN #SHELVES #UNLESS #ODDLY #PACKAGED #DISC #UNEVEN #SLEEVE #REAL #ORIGINAL #HAPPENS #CRAYONS #CONDITION #SHELVES! +#PEACE #NEWEST #DISPLAY #AS #WELL! #OM #GIZZARD #FALLING #REVERSE #A #HREF="HTTPWWWMUSIC1978COM" #REL="NOREFERRER #NOFOLLOW"WWWMUSIC1978COMA #HREF="HTTPWWWFLICKRCOMPHOTOSMUSIC1978" #NOFOLLOW"WWWFLICKRCOMPHOTOSMUSIC1978A #HREF="HTTPWWWRHYTHMSECTIONGATLINBURGCOM" #NOFOLLOW"WWWRHYTHMSECTIONGATLINBURGCOMA #EYEOFHORUSRA #UNDERSTANDING? #MOUNTAINMALL #WHATSYOURFAVORITEPINKFLOYDSONG? #TSHIRT #33 #EQVISPRESLEY #FLOYD #J #POSSIBLE #PEACE3EARTH #SEX #MOUNTAINMALLSMASHINGPUMPKINSBUTTERFLY #IF #WELLBEING #PISTOLS #ASURA #NOT #TWENTYTWO #12" #MINDBENDING #THOUSANDARMED #377RHYTHMSECTIONGATLINBURG #MOUNTAINMALLTEMPLARS #BUTTERFLY #WWWFLICKRCOMPHOTOSMUSIC1978 @#MOUNTAINMALLTEMPLARS @#MOUNTAINMALLSMASHINGPUMPKINSBUTTERFLY #FLICKRCOMPHOTOSMUSIC1978 #MIDNIGHTSLODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78@THERHYTHMSECTION78@THERHYTHMSECTION78@THERHYTHMSECTION78@THERHYTHMSECTION78VALLEYSTICKERS@THERHYTHMSECTION78MUSICLOVERS #NOSTALGIALODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNILODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78@THERHYTHMSECTION78@THERHYTHMSECTION78@THERHYTHMSECTION78@THERHYTHMSECTION78VALLEYSTICKERS@THERHYTHMSECTION78 #LETS #SUMMARIZE * #SELFDISCOVERY #BRUNO #A #TECHNOLOGY #DRAGONTURTLE #WELLPROTECTED #SELFEXPLORATION #UNDERWATER #BASE #ALLIGATOR #CATFISH #YOUD #CREATURE? #BASE? #SYSTEM? #WORLD? #EVOLVE? "#SCARY" #FACES? #ISLAND? #DREAMS? #PEACE? #TIME? #IM #EXPERIENCESTHATS #BRUNOS #SHAPE? #SCAFFOLDING? #PURPOSE? #CANT #REVEAL? #YOURSELF? #DEVELOP? #TAKE? #EXPLORATIONS? #ALLIGATORCATFISH #EMERGE? #WORLDS #ALLIANCE? #ENVIRONMENT? #SELFUNDERSTANDING #ITS #CHINACATSUNFLOWERIKNOWYOURIDER #WWWRHYTHMSECTIONTNCOM #MTN #RECORDS #RHYTHMSECTIONGATLINBURGCOM #FLICKRCOMPHOTOSMUSIC1978 #MISTAKE #SELFDISCOVERY #TRAUMA #TRANSFORMATION #PEOPLE #WISDOM #TOGETHER #WORLD #GROWTH #THREATS #RESOURCES #SECURITY #WELLBEING #EXPLORATION #INHABITANTS #FACTIONS #LIFE #POTENTIAL #PSYCHE #NEXT #1 #TOOL #2 #DISCOVERY #3 #PURPOSE #4 #GOOD #UTILIZED #DREAMSCAPE #COSMOS #NARRATIVES #FLUID #JOURNEY #3RECORDS #TENNESSEE #HARDTOFIND #EUROPE #AUDIOPHILEQUALITY #RERELEASES #ROCKBOTTOM #PRICES #BOWIETHE #BOWIE #STICKERSTOREWWWFLICKRCOMPHOTOSMUSIC1978 #RHYTHMSECTIONTNCOM #REDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #CITYOFLIGHT33 #GATLINBURGRECORDSTOWWWRHYTHMSECTIONGATLINBURGCOMOCHET #SMOKYMTNSRECORDS #HEARTRECORDS #PRAYERSFORRAINGREENHGOLDEN ++++ +++++#GATLINBURG #PRAYERSFORRAIN+ #SHOP #REQUESTS! #STICKERS! #RECORDS! #SOUNDTRACKS #ALBUMS! #CDS! #MOUNTAINS! #NEWVINYLRECORDS! #PEACEEARTH ++++#DAZEDANDCONFUSED ++++#RECORDSGOLDEN ++++++ #GOLD+ ++++++#NEWVINYLRECORDS! #3@THERHYTHMSECTION78DREAMREALMEXPLORATION+ #STONETEMPLEPILOTS+++++ #STATION #TREASURETROVE #DESTINATIONWWWREDBUBBLECOMPEOPLESTARLIGHTMOONSHOPBUTTERFLY #CARTOONISH #W #TROVE #LIFESAVINGPRINCE #PEACE3EARTH #INCLUDING #LIFESTATION #ARE #BUTTERFLY #LIBRARY! #ENGLAND! #2XL! #GODS! #POSTERS! #INSTAGRAM! #STORE! #ELYSIUM! #SHOPPING! #WIND! #WORLD! #MUCHMORE! #PINS! #EMBRACED! #DAYS! #MANYMORE! #PATCHES! #EMBRACED!PEACE #SEASON! #YOU! #MIDNIGHTSLODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!VALLEYSTICKERS@THERHYTHMSECTION78!MUSICLOVERS #EUROPE! #PRICES!! #NOSTALGIALODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNILODGECOSMICREFRACTIONSMAIDENFUTURISTICENAMELTHERHYTHMSECTION78THERHYTHMSECTION78KEYACDCNIRVANATSHIRT611UNICORNHEALINGISAMIRACLESECURITYBILLIERAINBOWCASTLETHERHYTHMSECTION78THERHYTHMSECTION78THERHYTHMSECTION78@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!@THERHYTHMSECTION78!VALLEYSTICKERS@THERHYTHMSECTION78! #ABSOLUTELY! #EMERGED #CORE #COLLABORATION #INTERPRETATIONS #EMPOWERMENT #BALANCE #PROTECTION #POTENTIAL #SYMBOLISM! #YES! #NARRATIVE #WORLD #RESOLUTION #TRANSFORMATION #MONSTERS #ISLAND #EXPLORING #EXPERIENCES!THATS #DREAMSCAPE! #INTRODUCES #EVOLUTION #RESOURCES #REFLECTION #TAKES! #NEXT! #CONTINUE #STARSHIP #REALM #HARMONY #DREAMS! #RAINBOW #CITADEL #VISIONSTICKERSTOREWWWFLICKRCOMPHOTOSMUSIC1978 #REDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #PRAYERSFORRAINGREENHIMAGINATIONLIBRARY ++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++ #SHOP+ #TREASURES+ #ALLALONGTHEWATCHTOWER+ #HENDRIX+ #PINS+ #FORTRESS+ #BOWIE+ #MTNS+ #HEAVENANDHELL+ #BEETLEJUICE+ #PARK+ #BANDS+ #ORDERS+ #AVAILABILITY+ #BUTTONS+ #MORE+ +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ #DAFTPUNK+ #CREATION+ #MEMORY+ #HEALING+ #POSTERS+ #AVALON+ #ROXYMUSIC+ #GATLINBURG+ #GREATSMOKYMOUNTAINS+ #BRIDGE+ #TOWER+ #PEACE+ #IMAGINATION+ #VALLEY+ #TREEOFLIFE+ #SMOKYMOUNTAINS+ #MUSIC+ #TSHIRTS+ #TYLERCHILDERSINN+ #STICKERS+ #PALACE+ #MAGIC+ #LOVE+ #DIAMOND+ #REQUESTS+ #METAL+ #WATERFALL+ #TALKTALK+ #CDS+ #BARBIE+ #RECORDS+ #MUSHROOM+ #BRIANENO+ #OLYMPUS+ #REFUGE+ #ETC #MAILORDERS+ #TENNESSEE+ #ENO+ #SUN+ #BUSH+ #MOUNTAINS+ #RESTORATION+ #PATCHES+ #SHIRTS+ #DUNE+ #NIRVANA+ #COSMOS+ #DYLAN+ #RAINBOW+ #TAROT+ #EMBRACED!GOINGTOCALIFORNIA #RAINBOWTREE #RAINBOWHARDSUN #ARRIVALS! #HEARTRECORDS #GOINGTOCALIFORNIA #OZZY+MEDICINEHEALING +++++++++ #3+ #OZZY+GOODTIMES ++++++++++++++ +#SHIRTS #OZZY+ +++++++++++++ +++#3+++++RECORDS #L #GATLINBURG+++++ #35 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ #WWWRHYTHMSECTIONGATLINBURGCOMTREE #GATLINBURGSTONETEMPLEPILOTS+++++ #WWWFLICKRCOMPHOTOSMUSIC1978 #WWWREDBUBBLECOMPEOPLERHYTHMSECTIONTNSHOP #LRECORDSTORES #MTNS+ #POSTERS+RAINBOW #SPARK! #PRAYERSFORRAIN+GOINGTOCALIFORNIA #PRAYERSFORRAINPURP #PRAYERSFORRAINPURPTENNESSEE #PRAYERSFORRAIN+GOLDEN #OCEANIA #PRAYERSFORRAIN+GOINGTOCALIFORNIAOCEANIA #PRAYERSFORRAIN+GOINGTOCALIFORNIALUCK #CREATIONLIBRARY #LUCK #PRAYERSFORRAIN+GOINGTOCALIFORNIARAINBOW #PRAYERSFORRAINGREEN #GRE ♈♉♊♋♌♍♎♏♐♑♒⛎ #WHENTHESHIPCOMESIN🔵💙🙏🌻🌼❄️💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜RAINBOW ❄️ 💚💙 💚💙💜#INBETWEEN🔵💙🙏🌻🌼❄️💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜 ⛎ 🙏🌻 🐉 🐦 ❤️♈♉♊♋♌♍♎♏♐♑♒⛎⛎⛎♒♑♐♏♎♍♌♋♊♉♈❤️💛💚💙💜💜💙💚💛❤️🐲🐉💙💜💚💙💜💙💚💚💙💜💜💙💚💚💙💜💙💜💚💚💙💜💚💙💜💚💙💜💚💙💜 🍀🐉💙⭐🌈💜💚🙏🌻🌼️💮✨🌠🐉🐲🐢🌻🌼🌷🍄❤️💛💚💙💜💜💙💚💛❤️♈♉♊♋♌♍♎♏♐♑♒⛎⛎⛎♒♑♐♏♎♍♌♋♊♉♈❤️💛💚💙💜💜💙💚💛❤️🐲🐉💙💜💚💙💜💙💚💚💙💜💜💙💚💚💙💜💙💜💚💚💙💜💚💙💜💚💙💜💚💙💜 💚💙💜💚💙💜 💚 💙 💙💚💛❤️🐲🐉💙💜💚💙💜💙💚💚💙💜💜💙💚💚💙💜💙💜💚💚💙💜💚💙💜💚💙💜💚💙💜 🍀🐉💙⭐🌈💜💚🙏🌻🌼️💮✨🌠🐉🐲🐢🌻🌼🌷🍄❤️💛💚💙💜💜💙💚💛❤️💛💚💙💜💜💙💚💛❤️🐲🐉💙💜💚💙💜💙💚💚💙💜💜💙💚💚💙💜💙💜💚💚💙💜💚💙💜💚💙💜💚💙💜 💙❤️💛💚💙💜💜💙💚💛❤️🐲🐉💙💜💚💙💜 ♈♉♊♋♌♍♎♏♐♑♒⛎⛎🙏❤️💛💚💙💜♈♉♊♋♌♍♎♏♐♑♒⛎⛎❤️💚💙💜♈♉♊♋♌♍♎♏♐♑♒⛎⛎💙✨⭐💚💟💛🐈🐢🐉🐦🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟💚💙💜♈♉♊♋♌♍♎♏♐♑♒⛎⛎♥🌻🐦😻🌝🌜🔵🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀🌈🌠✨⭐💙⭐✨💚💟💜️💮🍀 ☔ 💚💟 💜💚💙💜 🌷🍄❤️💛💚💙💜💜💙💚💛❤️❤️💛💚💙💜💜💙💚💛❤️🐲🐉💙💜💚💙💜💙💚💚💙💜💜💙💚💚💙💜💙💜💚💚💙💜💚💙💜💚💙💜💚💙💜 ♈ ♉ ♊ ♋ ♌🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚💜💚
Horizon Zero Dawn is an action role-playing video game developed by Guerrilla Games and published by Sony Interactive Entertainment. Story is set in the 31st century, in a world where humans have regressed to primitive tribal societies as a result of some unknown calamity. Their technologically advanced predecessors are vaguely remembered as the "Old Ones." Large robotic creatures known merely as "machines" now dominate the Earth. For the most part, they peacefully coexist with humans, who occasionally hunt them for parts. However, a phenomenon known as the "Derangement" has caused machines to become more aggressive towards humans, and larger and deadlier machines have begun to appear. There are three tribes that are prominently featured: the Nora, the Carja, and the Oseram. The Nora are fierce hunter-gatherers who live in the mountains and worship nature as the "All-Mother." The Carja are desert-dwelling city builders who worship the Sun. The Oseram are tinkerers known for their metalworking, brewing, and arguing. Aloy was cast out from the Nora tribe at birth, raised by an outcast named Rost (JB Blanc). As a child, she obtained a Focus, a small augmented reality device that gives her special perceptive abilities. After coming of age, Aloy (Ashly Burch) enters a competition called the Proving to win the right to become a Nora Brave, and by extension, a member of the Nora tribe. Aloy wins the competition, but the Nora are suddenly attacked by cultists. Aloy is almost killed by their leader Helis (Crispin Freeman), but is saved by Rost, who sacrifices himself to save Aloy from a bomb. When Aloy awakes, a Matriarch explains that the cultists had gained control of corrupted machines. Aloy also learns that as an infant, she was found at the foot of a sealed door. An Oseram foreigner called Olin (Chook Sibtain) informs Aloy that the cultists are part of a group calling themselves the Eclipse. Olin indicates that the reason Aloy was targeted by the Eclipse was due to her resemblance to an Old World scientist named Dr. Elisabet Sobeck (also voiced by Burch).
