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Maybe one of these days they'll get out....
Thanks for looking!
Instagram - instagram.com/imaginography71/
Twitter - twitter.com/imaginography71
Durante este el corto pero emocionante viaje a Punta de Lobos en la ciudad de Pichilemu Chile, al observar a los Surfers cortar las olas con sus tablas me di cuenta que somos tan diminutos como inmensos a la vez, somos un universo individual infinito dentro de cada persona, pero fuera somos tan pequeños como una simple particula microscopica, mi vision del mundo ha cambiado nuevamente otorgandome el conocimiento y la conciencia de que somos pequeños pero juntos somos grandes, una frase tosca pero adecuada y con estas palabras doy vida a pequeño humano
----------------------------------
During this short but exciting trip to Punta de Lobos in the town of Pichilemu Chile, to watch the Surfers cut through the waves with their boards I realized that we are as small as huge as well , we are an infinite individual universe within each person , but outside are as small as a single microscopic particle , my worldview has changed again giving me the knowledge and awareness that we are small but together we are great , a rough but adequate sentence and these words give life a little human
title.
Live shot 8.
(FUJIFILM GFX50R shot)
Copyright. Moth in Lilac. All Rights Reserved. / mothinlilac.com
live house. ANTI KNOCK. Shinjuku ward. Tokyo. Japan. July 7. 2019. shot ... ... 22 / XX
(Today 's picture, it is unpublished.)
Shooting: Editing: Configuration = Mitsushiro “stealaway” Nakagawa.
Moth in Lilac. : twitter.com/Moth_in_Lilac
Ayano : vocal : twitter.com/sfn_ayano
Lisa 13 : guitar : twitter.com/lhjw121315666
NalchaRos : bass : twitter.com/Nalu_chaRos223
You : guitar : twitter.com/you_ogami
M9N : drums : twitter.com/mokuniuka
Management office.
V.I.P. Design Machine : twitter.com/vipdm69
New mini Album. OUT NOW.
Mayve U
www.amazon.co.jp/dp/B07T8XM9RR/ref=cm_sw_em_r_mt_dp_U_XHn...
Images.
Moth in Lilac / Maybe U
Official.
YOUTUBE.
Apple Music.
music.apple.com/jp/album/moth-in-lilac/1441243472
August 10 Kichijoji Crescendo
I am in charge of the live shooting on both days.
If you have time, please come to live.
:)
Mitsushiro.
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Profile.
In November 2014, we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model, and will conclude a confidentiality agreement with them.
stealaway.cocolog-nifty.com/stealaway/2019/02/2019-profil...
youpic.com/photographer/mitsushironakagawa/
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Moth in Lilac.
New mini Album. OUT NOW.
Mayve U
www.amazon.co.jp/dp/B07T8XM9RR/ref=cm_sw_em_r_mt_dp_U_XHn...
Official.
YOUTUBE.
Apple Music.
music.apple.com/jp/album/moth-in-lilac/1441243472
July 19 Shimokitazawa Live Holic
August 10 Kichijoji Crescendo
August 10,I am in charge of the live shooting on both days.
If you have time, please come to live.
:)
Mitsushiro.
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Interviews and novels.
About my book.
I published a book in old days.
At that time, I was uploading my interview on the net on the net.
That Japanese and English.
I will make it public for free.
Details were explained to the Amazon site.
How to write a novel.
How to take pictures.
Distance to the work.
They all have a common item.
I made a sentence about what I felt, and left it.
I hope that my text can be read by many people.
Thank you.
Mitsushiro.
1 Interview in English
「interview_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
2 novels. unforgettable 'English version.(This book is Dedicated to the future artist.)
「novel_unforgettable_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
3 Interview Japanese version
drive.google.com/file/d/1w5l2hrV5a6lraDiC_Lz2tG_HqatqUCO5...
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
4 novels. unforgettable ' JPN version.
「novel_unforgettable_jpn.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
5 A streamlined trajectory. only Japanese.
「streamlined_trajectory.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
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iBooks. Electronic Publishing. It is free now.
0.about the iBooks.
stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...
1.unforgettable '(ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
2.unforgettable '(JNP.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3. Streamlined trajectory.(For Japanese only.)
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8... =11
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My Novel >> Unforgettable'
(This book is Dedicated to the future artist.)
Synopsis.
Kei Kitami who aims at university.
A 6 year old older event companion woman. Meet Kaori Uemura on SNS.
The dream of Kaori who has moved to Tokyo.
It is to be a friend of the artist.
The producer of the radio station for that. The existence of Ryo Osawa was necessary.
Live on the radio.Osawa talks to Kaori.
"I have a wife and a child, but I want to see you."
Kei’s classmate Rika Sanzyou who is thinking of him.
She was searching for Kaori.
※ Supplement
I use Google Translate.
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
Main story
There are two reasons why a person faces the sea.
One, to enjoy a slice of shine in the sea like children bubbling over in the beach.
The other, to brush the dust of memory like an old man who misses old days, staring at the shine
quietly.
Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.
I face myself to change tomorrow, a vague day into something certain.
That is the meaning of a rebirth.
I had a very sweet girlfriend when I was 18.
After she left, I knew the meaning of gentleness for the first time and also a true pain of loss. After
she left, how many times did I depend too much on her, doubt her, envy her and keep on telling lies
until I realized it is love?
I wonder whether a nobody like me could have given something to her who was struggling in the
daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.
I had been thinking about such a thing.
However, I guess what she saw in me was because I had nothing. That‘s why she tried to see
something in me. Perhaps she found a slight possibility in me, a guy filled with ambiguous, unstable
tomorrow. But I wasted days depending too much on her gentleness.
Now I finally can convey how I felt in those days when we met.
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book > unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
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The schedule of the next novel.
Still would stand all time. (Unforgettable '2)
(It will not go away forever)
Please give me some more time. That is Japanese.
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2020 exhibition.
theme.
So Near, So far.
place. Tokyo Big Site.
Sponsoring. Design festa.
2021.
Date unknown.
DIC Kawamura Memorial Art Museum attached gallery.
place. Sakura City, Chiba Prefecture.
theme.
From that day, forever ...
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My Works.
1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...
2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...
3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...
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Do you want to hear my voice?
:)
I updated Youtube.
It is only in Japanese.
I explained comments on photos etc.
If your time is permitted, please look.
:)
1
About the composition of the picture posted to Flicker. First type.
2
About the composition of the picture posted to Flicker. Second type.
3
About when I started Fotolog. Architect 's point of view.
4
Why did not you have a camera so far?
5
What is the coolest thing? The photo is as it is.
6
About the current YouTube bar. I also want to tell, I want to leave.
7
About Japanese photographers. Japanese YouTube bar is Pistols.
8
The composition of the photograph is sensibility. Meet the designers in Milan. Two questions.
9
What is a good composition? What is a bad composition?
10
What is the time to point the camera? It is slow if you are looking into the viewfinder or display.
11
Family photos. I can not take pictures with others. The inside of the subject.
12
About YouTube 's photographer. Camera technology etc. Sensibility is polished by reading books.
13
About the Japanese newspaper. A picture of a good newspaper is Reuters. If you continue to look at useless photographs, it will be useless.
14
About Japanese photographers. About the exhibition.
Summary. I wrote a novel etc. What I want to tell the most.
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I talked about how to make a work.
It's really long, but I want to leave everything, so please ask. (^ O ^) /
Japanese only.
About work production 1/2
About work production 2/2
1 Photo exhibition up to that point. Did you want to go?
2 Well, what is an exhibition that you want to visit even if you go there?
3 Challenge to exhibit one work every month before opening a solo exhibition at the Harajuku Design Festa.
4 works are materials and silhouettes. Similar to fashion.
5 Who is your favorite artist? What is it? Make it clear.
6 Creating a collage is exactly the same as taking photos. As I wrote in the interview, it is the same as writing a novel.
7 I want to show it to someone, but I do not make a piece to show it. Aim for the work you want to decorate your own room as in the photo.
8 What is copycat? Nowadays, it is suspected to be beaten. There is something called Mimesis?
kotobank.jp/word/Mimesis-139464
9 What is Individuality? What is originality?
It is a flow of.
If you have time, please listen.
:)
www.youtube.com/user/mitsushiro/
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Miles Davis sheet 1955-1976.
stealaway.cocolog-nifty.com/stealaway/2019/05/post-70842e...
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flickr.
www.flickr.com/photos/stealaway/
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YouTube.
www.youtube.com/user/mitsushiro/
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
_________________________________
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YouPic
youpic.com/photographer/mitsushironakagawa/
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fotolog
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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My statistics. (As of May 16, 2019)
stealaway.cocolog-nifty.com/stealaway/2019/05/post-199d28...
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Japanese is the following.
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
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#新宿 #Manhattan #USA #London #UK #Paris #アンチノック #Milan #Italy #LUMIX #G3 #FUJIFILM #MothinLilac #MIL #GFX50R #B&W #Mono #Chiba #Japan #Exhibition #Flickr #YOUPIC #gallery #Camera #collage #Subway #street #Novel #Publishing #Mitsushiro #Nakagawa #artist #NY #Interview #Photograph #picture #How #take #write #novel #display #art #future #designfesta #Kawamura #Memorial #DIC #Museum #Fineart
For insta
#新宿 #Manhattan #London #Paris #アンチノック #Milan #MothinLilac #LUMIX #MIL #FUJIFILM #GFX50R #B&W #Fineart #Japan #Exhibition #Flickr #YOUPIC #Camera #Subway #street #Novel #Publishing #Mitsushiro #artist #Photograph #picture #novel #Fineart #future #designfesta
For twitter
#NY #London #Paris #Milan #LUMIX #FUJIFILM #新宿 #B&W #Exhibition #Flickr #Camera #street #MIL #MothinLilac #Mitsushiro #artist #アンチノック #designfesta #Fineart
タイトル。
Live shot 8.
( FUJIFILM GFX50R shot )
Copyright. Moth in Lilac. All Rights Reserved. / mothinlilac.com
ライブハウス。アンチノック。新宿区。東京。日本。 7月7日。2019. shot ... ... 22 / XX
(Today 's picture, it is unpublished.)
撮影：編集：構成 ＝ Mitsushiro “stealaway” Nakagawa.
Images.
Moth in Lilac / Maybe U
Moth in Lilac. : twitter.com/Moth_in_Lilac
Ayano : vocal : twitter.com/sfn_ayano
Lisa 13 : guitar : twitter.com/lhjw121315666
NalchaRos : bass : twitter.com/Nalu_chaRos223
You : guitar : twitter.com/you_ogami
M9N : drums : twitter.com/mokuniuka
Management office.
V.I.P. Design Machine : twitter.com/vipdm69
New mini Album. OUT NOW.
Mayve U
www.amazon.co.jp/dp/B07T8XM9RR/ref=cm_sw_em_r_mt_dp_U_XHn...
Official.
YOUTUBE
Apple Music
music.apple.com/jp/album/moth-in-lilac/1441243472
８月１０日 吉祥寺クレッシェンド
僕がライブの撮影を担当します。
もしもお時間があれば、ライブへ来てください。
:)
Mitsushiro.