Today something incredible happened, and it wasn't even me-
involved in it's opportune, otherworldly fathom
of emotion drowned in the pool of life's missing gene
where a pulled plug allowed an echo to swim in a ethereal agendum
intoxicated with sobriety, here is a place to ponder all that lay between-
the passing, the mourning, a loved one...now shadows the passage of life to the highest degree
Nothing could have prepared today, Thursday, for the written word so sedulous
September 1, 2007; pen touched the paper of the book opened this day
read with such spirit as to be completely carried away beyond years,
beyond fears, the tears trace the missing words unspoken in a life they now miraculously portray
goosebumps focus attention upon the realisation it nears
such words you will never hear, yet the feeling within may bound the character so insulous
Nobody ever thought it could happen like this, not this way
it is tear-inducing, thought-provoking, life-questioning...all of fluvial emotion,
the entrails over the sky of living heart and sunlit Soul
could it be anywhere other than right here, somehow just a superstitious notion?
or not quite...this event like a chevron Cirrus patrolling sunset's starlit rôle
the final appeasement of past hurts which reverence gives away
Now, into thirds Thursday prefers cursory words without recourse to being disturbed
it's a right Heavenly jump staged not to frighten, but to console
playing a hand well beyond the science of motivated reasoning
this is pure, and simple, yet deeper than the depths of pain now healing with a belief to extol
that firmness of mind, devout and true, heeds to the stoic premise of human seasoning
where shock subsides hope now resides, unfurling so seemly unto Earth unperturbed
if solace is spiritual let it be so, if proof is needed let is prove so
through individual taste desire is sought; unique digestion of each hinterland
familiarity is witnessed best when the eyes remain closed, but so perceptive-
woods and trees, scarlet sunset thieves, are the nights getting longer throughout our dreamy heartland?
a picture of the mind, within and beside itself is the vision of plenitude that fills a sorrow receptive,
there is no call...none that echo greater than the one already answered ages ago.
by anglia24
September 2008
©2008anglia24
for Tatay...RIP.
An elderly couple pass me in the street, but the lady is too on-the-ball for my candid photography...
Yennefer: Perceptive as usual. I'm going to give them a shining beacon of what happens when you cross powerful sorceresses.
youtu.be/KcPcJ9ycEu4?t=2m22s Full Feature
Paving for the way for later occult classics like Rosemary’s Baby and The Wicker Man, Night of the Demon is a spooky tale of witchcraft in modern Britain. With Jacques Tourneur’s film opening the BFI’s Monster Weekend, curator Vic Pratt explains why it’s a masterpiece of fright.
Vic Pratt
Wednesday, 21 August 2013
Night of the Demon (1957)
Night of the Demon screens on 29 August as part of the BFI’s Monster Weekend at the British Museum.
Gothic: The Dark Heart of Film is a major four-month film season at BFI Southbank and across the UK from October 2013 to January 2014.
I’ve loved Night of the Demon (1957) since I first watched it on telly many moons ago with my Dad. I was just a kid at the time, and yes, it may have been past my bedtime, so the thrill of staying up late to see it might have meant I enjoyed it all the more. But ever since then, it’s been a firm favourite of mine.
Looking back at it with an adult eye, you can see that it’s a film that belongs on any decent foundation course in cinematic horror. Beautifully constructed and ingeniously fashioned by master film-craftsmen, it remains a haunting, chillingly plausible tale of witchcraft and the occult, and the conflict between rationality and superstition.
But back when I was a fresh-faced child, I didn’t care about that. I was far more interested in the creepy demon of the title. That writhing, nasty-faced, woodcut-like creature – his arrival heralded by strange squealing strains, unsettling jangling noises, smoky footprints, and bizarre star-spangled puffs of smoke – captured my youthful imagination.
I didn’t know it at the time, but the film was directed by a master of spooky, suspenseful, atmospheric cinema, the great Jacques Tourneur. I found out about him later on, as a teenager. Tourneur’s shadowy, moody films – which seemed to mix Gothic themes with film noir-ish imagery – had an immediate appeal.
French born, but later active in the USA, he shot a string of low-budget classics in the 1940s for Val Lewton’s B-picture unit at RKO. If that had been that, and he’d packed it in then, his reputation would already have been assured. The man who’d made Cat People (1942) and I Walked with a Zombie (1943) certainly had nothing to prove. But Tourneur was not a man to rest on his laurels. He carried on, moved into bigger budget productions, and, some years later, shot a Gothic chiller about modern-day witchcraft in England. It was called Night of the Demon. And it might even be the best of the bunch.
The film was adapted from M.R. James’s short story ‘Casting the Runes’ by Hitchcock collaborator Charles Bennett, and it grips from the very beginning. Dana Andrews, playing sceptical American psychologist Holden, scoffs when he’s passed a cursed piece of parchment in the British Museum reading room by genial occultist Dr Karswell (masterfully played by Niall MacGinnis). It means that he’s scheduled to die at the demon’s hand within four days. Holden doesn’t believe it. But – having spotted that monster in the first reel – we viewers know better than the sometimes irritatingly sure-of-himself scientist. And so Holden is dragged ever further into a web of devilry, while perceptive Joanna (the wonderful Peggy Cummins) races against time to convince him that it’s not all just flim-flam.
But you can see why Holden takes some convincing. While Karswell really is the possessor of strange powers, he acts like a show-off schoolboy conjuror spoiling the summer fete. A petulant, overgrown rich-kid know-all who lives with his mother, occasionally dabbling as a children’s entertainer, he’s a modern-day sorcerer who really doesn’t understand the seriousness of the dark forces at his command – and doesn’t much care either.
In one splendid scene, set at his grand country house, merely to demonstrate his powers to the resolutely sceptical Holden, Karswell conjures up a whirlwind out of nowhere, and smiles smugly as terrified children – whom he entertained, dressed as a clown, moments earlier – run screaming across the grounds of his stately pile. “A medieval witch’s speciality: a wind storm,” he gloats. He’s ruined their party.
Shot in broad daylight, this eerie, darkly humorous scene demonstrates that good Gothic doesn’t need to take place at night, or even in a creepy castle; and that Tourneur is a master of mood, whatever the setting. And something tells me our old friend Alfred Hitchcock watched it closely: it foreshadows a somewhat similar silly-sinister sequence in The Birds (1963) where a flap of feathered beasts suddenly dive bomb the children to spoil yet another tea-party on the lawn.
A disrupted children’s party was a million miles away from the censor-shocking, blood-spattered Hammer horrors that were poised to take the world by storm at the end of the 1950s; but this film, though perhaps harking back to an earlier era, was no less brilliant than those.
Despite the monster, Night of the Demon is a cerebral piece: it chills viewers intelligently, slowly, and fills them with an ominous sense of impending dread and looming, inevitable disaster, leavened with dark, dry dashes of humour and irony – tactics that, once again, bring to mind a certain Mr Hitchcock. And what’s more, it makes witchcraft creepily contemporary. Modern-day malevolence of this kind would be the centrepiece of numerous films still to come, such as Night of the Eagle (1962), Rosemary’s Baby (1968) and The Wicker Man (1973), to name but a few.
Night of the Demon has now been remastered by the BFI National Archive, and the full-length British version now stands ready to be unleashed on cinema screens once more. If you haven’t seen it before, you should. And while that old demon lurking in the shadows at the centre of it all has had some bad press over the years – many critics think we meet him too early, or even that we shouldn’t meet him at all – my childhood self would beg to differ. He had quite an effect on me in my formative years, and my adult self will hear nothing bad said about him. He belongs exactly where he is, forever swirling malevolently in the smoke, at the heart of Night of the Demon.
Curse of the Demon / Night of the Demon
Columbia TriStar Home Entertainment
1957/58 / B&W / 1:78 anamorphic 16:9 / 82, 95 min. / Street Date August 13, 2002 / $24.95
Starring Dana Andrews, Peggy Cummins, Niall MacGinnis, Maurice Denham, Athene Seyler
Cinematography Ted Scaife
Production Designer Ken Adam
Special Effects George Blackwell, S.D. Onions, Wally Veevers
Film Editor Michael Gordon
Original Music Clifton Parker
Written by Charles Bennett and Hal E. Chester from the story Casting the Runes by Montague R. James
Produced by Frank Bevis, Hal E. Chester
Directed by Jacques Tourneur
Reviewed by Glenn Erickson
Savant champions a lot of genre movies but only infrequently does one appear like Jacques Tourneur's superlative Curse of the Demon. It's simply better than the rest -- an intelligent horror film with some very good scares. It occupies a stylistic space that sums up what's best in ghost stories and can hold its own with most any supernatural film ever made. Oh, it's also a great entertainment that never fails to put audiences at the edge of their seats.
What's more, Columbia TriStar has shown uncommon respect for their genre output by including both versions of Curse of the Demon on one disc. Savant has full coverage on the versions and their restoration below, following his thorough and analytical (read: long-winded and anal) coverage of the film itself.
Synopsis:
Dr. John Holden (Dana Andrews), a scientist and professional debunker of superstitious charlatans, arrives in England to help Professor Henry Harrington (Maurice Denham) assault the phony cult surrounding Dr. Julian Karswell (Niall McGinnis). But Harrington has mysteriously died and Holden becomes involved with his niece Joanna (Peggy Cummins), who thinks Karswell had something to do with it. Karswell's 'tricks' confuse the skeptical Holden, but he stubbornly holds on to his conviction that he's " ... not a sucker, like 90% of the human race." That is, until the evidence mounts that Harrington was indeed killed by a demon summoned from Hell, and that Holden is the next intended victim!
The majority of horror films are fantasies in which we accept supernatural ghosts, demons and monsters as part of a deal we've made with the authors: they dress the fantasy in an attractive guise and arrange the variables into an interesting pattern, and we agree to play along for the sake of enjoyment. When it works the movies can resonate with personal meaning. Even though Dracula and Frankenstein are unreal, they are relevant because they're aligned with ideas and themes in our subconscious.
Horror films that seriously confront the no-man's land between rational reality and supernatural belief have a tough time of it. Everyone who believes in God knows that the tug o' war between rationality and faith in our culture has become so clogged with insane belief systems it's considered impolite to dismiss people who believe in flying saucers or the powers of crystals or little glass pyramids. One of Dana Andrews' key lines in Curse of the Demon, defending his dogged skepticism against those urging him to have an open mind, is his retort, "If the world is a dark place ruled by Devils and Demons, we all might as well give up right now." Curse of the Demon balances itself between skepticism and belief with polite English manners, letting us have our fun as it lays its trap. We watch Andrews roll his eyes and scoff at the feeble séance hucksters and the dire warnings of a foolish-looking necromancer. Meanwhile, a whole dark world of horror sneaks up on him. The film's intelligent is such that we're not offended by its advocacy of dark forces or even its literal, in-your-face demon.
The remarkable Curse of the Demon was made in England for Columbia but is gloriously unaffected by that company's zero-zero track record with horror films. Producer Hal E. Chester would seem an odd choice to make a horror classic after producing Joe Palooka films and acting as a criminal punk in dozens of teen crime movies. The obvious strong cards are writer Charles Bennett, the brains behind several classic English Hitchcock pictures (who 'retired' into meaningless bliss writing for schlockmeister Irwin Allen) and Jacques Tourneur, a master stylist who put Val Lewton on the map with Cat People and I Walked With a Zombie. Tourneur made interesting Westerns (Canyon Passage, Great Day in the Morning) and perhaps the most romantic film noir, Out of the Past. By the late '50s he was on what Andrew Sarris in his American Film called 'a commercial downgrade'. The critic lumped Curse of the Demon with low budget American turkeys like The Fearmakers. 1
Put Tourneur with an intelligent script, a decent cameraman and more than a minimal budget and great things could happen. We're used to watching Corman Poe films, English Hammer films and Italian Bavas and Fredas, all the while making excuses for the shortcomings that keep them in the genre ghetto (where they all do quite well, thank you). There's even a veiled resentment against upscale shockers like The Innocents that have resources (money, time, great actors) denied our favorite toilers in the genre realm. Curse of the Demon is above all those considerations. It has name actors past their prime and reasonable production values. Its own studio (at least in America) released it like a genre quickie, double-billed with dreck like The Night the World Exploded and The Giant Claw. They cut it by 13 minutes, changed its title (to ape The Curse of Frankenstein?) and released a poster featuring a huge, slavering demon monster that some believe was originally meant to be barely glimpsed in the film itself. 2
Horror movies can work on more than one level but Curse of the Demon handles several levels and then some. The narrative sets up John Holden as a professional skeptic who raises a smirking eyebrow to the open minds of his colleagues. Unlike most second-banana scientists in horror films, they express divergent points of view. Holden just sees himself as having common sense but his peers are impressed by the consistency of demonological beliefs through history. Maybe they all saw Christensen's Witchcraft through the Ages, which might have served as a primer for author Charles Bennett. Smart dialogue allows Holden to score points by scoffing at the then-current "regression to past lives" scam popularized by the Bridey Murphy craze. 3 While Holden stays firmly rooted to his position, coining smart phrases and sarcastic put-downs of believers, the other scientists are at least willing to consider alternate possibilities. Indian colleague K.T. Kumar (Peter Elliott) keeps his opinion to himself. But when asked, he politely states that he believes entirely in the world of demons! 4
Holden may think he has the truth by the tail but it takes Kindergarten teacher Joanna Harrington (Peggy Cummins of Gun Crazy fame) to show him that being a skeptic doesn't mean ignoring facts in front of one's face. Always ready for a drink (a detail added to tailor the part to Andrews?), Holden spends the first couple of reels as interested in pursuing Miss Harrington, as he is the devil-worshippers. The details and coincidences pile up with alarming speed -- the disappearing ink untraceable by the lab, the visual distortions that might be induced by hypnosis, the pages torn from his date book and the parchment of runic symbols. Holden believes them to be props in a conspiracy to draw him into a vortex of doubt and fear. Is he being set up the way a Voodoo master cons his victim, by being told he will die, with fabricated clues to make it all appear real? Holden even gets a bar of sinister music stuck in his head. It's the title theme -- is this a wicked joke on movie soundtracks?
Speak of the Devil...
This brings us to the wonderful character of Julian Karswell, the kiddie-clown turned multi-millionaire cult leader. The man who launched Alfred Hitchcock as a maker of sophisticated thrillers here creates one of the most interesting villains ever written, one surely as good as any of Hitchcock's. In the short American cut Karswell is a shrewd games-player who shows Holden too many of his cards and finally outsmarts himself. The longer UK cut retains the full depth of his character.
Karswell has tapped into the secrets of demonology to gain riches and power, yet he tragically recognizes that he is as vulnerable to the forces of Hell as are the cowering minions he controls through fear. Karswell's coven means business. It's an entirely different conception from the aesthetic salon coffee klatch of The Seventh Victim, where nothing really supernatural happens and the only menace comes from a secret society committing new crimes to hide old ones.
Karswell keeps his vast following living in fear, and supporting his extravagant lifestyle under the idea that Evil is Good, and Good Evil. At first the Hobart Farm seems to harbor religious Christian fundamentalists who have turned their backs on their son. Then we find out that they're Karswell followers, living blighted lives on cursed acreage and bled dry by their cultist "leader." Karswell's mum (Athene Seyler) is an inversion of the usual insane Hitchcock mother. She lovingly resists her son's philosophy and actively tries to help the heroes. That's in the Night version, of course. In the shorter American cut she only makes silly attempts to interest Joanna in her available son and arranges for a séance. Concerned by his "negativity", Mother confronts Julian on the stairs. He has no friends, no wife, no family. He may be a mass extortionist but he's still her baby. Karswell explains that by exploiting his occult knowledge, he's immersed himself forever in Evil. "You get nothing for nothing"
Karswell is like the Devil on Earth, a force with very limited powers that he can't always control. By definition he cannot trust any of his own minions. They're unreliable, weak and prone to double-cross each other, and they attract publicity that makes a secret society difficult to conceal. He can't just kill Holden, as he hasn't a single henchman on the payroll. He instead summons the demon, a magic trick he's only recently mastered. When Karswell turns Harrington away in the first scene we can sense his loneliness. The only person who can possibly understand is right before him, finally willing to admit his power and perhaps even tolerate him. Karswell has no choice but to surrender Harrington over to the un-recallable Demon. In his dealings with the cult-debunker Holden, Karswell defends his turf but is also attempting to justify himself to a peer, another man who might be a potential equal. It's more than a duel of egos between a James Bond and a Goldfinger, with arrogance and aggression masking a mutual respect; Karswell knows he's taken Lewton's "wrong turning in life," and will have to pay for it eventually.
Karswell eventually earns Holden's respect, especially after the fearful testimony of Rand Hobart. It's taken an extreme demonstration to do it, but Holden budges from his smug position. He may not buy all of the demonology hocus-pocus but it's plain enough that Karswell or his "demon" is going to somehow rub him out. Seeking to sneak the parchment back into Karswell's possession, Holden becomes a worthy hero because he's found the maturity to question his own preconceptions. Armed with his rational, cool head, he's a force that makes Karswell -- without his demon, of course -- a relative weakling. Curse of the Demon ends in a classic ghost story twist, with just desserts dished out and balance recovered. The good characters are less sure of their world than when they started, but they're still able to cope. Evil has been defeated not by love or faith, but by intellect.
Curse of the Demon has the Val Lewton sensibility as has often been cited in Tourneur's frequent (and very effective) use of the device called the Lewton "Bus" -- a wholly artificial jolt of fast motion and noise interrupting a tense scene. There's an ultimate "bus" at the end when a train blasts in and sets us up for the end title. It "erases" the embracing actors behind it and I've always thought it had to be an inspiration for the last shot of North by NorthWest. The ever-playful Hitchcock was reportedly a big viewer of fantastic films, from which he seems to have gotten many ideas. He's said to have dined with Lewton on more than one occasion (makes sense, they were at one time both Selznick contractees) and carried on a covert competition with William Castle, of all people.
Visually, Tourneur's film is marvelous, effortlessly conjuring menacing forests lit in the fantastic Mario Bava mode by Ted Scaife, who was not known as a genre stylist. There are more than a few perfunctory sets, with some unflattering mattes used for airport interiors, etc.. Elsewhere we see beautiful designs by Ken Adam in one of his earliest outings. Karswell's ornate floor and central staircase evoke an Escher print, especially when visible/invisible hands appear on the banister. A hypnotic, maze-like set for a hotel corridor is also tainted by Escher and evokes a sense of the uncanny even better than the horrid sounds Holden hears. The build-up of terror is so effective that one rather unconvincing episode (a fight with a Cat People - like transforming cat) does no harm. Other effects, such as the demon footprints appearing in the forest, work beautifully.
In his Encyclopedia of Horror Movies Phil Hardy very rightly relates Curse of the Demon's emphasis on the visual to the then just-beginning Euro-horror subgenre. The works of Bava, Margheriti and Freda would make the photographic texture of the screen the prime element of their films, sometimes above acting and story logic.
Columbia TriStar's DVD of Curse of the Demon / Night of the Demon presents both versions of this classic in one package. American viewers saw an effective but abbreviated cut-down. If you've seen Curse of the Demon on cable TV or rented a VHS or a laser anytime after 1987, you're not going to see anything different in the film. In 1987 Columbia happened to pull out the English cut when it went to re-master. When the title came up as Night of the Demon, they just slugged in the Curse main title card and let it go.
From such a happy accident (believe me, nobody in charge at Columbia at the time would have purposely given a film like this a second glance) came a restoration at least as wonderful as the earlier reversion of The Fearless Vampire Killers to its original form. Genre fans were taken by surprise and the Laserdisc became a hot item that often traded for hundreds of dollars. 6
Back in film school Savant had been convinced that ever seeing the long, original Night cut was a lost cause. An excellent article in the old Photon magazine in the early '70s 5, before such analytical work was common, accurately laid out the differences between the two versions, something Savant needs to do sometime with The Damned and These Are the Damned. The Photon article very accurately describes the cut scenes and what the film lost without them, and certainly inspired many of the ideas here.
Being able to see the two versions back-to-back shows exactly how they differ. Curse omits some scenes and rearranges others. Gone is some narration from the title sequence, most of the airplane ride, some dialogue on the ground with the newsmen and several scenes with Karswell talking to his mother. Most crucially missing are Karswell's mother showing Joanna the cabalistic book everyone talks so much about and Holden's entire visit to the Hobart farm to secure a release for his examination of Rand Hobart. Of course the cut film still works (we loved the cut Curse at UCLA screenings and there are people who actually think it's better) but it's nowhere near as involving as the complete UK version. Curse also reshuffles some events, moving Holden's phantom encounter in the hallway nearer the beginning, which may have been to get a spooky scene in the middle section or to better disguise the loss of whole scenes later. The chop-job should have been obvious. The newly imposed fades and dissolves look awkward. One cut very sloppily happens right in the middle of a previous dissolve.
Night places both Andrews and Cummins' credits above the title and gives McGinnis an "also starring" credit immediately afterwards. Oddly, Curse sticks Cummins afterwards and relegates McGinnis to the top of the "also with" cast list. Maybe with his role chopped down, some Columbia executive thought he didn't deserve the billing?
Technically, both versions look just fine, very sharp and free of digital funk that would spoil the film's spooky visual texture. Night of the Demon is the version to watch for both content and quality. It's not perfect but has better contrast and less dirt than the American version. Curse has more emulsion scratches and flecking white dandruff in its dark scenes, yet looks fine until one sees the improvement of Night. Both shows are widescreen enhanced (hosanna), framing the action at its original tighter aspect ratio.
It's terrific that Columbia TriStar has brought out this film so thoughtfully, even though some viewers are going to be confused when their "double feature" disc appears to be two copies of the same movie. Let 'em stew. This is Savant's favorite release so far this year.
On a scale of Excellent, Good, Fair, and Poor, Curse of the Demon / Night of the Demon rates:
Movie: Excellent
Footnotes:
Made very close to Curse of the Demon and starring Dana Andrews, The Fearmakers (great title) was a Savant must-see until he caught up with it in the UA collection at MGM. It's a pitiful no-budgeter that claims Madison Avenue was providing public relations for foreign subversives, and is negligible even in the lists of '50s anti-Commie films.
Return
Curse of the Demon's Demon has been the subject of debate ever since the heyday of Famous Monsters of Filmland. From what's on record it's clear that producer Chester added or maximized the shots of the creature, a literal visualization of a fiery, brimstone-smoking classical woodcut demon that some viewers think looks ridiculous. Bennett and Tourneur's original idea was to never show a demon but the producer changed that. Tourneur probably directed most of the shots, only to have Chester over-use them. To Savant's thinking, the demon looks great. It is first perceived as an ominous sound, a less strident version of the disturbing noise made by Them! Then it manifests itself visually as a strange disturbance in the sky (bubbles? sparks? early slit-scan?) followed by a billowing cloud of sulphurous smoke (a dandy effect not exploited again until Close Encounters of the Third Kind). The long-shot demon is sometimes called the bicycle demon because he's a rod puppet with legs that move on a wheel-rig. Smoke belches from all over his scaly body. Close-ups are provided by a wonderfully sculpted head 'n' shoulders demon with articulated eyes and lips, a full decade or so before Carlo Rambaldi started engineering such devices.
Most of the debate centers on how much Demon should have been shown with the general consensus that less would have been better. People who dote on Lewton-esque ambivalence say that the film's slow buildup of rationality-versus demonology is destroyed by the very real Demon's appearance in the first scene, and that's where they'd like it removed or radically reduced. The Demon is so nicely integrated into the cutting (the giant foot in the first scene is a real jolt) that it's likely that Tourneur himself filmed it all, perhaps expecting the shots to be shorter or more obscured. It is also possible that the giant head was a post-Tourneur addition - it doesn't tie in with the other shots as well (especially when it rolls forward rather stiffly) and is rather blunt. Detractors lump it in with the gawd-awful head of The Black Scorpion, which is filmed the same way and almost certainly was an afterthought - and also became a key poster image. This demon head matches the surrounding action a lot better than did the drooling Scorpion.
Savant wouldn't change Curse of the Demon but if you put a gun to my head I'd shorten most of the shots in its first appearance, perhaps eliminating all close-ups except for the final, superb shot of the the giant claw reaching for Harrington / us.
Kumar, played (I assume) by an Anglo actor, immediately evokes all those Indian and other Third World characters in Hammer films whose indigenous cultures invariably hold all manner of black magic and insidious horror. When Hammer films are repetitious it's because they take eighty minutes or so to convince the imagination-challenged English heroes to even consider the premise of the film as being real. In Curse of the Demon, Holden's smart-tongued dismissal of outside viewpoints seems much more pigheaded now than it did in 1957, when heroes confidently defended conformist values without being challenged. Kumar is a scientist but also probably a Hindu or a Sikh. He has no difficulty reconciling his faith with his scientific detachment. Holden is far too tactful to call Kumar a crazy third-world guru but that's probably what he's thinking. He instead politely ignores him. Good old Kumar then saves Holden's hide with some timely information. I hope Holden remembered to thank him.
There's an unstated conclusion in Curse of the Demon: Holden's rigid disbelief of the supernatural means he also does not believe in a Christian God with its fundamentally spiritual faith system of Good and Evil, saints and devils, angels and demons. Horror movies that deal directly with religious symbolism and "real faith" can be hypocritical in their exploitation and brutal in their cheap toying with what are for many people sacred personal concepts. I'm thinking of course of The Exorcist here. That movie has all the grace of a reporter who shows a serial killer's atrocity photos to a mother whose child has just been kidnapped. Curse of the Demon hasn't The Exorcist's ruthless commercial instincts but instead has the modesty not to pretend to be profound, or even "real." Yet it expresses our basic human conflict between rationality and faith very nicely.
Savant called Jim Wyrnoski, who was associated with Photon, in an effort to find out more about the article, namely who wrote it. It was very well done and I've never forgotten it; I unfortunately loaned my copy out to good old Jim Ursini and it disappeared. Obviously, a lot of the ideas here, I first read there. Perhaps a reader who knows better how to take care of their belongings can help me with the info? Ursini and Alain Silvers' More Things than are Dreamt Of Limelight, 1994, analyzes Curse of the Demon (and many other horror movies) in the context of its source story.
This is a true story: Cut to 2000. Columbia goes to re-master Curse of the Demon and finds that the fine-grain original of the English version is missing. The original long version of the movie may be lost forever. A few months later a collector appears who says he bought it from another unnamed collector and offers to trade it for a print copy of the American version, which he prefers. Luckily, an intermediary helps the collector follow up on his offer and the authorities are not contacted about what some would certainly call stolen property. The long version is now once again safe. Studios clearly need to defend their property but many collectors have "items" they personally have acquired legally. More often than you might think, such finds come about because studios throw away important elements. If the studios threaten prosecution, they will find that collectors will never approach them. They'd probably prefer to destroy irreplaceable film to avoid being criminalized.
youtu.be/KcPcJ9ycEu4?t=2m22s Full Feature
Paving for the way for later occult classics like Rosemary’s Baby and The Wicker Man, Night of the Demon is a spooky tale of witchcraft in modern Britain. With Jacques Tourneur’s film opening the BFI’s Monster Weekend, curator Vic Pratt explains why it’s a masterpiece of fright.
Vic Pratt
Wednesday, 21 August 2013
Night of the Demon (1957)
Night of the Demon screens on 29 August as part of the BFI’s Monster Weekend at the British Museum.
Gothic: The Dark Heart of Film is a major four-month film season at BFI Southbank and across the UK from October 2013 to January 2014.
I’ve loved Night of the Demon (1957) since I first watched it on telly many moons ago with my Dad. I was just a kid at the time, and yes, it may have been past my bedtime, so the thrill of staying up late to see it might have meant I enjoyed it all the more. But ever since then, it’s been a firm favourite of mine.
Looking back at it with an adult eye, you can see that it’s a film that belongs on any decent foundation course in cinematic horror. Beautifully constructed and ingeniously fashioned by master film-craftsmen, it remains a haunting, chillingly plausible tale of witchcraft and the occult, and the conflict between rationality and superstition.
But back when I was a fresh-faced child, I didn’t care about that. I was far more interested in the creepy demon of the title. That writhing, nasty-faced, woodcut-like creature – his arrival heralded by strange squealing strains, unsettling jangling noises, smoky footprints, and bizarre star-spangled puffs of smoke – captured my youthful imagination.
I didn’t know it at the time, but the film was directed by a master of spooky, suspenseful, atmospheric cinema, the great Jacques Tourneur. I found out about him later on, as a teenager. Tourneur’s shadowy, moody films – which seemed to mix Gothic themes with film noir-ish imagery – had an immediate appeal.