_________________________________
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プロフィール。
2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。
stealaway.cocolog-nifty.com/stealaway/2019/02/2019-profil...
youpic.com/photographer/mitsushironakagawa/
_________________________________
_________________________________
ライブ撮影予定。
Moth in Lilac.
New mini Album. OUT NOW.
Mayve U
www.amazon.co.jp/dp/B07T8XM9RR/ref=cm_sw_em_r_mt_dp_U_XHn...
Official.
YOUTUBE
Apple Music
music.apple.com/jp/album/moth-in-lilac/1441243472
８月１０日 吉祥寺クレッシェンド
僕がライブの撮影を担当します。
もしもお時間があれば、ライブへ来てください。
:)
Mitsushiro.
_________________________________
_________________________________
インタビューと小説。
僕の本について。
僕は、昔に本を出版しました。
その際に、僕のインタビューをPDFでネット上へアップロードしていました。
その日本語と英語。
僕は、無料でを公開します。
詳細は、アマゾンのサイトへ解説しました。
小説の書き方。
写真の撮影方法。
作品への距離感。
これらはすべて共通項があります。
僕は、僕が感じたことを文章にして、残しました。
僕のテキストが多くの人に読んでもらえることを望みます。
ありがとう。
Mitsushiro.
１ インタビュー 英語版
「interview_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
２ 小説。unforgettable’ 英語版。
「novel_unforgettable_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
３ インタビュー 日本語版
drive.google.com/file/d/1w5l2hrV5a6lraDiC_Lz2tG_HqatqUCO5...
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
４ 小説。unforgettable’ 日本語版。(この小説は未来のアーティストへ捧げます)
(四百字詰め原稿用紙４５６枚)
あらすじ
大学を目指している北見ケイは、SNS上で、6歳年上のイベントコンパニオン、上村香織に出会う。
上京してきた香織の夢は、有名なアーティストの友達になるためだ。
そのためにはラジオ局のプロデューサー、大沢亮の存在が必要だった。
大沢は、ラジオの生放送中、香織へ語りかける。
「僕には妻子がある。しかし、僕は君に会いたいと思っている」
ケイの同級生で、彼を想っている三條里香は、香織の動向を探っていた。。。。。
本編
人が海へ向かう理由には、二つある。
ひとつは、波打ち際ではしゃぐ子供のように、今の瞬間の海の輝きを楽しむこと。
もうひとつは、その輝きを静かに見据えて、過ぎ去った日々を懐かしむ老人のように記憶の埃を払うこと。
二つは重なり合わないようではあるけれども、たったひとつの意味しか生まない。
再生だ。
明日っていう、曖昧な日を確実なものへと変えてゆくために、自分の存在に向き合う。
それが再生の意味だ。
十八歳だった僕には大切な人がいた。
「novel_unforgettable_jpn.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
５ 流線形の軌跡。 日本語のみ。
「streamlined_trajectory.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
_________________________________
_________________________________
iBooks.電子出版。（現在は無料）
0.about the iBooks.
stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...
1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
For Japanese only.
2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3.流線形の軌跡。
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...
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僕の小説。英語版
My Novel Unforgettable' (This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
_________________________________
_________________________________
Title of my book > unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
_________________________________
_________________________________
次の小説の予定。
Still would stand all time.(unforgettable'2)
（いつまでもなくならないだろう）
もう少し時間をください。それは日本語です。
_________________________________
_________________________________
２０２０年の展示。
テーマ。
So Near , So far.
場所。東京ビッグサイト。
Sponsoring. Design festa.
２０２１年。
日時未定。
DIC川村記念美術館付属ギャラリー。
場所。千葉県佐倉市。
テーマ。
あの日から、ずっと…
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僕の作品。
1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...
2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...
3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...
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あなたは僕の声を聞きたいですか？
:)
僕はYoutubeを更新しました。
日本語だけです。
僕は写真などの解説をしました。
もしも、あなたの時間が許されれば、見てください。
:)
1
フリッカーへ投稿した写真の構図について。１種類目。
2
フリッカーへ投稿した写真の構図について。２種類目。
3
Fotologを始めた時について。 建築家の視点。
4
なぜ、今までカメラを手にしなかったのか？
5
何が一番かっこいいのか？ 写真はありのままに。
6
現在のユーチューバーについて。僕も伝え、残したい。
7
日本人の写真家について。日本のユーチューバーはピストルズ。
8
写真の構図は、感性。ミラノのデザイナーに会って。二つの質問。
9
良い構図とは？ 悪い構図とは？
10
カメラを向ける時とは？ ファインダーやディスプレイを覗いていては遅い。
11
家族写真。他人では撮れない。被写体の内面。
12
ユーチューブの写真家について。カメラの技術等。感性は、本を読むことで磨く。
13
日本の新聞について。良い新聞の写真はロイター。ダメな写真を見続けるとダメになる。
14
日本の写真家について。その展示について。
まとめ。僕が書いた小説など。僕が最も伝えたいこと。
作品の制作方法などついて語りました。
すっごい長いですが、すべて伝え残したいことなので聞いてください。(^O^)／
日本語のみです。
作品制作について 1/2
作品制作について 2/2
１ それまでの写真展。自分は行きたいと思ったか？
２ じゃ、自分が足を運んででも行きたい展示とは何か？
３ 原宿デザインフェスタで個展を開くまでに、毎月ひとつの作品を展示することにチャレンジ。
４ 作品とは、素材とシルエット。ファッションと似ている。
５ 自分が好きなアーティストは誰か？ どんなものなのか？ そこをはっきりさせる。
６ コラージュの作成も写真の撮り方と全く同じ。インタビューに書いたように小説の書き方とも同じ。
７ 誰かに見せたい、見せるがために作品は作らない。写真と同じように自分の部屋に飾りたい作品を目指す。
８ パクリとは何か？ 昨今、叩かれるパクリ疑惑。ミメーシスとは？
https://ja.wikipedia.org/wiki/ミメーシス
https://kotobank.jp/word/ミメーシス-139464
９ 個性とはなにか？ オリジナリティってなに？
おまけ 眞子さまについて
という流れです。
お時間がある方は是非聴いてください。
:)
www.youtube.com/user/mitsushiro/
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Miles Davis sheet 1955-1976.
stealaway.cocolog-nifty.com/stealaway/2019/05/post-70842e...
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flickr.
www.flickr.com/photos/stealaway/
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YouTube.
www.youtube.com/user/mitsushiro/
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
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YouPic
youpic.com/photographer/mitsushironakagawa/
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fotolog
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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僕の統計。（2019年5月16日現在）
stealaway.cocolog-nifty.com/stealaway/2019/05/post-199d28...
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「日本の経営者は奇跡的無能」
stealaway.cocolog-nifty.com/stealaway/2019/06/post-926bf5...
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Japanese is the following.
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
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#新宿 #Manhattan #USA #London #UK #Paris #アンチノック #Milan #Italy #LUMIX #G3 #FUJIFILM #MothinLilac #MIL #GFX50R #B&W #Mono #Chiba #Japan #Exhibition #Flickr #YOUPIC #gallery #Camera #collage #Subway #street #Novel #Publishing #Mitsushiro #Nakagawa #artist #NY #Interview #Photograph #picture #How #take #write #novel #display #art #future #designfesta #Kawamura #Memorial #DIC #Museum #Fineart
For insta
#新宿 #Manhattan #London #Paris #アンチノック #Milan #MothinLilac #LUMIX #MIL #FUJIFILM #GFX50R #B&W #Fineart #Japan #Exhibition #Flickr #YOUPIC #Camera #Subway #street #Novel #Publishing #Mitsushiro #artist #Photograph #picture #novel #Fineart #future #designfesta
For twitter
#NY #London #Paris #Milan #LUMIX #FUJIFILM #新宿 #B&W #Exhibition #Flickr #Camera #street #MIL #MothinLilac #Mitsushiro #artist #アンチノック #designfesta #Fineart
E
I was allowed out of the cuffs to read a short statement in court. But as soon as I finished, the cuffs went on again. So I stood there shackled to learn my sentence: 60 more days in jail.
I took two of my sisters into my room to make page poems......But they didn't quite understand, so we decided to do "funny spages" instead.
Left to Right: 8 year old, me, 9 year-old
............................................Here's what they say........................................
8 year old: "I say a box on the red waves in a man french and french'
Me: "My dinner got to be the receptionist. The paperwork lingered across my table. She refused a ride, but seemed restless. I'd regret making dinner. We talked, she'd had enough conversation. But I quiver when she switched of my music..
9 year-old : One day our class had a party. Graciously all of us bumped into his barreled rib cage.
Stay Safe, Eat Donuts(╭☞⌐■◞ ■)╭☞
Lisa Buttmonkey (Jasmine0Alaya)
Chilean Rose: ‘Sentence first — verdict afterwards.’, 2018
Staged inSL™, color rebalanced in Lightroom CC
3300 × 6000
Taken at my installation, Out of the Looking Glass|Into the Madness.
Main entrence: maps.secondlife.com/secondlife/Fender/33/204/297
He has just got a 6 years sentence. He will spend 6 years wearing that ugly uniform, cuffed and treated like an inmate. He will be sleeping on a plastic matress, surronded by criminals like him. Working all day at the prison laundry and maybe having sex with inmates. I wish I was him...
BOB SELF/The Times-Union--11/15/07--Alan Wade talks with one of his attorney Frank Tassone prior to the start of his sentencing hearing in Judge Michael Weatherby's courtroom in the Duval County Courthouse Thursday morning. Wade is the second of four killers facing a possible death sentence for burying a Jacksonville couple alive. (The Florida Times-Union, Bob Self)
Sentenced to death.
Sony NEX-5N with Minolta Rokkor 100mm f3.5 with extension tube. Bug chose to participate of his own will and foolishness.
There are two eyes watching me. They´re studying my prayers... It is difficult for me to forget my roots. I will make it.
Jane Farrell stole 2 boots and was sentenced to do 10 hard days labour.
Age (on discharge): 12
Height: 4.2
Hair: Brown
Eyes: Blue
Place of Birth: Newcastle
Married or single: Single
These photographs are of convicted criminals in Newcastle between 1871 - 1873.
Reference: TWAS: PR.NC/6/1/1090
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
To purchase a hi-res copy please email archives@twmuseums.org.uk quoting the title and reference number.
Out of this sentence, I created a picture in my mind and made it into reality.
Everybody starts from the bottom, with years of practice, trial and error, helps them focus on their game.
Attitude and perseverance take you up to the victory.
Look at the picture and see how I created an arrow with light to express the journey from “Focus To Victory”.
Brett Lahr is escorted from the jail to the courtroom in the Union County Courthouse for a pre-trial motion Tuesday morning, June 23, 2015, in Lewisburg, Pa. Lahr is awaiting a sentencing hearing later Tuesday after pleading no contest to a conspiracy count for his involvement in a rock-throwing incident that badly injured an Ohio teacher on Interstate 80 last year. (Amanda August/The Daily Item via AP)
sentenced to Life as a pony
Visit this location at DoomsDay Designs & Moonlight Stables in Second Life
"Evacuate! Evacuate!"