French born, but later active in the USA, he shot a string of low-budget classics in the 1940s for Val Lewton’s B-picture unit at RKO. If that had been that, and he’d packed it in then, his reputation would already have been assured. The man who’d made Cat People (1942) and I Walked with a Zombie (1943) certainly had nothing to prove. But Tourneur was not a man to rest on his laurels. He carried on, moved into bigger budget productions, and, some years later, shot a Gothic chiller about modern-day witchcraft in England. It was called Night of the Demon. And it might even be the best of the bunch.
The film was adapted from M.R. James’s short story ‘Casting the Runes’ by Hitchcock collaborator Charles Bennett, and it grips from the very beginning. Dana Andrews, playing sceptical American psychologist Holden, scoffs when he’s passed a cursed piece of parchment in the British Museum reading room by genial occultist Dr Karswell (masterfully played by Niall MacGinnis). It means that he’s scheduled to die at the demon’s hand within four days. Holden doesn’t believe it. But – having spotted that monster in the first reel – we viewers know better than the sometimes irritatingly sure-of-himself scientist. And so Holden is dragged ever further into a web of devilry, while perceptive Joanna (the wonderful Peggy Cummins) races against time to convince him that it’s not all just flim-flam.
But you can see why Holden takes some convincing. While Karswell really is the possessor of strange powers, he acts like a show-off schoolboy conjuror spoiling the summer fete. A petulant, overgrown rich-kid know-all who lives with his mother, occasionally dabbling as a children’s entertainer, he’s a modern-day sorcerer who really doesn’t understand the seriousness of the dark forces at his command – and doesn’t much care either.
In one splendid scene, set at his grand country house, merely to demonstrate his powers to the resolutely sceptical Holden, Karswell conjures up a whirlwind out of nowhere, and smiles smugly as terrified children – whom he entertained, dressed as a clown, moments earlier – run screaming across the grounds of his stately pile. “A medieval witch’s speciality: a wind storm,” he gloats. He’s ruined their party.
Shot in broad daylight, this eerie, darkly humorous scene demonstrates that good Gothic doesn’t need to take place at night, or even in a creepy castle; and that Tourneur is a master of mood, whatever the setting. And something tells me our old friend Alfred Hitchcock watched it closely: it foreshadows a somewhat similar silly-sinister sequence in The Birds (1963) where a flap of feathered beasts suddenly dive bomb the children to spoil yet another tea-party on the lawn.
A disrupted children’s party was a million miles away from the censor-shocking, blood-spattered Hammer horrors that were poised to take the world by storm at the end of the 1950s; but this film, though perhaps harking back to an earlier era, was no less brilliant than those.
Despite the monster, Night of the Demon is a cerebral piece: it chills viewers intelligently, slowly, and fills them with an ominous sense of impending dread and looming, inevitable disaster, leavened with dark, dry dashes of humour and irony – tactics that, once again, bring to mind a certain Mr Hitchcock. And what’s more, it makes witchcraft creepily contemporary. Modern-day malevolence of this kind would be the centrepiece of numerous films still to come, such as Night of the Eagle (1962), Rosemary’s Baby (1968) and The Wicker Man (1973), to name but a few.
Night of the Demon has now been remastered by the BFI National Archive, and the full-length British version now stands ready to be unleashed on cinema screens once more. If you haven’t seen it before, you should. And while that old demon lurking in the shadows at the centre of it all has had some bad press over the years – many critics think we meet him too early, or even that we shouldn’t meet him at all – my childhood self would beg to differ. He had quite an effect on me in my formative years, and my adult self will hear nothing bad said about him. He belongs exactly where he is, forever swirling malevolently in the smoke, at the heart of Night of the Demon.
Curse of the Demon / Night of the Demon
Columbia TriStar Home Entertainment
1957/58 / B&W / 1:78 anamorphic 16:9 / 82, 95 min. / Street Date August 13, 2002 / $24.95
Starring Dana Andrews, Peggy Cummins, Niall MacGinnis, Maurice Denham, Athene Seyler
Cinematography Ted Scaife
Production Designer Ken Adam
Special Effects George Blackwell, S.D. Onions, Wally Veevers
Film Editor Michael Gordon
Original Music Clifton Parker
Written by Charles Bennett and Hal E. Chester from the story Casting the Runes by Montague R. James
Produced by Frank Bevis, Hal E. Chester
Directed by Jacques Tourneur
Reviewed by Glenn Erickson
Savant champions a lot of genre movies but only infrequently does one appear like Jacques Tourneur's superlative Curse of the Demon. It's simply better than the rest -- an intelligent horror film with some very good scares. It occupies a stylistic space that sums up what's best in ghost stories and can hold its own with most any supernatural film ever made. Oh, it's also a great entertainment that never fails to put audiences at the edge of their seats.
What's more, Columbia TriStar has shown uncommon respect for their genre output by including both versions of Curse of the Demon on one disc. Savant has full coverage on the versions and their restoration below, following his thorough and analytical (read: long-winded and anal) coverage of the film itself.
Synopsis:
Dr. John Holden (Dana Andrews), a scientist and professional debunker of superstitious charlatans, arrives in England to help Professor Henry Harrington (Maurice Denham) assault the phony cult surrounding Dr. Julian Karswell (Niall McGinnis). But Harrington has mysteriously died and Holden becomes involved with his niece Joanna (Peggy Cummins), who thinks Karswell had something to do with it. Karswell's 'tricks' confuse the skeptical Holden, but he stubbornly holds on to his conviction that he's " ... not a sucker, like 90% of the human race." That is, until the evidence mounts that Harrington was indeed killed by a demon summoned from Hell, and that Holden is the next intended victim!
The majority of horror films are fantasies in which we accept supernatural ghosts, demons and monsters as part of a deal we've made with the authors: they dress the fantasy in an attractive guise and arrange the variables into an interesting pattern, and we agree to play along for the sake of enjoyment. When it works the movies can resonate with personal meaning. Even though Dracula and Frankenstein are unreal, they are relevant because they're aligned with ideas and themes in our subconscious.
Horror films that seriously confront the no-man's land between rational reality and supernatural belief have a tough time of it. Everyone who believes in God knows that the tug o' war between rationality and faith in our culture has become so clogged with insane belief systems it's considered impolite to dismiss people who believe in flying saucers or the powers of crystals or little glass pyramids. One of Dana Andrews' key lines in Curse of the Demon, defending his dogged skepticism against those urging him to have an open mind, is his retort, "If the world is a dark place ruled by Devils and Demons, we all might as well give up right now." Curse of the Demon balances itself between skepticism and belief with polite English manners, letting us have our fun as it lays its trap. We watch Andrews roll his eyes and scoff at the feeble séance hucksters and the dire warnings of a foolish-looking necromancer. Meanwhile, a whole dark world of horror sneaks up on him. The film's intelligent is such that we're not offended by its advocacy of dark forces or even its literal, in-your-face demon.
The remarkable Curse of the Demon was made in England for Columbia but is gloriously unaffected by that company's zero-zero track record with horror films. Producer Hal E. Chester would seem an odd choice to make a horror classic after producing Joe Palooka films and acting as a criminal punk in dozens of teen crime movies. The obvious strong cards are writer Charles Bennett, the brains behind several classic English Hitchcock pictures (who 'retired' into meaningless bliss writing for schlockmeister Irwin Allen) and Jacques Tourneur, a master stylist who put Val Lewton on the map with Cat People and I Walked With a Zombie. Tourneur made interesting Westerns (Canyon Passage, Great Day in the Morning) and perhaps the most romantic film noir, Out of the Past. By the late '50s he was on what Andrew Sarris in his American Film called 'a commercial downgrade'. The critic lumped Curse of the Demon with low budget American turkeys like The Fearmakers. 1
Put Tourneur with an intelligent script, a decent cameraman and more than a minimal budget and great things could happen. We're used to watching Corman Poe films, English Hammer films and Italian Bavas and Fredas, all the while making excuses for the shortcomings that keep them in the genre ghetto (where they all do quite well, thank you). There's even a veiled resentment against upscale shockers like The Innocents that have resources (money, time, great actors) denied our favorite toilers in the genre realm. Curse of the Demon is above all those considerations. It has name actors past their prime and reasonable production values. Its own studio (at least in America) released it like a genre quickie, double-billed with dreck like The Night the World Exploded and The Giant Claw. They cut it by 13 minutes, changed its title (to ape The Curse of Frankenstein?) and released a poster featuring a huge, slavering demon monster that some believe was originally meant to be barely glimpsed in the film itself. 2
Horror movies can work on more than one level but Curse of the Demon handles several levels and then some. The narrative sets up John Holden as a professional skeptic who raises a smirking eyebrow to the open minds of his colleagues. Unlike most second-banana scientists in horror films, they express divergent points of view. Holden just sees himself as having common sense but his peers are impressed by the consistency of demonological beliefs through history. Maybe they all saw Christensen's Witchcraft through the Ages, which might have served as a primer for author Charles Bennett. Smart dialogue allows Holden to score points by scoffing at the then-current "regression to past lives" scam popularized by the Bridey Murphy craze. 3 While Holden stays firmly rooted to his position, coining smart phrases and sarcastic put-downs of believers, the other scientists are at least willing to consider alternate possibilities. Indian colleague K.T. Kumar (Peter Elliott) keeps his opinion to himself. But when asked, he politely states that he believes entirely in the world of demons! 4
Holden may think he has the truth by the tail but it takes Kindergarten teacher Joanna Harrington (Peggy Cummins of Gun Crazy fame) to show him that being a skeptic doesn't mean ignoring facts in front of one's face. Always ready for a drink (a detail added to tailor the part to Andrews?), Holden spends the first couple of reels as interested in pursuing Miss Harrington, as he is the devil-worshippers. The details and coincidences pile up with alarming speed -- the disappearing ink untraceable by the lab, the visual distortions that might be induced by hypnosis, the pages torn from his date book and the parchment of runic symbols. Holden believes them to be props in a conspiracy to draw him into a vortex of doubt and fear. Is he being set up the way a Voodoo master cons his victim, by being told he will die, with fabricated clues to make it all appear real? Holden even gets a bar of sinister music stuck in his head. It's the title theme -- is this a wicked joke on movie soundtracks?
Speak of the Devil...
This brings us to the wonderful character of Julian Karswell, the kiddie-clown turned multi-millionaire cult leader. The man who launched Alfred Hitchcock as a maker of sophisticated thrillers here creates one of the most interesting villains ever written, one surely as good as any of Hitchcock's. In the short American cut Karswell is a shrewd games-player who shows Holden too many of his cards and finally outsmarts himself. The longer UK cut retains the full depth of his character.
Karswell has tapped into the secrets of demonology to gain riches and power, yet he tragically recognizes that he is as vulnerable to the forces of Hell as are the cowering minions he controls through fear. Karswell's coven means business. It's an entirely different conception from the aesthetic salon coffee klatch of The Seventh Victim, where nothing really supernatural happens and the only menace comes from a secret society committing new crimes to hide old ones.
Karswell keeps his vast following living in fear, and supporting his extravagant lifestyle under the idea that Evil is Good, and Good Evil. At first the Hobart Farm seems to harbor religious Christian fundamentalists who have turned their backs on their son. Then we find out that they're Karswell followers, living blighted lives on cursed acreage and bled dry by their cultist "leader." Karswell's mum (Athene Seyler) is an inversion of the usual insane Hitchcock mother. She lovingly resists her son's philosophy and actively tries to help the heroes. That's in the Night version, of course. In the shorter American cut she only makes silly attempts to interest Joanna in her available son and arranges for a séance. Concerned by his "negativity", Mother confronts Julian on the stairs. He has no friends, no wife, no family. He may be a mass extortionist but he's still her baby. Karswell explains that by exploiting his occult knowledge, he's immersed himself forever in Evil. "You get nothing for nothing"
Karswell is like the Devil on Earth, a force with very limited powers that he can't always control. By definition he cannot trust any of his own minions. They're unreliable, weak and prone to double-cross each other, and they attract publicity that makes a secret society difficult to conceal. He can't just kill Holden, as he hasn't a single henchman on the payroll. He instead summons the demon, a magic trick he's only recently mastered. When Karswell turns Harrington away in the first scene we can sense his loneliness. The only person who can possibly understand is right before him, finally willing to admit his power and perhaps even tolerate him. Karswell has no choice but to surrender Harrington over to the un-recallable Demon. In his dealings with the cult-debunker Holden, Karswell defends his turf but is also attempting to justify himself to a peer, another man who might be a potential equal. It's more than a duel of egos between a James Bond and a Goldfinger, with arrogance and aggression masking a mutual respect; Karswell knows he's taken Lewton's "wrong turning in life," and will have to pay for it eventually.
Karswell eventually earns Holden's respect, especially after the fearful testimony of Rand Hobart. It's taken an extreme demonstration to do it, but Holden budges from his smug position. He may not buy all of the demonology hocus-pocus but it's plain enough that Karswell or his "demon" is going to somehow rub him out. Seeking to sneak the parchment back into Karswell's possession, Holden becomes a worthy hero because he's found the maturity to question his own preconceptions. Armed with his rational, cool head, he's a force that makes Karswell -- without his demon, of course -- a relative weakling. Curse of the Demon ends in a classic ghost story twist, with just desserts dished out and balance recovered. The good characters are less sure of their world than when they started, but they're still able to cope. Evil has been defeated not by love or faith, but by intellect.
Curse of the Demon has the Val Lewton sensibility as has often been cited in Tourneur's frequent (and very effective) use of the device called the Lewton "Bus" -- a wholly artificial jolt of fast motion and noise interrupting a tense scene. There's an ultimate "bus" at the end when a train blasts in and sets us up for the end title. It "erases" the embracing actors behind it and I've always thought it had to be an inspiration for the last shot of North by NorthWest. The ever-playful Hitchcock was reportedly a big viewer of fantastic films, from which he seems to have gotten many ideas. He's said to have dined with Lewton on more than one occasion (makes sense, they were at one time both Selznick contractees) and carried on a covert competition with William Castle, of all people.
Visually, Tourneur's film is marvelous, effortlessly conjuring menacing forests lit in the fantastic Mario Bava mode by Ted Scaife, who was not known as a genre stylist. There are more than a few perfunctory sets, with some unflattering mattes used for airport interiors, etc.. Elsewhere we see beautiful designs by Ken Adam in one of his earliest outings. Karswell's ornate floor and central staircase evoke an Escher print, especially when visible/invisible hands appear on the banister. A hypnotic, maze-like set for a hotel corridor is also tainted by Escher and evokes a sense of the uncanny even better than the horrid sounds Holden hears. The build-up of terror is so effective that one rather unconvincing episode (a fight with a Cat People - like transforming cat) does no harm. Other effects, such as the demon footprints appearing in the forest, work beautifully.
In his Encyclopedia of Horror Movies Phil Hardy very rightly relates Curse of the Demon's emphasis on the visual to the then just-beginning Euro-horror subgenre. The works of Bava, Margheriti and Freda would make the photographic texture of the screen the prime element of their films, sometimes above acting and story logic.
Columbia TriStar's DVD of Curse of the Demon / Night of the Demon presents both versions of this classic in one package. American viewers saw an effective but abbreviated cut-down. If you've seen Curse of the Demon on cable TV or rented a VHS or a laser anytime after 1987, you're not going to see anything different in the film. In 1987 Columbia happened to pull out the English cut when it went to re-master. When the title came up as Night of the Demon, they just slugged in the Curse main title card and let it go.
From such a happy accident (believe me, nobody in charge at Columbia at the time would have purposely given a film like this a second glance) came a restoration at least as wonderful as the earlier reversion of The Fearless Vampire Killers to its original form. Genre fans were taken by surprise and the Laserdisc became a hot item that often traded for hundreds of dollars. 6
Back in film school Savant had been convinced that ever seeing the long, original Night cut was a lost cause. An excellent article in the old Photon magazine in the early '70s 5, before such analytical work was common, accurately laid out the differences between the two versions, something Savant needs to do sometime with The Damned and These Are the Damned. The Photon article very accurately describes the cut scenes and what the film lost without them, and certainly inspired many of the ideas here.
Being able to see the two versions back-to-back shows exactly how they differ. Curse omits some scenes and rearranges others. Gone is some narration from the title sequence, most of the airplane ride, some dialogue on the ground with the newsmen and several scenes with Karswell talking to his mother. Most crucially missing are Karswell's mother showing Joanna the cabalistic book everyone talks so much about and Holden's entire visit to the Hobart farm to secure a release for his examination of Rand Hobart. Of course the cut film still works (we loved the cut Curse at UCLA screenings and there are people who actually think it's better) but it's nowhere near as involving as the complete UK version. Curse also reshuffles some events, moving Holden's phantom encounter in the hallway nearer the beginning, which may have been to get a spooky scene in the middle section or to better disguise the loss of whole scenes later. The chop-job should have been obvious. The newly imposed fades and dissolves look awkward. One cut very sloppily happens right in the middle of a previous dissolve.
Night places both Andrews and Cummins' credits above the title and gives McGinnis an "also starring" credit immediately afterwards. Oddly, Curse sticks Cummins afterwards and relegates McGinnis to the top of the "also with" cast list. Maybe with his role chopped down, some Columbia executive thought he didn't deserve the billing?
Technically, both versions look just fine, very sharp and free of digital funk that would spoil the film's spooky visual texture. Night of the Demon is the version to watch for both content and quality. It's not perfect but has better contrast and less dirt than the American version. Curse has more emulsion scratches and flecking white dandruff in its dark scenes, yet looks fine until one sees the improvement of Night. Both shows are widescreen enhanced (hosanna), framing the action at its original tighter aspect ratio.
It's terrific that Columbia TriStar has brought out this film so thoughtfully, even though some viewers are going to be confused when their "double feature" disc appears to be two copies of the same movie. Let 'em stew. This is Savant's favorite release so far this year.
On a scale of Excellent, Good, Fair, and Poor, Curse of the Demon / Night of the Demon rates:
Movie: Excellent
Footnotes:
Made very close to Curse of the Demon and starring Dana Andrews, The Fearmakers (great title) was a Savant must-see until he caught up with it in the UA collection at MGM. It's a pitiful no-budgeter that claims Madison Avenue was providing public relations for foreign subversives, and is negligible even in the lists of '50s anti-Commie films.
Return
Curse of the Demon's Demon has been the subject of debate ever since the heyday of Famous Monsters of Filmland. From what's on record it's clear that producer Chester added or maximized the shots of the creature, a literal visualization of a fiery, brimstone-smoking classical woodcut demon that some viewers think looks ridiculous. Bennett and Tourneur's original idea was to never show a demon but the producer changed that. Tourneur probably directed most of the shots, only to have Chester over-use them. To Savant's thinking, the demon looks great. It is first perceived as an ominous sound, a less strident version of the disturbing noise made by Them! Then it manifests itself visually as a strange disturbance in the sky (bubbles? sparks? early slit-scan?) followed by a billowing cloud of sulphurous smoke (a dandy effect not exploited again until Close Encounters of the Third Kind). The long-shot demon is sometimes called the bicycle demon because he's a rod puppet with legs that move on a wheel-rig. Smoke belches from all over his scaly body. Close-ups are provided by a wonderfully sculpted head 'n' shoulders demon with articulated eyes and lips, a full decade or so before Carlo Rambaldi started engineering such devices.
Most of the debate centers on how much Demon should have been shown with the general consensus that less would have been better. People who dote on Lewton-esque ambivalence say that the film's slow buildup of rationality-versus demonology is destroyed by the very real Demon's appearance in the first scene, and that's where they'd like it removed or radically reduced. The Demon is so nicely integrated into the cutting (the giant foot in the first scene is a real jolt) that it's likely that Tourneur himself filmed it all, perhaps expecting the shots to be shorter or more obscured. It is also possible that the giant head was a post-Tourneur addition - it doesn't tie in with the other shots as well (especially when it rolls forward rather stiffly) and is rather blunt. Detractors lump it in with the gawd-awful head of The Black Scorpion, which is filmed the same way and almost certainly was an afterthought - and also became a key poster image. This demon head matches the surrounding action a lot better than did the drooling Scorpion.
Savant wouldn't change Curse of the Demon but if you put a gun to my head I'd shorten most of the shots in its first appearance, perhaps eliminating all close-ups except for the final, superb shot of the the giant claw reaching for Harrington / us.
Kumar, played (I assume) by an Anglo actor, immediately evokes all those Indian and other Third World characters in Hammer films whose indigenous cultures invariably hold all manner of black magic and insidious horror. When Hammer films are repetitious it's because they take eighty minutes or so to convince the imagination-challenged English heroes to even consider the premise of the film as being real. In Curse of the Demon, Holden's smart-tongued dismissal of outside viewpoints seems much more pigheaded now than it did in 1957, when heroes confidently defended conformist values without being challenged. Kumar is a scientist but also probably a Hindu or a Sikh. He has no difficulty reconciling his faith with his scientific detachment. Holden is far too tactful to call Kumar a crazy third-world guru but that's probably what he's thinking. He instead politely ignores him. Good old Kumar then saves Holden's hide with some timely information. I hope Holden remembered to thank him.
There's an unstated conclusion in Curse of the Demon: Holden's rigid disbelief of the supernatural means he also does not believe in a Christian God with its fundamentally spiritual faith system of Good and Evil, saints and devils, angels and demons. Horror movies that deal directly with religious symbolism and "real faith" can be hypocritical in their exploitation and brutal in their cheap toying with what are for many people sacred personal concepts. I'm thinking of course of The Exorcist here. That movie has all the grace of a reporter who shows a serial killer's atrocity photos to a mother whose child has just been kidnapped. Curse of the Demon hasn't The Exorcist's ruthless commercial instincts but instead has the modesty not to pretend to be profound, or even "real." Yet it expresses our basic human conflict between rationality and faith very nicely.
Savant called Jim Wyrnoski, who was associated with Photon, in an effort to find out more about the article, namely who wrote it. It was very well done and I've never forgotten it; I unfortunately loaned my copy out to good old Jim Ursini and it disappeared. Obviously, a lot of the ideas here, I first read there. Perhaps a reader who knows better how to take care of their belongings can help me with the info? Ursini and Alain Silvers' More Things than are Dreamt Of Limelight, 1994, analyzes Curse of the Demon (and many other horror movies) in the context of its source story.
This is a true story: Cut to 2000. Columbia goes to re-master Curse of the Demon and finds that the fine-grain original of the English version is missing. The original long version of the movie may be lost forever. A few months later a collector appears who says he bought it from another unnamed collector and offers to trade it for a print copy of the American version, which he prefers. Luckily, an intermediary helps the collector follow up on his offer and the authorities are not contacted about what some would certainly call stolen property. The long version is now once again safe. Studios clearly need to defend their property but many collectors have "items" they personally have acquired legally. More often than you might think, such finds come about because studios throw away important elements. If the studios threaten prosecution, they will find that collectors will never approach them. They'd probably prefer to destroy irreplaceable film to avoid being criminalized.
I had finished one of my lifelong learning classes downtown and took a brief cruise through the busy campus, keeping an eye out for someone interesting to meet and photograph. I soon met a student who was kind enough to participate in my project and since it had gone quickly, I decided to get greedy and take a pass through the nearby Student Learning Centre. I had noticed the light can be good in the late afternoon in the coffee shop where students hang out. After strolling through the students who were working their laptops and cell phones if they weren’t visiting with one another, I noticed this beautiful woman standing by a pillar, looking as if she was waiting for someone. I think you are perceptive enough to see why I wanted to introduce myself and invite her to be part of my Human Family project. She seemed open to the idea after hearing what it is all about and wanted to know if I would just take the photo right there. I explained the light was poor and I would like to move her through the coffee shop to an aisle near the windows. I asked if she was waiting to meet someone, not wanting to have them arrive and not be able to find her. She explained her father was not far away on the stairs and I invited her to let him know where she was going to be for a few minutes. Meet Shahad.
One of my occasional conundrums is whether to ask a boyfriend, girlfriend, or parent to give permission for such a photo. Given that the subjects I approach are not children, I feel it’s only respectful to give them the decision. If they indicate they want to consult the parent or partner, I am fine with that. I feel that my openness to meeting the other person is further indication of the good will involved and spreads the friendliness. The fact that I’ve been yelled at once by a possessive boyfriend and told to get lost (after his girlfriend seemed pleased to participate) has not deterred me from respecting an individual’s right to choose. Consequently, when we met Shahad’s father it was with a friendly handshake and she simply told her we were going to be by the coffee shop window to take a project photo. He smiled, said he was glad to have met me, and stood by as Shahad and I wove our way through the tables and chairs to get to the spot I had in mind.
When I first started my project I would have been way too shy to pose a stranger in the aisle of a coffee shop which was teeming with students on all sides. At this point, I think my own confidence carried over to Shahad and we placed our bags on a nearby table and did the photos. She wanted to know what I needed her to do and I said what I always say: “Nothing fancy or difficult. My only request is that you look straight into the lens of my camera and I will take a few photos to guard against blinks, missed focus, etc. No need for a big ‘Here’s a camera’ smile. A relaxed expression like the one you have right now is perfect.”
When Shahad said “I think I look best slightly from the side if you want to do that, but hey, you’re the photographer.” I took her friendly lead and even pulled over a nearby chair and had her sit in the middle of the aisle for this slightly to the side pose which I liked. I had a great deal of difficulty in choosing between these photos for the main submission. Frankly, I think I would have been very happy with any of them. At first I wanted to use the monochrome 3/4 to the camera photo. Then I changed my mind, feeling that the straight on photo showed both Shahad's beauty and her strength. It also provides a sense of place because of the student coffee-shop activity in the background. Please feel free to give your own opinion. Frankly, I think I could have stood on my head sneezing and still gotten a nice portrait; Shahad is just strikingly photogenic.
We chatted for a few minutes and I found out she is 19 and is studying business management. Her serene and composed manner gave her an air of confidence and made her seem mature for a 19 year old woman. I'm sure her family is very proud of her and with good reason. Her goal is to launch her own fashion line and she knows that a firm grounding in business to go along with her creativity will contribute to success in the future. She explained that her name means “honey” and that it is an Arab name. She, however, is Palestinian although she was born in Saudi Arabia. We didn’t get into the story since her father was patiently waiting, but I think the complex circumstance of the Palestinian people and the instability of the Middle East has likely had an impact on her family.
The biggest challenge she has faced in life? “I’d have to say it was the culture shock I experienced when my family came to Canada. I was 7 at the time.” Her message to others? “Be kind to the people you meet. Compliment them whenever you can. Even if it’s just a stranger you meet in the washroom, it doesn’t hurt to tell them they are beautiful. You never know, but you just might make their day, and it’s possible that they will in turn pass that gift along to someone they meet later on.” What a wonderful message. I said “Since you’ve told me how you feel, I hope it won’t seem inappropriate for me to tell you that you are also beautiful and are a gift to my project.” She gave a shy smile and wished me good luck with my project as she typed her email into my phone for me to send her copies of the photos.
Thank you Shahad for such an enjoyable few moments and for your interest in The Human Family. I wish you much happiness and success and I think everyone you meet will come away a little bit richer for the experience.
This is my 66th submission to the Human Family group on Flickr.
You can view more street portraits and stories by visiting The Human Family.
Follow-up: I received a very nice email from Shahad thanking me for the experience of participating in The Human Family and telling me that she likes the photos. You are very welcome, Shahad. It was my pleasure.
One perceptive of this symbol means the three worlds - earth, atmosphere, and heaven
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Upload # 3,366 ~~ (includes private/friends/family only images)
Interestingly, both of the Boston area Banksy pieces are on Essex St:
• F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED (aka chimney sweep) in Chinatown, Boston
• NO LOITRIN in Central Square, Cambridge.
Does that mean anything? It looks like he favors Essex named streets & roads when he can. In 2008, he did another notable Essex work in London, for example, and posters on the Banksy Forums picked up & discussed on the Essex link as well.
Is there an Essex Street in any of the other nearby towns? It looks like there are several: Brookline, Charlestown, Chelsea, Gloucester, Haverhill, Lawrence, Lynn, Medford, Melrose, Quincy, Revere, Salem, Saugus, Somerville, Swampscott, and Waltham. Most of these seem improbable to me, other than maybe Brookline, or maybe Somerville or Charlestown. But they start getting pretty suburban after that.
But, again, why "Essex"? In a comment on this photo, Birbeck helps clarify:
I can only surmise that he's having a 'dig' at Essex UK, especially with the misspelling of 'Loitering'. Here, the general view of the urban districts in Essex: working class but with right wing views; that they're not the most intellectual bunch; rather obsessed with fashion (well, their idea of it); their place of worship is the shopping mall; enjoy rowdy nights out; girls are thought of as being dumb, fake blonde hair/tans and promiscuous; and guys are good at the 'chit chat', and swagger around showing off their dosh (money).