The strained orders of the MPD officer filled the street, dozens of citizens fleeing the crowded area. On the ground were toys; dozens of Superman action figures, all equipped with laser eyes that shred through steel and concrete.
"Officers," called out a voice from above. The squad of police turned, seeing the blue and red clad figure floating above them. "I'll take care of this, focus on evacuation."
The officer in command nodded, ushering his team to follow. Clark looked at the street, dozens of the mechanical toys designed after himself rampaging across the city.
He quickly zipped down, his eyes glowing red and blasting multiple with his heat vision. The plastic of the toy melts as he does, revealing the shining silver exoskeleton.
"Great," he mutters, doubling back to the now exoskeleton toys. "If heat vision won't work, guess I've got to stick to freezing."
With that, Clark lets out a large breath, icy air blasting from his mouth onto the robots. The silver toys form a white like frost as they slow to a stop, falling onto the ground.
"At least I know that wasn't a fluke back at-"
Before Clark can finish his sentence, the glass of a nearby store shatters. His head turns to see more toys leaping from the window, all converging on him.
As Clark readies for a large gust of air, a toy from behind him latches to the back of his neck; it's laser eyes firing directly on his skin. Clark' hand moves to grab a hold of the toy, bringing it to his face. A quick blast of freeze breath causes the toy to go rigid, Clark's fist closing to shatter the figure.
Another toy instantly leaps to Clark, following suit to latch onto him, only by the thigh. Before he can react, another grabs hold of his arm, keeping him from reaching for the other toy. Another followed, then again. As Clark struggled, more of the figures attached to his body, keeping him in place. As being covered, two of the toys flew full force into the backs of his knees, taking the hero down to a praying position.
Clark struggled, his mind searching for a way out. His current position stopped his freeze breath from being usable, while his heat vision was useless against the robots.
Suddenly, a bright green light filled his vision, the robots seemingly vanishing from his body. His head turned, looking up to see two men floating in the air.
"Heya, big blue," called out Hall Jordan, smiling next to John Stewart. "Forget to read the instructions?"
-^- An hour earlier -^-
"Merry Christmas," said John, smiling as he handed the couple in front of him a Superman action figure.
John and Hal had both signed to help pass out presents to the families in need, as they did every year. The two were making the final handouts, Christmas morning only a few hours away.
"It's not trouble ma'am," smiled Hal as he handed another wrapped toy to another woman. His head turned over to John, the smile still on his face. "Wonder why the boyscout signed to 'Nimball Toy Co.'?"
"You think he signed to it?" John asked, wrapping the next gift, ready for another family to arrive. "I assumed someone just made the toy and he didn't attest."
"Huh, could be," Hall shrugged, looking down to the toy in his hands. His head tilted as he watched its eyes light up red. "Hey, these aren't supposed to have any type of effects, right?"
"Merry Christmas," John greeted, handing over another gift. "Nope, no batteries."
Hal looked back at the toy, his eyes growing in realization. "John, break the toys!"
"Huh?"
The sudden blast of red energy ripped through the packaging of the figure, knocking Hal backwards.
John's ring instantly lit up, his suit forming over his body. "What the hell!?"
A beam of green shot out from behind the table, piercing the toy, disabling it. Hal stood, now in full costume as well. "That's definitely not child safe."
John took cautious steps forward, kneeling to pick up the broken toy.
"Killer Superman toy?" he asked, turning to Hal.
Hal nodded, "Looks like we get to go pay the big guy a visit."
-^- Present Time -^-
"So only one of the toys activated?" asked Clark, rubbing his chin. "Must mean that they are manually activated."
"It would make sense," agreed John, nodding his head. "The ones we had were a donation, probably from here. Maybe the range messed with the activation."
"Possibly… but either way, I'm glad I have you two here," Clark responded, a smile on his face.
"Don't mention it, big guy," dismissed Hal, parting him on the shoulder.
"You're g-g-going to neeeeed all the he-lp you c-c-can get…"
The three heroes all turned, staring down at the malfunctioning robot.
"That was Toyman," Clark confirmed, looking at the two Lanterns. "That means he's-"
Suddenly, the ground shook, all three of them turning to the epicenter of the sound. Rounding the corner of the street was a massive robot Superman, it's design resembling the toy figures. It's hand wrapped around a nearby billboard, ripping it off and tossing it at the cop cars below.
Clark instantly bursted towards the car, catching the billboard before it could flatten the officers inside.
"Get out of here, officers," commanded Clark, the cops turning and leaving the area as fast as they could.
The robot, finishing it's motion, slammed it's foot down onto the billboard, sending Clark deep into the pavement.
Both Hal and John flew into the air, the two taking off in opposite directions. With Hal on the right flank, he began launching a barrage of candy cane shaped missiles at the robot.
"Quit trying to ruin Christmas just because kids wanted a ps3 over a yo-yo," shouted the brunet, dodging a swipe from it's giant hand.
As the robot swung again, its arm was grabbed by John's chain construct, restricting it from movement. The robot's head swivelled; it's head now faced John with glowing red eyes.
Before it could fire, it's body began to tilt backwards, off balance. On the ground, Clark began to lift the foot of the mechanical monster, slowly causing the machine to tip back.
Before it could fall, the robot's soles and hands began to emit large bursts of exhaust, the body slowly beginning to rise.
"It's trying to get away," called John, his chain constructs breaking away.
"Try being the key word," noted Hal, raising his arm.
John followed suit, both creating a web of ropes that wrapped around the hands and feet of the robot, holding it in place.
"All you, Superman," shouted John, turning his head to the ground.
A blue and red whiz flew past the two Lanterns, it's speed matching that of a bullet. The blue soared up the body of the machine, until a crushing impact sounded off. Both Lanterns raised their heads marveling at the now decapitated robot.
Above the robot hovered Clark, the head in his hand. "So, who wants to go meet Santa?"
-^- Ten Minutes Later -^-
"So this is the spot?" asked John, his ring being used as a makeshift flashlight.
"Yep, the robot was programmed to come back here," replied Hal, his ring ready for a surprise attack.
"This is definitely Winslow's workshop," confirmed Clark, his eyes tracing the various shelves filled with toys and trinkets. "The lead walls are also a dead giveaway."
The trio moved throughout the workshop, passing multiple robots designed after Superman, all adorning different wacky costumes and designs. Upon reaching the end of the room, the group stumbled upon a trapdoor.
"Well?" asked Hal, looking at Clark.
"Nope, still lead," he noted, reaching for the hatch. "You two follow me."
The two waited for Clark to drop in, before they followed suit. Upon entering, the two saw the workbench of Toyman, along with the man himself.
"Toyman," Clark greeted, stepping forwards toward the man.
"Ah, Superman," the man sighed, placing his chin on his hand. "Come to play a game?" His eyes trailed to the two behind him, a small smile appearing on his face. "Oh, you brought friends? I'm sure a good board game would be fun this Christmas Eve."
As Clark got closer, he stopped in place, eying down Toyman. "No more games, Winslow," he announced, raising his hand to the side, catching what seemed to be a fist.
Both John and Hal turned their heads, eyes widening at the sight. Stepping out of the shadows of the room was a seven-foot tall, lengthy machine, dressed in a yellow and black jester suit; its wood-like paint job and proportions giving it a puppet-like appearance.
"Ugh, Jack has gotten so predictable these days," groaned Schott, a frustrated frown on his face. As he looked back up to the trio, his smile returned. "Good thing he was on the Nice-List this year."
Clark raised an eyebrow, his head turning back to the puppet. His eyes widened as it opened its mouth, a green glow emitting from the hole.
"Kryptonite!?" Clark gasped, letting go of the fist and backing up. The robot immediately jabbed at the man, sending him to the floor.
"Metallo had such an amazing play feature," cackled the ginger, now standing on his chair. "I just knew Jack needed the same."
The puppet marched forward, ready to strike once more before a green wall separated the two.
"John, help Superman," called Hal, John nodding and rushing to the man on the ground.
Hal eyed the puppet, it's glowing white eyes staring back. The puppet launched forward, Hal narrowly creating a shield to block the attack. The puppet doesn't relent, bringing it's fists up and slamming them down against the construct.
Hal held the shield, noticing it slowly form cracks along the impact point. His eyes caught wind of the joints of the machine, noticing how open they were to match the puppet design. As the mechanism swung, Hal ducked under it, creating a power drill to unscrew the elbow. As the machine recovered, it's right forearm fell off, now detached from it's bicep.
"Sorry, Jacky," spoke Hal, creating a second power drill construct, "but playtime is over."
John knelt down next to Clark, checking for any external wounds. Clark batted his hand away, pointing to the glow of Jack's mouth.
John looked between the two, aiming his ring and creating a barrier around the hero.
Clark immediately began to regain his strength, now behind the protective barrier of John. Coming to a stand, his eyes met Schott's.
Schott quickly reached under his desk, pulling out some type of Nerf gun. "Not this time, Superman!" shouted the man, launching multiple Kryptonite darts at Clark.
Clark stood firm, the darts bouncing off the protective barrier around his body. Schott glanced over to Jack, now in pieces on the floor, Hal holding the piece of Kryptonite in a bubble.
"Oh, Bah Humbug."
-^-^-
"Dad! Dad! Wake up dad!"
Clark's eyes slowly opened, his vision filled with his son leaping on the bed in excitement.
"C'mon dad!" Shouted the boy, continuing to bounce up and down. "Get up, hurry!"
"I’m up Jon," the man responded, his voice still groggy as he rubs his eyes.
"Hurry, dad! It’s christmas!" he yells out as he jumps from the bed to the door, bolting into the hallway.
Clark's eyes, now free of sleep, meet those of his wife standing in the doorway, holding two mugs in her hands. Her own bed head makes him smile as he sits up.
"That boy will never get tired unless it’s convenient, I swear," she sighs out, handing one of the mugs to Clark; hot chocolate.
"Thank you, honey," says the man, blowing some of the steam away.
"So, Green Lanterns, huh?" she asks, a slight smirk on her face.
"How did you-"
"Clark, you weren’t being subtle when fighting a giant robot of you," she states bluntly, taking a sip of her own cocoa. "In fact, I don’t think it’s even possible to be subtle in that regard.
"Also, the media has been going nuts all night regarding Super-Santa and his Elf Lanterns, so…"
The man chuckled into his mug, "It just kinda happened, but I'm glad they showed up when they did." Clark took a moment to think back in the night before, the help from the two saving him from the kryptonite weaponry that Schott had installed.
"By the way, what made you get up so-"
"Mama! Dad!"
Clark looked up to Lois, who was smirking as if she knew what he was screaming about. The two left the bedroom to see the boy in his Flash pajamas knelt in front of some kind of kennel.
"What is that mama?" he asks, pointing to the kennel.
"Well," started Lois, kneeling down next to the boy. "That is something that I know you’ve been wanting for some time now, so I may have written an extra letter to the North Pole…"
He looked back to the kennel then his eyes flew back to his parents, widening in realization. His arm opened the kennel's door to reveal a small orange kitten with bright emerald eyes.
"A kitty!" he exclaimed before grabbing and hugging the kitten.
Clark's own eyes widened a bit, looking over to Lois a whispering, "A cat?"
"Jon had said he felt sad when he saw a litter of kittens at an adoption display a while back," she explained, looking at the boy petting the kitten. "I thought that since he's been good this year, why not get him a pet."
Clark smiled, watching his son run around the tree with the highly energetic kitten. "I think it’s a good idea to get him someone to play with," he says, turning back to her. "He is a bit young though."
"Huh, if old Smallville isn't one very handsome pot to call the kettle black?" she asks, placing a hand on her hip. "If I recall, you were already tending to cows and pigs at his age."
The man chuckles slightly, "Alright, you got me with that one."
"I know I did," she responds, kneeling down next to Jon once more. "Now Jon, you need to make sure to be careful with him, having a pet is a lot of responsibility."
"I know mama," he responds before smiling. "I'll do my bestest." Lois responds with a smile and small cheek pinch.
"That just leaves one more thing," Clark asks, gaining both of their attention. "What are you gonna name him?"
Jon gasps, as if he forgot all about that. His gaze settled on the cat, which hadn't stopped running around yet. His eyes finally looked back to the parents with a smile on his face.
"Streaky!"
The New Weapon
---------------------------------------------------------------------------------------------------------------------
“Haymar, look out!” Mirranda’s voice cried, from behind him. He spun, and saw the Queen’s soldier bearing down, almost on top of him. With a single slash, the soldier toppled off the blood-slicked battlements, into the dark horde of men fighting below.
“Thanks!” He said, breathlessly, to her. She smiled at him, the relief written on her face.
“I was almost too late. Next time, you need to be more carf-.” She stopped in mid-sentence, her eyes widening in horror. He read what was reflected there, and spun, his shield coming up, just in time to block the stroke of a huge, double-bladed pole-axe, wielded by a massive outlaw. Haymar staggered, under the strength of the blow. The soldier hauled back the massive weapon, preparing to deal another blow. Haymar lunged forward, and jabbed at the other’s face. The outlaw dodged, and swung the pole-axe down.
“AAHH!!” Haymar yelled, in pain, as the axe cut into his arm. His shield was slammed from his grasp, and he was knocked off his feet, the air being expelled from his lungs, as he hit the battlement floor.
“NO!” Mirranda screamed. Nocking an arrow, she drew it back, aiming for the outlaw, and released. The outlaw turned, and deflected it off his axe. He swung the axe, and hit her with the flat of the blade, sending her sprawling. The brute turned back to the still-winded Haymar, and raised the axe above his head, preparing to bring it down, on Haymar. Laying there, Haymar realized this was the end, and he regretted it was to end this way, with so much of his life still ahead of him. I never even got to tell Mirranda how I feel about her, he thought. And now it’s too late. I’ll never—with a gasp, Haymar sat up, in his bed, his heart racing.
Whew, he thought, it was just a dream. A mighty scary dream, though. As his heart rate settled, Haymar looked around the darkened room. There were four sets of bunks in the room, two on each side. Haymar and Ana shared one, Mirranda and Ivan shared a second, Sir Rodney and Lord Barry shared a third, and Elfrida and Laven shared the final one. Haymar had taken the bottom bunk, Ana the top.
Mirranda’s bunk was next to Haymar’s. He looked over at her sleeping form, and thought about his dream.
Did he really feel that way, about her? Yes. He decided, he did. Mirranda had always been a good friend, since childhood. But lately, Haymar had began to care for her, as more that just a close friend. But what if she doesn’t feel the same way? Haymar thought. I’ve no idea how to approach her, and if—, a quiet knock, at the stout, wooden door of the room, interrupted his thoughts.
Haymar froze, wondering who was knocking, at this hour of the night. He slipped out of bed, buckling his sword over his back, and moved over to the door. He unlatched it, and opened the door a crack.
“Who is it?” He whispered. A short, fidgety looking man, with shoulder-length black hair, and a well-groomed mustache, moved into view.
“It is me, Arfondo.” The man said quietly. “I’m the chief engineer, and I’ve invented something you really ought to see.”
“Now?” The other asked, wondering if this was an assassination attempt. If so, it was a pretty poor one, which led Haymar to conclude that the man was legit.
“Yes, now.” The other replied. “And get Lady Ana too. She’ll want to see this.”
“Just a moment.” Haymar said, and, closing the door, went over to his sister, and gently shook her awake.
“Ooh, Haymar?” She said, groggily, as she came awake. “What is it?”
“There’s a man at the door. Says his name is Arfondo, and he’s the chief engineer here. He wants to show us something.” The other replied.
“Now?” Ana asked.
“Yes,” Haymar said. “Apparently it can’t wait. He says it’s very important.”
“It had better be really important, to warrant waking us, in the middle of the night, like this.” She said, and, after getting out of bed, and buckling on her sword, she followed her brother back over to the door. When they opened it, Arfondo was standing right where Haymar had left him, fidgeting nervously.
“Follow me.” He said, and headed down the passage, to the right. Haymar and Ana followed, trying to keep up with Arfondo’s quick, fidgety strides.
As they got closer to wherever they were going, they began to hear the distinctive sounds, of a blacksmith at work. Haymar and Ana exchanged a look. Who would be working at this hour of the night? They both wondered. Their question was quickly answered.
“Here we are.” Arfondo said, as they approached a thick wooden door, set into a frame of brick.
Arfondo pulled a key from beneath his tunic, inserted it into the lock, and turned it. With a click, the door unlocked. He replaced the key in it’s place, and turning the handle, beckoned the inside.
The room behind the door, was much longer that it was wide, and, Haymar immediately noticed, there were about a dozen target dummies, set up at the end of the chamber. Off to the right, was a small blacksmith’s furnace, with an anvil in front of it. There was indeed a blacksmith working there, forging a longsword. Next to them, was a small table, with a man assembling something on it. Across from them, were several larger tables, piled with stuff. In the middle of the room, sat a large, cloth-covered, object.
Arfondo closed the door behind them, and led them over to the cloth-covered object. Grasping a corner of the cloth, he said, “This is what I wanted you to see. It’s going to give us a great advantage over the Queen’s Soldiers. Behold, the Shard Sling.”
He yanked the cloth off, revealing what was beneath. Haymar, and Ana, gasped, in shock.
Beneath the cloth, sat a most unusual contraption. It had a small ballista’s carriage, but instead of the normal bow, it was a long, metal barrel, with spiked wooden limbs, extending from either side. At the very back of the weapon, were two handles, with a trigger in the middle. Just in front of these, was a small hatch, in the middle of the barrel. There were two, narrow, slots, cut into the side of the barrel ending just behind the hatch, into which a thick string disappeared.
“Well,” Arfondo chuckled, “I can see you’re speechless, so I’ll explain what you’re looking at.”
He gestured to the Shard Sling. “This is the result of many long months of experimenting, and lots of trial and error. I wanted to make something that was more powerful than a ballista, but also more mobile. The way it works,” He said, motioning them to look closely, “Is, attached to the middle of the string, is a round disc of steel, perfectly shaped to fit inside the barrel, with no space on either side. To load the weapon,” Arfondo said, motioning to a small lever to the right of the barrel, “You first, haul back this lever, til’ it clicks into place. Then, you open this hatch here.” He said.
“What’s the ammunition?” Ana asked. In answer, Arfondo reached over, to a table nearby, and picked up a handful of small, metal shards.
“These.” He said, holding them out, for the other two to look at. They bent close, examining the shards.
“Looks nasty,” Haymar said. “How’s it do?”
“Watch.” The other replied, and, walking over to the Shard Sling, he loaded the shards into the hatch. Closing it, he stepped aside, and motioned for Haymar to take the handles. He did, wrapping his fingers around the grips.
Arfondo pointed to the dummies at the end of the chamber. “Aim for those dummies, and when you’re ready, pull the triggers.”
Haymar sighted down the barrel, took a deep breath, and pulled the triggers.
WHAM! The string flew forward, releasing the tension on the limbs, and slammed against the stops. The weapon recoiled, almost causing Haymar to lose his balance. The several dozen metal shards shot out of the end of the barrel, and streaked down the length of the chamber, scything into the target dummies, with devastating results. The dummies were shredded.
Haymar and Ana stared, in amazement. The Shard Sling had destroyed over a dozen dummies, at a range of forty yards. Haymar turned to Arfondo.
“How far is the range on this?” He asked.
“It’s effective as far as one hundred and fifty yards.” The other replied. “After that, it becomes increasingly inaccurate. It’s meant as an anti-infantry weapon.”
“A hundred and fifty yards.” Haymar repeated, staring at Ana.
She grinned. “We’re gonna kick the Queen’s butt with this.”
——————————————————————————————————————————
For those of you who’ve read the Shannara series, yes, I stole the concept of the Shard Sling out of them, combining the railgun, and the rail sling, that were featured in the novels. :D
I wanted a weapon that was more advanced than ballistas and catapults, but not utilizing gunpowder, which isn’t allowed in Lands Of Roawia. Thus, the Shard Sling was born.
Oh, and sorry for the absurdly long story. Hope you all like it.
They carry me far away. The glows of light and a loud noise wake me up...
''To reach the other one you'll have to wait''.
Gilbert Scott-Heron (April 1, 1949 – May 27, 2011) was an American soul and jazz poet, musician, and author, known primarily for his work as a spoken-word performer in the 1970s and 1980s. His collaborative efforts with musician Brian Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron. His own term for himself was "bluesologist", which he defined as "a scientist who is concerned with the origin of the blues". His poem "The Revolution Will Not Be Televised", delivered over a jazz-soul beat, is considered a major influence on hip hop music.
His music, most notably on the albums Pieces of a Man and Winter in America in the early 1970s, influenced and foreshadowed later African-American music genres such as hip hop and neo soul. His recording work received much critical acclaim, especially for The Revolution Will Not Be Televised. AllMusic's John Bush called him "one of the most important progenitors of rap music", stating that "his aggressive, no-nonsense street poetry inspired a legion of intelligent rappers while his engaging songwriting skills placed him square in the R&B charts later in his career."
Scott-Heron remained active until his death, and in 2010 released his first new album in 16 years, entitled I'm New Here. A memoir he had been working on for years up to the time of his death, The Last Holiday, was published posthumously in January 2012. Scott-Heron received a posthumous Grammy Lifetime Achievement Award in 2012. He also is included in the exhibits at the National Museum of African American History and Culture (NMAAHC) that officially opened on September 24, 2016, on the National Mall, and in an NMAAHC publication, Dream a World Anew. In 2021, Scott-Heron was inducted into the Rock and Roll Hall of Fame, as a recipient of the Early Influence Award.