It was also the region that once had Europe's largest Ford motor factory. In its heyday, 1 in 3 British cars were made in Dagenham, Essex. Pay was good for such unskilled labour, generations worked mind-numbing routines on assembly lines for 80 years. In 2002 the recession ended the dream.
• • • • •
This photo appeared on Grafitti - A arte das ruas on Yahoo Meme. Yes, Yahoo has a Tumblr/Posterous-esque "Meme" service now -- I was as surprised as you are.
• • • • •
From Wikipedia, the free encyclopedia
Banksy
• Birth name
Unknown
• Born
1974 or 1975 (1974 or 1975), Bristol, UK[1]
• Nationality
• Field
• Movement
Anti-Totalitarianism
Anti-War
• Works
Naked Man Image
One Nation Under CCTV
Anarchist Rat
Ozone's Angel
Pulp Fiction
Banksy is a pseudonymous[2][3][4] British graffiti artist. He is believed to be a native of Yate, South Gloucestershire, near Bristol[2] and to have been born in 1974,[5] but his identity is unknown.[6] According to Tristan Manco[who?], Banksy "was born in 1974 and raised in Bristol, England. The son of a photocopier technician, he trained as a butcher but became involved in graffiti during the great Bristol aerosol boom of the late 1980s."[7] His artworks are often satirical pieces of art on topics such as politics, culture, and ethics. His street art, which combines graffiti writing with a distinctive stencilling technique, is similar to Blek le Rat, who began to work with stencils in 1981 in Paris and members of the anarcho-punk band Crass who maintained a graffiti stencil campaign on the London Tube System in the late 1970s and early 1980s. His art has appeared in cities around the world.[8] Banksy's work was born out of the Bristol underground scene which involved collaborations between artists and musicians.
Banksy does not sell photos of street graffiti.[9] Art auctioneers have been known to attempt to sell his street art on location and leave the problem of its removal in the hands of the winning bidder.[10]
Banksy's first film, Exit Through The Gift Shop, billed as "the world's first street art disaster movie", made its debut at the 2010 Sundance Film Festival.[11] The film was released in the UK on March 5.[12]
Contents
• 1 Career
•• 1.1 2000
•• 1.2 2002
•• 1.3 2003
•• 1.4 2004
•• 1.5 2005
•• 1.6 2006
•• 1.7 2007
•• 1.8 2008
•• 1.9 2009
•• 1.10 2010
Career
Banksy started as a freehand graffiti artist 1992–1994[14] as one of Bristol's DryBreadZ Crew (DBZ), with Kato and Tes.[15] He was inspired by local artists and his work was part of the larger Bristol underground scene. From the start he used stencils as elements of his freehand pieces, too.[14] By 2000 he had turned to the art of stencilling after realising how much less time it took to complete a piece. He claims he changed to stencilling whilst he was hiding from the police under a train carriage, when he noticed the stencilled serial number[16] and by employing this technique, he soon became more widely noticed for his art around Bristol and London.[16]
Stencil on the waterline of The Thekla, an entertainment boat in central Bristol - (wider view). The image of Death is based on a 19th century etching illustrating the pestilence of The Great Stink.[17]
Banksy's stencils feature striking and humorous images occasionally combined with slogans. The message is usually anti-war, anti-capitalist or anti-establishment. Subjects often include rats, monkeys, policemen, soldiers, children, and the elderly.
In late 2001, on a trip to Sydney and Melbourne, Australia, he met up with the Gen-X pastellist, visual activist, and recluse James DeWeaver in Byron Bay[clarification needed], where he stencilled a parachuting rat with a clothes peg on its nose above a toilet at the Arts Factory Lodge. This stencil can no longer be located. He also makes stickers (the Neighbourhood Watch subvert) and sculpture (the murdered phone-box), and was responsible for the cover art of Blur's 2003 album Think Tank.
2000
The album cover for Monk & Canatella's Do Community Service was conceived and illustrated by Banksy, based on his contribution to the "Walls on fire" event in Bristol 1998.[18][citation needed]
2002
On 19 July 2002, Banksy's first Los Angeles exhibition debuted at 33 1/3 Gallery, a small Silverlake venue owned by Frank Sosa. The exhibition, entitled Existencilism, was curated by 33 1/3 Gallery, Malathion, Funk Lazy Promotions, and B+.[19]
2003
In 2003 in an exhibition called Turf War, held in a warehouse, Banksy painted on animals. Although the RSPCA declared the conditions suitable, an animal rights activist chained herself to the railings in protest.[20] He later moved on to producing subverted paintings; one example is Monet's Water Lily Pond, adapted to include urban detritus such as litter and a shopping trolley floating in its reflective waters; another is Edward Hopper's Nighthawks, redrawn to show that the characters are looking at a British football hooligan, dressed only in his Union Flag underpants, who has just thrown an object through the glass window of the cafe. These oil paintings were shown at a twelve-day exhibition in Westbourne Grove, London in 2005.[21]
2004
In August 2004, Banksy produced a quantity of spoof British £10 notes substituting the picture of the Queen's head with Princess Diana's head and changing the text "Bank of England" to "Banksy of England." Someone threw a large wad of these into a crowd at Notting Hill Carnival that year, which some recipients then tried to spend in local shops. These notes were also given with invitations to a Santa's Ghetto exhibition by Pictures on Walls. The individual notes have since been selling on eBay for about £200 each. A wad of the notes were also thrown over a fence and into the crowd near the NME signing tent at The Reading Festival. A limited run of 50 signed posters containing ten uncut notes were also produced and sold by Pictures on Walls for £100 each to commemorate the death of Princess Diana. One of these sold in October 2007 at Bonhams auction house in London for £24,000.
2005
In August 2005, Banksy, on a trip to the Palestinian territories, created nine images on Israel's highly controversial West Bank barrier. He reportedly said "The Israeli government is building a wall surrounding the occupied Palestinian territories. It stands three times the height of the Berlin Wall and will eventually run for over 700km—the distance from London to Zurich. "[22]
2006
• Banksy held an exhibition called Barely Legal, billed as a "three day vandalised warehouse extravaganza" in Los Angeles, on the weekend of 16 September. The exhibition featured a live "elephant in a room", painted in a pink and gold floral wallpaper pattern.[23]
• After Christina Aguilera bought an original of Queen Victoria as a lesbian and two prints for £25,000,[24] on 19 October 2006 a set of Kate Moss paintings sold in Sotheby's London for £50,400, setting an auction record for Banksy's work. The six silk-screen prints, featuring the model painted in the style of Andy Warhol's Marilyn Monroe pictures, sold for five times their estimated value. His stencil of a green Mona Lisa with real paint dripping from her eyes sold for £57,600 at the same auction.[25]
• In December, journalist Max Foster coined the phrase, "the Banksy Effect", to illustrate how interest in other street artists was growing on the back of Banksy's success.[26]
2007
• On 21 February 2007, Sotheby's auction house in London auctioned three works, reaching the highest ever price for a Banksy work at auction: over £102,000 for his Bombing Middle England. Two of his other graffiti works, Balloon Girl and Bomb Hugger, sold for £37,200 and £31,200 respectively, which were well above their estimated prices.[27] The following day's auction saw a further three Banksy works reach soaring prices: Ballerina With Action Man Parts reached £96,000; Glory sold for £72,000; Untitled (2004) sold for £33,600; all significantly above estimated values.[28] To coincide with the second day of auctions, Banksy updated his website with a new image of an auction house scene showing people bidding on a picture that said, "I Can't Believe You Morons Actually Buy This Shit."[6]
• In February 2007, the owners of a house with a Banksy mural on the side in Bristol decided to sell the house through Red Propeller art gallery after offers fell through because the prospective buyers wanted to remove the mural. It is listed as a mural which comes with a house attached.[29]
• In April 2007, Transport for London painted over Banksy's iconic image of a scene from Quentin Tarantino's Pulp Fiction, with Samuel L. Jackson and John Travolta clutching bananas instead of guns. Although the image was very popular, Transport for London claimed that the "graffiti" created "a general atmosphere of neglect and social decay which in turn encourages crime" and their staff are "professional cleaners not professional art critics".[30] Banksy tagged the same site again (pictured at right). This time the actors were portrayed as holding real guns instead of bananas, but they were adorned with banana costumes. Banksy made a tribute art piece over this second Pulp Fiction piece. The tribute was for 19-year-old British graffiti artist Ozone, who was hit by an underground train in Barking, East London, along with fellow artist Wants, on 12 January 2007.[31] The piece was of an angel wearing a bullet-proof vest, holding a skull. He also wrote a note on his website, saying:
The last time I hit this spot I painted a crap picture of two men in banana costumes waving hand guns. A few weeks later a writer called Ozone completely dogged it and then wrote 'If it's better next time I'll leave it' in the bottom corner. When we lost Ozone we lost a fearless graffiti writer and as it turns out a pretty perceptive art critic. Ozone - rest in peace.[citation needed]
Ozone's Angel
• On 27 April 2007, a new record high for the sale of Banksy's work was set with the auction of the work Space Girl & Bird fetching £288,000 (US$576,000), around 20 times the estimate at Bonhams of London.[32]
• On 21 May 2007 Banksy gained the award for Art's Greatest living Briton. Banksy, as expected, did not turn up to collect his award, and continued with his notoriously anonymous status.
• On 4 June 2007, it was reported that Banksy's The Drinker had been stolen.[33][34]
• In October 2007, most of his works offered for sale at Bonhams auction house in London sold for more than twice their reserve price.[35]
• Banksy has published a "manifesto" on his website.[36] The text of the manifesto is credited as the diary entry of one Lieutenant Colonel Mervin Willett Gonin, DSO, which is exhibited in the Imperial War Museum. It describes how a shipment of lipstick to the Bergen-Belsen concentration camp immediately after its liberation at the end of World War II helped the internees regain their humanity. However, as of 18 January 2008, Banksy's Manifesto has been substituted with Graffiti Heroes #03 that describes Peter Chappell's graffiti quest of the 1970s that worked to free George Davis of his imprisonment.[37] By 12 August 2009 he was relying on Emo Phillips' "When I was a kid I used to pray every night for a new bicycle. Then I realised God doesn’t work that way, so I stole one and prayed for forgiveness."
• A small number of Banksy's works can be seen in the movie Children of Men, including a stenciled image of two policemen kissing and another stencil of a child looking down a shop.
• In the 2007 film Shoot 'Em Up starring Clive Owen, Banksy's tag can be seen on a dumpster in the film's credits.
• Banksy, who deals mostly with Lazarides Gallery in London, claims that the exhibition at Vanina Holasek Gallery in New York (his first major exhibition in that city) is unauthorised. The exhibition featured 62 of his paintings and prints.[38]
2008
• In March, a stencilled graffiti work appeared on Thames Water tower in the middle of the Holland Park roundabout, and it was widely attributed to Banksy. It was of a child painting the tag "Take this Society" in bright orange. London Borough of Hammersmith and Fulham spokesman, Councillor Greg Smith branded the art as vandalism, and ordered its immediate removal, which was carried out by H&F council workmen within three days.[39]
• Over the weekend 3–5 May in London, Banksy hosted an exhibition called The Cans Festival. It was situated on Leake Street, a road tunnel formerly used by Eurostar underneath London Waterloo station. Graffiti artists with stencils were invited to join in and paint their own artwork, as long as it didn't cover anyone else's.[40] Artists included Blek le Rat, Broken Crow, C215, Cartrain, Dolk, Dotmasters, J.Glover, Eine, Eelus, Hero, Pure evil, Jef Aérosol, Mr Brainwash, Tom Civil and Roadsworth.[citation needed]
• In late August 2008, marking the third anniversary of Hurricane Katrina and the associated levee failure disaster, Banksy produced a series of works in New Orleans, Louisiana, mostly on buildings derelict since the disaster.[41]
• A stencil painting attributed to Banksy appeared at a vacant petrol station in the Ensley neighbourhood of Birmingham, Alabama on 29 August as Hurricane Gustav approached the New Orleans area. The painting depicting a hooded member of the Ku Klux Klan hanging from a noose was quickly covered with black spray paint and later removed altogether.[42]
• His first official exhibition in New York, the "Village Pet Store And Charcoal Grill," opened 5 October 2008. The animatronic pets in the store window include a mother hen watching over her baby Chicken McNuggets as they peck at a barbecue sauce packet, and a rabbit putting makeup on in a mirror.[43]
• The Westminster City Council stated in October 2008 that the work "One Nation Under CCTV", painted in April 2008 will be painted over as it is graffiti. The council says it will remove any graffiti, regardless of the reputation of its creator, and specifically stated that Banksy "has no more right to paint graffiti than a child". Robert Davis, the chairman of the council planning committee told The Times newspaper: "If we condone this then we might as well say that any kid with a spray can is producing art". [44] The work was painted over in April 2009.
• In December 2008, The Little Diver, a Banksy image of a diver in a duffle coat in Melbourne Australia was vandalised. The image was protected by a sheet of clear perspex, however silver paint was poured behind the protective sheet and later tagged with the words "Banksy woz ere". The image was almost completely destroyed.[45].
2009
• May 2009, parts company with agent Steve Lazarides. Announces Pest Control [46] the handling service who act on his behalf will be the only point of sale for new works.
• On 13 June 2009, the Banksy UK Summer show opened at Bristol City Museum and Art Gallery, featuring more than 100 works of art, including animatronics and installations; it is his largest exhibition yet, featuring 78 new works.[47][48] Reaction to the show was positive, with over 8,500 visitors to the show on the first weekend.[49] Over the course of the twelve weeks, the exhibition has been visited over 300,000 times.[50]
• In September 2009, a Banksy work parodying the Royal Family was partially destroyed by Hackney Council after they served an enforcement notice for graffiti removal to the former address of the property owner. The mural had been commissioned for the 2003 Blur single "Crazy Beat" and the property owner, who had allowed the piece to be painted, was reported to have been in tears when she saw it was being painted over.[51]
• In December 2009, Banksy marked the end of the 2009 United Nations Climate Change Conference by painting four murals on global warming. One included "I don't believe in global warming" which was submerged in water.[52]
2010
• The world premiere of the film Exit Through the Gift Shop occurred at the Sundance Film Festival in Park City, Utah, on 24 January. He created 10 street pieces around Park City and Salt Lake City to tie in with the screening.[53]
• In February, The Whitehouse public house in Liverpool, England, is sold for £114,000 at auction.[54] The side of the building has an image of a giant rat by Banksy.[55]
• In April 2010, Melbourne City Council in Australia reported that they had inadvertently ordered private contractors to paint over the last remaining Banksy art in the city. The image was of a rat descending in a parachute adorning the wall of an old council building behind the Forum Theatre. In 2008 Vandals had poured paint over a stencil of an old-fashioned diver wearing a trenchcoat. A council spokeswoman has said they would now rush through retrospective permits to protect other “famous or significant artworks” in the city.[56]
• In April 2010 to coincide with the premier of Exit through the Gift Shop in San Francisco, 5 of his pieces appeared in various parts of the city.[57] Banksy reportedly paid a Chinatown building owner $50 for the use of their wall for one of his stencils.[58]
• In May 2010 to coincide with the release of "Exit Through the Gift Shop" in Chicago, one piece appeared in the city.