Gil Scott-Heron was born in Chicago, Illinois. His mother, Bobbie Scott, was an opera singer who performed with the Oratorio Society of New York. His father, Gil Heron, nicknamed "The Black Arrow," was a Jamaican footballer who in the 1950s became the first black man to play for Celtic Football Club in Glasgow, Scotland. Gil's parents separated in his early childhood and he was sent to live with his maternal grandmother, Lillie Scott, in Jackson, Tennessee. When Scott-Heron was 12 years old, his grandmother died and he returned to live with his mother in The Bronx in New York City. He enrolled at DeWitt Clinton High School, but later transferred to The Fieldston School, after impressing the head of the English department with some of his writings and earning a full scholarship. As one of five Black students at the prestigious school, Scott-Heron was faced with alienation and a significant socioeconomic gap. During his admissions interview at Fieldston, an administrator asked him: "'How would you feel if you see one of your classmates go by in a limousine while you're walking up the hill from the subway?' And [he] said, 'Same way as you. Y'all can't afford no limousine. How do you feel?'" This type of intractable boldness would become a hallmark of Scott-Heron's later recordings.
After completing his secondary education, Scott-Heron decided to attend Lincoln University in Pennsylvania because Langston Hughes (his most important literary influence) was an alumnus. It was here that Scott-Heron met Brian Jackson, with whom he formed the band Black & Blues. After about two years at Lincoln, Scott-Heron took a year off to write the novels The Vulture and The Nigger Factory. Scott-Heron was very heavily influenced by the Black Arts Movement (BAM). The Last Poets, a group associated with the Black Arts Movement, performed at Lincoln in 1969 and Abiodun Oyewole of that Harlem group said Scott-Heron asked him after the performance, "Listen, can I start a group like you guys?"[18] Scott-Heron returned to New York City, settling in Chelsea, Manhattan. The Vulture was published by the World Publishing Company in 1970 to positive reviews.
Although Scott-Heron never completed his undergraduate degree, he was admitted to the Writing Seminars at Johns Hopkins University, where he received an M.A. in creative writing in 1972. His master's thesis was titled Circle of Stone. Beginning in 1972, Scott-Heron taught literature and creative writing for several years as a full-time lecturer at University of the District of Columbia (then known as Federal City College) in Washington, D.C. while maintaining his music career.
Scott-Heron began his recording career with the LP Small Talk at 125th and Lenox in 1970. Bob Thiele of Flying Dutchman Records produced the album, and Scott-Heron was accompanied by Eddie Knowles and Charlie Saunders on conga and David Barnes on percussion and vocals. The album's 14 tracks dealt with themes such as the superficiality of television and mass consumerism, the hypocrisy of some would-be black revolutionaries, and white middle-class ignorance of the difficulties faced by inner-city residents. In the liner notes, Scott-Heron acknowledged as influences Richie Havens, John Coltrane, Otis Redding, Jose Feliciano, Billie Holiday, Langston Hughes, Malcolm X, Huey Newton, Nina Simone, and long-time collaborator Brian Jackson.
Scott-Heron's 1971 album Pieces of a Man used more conventional song structures than the loose, spoken-word feel of Small Talk. He was joined by Jackson, Johnny Pate as conductor, Ron Carter on bass and bass guitar, drummer Bernard "Pretty" Purdie, Burt Jones playing electric guitar, and Hubert Laws on flute and saxophone, with Thiele producing again. Scott-Heron's third album, Free Will, was released in 1972. Jackson, Purdie, Laws, Knowles, and Saunders all returned to play on Free Will and were joined by Jerry Jemmott playing bass, David Spinozza on guitar, and Horace Ott (arranger and conductor). Carter later said about Scott-Heron's voice: "He wasn't a great singer, but, with that voice, if he had whispered it would have been dynamic. It was a voice like you would have for Shakespeare."
In 1974, he recorded another collaboration with Brian Jackson, Winter in America, with Bob Adams on drums and Danny Bowens on bass. Winter in America has been regarded by many critics as the two musicians' most artistic effort. The following year, Scott-Heron and Jackson released Midnight Band: The First Minute of a New Day. In 1975, he released the single "Johannesburg", a rallying cry for the end of apartheid in South Africa. The song would be re-issued, in 12"-single form, together with "Waiting for the Axe to Fall" and "B-movie" in 1983.
A live album, It's Your World, followed in 1976 and a recording of spoken poetry, The Mind of Gil Scott-Heron, was released in 1978. Another success followed with the hit single "Angel Dust", which he recorded as a single with producer Malcolm Cecil. "Angel Dust" peaked at No. 15 on the R&B charts in 1978.
In 1979, Scott-Heron played at the No Nukes concerts at Madison Square Garden. The concerts were organized by Musicians United for Safe Energy to protest the use of nuclear energy following the Three Mile Island accident. Scott-Heron's song "We Almost Lost Detroit" was included in the No Nukes album of concert highlights. It alluded to a previous nuclear power plant accident and was also the title of a book by John G. Fuller. Scott-Heron was a frequent critic of President Ronald Reagan and his conservative policies.
Scott-Heron recorded and released four albums during the 1980s: 1980 and Real Eyes (1980), Reflections (1981) and Moving Target (1982). In February 1982, Ron Holloway joined the ensemble to play tenor saxophone. He toured extensively with Scott-Heron and contributed to his next album, Moving Target the same year. His tenor accompaniment is a prominent feature of the songs "Fast Lane" and "Black History/The World". Holloway continued with Scott-Heron until the summer of 1989, when he left to join Dizzy Gillespie. Several years later, Scott-Heron would make cameo appearances on two of Ron Holloway's CDs: Scorcher (1996) and Groove Update (1998), both on the Fantasy/Milestone label.
Scott-Heron was dropped by Arista Records in 1985 and quit recording, though he continued to tour. The same year he helped compose and sang "Let Me See Your I.D." on the Artists United Against Apartheid album Sun City, containing the famous line: "The first time I heard there was trouble in the Middle East, I thought they were talking about Pittsburgh." The song compares racial tensions in the U.S. with those in apartheid-era South Africa, implying that the U.S. was not too far ahead in race relations. In 1993, he signed to TVT Records and released Spirits, an album that included the seminal track "'Message to the Messengers". The first track on the album criticized the rap artists of the day. Scott-Heron is known in many circles as "the Godfather of rap" and is widely considered to be one of the genre's founding fathers. Given the political consciousness that lies at the foundation of his work, he can also be called a founder of political rap. "Message to the Messengers" was a plea for the new generation of rappers to speak for change rather than perpetuate the current social situation, and to be more articulate and artistic. Regarding hip hop music in the 1990s, he said in an interview:
They need to study music. I played in several bands before I began my career as a poet. There's a big difference between putting words over some music, and blending those same words into the music. There's not a lot of humor. They use a lot of slang and colloquialisms, and you don't really see inside the person. Instead, you just get a lot of posturing.
— Gil Scott-Heron
In 2001, Scott-Heron was sentenced to one to three years imprisonment in a New York State prison for possession of cocaine. While out of jail in 2002, he appeared on the Blazing Arrow album by Blackalicious. He was released on parole in 2003, the year BBC TV broadcast the documentary Gil Scott-Heron: The Revolution Will Not Be Televised—Scott-Heron was arrested for possession of a crack pipe during the editing of the film in October 2003 and received a six-month prison sentence.
On July 5, 2006, Scott-Heron was sentenced to two to four years in a New York State prison for violating a plea deal on a drug-possession charge by leaving a drug rehabilitation center. He claimed that he left because the clinic refused to supply him with HIV medication. This story led to the presumption that the artist was HIV positive, subsequently confirmed in a 2008 interview. Originally sentenced to serve until July 13, 2009, he was paroled on May 23, 2007.
After his release, Scott-Heron began performing live again, starting with a show at SOB's restaurant and nightclub in New York on September 13, 2007. On stage, he stated that he and his musicians were working on a new album and that he had resumed writing a book titled The Last Holiday, previously on long-term hiatus, about Stevie Wonder and his successful attempt to have the birthday of Martin Luther King Jr. declared a federally recognized holiday in the United States.
Malik Al Nasir dedicated a collection of poetry to Scott-Heron titled Ordinary Guy that contained a foreword by Jalal Mansur Nuriddin of The Last Poets. Scott-Heron recorded one of the poems in Nasir's book entitled Black & Blue in 2006.
In April 2009, on BBC Radio 4, poet Lemn Sissay presented a half-hour documentary on Gil Scott-Heron entitled Pieces of a Man, having interviewed Gil Scott-Heron in New York a month earlier. Pieces of a Man was the first UK announcement from Scott-Heron of his forthcoming album and return to form. In November 2009, the BBC's Newsnight interviewed Scott-Heron for a feature titled The Legendary Godfather of Rap Returns. In 2009, a new Gil Scott-Heron website, gilscottheron.net, was launched with a new track "Where Did the Night Go" made available as a free download from the site.
In 2010, Scott-Heron was booked to perform in Tel Aviv, Israel, but this attracted criticism from pro-Palestinian activists, who stated: "Your performance in Israel would be the equivalent to having performed in Sun City during South Africa's apartheid era... We hope that you will not play apartheid Israel". Scott-Heron responded by canceling the performance.
Scott-Heron released his album I'm New Here on independent label XL Recordings on February 9, 2010. Produced by XL label owner Richard Russell, I'm New Here was Scott-Heron's first studio album in 16 years. The pair started recording the album in 2007, with the majority of the record being recorded over the 12 months leading up to the release date with engineer Lawson White at Clinton Studios in New York. I'm New Here is 28 minutes long with 15 tracks; however, casual asides and observations collected during recording sessions are included as interludes.
The album attracted critical acclaim, with The Guardian's Jude Rogers declaring it one of the "best of the next decade", while some have called the record "reverent" and "intimate", due to Scott-Heron's half-sung, half-spoken delivery of his poetry. In a music review for public radio network NPR, Will Hermes stated: "Comeback records always worry me, especially when they're made by one of my heroes ... But I was haunted by this record ... He's made a record not without hope but which doesn't come with any easy or comforting answers. In that way, the man is clearly still committed to speaking the truth". Writing for music website Music OMH, Darren Lee provided a more mixed assessment of the album, describing it as rewarding and stunning, but he also states that the album's brevity prevents it "from being an unassailable masterpiece".
Scott-Heron described himself as a mere participant, in a 2010 interview with The New Yorker:
This is Richard's CD. My only knowledge when I got to the studio was how he seemed to have wanted this for a long time. You're in a position to have somebody do something that they really want to do, and it was not something that would hurt me or damage me—why not? All the dreams you show up in are not your own.
The remix version of the album, We're New Here, was released in 2011, featuring production by English musician Jamie xx, who reworked material from the original album. Like the original album, We're New Here received critical acclaim.
In April 2014, XL Recordings announced a third album from the I'm New Here sessions, titled Nothing New. The album consists of stripped-down piano and vocal recordings and was released in conjunction with Record Store Day on April 19, 2014.
Scott-Heron died on the afternoon of May 27, 2011, at St. Luke's Hospital, New York City, after becoming ill upon returning from a trip to Europe. Scott-Heron had confirmed previous press speculation about his health, when he disclosed in a 2008 New York Magazine interview that he had been HIV-positive for several years, and that he had been previously hospitalized for pneumonia.
He was survived by his firstborn daughter, Raquiyah "Nia" Kelly Heron, from his relationship with Pat Kelly; his son Rumal Rackley, from his relationship with Lurma Rackley; daughter Gia Scott-Heron, from his marriage to Brenda Sykes; and daughter Chegianna Newton, who was 13 years old at the time of her father's death. He is also survived by his sister Gayle; brother Denis Heron, who once managed Scott-Heron; his uncle, Roy Heron; and nephew Terrance Kelly, an actor and rapper who performs as Mr. Cheeks, and is a member of Lost Boyz.
Before his death, Scott-Heron had been in talks with Portuguese director Pedro Costa to participate in his film Horse Money as a screenwriter, composer and actor.
In response to Scott-Heron's death, Public Enemy's Chuck D stated "RIP GSH...and we do what we do and how we do because of you" on his Twitter account. His UK publisher, Jamie Byng, called him "one of the most inspiring people I've ever met". On hearing of the death, R&B singer Usher stated: "I just learned of the loss of a very important poet...R.I.P., Gil Scott-Heron. The revolution will be live!!". Richard Russell, who produced Scott-Heron's final studio album, called him a "father figure of sorts to me", while Eminem stated: "He influenced all of hip-hop". Lupe Fiasco wrote a poem about Scott-Heron that was published on his website.
Scott-Heron's memorial service was held at Riverside Church in New York City on June 2, 2011, where Kanye West performed "Lost in the World" and "Who Will Survive in America", two songs from West's album My Beautiful Dark Twisted Fantasy. The studio album version of West's "Who Will Survive in America" features a spoken-word excerpt by Scott-Heron. Scott-Heron is buried at Kensico Cemetery in Westchester County in New York.
Scott-Heron was honored posthumously in 2012 by the National Academy of Recording Arts and Sciences with a Grammy Lifetime Achievement Award. Charlotte Fox, member of the Washington, DC NARAS and president of Genesis Poets Music, nominated Scott-Heron for the award, while the letter of support came from Grammy award winner and Grammy Hall of Fame inductee Bill Withers.
Scott-Heron's memoir, The Last Holiday, was published in January 2012. In her review for the Los Angeles Times, professor of English and journalism Lynell George wrote:
The Last Holiday is as much about his life as it is about context, the theater of late 20th century America — from Jim Crow to the Reagan '80s and from Beale Street to 57th Street. The narrative is not, however, a rise-and-fall retelling of Scott-Heron's life and career. It doesn't connect all the dots. It moves off-the-beat, at its own speed ... This approach to revelation lends the book an episodic quality, like oral storytelling does. It winds around, it repeats itself.
At the time of Scott-Heron's death, a will could not be found to determine the future of his estate. Additionally, Raquiyah Kelly-Heron filed papers in Manhattan, New York's Surrogate's Court in August 2013, claiming that Rumal Rackley was not Scott-Heron's son and should therefore be omitted from matters concerning the musician's estate. According to the Daily News website, Rackley, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate, as Rackley stated in court papers that Scott-Heron prepared him to be the eventual administrator of the estate. Scott-Heron's 1994 album Spirits was dedicated to "my son Rumal and my daughters Nia and Gia", and in court papers Rackley added that Scott-Heron "introduced me [Rackley] from the stage as his son".
In 2011, Rackley filed a suit against sister Gia Scott-Heron and her mother, Scott-Heron's first wife, Brenda Sykes, as he believed they had unfairly attained US$250,000 of Scott-Heron's money. The case was later settled for an undisclosed sum in early 2013; but the relationship between Rackley and Scott-Heron's two adult daughters already had become strained in the months after Gil's death. In her submission to the Surrogate's Court, Kelly-Heron states that a DNA test completed by Rackley in 2011—using DNA from Scott-Heron's brother—revealed that they "do not share a common male lineage", while Rackley has refused to undertake another DNA test since that time. A hearing to address Kelly-Heron's filing was scheduled for late August 2013, but by March 2016 further information on the matter was not publicly available.[69] Rackley still serves as court-appointed administrator for the estate, and donated material to the Smithsonian's new National Museum of African American History and Culture for Scott-Heron to be included among the exhibits and displays when the museum opened in September 2016. In December 2018, the Surrogate Court ruled that Rumal Rackley and his half sisters are all legal heirs.
According to the Daily News website, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate. The case was decided in December 2018 with a ruling issued in May 2019.
Scott-Heron's work has influenced writers, academics and musicians, from indie rockers to rappers. His work during the 1970s influenced and helped engender subsequent African-American music genres, such as hip hop and neo soul. He has been described by music writers as "the godfather of rap" and "the black Bob Dylan".
Chicago Tribune writer Greg Kot comments on Scott-Heron's collaborative work with Jackson:
Together they crafted jazz-influenced soul and funk that brought new depth and political consciousness to '70s music alongside Marvin Gaye and Stevie Wonder. In classic albums such as 'Winter in America' and 'From South Africa to South Carolina,' Scott-Heron took the news of the day and transformed it into social commentary, wicked satire, and proto-rap anthems. He updated his dispatches from the front lines of the inner city on tour, improvising lyrics with an improvisational daring that matched the jazz-soul swirl of the music".
Of Scott-Heron's influence on hip hop, Kot writes that he "presag[ed] hip-hop and infus[ed] soul and jazz with poetry, humor and pointed political commentary". Ben Sisario of The New York Times writes that "He [Scott-Heron] preferred to call himself a "bluesologist", drawing on the traditions of blues, jazz and Harlem renaissance poetics". Tris McCall of The Star-Ledger writes that "The arrangements on Gil Scott-Heron's early recordings were consistent with the conventions of jazz poetry – the movement that sought to bring the spontaneity of live performance to the reading of verse". A music writer later noted that "Scott-Heron's unique proto-rap style influenced a generation of hip-hop artists", while The Washington Post wrote that "Scott-Heron's work presaged not only conscious rap and poetry slams, but also acid jazz, particularly during his rewarding collaboration with composer-keyboardist-flutist Brian Jackson in the mid- and late '70s". The Observer's Sean O'Hagan discussed the significance of Scott-Heron's music with Brian Jackson, stating:
Together throughout the 1970s, Scott-Heron and Jackson made music that reflected the turbulence, uncertainty and increasing pessimism of the times, merging the soul and jazz traditions and drawing on an oral poetry tradition that reached back to the blues and forward to hip-hop. The music sounded by turns angry, defiant and regretful while Scott-Heron's lyrics possessed a satirical edge that set them apart from the militant soul of contemporaries such as Marvin Gaye and Curtis Mayfield.
Will Layman of PopMatters wrote about the significance of Scott-Heron's early musical work:
In the early 1970s, Gil Scott-Heron popped onto the scene as a soul poet with jazz leanings; not just another Bill Withers, but a political voice with a poet's skill. His spoken-voice work had punch and topicality. "The Revolution Will Not Be Televised" and "Johannesburg" were calls to action: Stokely Carmichael if he'd had the groove of Ray Charles. 'The Bottle' was a poignant story of the streets: Richard Wright as sung by a husky-voiced Marvin Gaye. To paraphrase Chuck D, Gil Scott-Heron's music was a kind of CNN for black neighborhoods, prefiguring hip-hop by several years. It grew from the Last Poets, but it also had the funky swing of Horace Silver or Herbie Hancock—or Otis Redding. Pieces of a Man and Winter in America (collaborations with Brian Jackson) were classics beyond category".
Scott-Heron's influence over hip hop is primarily exemplified by his definitive single "The Revolution Will Not Be Televised", sentiments from which have been explored by various rappers, including Aesop Rock, Talib Kweli and Common. In addition to his vocal style, Scott-Heron's indirect contributions to rap music extend to his and co-producer Jackson's compositions, which have been sampled by various hip-hop artists. "We Almost Lost Detroit" was sampled by Brand Nubian member Grand Puba ("Keep On"), Native Tongues duo Black Star ("Brown Skin Lady"), and MF Doom ("Camphor"). Additionally, Scott-Heron's 1980 song "A Legend in His Own Mind" was sampled on Mos Def's "Mr. Nigga", the opening lyrics from his 1978 recording "Angel Dust" were appropriated by rapper RBX on the 1996 song "Blunt Time" by Dr. Dre, and CeCe Peniston's 2000 song "My Boo" samples Scott-Heron's 1974 recording "The Bottle".
In addition to the Scott-Heron excerpt used in "Who Will Survive in America", Kanye West sampled Scott-Heron and Jackson's "Home is Where the Hatred Is" and "We Almost Lost Detroit" for the songs "My Way Home" and "The People", respectively, both of which are collaborative efforts with Common. Scott-Heron, in turn, acknowledged West's contributions, sampling the latter's 2007 single "Flashing Lights" on his final album, 2010's I'm New Here.
Scott-Heron admitted ambivalence regarding his association with rap, remarking in 2010 in an interview for the Daily Swarm: "I don't know if I can take the blame for [rap music]".[81] As New York Times writer Sisario explained, he preferred the moniker of "bluesologist". Referring to reviews of his last album and references to him as the "godfather of rap", Scott-Heron said: "It's something that's aimed at the kids ... I have kids, so I listen to it. But I would not say it's aimed at me. I listen to the jazz station." In 2013, Chattanooga rapper Isaiah Rashad recorded an unofficial mixtape called Pieces of a Kid, which was greatly influenced by Heron's debut album Pieces of a Man.
Following Scott-Heron's funeral in 2011, a tribute from publisher, record company owner, poet, and music producer Malik Al Nasir was published on The Guardian's website, titled "Gil Scott-Heron saved my life".
In the 2018 film First Man, Scott-Heron is a minor character and is played by soul singer Leon Bridges.
He is one of eight significant people shown in mosaic at the 167th Street renovated subway station on the Grand Concourse in the Bronx that reopened in 2019.
Two shots of an extremely rare car with a strange and tragic story behind it. The car is a Fiberfab Jamaican, based on a 1959 Austin Healey 3000. Fiberfab were an American company that manufactured bespoke GT bodies for Triumph TR3s and 4s, MGAs and Austin Healey 100s and 3000s. The co-founder of the company was Warren ‘Bud’ Goodwin who was married to Jamaica Karen Goodwin, hence the name of this car. For reasons unknown Bud shot her dead in 1967 when she was just 28 years old, and he was convicted of her voluntary manslaughter but sentenced to an unfeasibly short term in prison of just 12 months. Who is to say whether it was fate catching up with him, but before he had completed his sentence he collapsed and died of a heart attack, exactly 57 years ago today! So Jamaica’s name lives on and the car was raced by Matther Moore at this meeting, although in September 2022 it was sold at auction by Bonhams.
The Zeibekiko, as means of expression for the feelings of a real man, has its own unwritten rules. A Greek “man’s honor is written on his forehead”, people used to say. A clear forehead, i.e. name, was everything. In 99% of the cases, the clear forehead was attached to a narrow minded head thought.
In the conservative society being a honorable man is often translated with being extremely possessive towards women and enjoy the absolute respect by other men. Symbolically speaking, every zeibekiko dancer is “a unique warrior and a proud hawk”. And a bird has to follow the unwritten laws both in society and in nature.
I have picked up two characteristic examples of a “man’s insulted honor“, while someone is dancing the Zeibekiko. Both examples have been etched in two outstanding Greek films legendary in the local movie industry. Both films are authentic in performance and in catching dramaturgically the zeibekiko subculture and etiquette, the subtle balance of a male’s code of honor in the conservative working class of the Greek society of the 70′s.