Notable art pieces
In addition to his artwork, Banksy has claimed responsibility for a number of high profile art pieces, including the following:
• At London Zoo, he climbed into the penguin enclosure and painted "We're bored of fish" in seven foot high letters.[59]
• At Bristol Zoo, he left the message 'I want out. This place is too cold. Keeper smells. Boring, boring, boring.' in the elephant enclosure.[60]
• In March 2005, he placed subverted artworks in the Museum of Modern Art, Metropolitan Museum of Art, the Brooklyn Museum, and the American Museum of Natural History in New York.[61]
• He put up a subverted painting in London's Tate Britain gallery.
• In May 2005 Banksy's version of a primitive cave painting depicting a human figure hunting wildlife whilst pushing a shopping trolley was hung in gallery 49 of the British Museum, London. Upon discovery, they added it to their permanent collection.[62]
Near Bethlehem - 2005
• Banksy has sprayed "This is not a photo opportunity" on certain photograph spots.
• In August 2005, Banksy painted nine images on the Israeli West Bank barrier, including an image of a ladder going up and over the wall and an image of children digging a hole through the wall.[22][63][64][65]
See also: Other Banksy works on the Israeli West Bank barrier
• In April 2006, Banksy created a sculpture based on a crumpled red phone box with a pickaxe in its side, apparently bleeding, and placed it in a street in Soho, London. It was later removed by Westminster Council. BT released a press release, which said: "This is a stunning visual comment on BT's transformation from an old-fashioned telecommunications company into a modern communications services provider."[66]
• In June 2006, Banksy created an image of a naked man hanging out of a bedroom window on a wall visible from Park Street in central Bristol. The image sparked some controversy, with the Bristol City Council leaving it up to the public to decide whether it should stay or go.[67] After an internet discussion in which 97% (all but 6 people) supported the stencil, the city council decided it would be left on the building.[67] The mural was later defaced with paint.[67]
• In August/September 2006, Banksy replaced up to 500 copies of Paris Hilton's debut CD, Paris, in 48 different UK record stores with his own cover art and remixes by Danger Mouse. Music tracks were given titles such as "Why am I Famous?", "What Have I Done?" and "What Am I For?". Several copies of the CD were purchased by the public before stores were able to remove them, some going on to be sold for as much as £750 on online auction websites such as eBay. The cover art depicted Paris Hilton digitally altered to appear topless. Other pictures feature her with a dog's head replacing her own, and one of her stepping out of a luxury car, edited to include a group of homeless people, which included the caption "90% of success is just showing up".[68][69][70]
• In September 2006, Banksy dressed an inflatable doll in the manner of a Guantanamo Bay detainment camp prisoner (orange jumpsuit, black hood, and handcuffs) and then placed the figure within the Big Thunder Mountain Railroad ride at the Disneyland theme park in Anaheim, California.[71][72]
Technique
Asked about his technique, Banksy said:
“I use whatever it takes. Sometimes that just means drawing a moustache on a girl's face on some billboard, sometimes that means sweating for days over an intricate drawing. Efficiency is the key.[73]”
Stencils are traditionally hand drawn or printed onto sheets of acetate or card, before being cut out by hand. Because of the secretive nature of Banksy's work and identity, it is uncertain what techniques he uses to generate the images in his stencils, though it is assumed he uses computers for some images due to the photocopy nature of much of his work.
He mentions in his book, Wall and Piece, that as he was starting to do graffiti, he was always too slow and was either caught or could never finish the art in the one sitting. So he devised a series of intricate stencils to minimise time and overlapping of the colour.
Identity
Banksy's real name has been widely reported to be Robert or Robin Banks.[74][75][76] His year of birth has been given as 1974.[62]
Simon Hattenstone from Guardian Unlimited is one of the very few people to have interviewed him face-to-face. Hattenstone describes him as "a cross of Jimmy Nail and British rapper Mike Skinner" and "a 28 year old male who showed up wearing jeans and a t-shirt with a silver tooth, silver chain, and one silver earring".[77] In the same interview, Banksy revealed that his parents think their son is a painter and decorator.[77]
In May 2007, an extensive article written by Lauren Collins of the New Yorker re-opened the Banksy-identity controversy citing a 2004 photograph of the artist that was taken in Jamaica during the Two-Culture Clash project and later published in the Evening Standard in 2004.[6]
In October 2007, a story on the BBC website featured a photo allegedly taken by a passer-by in Bethnal Green, London, purporting to show Banksy at work with an assistant, scaffolding and a truck. The story confirms that Tower Hamlets Council in London has decided to treat all Banksy works as vandalism and remove them.[78]
In July 2008, it was claimed by The Mail on Sunday that Banksy's real name is Robin Gunningham.[3][79] His agent has refused to confirm or deny these reports.
In May 2009, the Mail on Sunday once again speculated about Gunningham being Banksy after a "self-portrait" of a rat holding a sign with the word "Gunningham" shot on it was photographed in East London.[80] This "new Banksy rat" story was also picked up by The Times[81] and the Evening Standard.
Banksy, himself, states on his website:
“I am unable to comment on who may or may not be Banksy, but anyone described as being 'good at drawing' doesn't sound like Banksy to me.[82]”
Controversy
In 2004, Banksy walked into the Louvre in Paris and hung on a wall a picture he had painted resembling the Mona Lisa but with a yellow smiley face. Though the painting was hurriedly removed by the museum staff, it and its counterpart, temporarily on unknown display at the Tate Britain, were described by Banksy as "shortcuts". He is quoted as saying:
“To actually [have to] go through the process of having a painting selected must be quite boring. It's a lot more fun to go and put your own one up.[83]”
Peter Gibson, a spokesperson for Keep Britain Tidy, asserts that Banksy's work is simple vandalism,[84] and Diane Shakespeare, an official for the same organization, was quoted as saying: "We are concerned that Banksy's street art glorifies what is essentially vandalism".[6]
In June 2007 Banksy created a circle of plastic portable toilets, said to resemble Stonehenge at the Glastonbury Festival. As this was in the same field as the "sacred circle" it was felt by many to be inappropriate and his installation was itself vandalized before the festival even opened. However, the intention had always been for people to climb on and interact with it.[citation needed] The installation was nicknamed "Portaloo Sunset" and "Bog Henge" by Festival goers. Michael Eavis admitted he wasn't fond of it, and the portaloos were removed before the 2008 festival.
In 2010, an artistic feud developed between Banksy and his rival King Robbo after Banksy painted over a 24-year old Robbo piece on the banks of London's Regent Canal. In retaliation several Banksy pieces in London have been painted over by 'Team Robbo'.[85][86]
Also in 2010, government workers accidentally painted over a Banksy art piece, a famed "parachuting-rat" stencil, in Australia's Melbourne CBD. [87]
Bibliography
Banksy has self-published several books that contain photographs of his work in various countries as well as some of his canvas work and exhibitions, accompanied by his own writings:
• Banksy, Banging Your Head Against A Brick Wall (2001) ISBN 978-0-95417040-0
• Banksy, Existencilism (2002) ISBN 978-0-95417041-7
• Banksy, Cut it Out (2004) ISBN 978-0-95449600-5
• Banksy, Wall and Piece (2005) ISBN 978-1-84413786-2
• Banksy, Pictures of Walls (2005) ISBN 978-0-95519460-3
Random House published Wall and Piece in 2005. It contains a combination of images from his three previous books, as well as some new material.[16]
Two books authored by others on his work were published in 2006 & 2007:
• Martin Bull, Banksy Locations and Tours: A Collection of Graffiti Locations and Photographs in London (2006 - with new editions in 2007 and 2008) ISBN 978-0-95547120-9.
• Steve Wright, Banksy's Bristol: Home Sweet Home (2007) ISBN 978-1906477004
External links
© 2007 by Michael A. Pancier
This image is copyrighted material as indicated, and is watermarked!
Unauthorized use or reproduction for any reason is prohibited.
Glen Canyon, Page, Arizona
"In wisdom gathered over time I have found that every experience is a form of exploration... There are worlds of experience beyond the world of the aggressive man, beyond history, and beyond science. The moods and qualities of nature and the revelations of great art are equally difficult to define; we can grasp them only in the depths of our perceptive spirit." - Ansel Adams
Developed originally to serve as a fast light armor asset for quick hit and run tactics as well as integrated reconnaissance fire-support, the Harasser quickly became popular as an all-encompassing multi-role 'mech. Variants ranged from basic front-line squad based units to domestic police law enforcement.
Channeled some Red Spacecat decal goodness and gave printing my own waterslides a try. Worked out reasonably well, although the perceptive will notice some bubbles. As always, fits a fig in a cockpit with a functioning hatch that I forgot to photograph.
| Nellaiappar Temple Car Festival | Tirunelveli | 30th June 2015 |
This was shot from the Temple Car ( Chariot ). I climbed there to take a closeup shot of the main deity Nellaiappar. While getting down I noticed this perceptive very interesting and clicked it
Developed originally to serve as a fast light armor asset for quick hit and run tactics as well as integrated reconnaissance fire-support, the Harasser quickly became popular as an all-encompassing multi-role 'mech. Variants ranged from basic front-line squad based units to domestic police law enforcement.
Channeled some Red Spacecat decal goodness and gave printing my own waterslides a try. Worked out reasonably well, although the perceptive will notice some bubbles. As always, fits a fig in a cockpit with a functioning hatch that I forgot to photograph.
i still don't have words to write about claude's images ... this one here, from 'chaitri norta' festival, is very much unlike his images, it only says how i feel about his work ...
here is what others says about claude ...
Soumya... says:
"Claude is my favorite photojournalist who loves India the way it is and portrays the life of people here in very simple and natural way. I love his photos from varanasi, vrindavan, rajasthan and I try to learn more from his shots and the way he puts life in them. Thanks for being an inspiration to me and best of luck to your future work."
19th January, 2010
Emre Ucar says:
"I am a fan of his travel photography. I love the way he sees the world. I respect Claude's work so much."
2nd February, 2010
venkylinux says:
"I write very few testimonials. I am writing this one because I find the affection and compassion with which Claude photographs India and her people very touching. He photographs everyday life in India with the perceptive eye that only an outside with a strong emotional attachment to his subject can provide. I wish him all the best for his future travels in India."
10th October, 2009
N A Y E E M says:
"I dont read books on photography or research about it but with flickr I am fortunate enough to come across a few great photographers of my own taste and Claude is surely one of them. And probably the most consistent on flickr. All I have is respect for him, the way he sees things and lets the world enjoy those magnificient colors."
8th October, 2009
Nagatta(나같아) says:
"I think he is one of the most great photographer in flickr so that I alway bear watching to be inspired from his great stuff.
All the best!"
6th October, 2009
Fernando Martinho says:
"Claude is a master photographer. Very humanist ... his work is pure poetry."
17th March, 2009
>> Anne (pause) says:
"The first thing that struck me in the photos of Claude Renault was the magic of the colours but then i became aware that it was also the perfect harmony of composition and his manner of structuring the space to tell one or more stories.
Claude Renault has such a marked style that one can instantly recognise his recent photos as his. Portaying people he has met and emotions he has felt, Claude conveys what he has lived and seen in his own particular style, like a painter.
Thank you Claude for all the images which give both a vision of the world and which have taught me each day what photography can be."
19th February, 2009
Sailing "Footprints: Real to Reel" (Ronn ashore) says:
"Why have I waited so long to write this testimonial for Claude? I can't answer that but maybe I have been too sure he needs no testimonials, as each image is like a testimonial in itself.
Yes i prefer film to digital, and yes digital can sometimes appear as if it has less life than film, but Claude's photo-stream is a sort of proof this is not always the case. At least it is not the deciding factor.
The images breathe with life, and convey not only the evident love and attachment Claude has to his beloved India, but also convey a special feeling about India and, in particular the people, the "real" people of India, that touch the heart and mind of the viewer. At least they should, and if they don't, it is the loss of the viewer, and not any lack of ability of photographer.
There are several photographers I feel a lot of respect for and those are, perhaps above all else not technicians of photography, but photographers with a heart. That Claude is both a photographer with a heart and a good technician is evident of course.
I wish you well Claude, and may your travels bring you to what your inner self is searching for and, who knows.....has maybe already found."
16th January, 2009
Ravages says:
"Claude doesn't need dramatic lighting, crazy angles, photoshopped backgrounds, and other paraphernalia to make his photos stand out. He just sees it and takes it, and the photos come alive all of their own accord. Beautiful India, beautiful people, great moments.
And then, the person. Claude is so soft spoken and unassuming. And ever smiling.
It's been an honour knowing you Claude. Hope to meet you soon."
30th December, 2008
Rohit Markande says:
"Claude, is one of the major inspirations for me in Photography.
He has portrayed India in a simple but yet so evocative manner with
powerful compositions and lovely color, his images are not the typical extremes of India but the everyday India. To me every of his image
is a big favorite and those are the images that made me an Indian
who seldom went south of Delhi to travel to places like Benares, Pondicherry and Pushkar in a single year (for me it is a lot)just to see what he saw and to capture even 1/100th the brilliance that he has. Kudos to you Claude, keep doing the great work and showing India in a new light to the world."
17th December, 2008
rbcy1974 says:
"I first saw Claude's work at another phto website. He was one of the photographer's who has inspired me the most. There is something about his use of colour and his connection with the people he photographs which makes his work very special. Many of his scenes seem straight out of a bollywood movie."
12th March, 2008
lakshmi.prabhala says:
"This testimonial was long overdue.. I had been meaning to write one for a while but never knew where to start.