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Nikos KOEMTZIS everyday is selling his 'biography-memoirs book' at the Monastiraki plaza opposite of the Mpairaktaris souvlaki-restaurant ( near the Monastiraki metro of Athens station ) signing on the first page .... The profile of the famous greek criminal through the eye of a camera, the lyrics of a song and his autobiography ...
"Nikos, what have you done?"
(lyric from the song "To makry zeibekiko gia ton Niko" by D. Savopoulos)
Outside the “Evelpidon” Criminal and Civil court of Athens, during the week, and at the flea market in Monastiraki on weekends, an old man, dressed always in brown or black, and wearing a Russian hat, sells his biography...
He is Nikos Koemtzis. He has killed three people and stabbed seven more, all because he wanted to dance to a song he had "ordered" from the musicians. He killed for a "Parangelia" (an order for a song).
He transferred the story of his life to a book - "To makry (Long) zeibekiko [1]”. Dionysis Savvopoulos (a famous Greek singer-songwriter) read the book and turned it into a song. Pavlos Tassios (a well known Greek director) heard the song and made a film. Today Nikos Koemtzis, his past behind him, sells his story to make a living.
But let us take start at the beginning…
Nikos was a petty, small-time criminal, born in a poverty-stricken part of Pieriaa and persecuted from a young age for his left-wing political beliefs. His wanderings in a time of poverty and political persecution in Greece lead him to Thessaloniki , where he held various jobs, before moving on to Athens. He flirts with the underworld and illegality and goes to prison for the first time in 1967-68.
The actors Antonis Kafetzopoulos and George Kotanidis in a scene from the film of Pavlos Tassios "Parangelia”
In February 1973, during the dictatorship in Greece- and having just been released – he goes to a live-music nightclub (the bouzouki hall "Neraida"), with his younger brother Demosthenes and some friends. Demosthenes makes an order for a song to the orchestra; he requests a zeibekiko, a dance meant to be performed by one person, and gets up to dance. An "unwritten rule" of the times was that only the patron who made the order could dance. Three police officers, however, who were at the nightclub, and knew very well whose brother was dancing – interfere during his performance by dancing simultaneously. There is an altercation, and the police officers start beating Demosthenes. "It is an order (parangelia)!" shouted an incensed Nikos; who drew his stiletto: 3 policemen killed and 7 others wounded... He was sentenced to death and spent years awaiting execution ( he was on death row for 3 years). Eventually Koemtzis will be sentenced for life and in 1996 he was granted a grace. He remained in prison for 23 years.
"To makry (Long) zeibekiko [1]" - The book
In prison he starts to read and learn to write. Nikos Koemtzis started, using his limited vocabulary to record his life-story in order to give material to his lawyer for his defense in court. His prose has a genuine "popular" flavour - without exaggeration, and his narration brings to mind the famous Greek general Makriyannis [4].
He describes his life as a child. A story of great poverty, possibly the worst that could be experienced in an already damaged post-War provincial economy of Greece at the time. Nikos Koemtzis presents himself as a contemporary ‘Oliver Twist’ – although he almost certainly had never read the book by Charles Dickens! His father was declared a communist because he had taken to the mountains with the (Communist) EAM-ELAS brigades. In 1945 the "gendarmes" savagely beat Nikos’ father in front of the children, as well as their grandfather, a handicap from the war of 1913. Since then, Nikos Koemtzis detested anyone in a uniform, as he says himself. His father enters prison as a political prisoner during the Civil War and after his release the large family lives constantly on the move; persecuted "from village to village”, doing agricultural work to earn their livelihood.
Poverty leads him to Thessaloniki where he spends his adolescence doing various jobs (he writes that because he was "sharp” and a “hustler", he managed to become the best "grocer" in the market). Later, in 1958, he descends to the capital. He is engaged but the engagement is dissolved because of police harassment troubles his fiancée’s respectable family, and because he won’t accept becoming a police ‘snitch’.
His employer does not pay his wages; Koemtzis “sues” him (he probably meant a law suit), yet the court case is constantly deferred. Koemtzis faces a lot of problems; he is forced to rob the man and is sent to prison. There he is subjected to physical and psychological torture (let us not forget this occurred during the period of dictatorship), and just a few years later, his case will serve the most apt confirmation of the motto that "violence breeds violence”.
In the second part of the book Nikos Koemtzis first describes his pre-trial incarceration in the Korydallos Prison Complex in Athens, and his meeting with his brother and a friend, who had also fallen ‘victim’ to the fatal stabbing. Koemtzis’ health is very poor; he has difficulty walking from the bullets shot into his legs by the police during his arrest; it was thought that he would remain disabled for life. He asks his companions to recall the events of that evening, because he himself does not remember anything. In this way he reconstructs the "accident" (as he calls it) of that night:
"... a thousand thoughts were spinning through my mind. I was looking for a solution to restore the wrong thing I had done ... I suffered terribly and tried desperately to pick out a picture of the massacre, and I could not. And even now I cannot, even though I still struggle to... It seems that whilst I was sowing death, mindlessly, like a robot, I was occupied by the demon or the beast that nests inside me...».
And here begins his description of prison and the penal system in general (in a time not so long ago): "In prison you meet all types of characters, the sensitive ones and the numbed ones. Most of the sensitive ones search to find a lifeline. The numbed ones have resigned themselves to a hopeless existence, spending their days engaged with sinister intent. They are like animals, and most of them look to turning any youngster dropped into prison for the first time, like them: immoral and depraved, with no respect for human dignity. In a word, they are pimps, snitches, paedophiles; they carry all the evil of the world upon them.
That is why the Ministry of Justice should not keep recidivist offenders and first-timers together...".
In his book "To makry zeibekiko” (it is the title of autobiography; a zeibekiko he never danced, yet one that lasted for so many years), Nick Koemtzis continues with his account of the trial. The media portray him as a bloodthirsty beast, and thereafter take to baptizing any dangerous criminals as "Koemtzides". We, once again (personal experiences in the courts aside), discern the distance between the real facts and that was claimed during the hearing. His plea, where he assumes full responsibility for the crimes, makes an impression on the court...
Perhaps the most shocking part of the book is his description of life as a condemned man in the "house of pain" (the prison) at Halicarnassus in Crete [5]. Koemtzis is detained in solitary confinement; a filthy, living grave. His only contact is with his jailers and occasional prisoner-snitches, put into adjacent cells by the police to "check his behavior." He waits day after day for his execution (One day an abbot came to visit – as he saw the priests he thought his time had come). In Greece΄s dictatorship at the time, there was no recognition or importance assigned to “death row phenomenon / syndrome”: the intense anxiety and fear experienced by the subject; the laborious, time consuming procedure that comprises (according to the subsequent ruling of the ECHR - see Soering vs UK), inhumane and degrading treatment that contravenes directive 3 of the ECHR. In any case, the political resolve had already been made: whilst the ECHR had been ratified by Greek country under Law 2329 of 1953, during the 1967 - 1974 dictatorship (when the trial and conviction of Nikos Koemtzis took place), the country withdrew from the Council of Europe in order to forestall its impending dismissal, and in doing so ceased to be a member of the ECHR. After the restoration of democracy, Greece re-ratified the ECHR under legislative decree 53/1974 and rejoined the Council of Europe (see St. Matthias, C. Ktistakis, L. Stavritis, K. Stefanakis; The Protection of Human Rights in Europe; Athens Bar Association , Athens; 2006, p.26 – in Greek)
In his cell, he writes poems, the only way to ward off insanity. He tries to imprint on paper his countless thoughts ... The most dramatic is the scene where he removed alone a bullet from his leg that had been left there since his arrest (the prison doctor did not pay him any attention!)
The book closes with a spare epilogue: "... In March 1977 three wardens announced to me that I had been spared death, saying: "The state has been compassionate. Now it is up to you to become better." I replied that I could only become worse, not better. Finally, the Ministry of Justice ordered my transfer from prison in Heraklion, Crete, to a worst prison (a hell prison) in Corfu. I was in hell from July 21, 1976 to 1982. ..
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... I was released on March 29, 1996”.
The approach for reviewing this work lies somewhere between artistic and criminological criticism. The criminological value of the book is indisputable. The study of a criminal autobiography – a practice adopted by the ecological Chicago School - can lead us to valuable conclusions about the reasoning and importance given in the perpetrator’s own words when describing his actions, and in observing the moral code he follows. The analysis of criminological phenomena through the eyes of the offender may help practitioners to analyze and propose improved prevention policies. In addition, through the study of this autobiography we uncover - page by page - a materializing of the theories of social reaction based on the "self-fulfilling prophecy" of the label or stereotype (see K. D. Spinellis; Criminology, Contemporary and Past Directions; 2nd edition; Sakkoulas Publications, Athens-Komotini; 2005, pp.275-278 – in Greek), and the importance of social responsibility involved in the creation of the offender, through the process of passage à l ΄acte.
Epilogue
Nikos Koemtzis killed and served the sentence imposed on him by the State for those crimes. Any attempt at glorifying the perpetrators of such crimes falls on deaf ears, even if this man’s story has inspired art. Perhaps then, should we come into contact with such works, we should be considering questions of how one is born a criminal and possibly what social responsibility applies in these cases. So whilst the offender is “disciplined” in serving his sentence, so should society be concerned when one of its own rejects it by resorting to crime. And whilst the above works were reviewed as primarily cultural artifacts, there can be no doubt their usefulness to criminological analysis, with much to offer towards the development of a social dialogue, an understanding of the criminal phenomenon and ultimately towards its prevention.
The sentence ROSE IS A ROSE IS A ROSE IS A ROSE was written by Gertrude Stein as part of the 1913 poem Sacred Emily, which appeared in the 1922 book Geography and Plays. In that poem, the first ROSE is the name of a person. Stein later used variations on the sentence in other writings, and A ROSE IS ROSE IS A ROSE is probably her most famous quote, often interpreted as meaning THINGS ARE WHAT THEY ARE, a statement of the law of identity, A IS A. In Stein's view, the sentence expresses the fact that simply using the name of a thing already invokes the imagery and emotions associated with it. As the quote diffused through her own writing, and the culture at large, Stein once remarked NOS LISTEN! I'M NO FOOL. I KNOW THAT IN DAILY LIFE WE DON'T GO AROUND SAYING IS A... IS A...IS A... YES, I'M NO FOOL; BUT THINK THAT LINE THE ROSE IS RED FOR THE FIRST TIME IN ENGLISH POETRY FOR A HUNDRED YEARS. (Four in America).
Gertrude Stein's repetitive language can be said to refer to the changing quality of language in time and history. She herself said to an audience at Oxford University that the statement referred to the fact that when the Romantics used the word ROSE it had a direct relationship to an actual rose. For later periods in literature this would no longer be true. The eras following romanticism, notably the modern era, use the word rose to refer to the actual rose, yet they also imply, through the use of the word, the archetypical elements of the romantic era. It also follows the rhetoric law of thricefold repetition to emphasize a point, as can be seen in speeches dating back to the sophists.