Claude's images changed my whole attitude towards photography. Apart from his superb colour sense and composition what I admire is how his pictures are so people-centric and never fail to evoke an emotion. His love for India and its people is even more inspiring.
Thank you for sharing your wonderful snapshots of my country with the rest of the world. Also thank you for your support and encouragement!"
28th August, 2007
jain 2009 says:
"dear Claude,
color, emotion, joy, values and culture.
inspiration
sharp clarity
breathless
the composition is an art,
an unique and magical way.
one of them
perfectly calculated light
play of colours
a declaration of love
richness of the colors
a colorist.....
Such lovely words are the best compliments for your work"
26th August, 2007
nevil zaveri says:
"i am lost for words."
17th May, 2007
Dilip Muralidaran says:
"Claude does not need any testimonial to tell you how fabulous his pictures of India are. Go to his stream and you would know what exactly I'm talking about. There are many photographers who work in India. I have to mention i hate all of their pictures! Why? because they usually sell stuff to create an idea this is what India is about which is not the truth. for example beggars, poverty, disease etc.,
Claude's images of India will show you color, emotion, joy, values and culture. Something being an Indian i feel is so true and so glad someone shows the real India rather than showing what is usually assumed to be pictures of India.
My admiration for Claude's work has steadily grown over the period of time and i must say I'm now a big fan!"
12th May, 2007
flowergirl is away (looooooong break) says:
"I don't know the technicality of photography, but i feel photographs ultimately should appeal to senses. I see my nation in its true perspective, with no exaggeration .. Tears roll down from my eyes.. i don't have words ... Great work....... Clodreno!!!"
17th April, 2007
esperanzajenn says:
"your love for india is reflected in your beautifully captured moments of everyday life. from one person who loves india to another, your photos make me long for more of the country and its people...and the amazing contrast of experiences one can have there.
your images are inspiring..."
14th April, 2007
entrelec says:
"I found for the first time Clade Renault's images in another website and, among many others, I immediately felt something different.
In both ways; first because of the feeling connection established with the subjects, we are not only witnesses, we feel the empathy of the photogaph and we feel the welcoming attitude of the people for the photograph.
of course, we could speak of technical choices, framing, tilt, crop...all what makes his style, but finally, what attracks me is the way he have been influenced by painting history, and not only recent.
So many beautiful photos everywhere now, in the books for exemple, but they are often only beautiful.
If you want to find another kind of compositions and overall emotion, open the Claude's photostream, and maybe one day, we will buy a book of him; I know a lot of people who would buy it with closed eyes.So, editors, let make it!"
27th November, 2006
Shrimaitreya says:
"Claude knows it, I've told him many times and I think that this is not going to be the last one. Claude is simply my hero here on flickr!
If you go through his stream you will see the India in an unique and magical way. He is a great inspiration to me. I could watch his photographs for hours and hours... and I actually do ;)
Namaskar to this big Master of the image"
25th November, 2006
Sandip Debnath says:
"It is always inspiring to Claude's work.. I have been following his work for a long time.. There is a humanitarian touch which i find between him and his subject in each and every photograph of him..
I know him personally, he is such a nice human being and I think thats the best part to become a photographer.. He is the best."
7th October, 2006
Eileen Delhi says:
"Claude's images of India always leave me breathless. The everyday is translated into the sublime."
9th May, 2006
Milapsinh Jadeja says:
"i guess, i do not have enough words to limit claude's work in a particular boundary... almost all the words in the dictionary are over in the above testimonials... Every picture has a separate story, the colours are beautiful and the pictures are pictorially the best.. that is the beauty of claude's pictures.."
20th April, 2006
claude05 says:
""If you want to get to know India, you need 3 lives"- if this saying is true, Claude Renault must already be in his third life, as his photographs are multi-faceted, profound, and historically aware. With his camera, Claude is able to bring India close to us. He views people without any type of social romanticism and portrays them in everyday life situations, their self-confidence, pride, joy, religion, serenity, leisure, contemplation, modestry, sadness, misery, poverty... Claude doesn't approach people with his camera in an aloof and voyeuristic manner, but as one of them. His impressions are, in their perfectly calculated light and their play of colours, a declaration of love to the people of this subcontinent."
10th April, 2006
saisiv says:
"I have been to India more than once, and I would trade all those trips for just one, without hesitation, to see India thru Claude's eyes."
24th February, 2006
niklens says:
"In my mind Claude is one of the best travel photogaphers in the world! In his pictures i can see the love he feels for India!"
21st February, 2006
Devesh Uba says:
"If anyone missed the opportunity of roaming and exploring the colourful land called INDIA ... he can makeup partly for it by visiting Claude Renault's photostream ."
20th February, 2006
Feuillu says:
"A true master of lights and composition, taking us in the inner depth of India and its people. His works could be / should be / (has been ?) published in National Geographic or Geo magazines. We're lucky enough to enjoy it everyday on FlickR. Merci beaucoup Claude."
12th November, 2005
harpreet thinking says:
"Claude Renault's photos are real and artistic, its nice to see his visual expression !!!"
8th November, 2005
Evren Sahin says:
"I regard Claude Renault in my mind as one of the best travel photographers in the world.. He is a very talented artist, has a great eye and a great personality.."
2nd November, 2005
**ANNE says:
"Wandering through Claude´s stream is as if paging through a luxurous coffeetable book dedicaded to India. The way he portrays this great country is marvellous! His whole body of work is an source of inspiration. There's something for everyone whether you're into portraits, street scenes, intimate details, stunning colors or soft, ethereal light.... It's ALL there!"
Claude is immensely creative and productive; his stream a collage of high quality photo's taken from a point of view that surprises by it's originality, angle and insight.
To me his stream is one of the best I´ve seen in Flickr-world! Actually, I think it´s THE best!
"Through his wonderful photos, Claude shares with us his deep love of "his" India, but just as significantly, he shares his time by encouraging and complimenting countless Flick-ites.
Thank you for all the joy and inspiration you brought me through your work!
Anne"
27th October, 2005
cactusbones says:
"So much work has gone into the presentation and maintenance of this photo stream. To begin, Claude offers us the rail road map of India to fallow along with. Then he organizes the stream into sets which represents each state in India including lengthy historic and encyclopedic entries. Then, each image is stylistically titled with place and activity. And the individual image captions add personal, experiential testimonies often with cross-reference links. A vivid, vital, intimate travel log. And far more inspiring then any Lonely Planet or Rough Guide might offer. Claude's passion for, and knowledge of India is so very precious. And we are blessed to have him share this with us all."
18th October, 2005
Perlette says:
"They already have said every word I know to say,
the only thing I can say is: Clauderenault...wonderful artist!"
17th October, 2005
earth2marsh says:
"Every day I check to see what images Claude has posted of his beloved India. His gift for portraiture and his keen eye create some of the best travel photos I have ever seen. If you were to look at my favorites, you would find Claude's work throughout. He is truly blessed with a great talent!"
7th October, 2005
babasteve says:
"I am truly stunned by the consistent high quality of clauderenault's work. Every image is a masterpiece. The richness of the colors and the sharp clarity of his subjects are amazing. I have the urge to 'fave' all of his shots!
Through his wonderful eye and the lenses of his gear, clauderenault takes us into the lives of people and places few of us are rarely able to go. Thank you for taking me there..."
25th September, 2005
margré says:
"His images are amazing, piece by piece. His compositions are fabulous and suprising, his eye for details in life, the colors and the way he catch the world in his photolens is superb! Every time I look at his photstream I think: I want to see them in an exhibition! I think Clauderenault is an excellent photographer!"
22nd September,
see claude's photostream @ www.flickr.com/photos/clodreno/
see my set dedicated to him & amrutlal vagad here
see more NORTA images here.
Registered Letter dated 24 April 1891 sent from Barkerville, B.C.
Link to another Barkerville registered cover - www.bnaps.org/hhl/newsletters/bcr/bcr-2009-07-v018n02-w07...
The registered letter stamps of Canada were introduced in 1875 to make it easier to notice registered letter among the mail when it was sorted. In 1876 it became mandatory to use these stamps on registered mail, and that was the case until 1893 when the use of registered letter stamps was discontinued. - Link to everything you want to know about Registered Letter Stamps - www.novastamps.com/RLSExhibit.pdf
Link to - Barkerville post office still serves vital role - Post mistress describes the vital role still served through Barkerville post office - www.quesnelobserver.com/life/barkerville-post-office-stil...
Barkerville was named after William "Billy" Barker (c. 1820-1894), Cornish potter and seafarer who struck it rich here; he jumped ship in 1858 to join the Fraser River gold rush. On 21 August 1862 he was digging at Williams Creek in the Cariboo - forty feet down and still no gold. He was ready to give up, but two feet deeper he hit pay dirt; staked the "Barker" claim and began pulling out $5 to the pan, thus igniting the Cariboo Gold Rush. In the period which followed, Billy and his partners took out $600,000 worth of gold. Barker died of cancer at the Old Man's Home, Victoria, 11 July 1894.
- from 1908 "Lovell's Gazetteer of the Dominion of Canada" - BARKERVILLE, a post village in the District of Cariboo, B.C., 280 miles from Ashcroft, on the Transcontinental line C.P.R. It contains 2 Episcopal churches, 3 stores, 2 hotels, and telegraph and express offices. The population in 1908 was 150.
(from 1918 - Wrigley's British Columbia directory) - BARKERVILLE - an important mining town and post office in the south of the Cariboo District. It is the terminus of the Cariboo wagon road, 270 miles north of Ashcroft and 50 miles east of Quesnel. There is a Provincial Government Agent's office. Gold Commissioner, Mining Recorder, County Court, telegraph and express.
Barkerville’s informal post office became part of the Dominion of Canada’s postal system in 1879, setting up shop in the former Bank of British North America building, then used as both a post and telegraph office.
The post office dates back to 1867 and is one of a very few B.C. post offices established during the colonial period that are still in operation. In recent years the Barkerville post office had opened for the tourist season on May 1 and remained open through Sept. 30, when most of the Barkerville historic site shut down for the winter.
Willams Creek Post Office opened - 1 July 1864; name changed to Cariboo Post Office c. 1871, then to Barkerville Post Office - 1 July 1872. Letter from Postmaster, 1915, indicates that a map of the town was made in 1868, after which the whole town was destroyed by fire; the rebuilt town is not on exactly the same spot. Referred to as "Barkerville or Middle town" by Cheadle. Together with Richfield and Cameron Town, the settlement comprised 60 or 70 houses. (Milton & Cheadle, journal entry Wednesday, 21 October 1863.)
/ BARKERVILLE / AP 24 / 91 / B.C. / - split ring cancel - this split ring hammer (#2) is not listed in the proof book - it was most likely proofed c. 1876.
This cover also has two weak split ring Barkerville cancels on the back.
------------------------------------------------------------------------------------------
This registered cover was addressed to Frederick James Tregillus in Stanley, B.C.
Frederick James Tregillus was a successful prospector and long-time resident of Barkerville, after whom a lake north of the Goldfield was named.
Hardrock prospectors and developers had many characteristics in common with placer miners. They were optimistic (often beyond all logic), hard working, diligent, and many were perceptive. Prominent amongst this group in the Cariboo were C.J.S. Baker, A.W. Sanders, F.J. Tregillus and F.M. Wells.
Frederick James Tregillus
Event Type - Marriage
Event Date - 09 Apr 1905
Event Place - Barkerville, British Columbia, Canada
Age - 42
Marital Status - Bachelor
Birth - 31 October 1862
Birthplace - Plymouth, England
Father's Name - John Tregillus
Mother's Name - Emma Daw
Spouse's Name - Mary A House
Spouse's Age - 28
Spouse's Birth Year (Estimated) - 1877
Spouse's Birthplace - Barkerville, British Columbia
Spouse's Father's Name - Charles Wesley House
Spouse's Mother's Name - Margaret Seiss
FREDERICK JAMES TREGILLUS - BORN IN PLYMOUTH DEVON ENGLAND - OCTOBER 31st, 1862 - DIED AT BARKERVILLE - AUGUST 29, 1962
Barkerville formed in 1862 around the Barker Company mine on Williams Creek in the Cariboo District of British Columbia. In its 100 plus years there is a wealth of evidence of its inhabitants and the impact that they have made in the Cariboo.
(From the 1891 - British Columbia Directory) - Van Winkle or Stanley, in the Electoral District of Cariboo, is reached from Ashcroft by the B.C. Express Co's stages, distance about 280 miles. Van Winkle is entirely inhabited by Chinese, the Europeans having occupied Stanley, a mile westward, and here the Chinese carry on the principal trade. Owing to the want of capital several large shaft houses containing some very fine steam power are allowed to remain idle and rusting. Lightning Creek, running through Stanley, has been imperfectly worked, owing to the same cause. The settlers are living in hopes of times improving and returning once more to the prosperous times of ten years ago.
Frederick James Tregillus (sometimes is spelled Tregillis) was born in Plymouth, England. He came to Canada in 1882 and he spent his first two years working on the construction of the CPR and in 1886 he arrived in Barkerville, where he lived until his death in 1962 at the age of 99. He was involved in numerous prospecting ventures in the Barkerville area, along Lightening Creek and in Beaver Pass. Tregillus Creek was named after him. His interests included hard rock mining and his Proserpine claims were eventually sold to the Cariboo Gold Quartz Mining Co. In the early 30’s Tregillus, along with Bill Hong, Elmer Armstrong and Jack Murray , joined Bill Mast, and Fred Becker to operate the Barkerville Light and Power Company. He married Mary House and they had three children, Alfred, Marge and Mildred.
Link to a photo taken July 1929 - Tregillus Family In Front Of Cabin, Cunningham Creek - search-bcarchives.royalbcmuseum.bc.ca/tregillus-family-in...
Link to photo taken c. 1900 - Chinese Mandarin's Grave". Edwin Charles Tregillus and Frederick James Tregillus sitting on a bench in front of a grave. Two Oriental gentlemen and two dogs are also present - ccap.uvic.ca/uploads/r/barkerville-historic-town/9/c/0/9c...
Link to - British Columbia Postal History Research Group - All about Barkerville Postal History - www.bnaps.org/hhl/newsletters/bcr/bcr-1998-03-v007n01-w02...
Simply look with perceptive eyes at the world about you, and trust to your own reactions and convictions. Ask yourself: "Does this subject move me to feel, think and dream? Can I visualize a print - my own personal statement of what I feel and want to convey - from the subject before me? - Ansel Adams,