By letting himself be caught, he has done us more harm than he did [defecting to Napoleon] on the 13th of March!
The near-unanimous conviction and death sentence were agreed by the Peers around midnight as December 6 became December 7, and the Bravest of the Brave led out near the Luxembourg Garden that very morning to suffer the sentence passed upon him.
mixed media on paper. ca. 30 x 40 cm.
www.saatchiart.com/art/Collage-forming-sentences/703169/2...
Sätze bilden.
Mischtechnik auf Papier. ca. 30 x 40 cm.
Zofiówka Sanatorium is a defunct mental health facility in the town of Otwock in Poland, built at the beginning of the 20th century. In the Second Polish Republic, the sanatorium complex was expanded with more buildings and staff. Zofiówka initially had 95 beds, but this number had increased to 275 by 1935. The Jewish history of Zofiówka has come to its tragic end in the course of the Holocaust following the invasion of Poland by Nazi Germany.
Construction
The history of the old Jewish sanatorium starts at the beginning of the 20th century. Back then, the institutionalized treatment of mental disorders was in its infancy. In 1906, Polish-Jewish neurologists Adam Wizel, Samuel Goldflam, Ludwik Bregman and Adolf Weisblat formed the "Society for Poor Jews with Nervous and Mental Illnesses" (Polish: Towarzystwo Opieki nad Ubogimi, Nerwowo i Umysłowo Chorymi Żydami). The sanatorium's director was Dr. Stefan Miller.A year later, a donation by the philanthropist Sophia Endelman enabled the purchase of 17 hectares of land and in 1908 the first building of a new sanatorium was built by the association there. An important part of the treatment was restoring patients to society by enabling them to practice employment. In its isolation ward (part of the hospital reserved for the most difficult patients), the mother of famous Polish poet, Julian Tuwim, Adela Tuwim was placed before World War II.
Holocaust history
In late 1940, the asylum fell within the so-called ‘medical zone’ formed by the Germans in the newly established Jewish ghetto of Otwock. The institution was still working during the early stages of the occupation of Poland, but the conditions dramatically worsened. Almost 400 patients were sentenced to a slow and torturous death by starvation as part of the Nazi extermination Aktionen. Zofiówka ended its existence at the same time as ghetto in Otwock.
On the morning of 19 August 1942, the Ukrainian Trawnikis supervised by the Germans, gathered the patients and the hospital crew in the first pavilion. Some 100-140 victims were shot on the spot, the rest were put on the Holocaust train to Treblinka along with Otwock’s Jewish population of 7,000.[2] Only a few doctors, who managed to escape to Warsaw by ambulance, survived. Some of the staff people committed suicide. In 1943 Zofiówka served Germans as Lebensborn, the institution of charity care. The facility also dealt with the Germanization of Polish children, and bringing them up for adoption to families in Germany.
After World War II
Zofiówka returned to its original medical purposes after the Soviet takeover, but patients were mainly children and young people. Between 1985 and mid 90’s, the facility was used in treating neuropsychiatric disorders associated with drug addiction. This continued on until the decision was made to finally close it.
In 2015, the Internet viral video called 11B-X-1371 was found to have been filmed at the abandoned facility, though by whom and when, exactly, are not known.
lets talk about this situation , hey you know , you shoudnt use that sentence if you dont really get its meaning. And by the way , did i translate it ? or you? hahahahaha , such a weird girl when you translated it yourself and said that , "hey youuu girl, you translated it like that. like that . but if you keep that way , how can they translate ..(umm how can i say văn học nc ngoài in vietnamese?) "... yeah like that :)))) heyyy , and by the way , i dont wanna talk about this in front of people , in public you know ~,~ but you strarted this girl i just continue this and end this , dont let me see any desc like "nhiều ng... pla pla pla" i dont wanna continue this , so shut up and stay where you are .!
Robert, twenty-eight, was sentenced to four years in jail for strong-armed robbery when he was seventeen. "It was a good learning experience. I used to write my mom, and she would read my letters, and she said would tell me, 'when did you learn to write, you really writing the letters?' I didn't know how to read or write before jail. Now I read books from cover to cover." Robert doesn't do any drugs, only some beer and cigarettes: "I don't mess with that shit."
The tattoo on his neck is for his cousin Jose, who also went to jail with him. After being released he was shot to death by a man he fought while in Rikers. The shooter got seventeen years.
Super nice and polite, he works now in a Bodega down the street from Brother.
More Bronx photos here: Bronx
2018 February Alphabet Month
The verdict is in: The Jewel Thief has been sentenced to jail. The evidence on the table clearly put her away. The lawyer filed a brief, but the judge said it was too brief. But this judge did not want any clowning around in his courtroom. He demanded odor in the court. And he got odor alright!
2018 February 19
Start this sentence…
More Yorkies at: itsayorkielife.com/start-this-sentence/
#Yorkies #YorkshireTerriers #YorkieLove
"A noun sentence, no verb
to it or in it: to the sea the scent of the bed
after making love ... a salty perfume
or a sour one. A noun sentence: my wounded joy
like the sunset at your strange windows.
My flower green like the phoenix. My heart exceeding
my need, hesitant between two doors:
entry a joke, and exit
a labyrinth. Where is my shadow—my guide amid
the crowdedness on the road to judgment day? And I
as an ancient stone of two dark colors in the city wall,
chestnut and black, a protruding insensitivity
toward my visitors and the interpretation of shadows. Wishing
for the present tense a foothold for walking behind me
or ahead of me, barefoot. Where
is my second road to the staircase of expanse? Where
is futility? Where is the road to the road?
And where are we, the marching on the footpath of the present
tense, where are we? Our talk a predicate
and a subject before the sea, and the elusive foam
of speech the dots on the letters,
wishing for the present tense a foothold
on the pavement ..."
by Mahmoud Darwish
translated by Fady Joudah
Vintage postcard. Beatrice Dalle in On a volé Charlie Spencer!/Charlie Spencer was stolen! (Francis Huster, 1986).
Seductive French actress and wild girl Béatrice Dalle (1964) made a big splash with her film debut in 37°2 le matin/Betty Blue (1986). She went on to appear in a series of major roles in French and American films. Her unpredictability has gained her almost as much attention off-screen as on.
Béatrice Dalle was born as Béatrice Françoise Odona Cabarrou in Brest, France, in 1964. (However, a number of sources state she was born in Le Mans, France.) In 1985 she married the painter Jean-François Dalle but they divorced in 1988. She was spotted by a photographer on the Champs Élysées. Following a cover shoot in Photo magazine on the subject of Lolitas, Dalle was introduced to agent Dominique Besnehard, who in turn introduced her to film director Jean-Jacques Beineix. He cast her in the lead role in his erotic drama 37°2 le matin/Betty Blue (Jean-Jacques Beineix, 1986). Betty Blue is a sexually aggressive free spirit who becomes involved with Zorg (Jean-Hugues Anglade), a repairman moonlighting as a writer. The two engage in a variety of sexual encounters and grow more passionate toward each other. Her portrayal of the beautiful, impulsive but increasingly unstable Betty was a sensation. The French cinema had a new sex symbol. Jason Buchanan at AllMovie: “Immediately recognized by the French masses for her unmistakable presence and stunning performance as the titular character, Dalle's career was soon on the rise, with a subsequent performance as a woman who claims to be a witch in La Visione del Sabba (Marco Bellocchio, 1988) cementing her status as an unconventional actress of daring sensibilities.” Chimère (Claire Devers, 1989) was entered into the 1989 Cannes Film Festival. She then appeared opposite Isabelle Huppert in the dark drama La Vengeance d'une Femme (Jacques Doillon, 1989), based on Fyodor Dostoyevsky's 'The Eternal Husband'. Privately, she had a ten-year relationship with the French rapper Joey Starr.
Béatrice Dalle made her international debut as a beautiful but surly blind girl in the Paris episode of the round-the-world comedy Night on Earth (Jim Jarmusch, 1991). That year, she also featured in the music video Move To Memphis (1991) by Norwegian band A-ha. Dalle appeared almost exclusively in French films, including À la Folie/Six days, six nights (Diane Kurys, 1994) about A menage-a-trois between rival sisters (Dalle and Anne Parillaud) and a boyfriend, and J'ai Pas Sommeil/I Can't Sleep (Claire Denis, 1994) about two nocturnal serial killers who terrorize Paris. Her first Hollywood production was The Blackout (Abel Ferrara, 1997) as the girlfriend of Matthew Modine, but her American career was cut short. During the production of The Blackout in Miami, she was arrested for cocaine possession. The incident would later come back to haunt her. Following her arrest, Dalle was declared an ‘Undesirable Immigrant. She would later be denied an American work permit to play the role of Bruce Willis' wife in The Sixth Sense, leaving the role open for actress Olivia Williams to fill. It was not the only incident. In 1991, Dalle had already been arrested for stealing a drug conviction in France in addition to a prior conviction of stealing jewels from a Paris boutique. She also had a drug conviction in France and there was another incident in which Dalle physically attacked a Parisian meter maid who was writing the actress a ticket for parking in a handicapped space.
In 2001, Béatrice Dalle appeared in the controversial art-house thriller, Trouble Every Day (Claire Denis, 2003), in which she played a cannibal opposite Vincent Gallo. Then she was directed by Nobuhiro Suwa in H Story (2001), a postmodern adaptation of Alain Renais' classic Hiroshima, Mon Amour (1959) Suwa plays himself as a director who is seeking to remake the masterwork and has cast Dalle in the lead role originally played by Emmanuelle Riva. A critical success were the dramas Le temps du loup/The Time of the Wolf (Michael Haneke, 2003) starring Isabelle Huppert, Clean (Olivier Assayas, 2004) with Maggie Cheung and Nick Nolte, and L'Intrus/The Intruder (Claire Denis, 2004) with Michel Subor. In 2005, Dalle encountered Guénaël Méziani when they co-starred in Tête d'Or/Golden Head (2005), a film produced inside a prison in Brest. She appeared as a princess who fell for a prisoner. In reality, Dalle also fell in love at first sight with Meziani who was really serving a 12-year prison sentence for assaulting and raping his ex-girlfriend. She married him after 24 one-hour visits with him and spoke on his behalf at hearings for his early release. According to the newspaper Le Parisien, in May 2009 just weeks after he was given a conditional release for good behaviour, police were called to her flat in the Marais district of Paris because of a violent dispute in which Meziani allegedly threatened to kill her. Their divorce was pronounced in July 2014. In recent years, she starred in such films as À l'intérieur/Inside (Alexandre Bustillo, Julien Maury, 2007), in which she played a cruel psychopath stalking a pregnant woman, the TV film New Wave (Gaël Morel, 2008) and the family drama Domaine/Domain (Patric Chiha, 2009) in which she played an alcoholic and onetime professor of mathematics. At the time of writing this post, Béatrice Dalle’s latest films are Notre paradis/Our Paradise (Gaël Morel, 2011) and Bye Bye Blondie (Virginie Despentes, 2012) with Emmanuelle Béart. In recent years, she appeared in such films as Rupert Everett's The Happy Prince (2018), a biographical drama film about Oscar Wilde, Gaspar Noé's Lux Æterna (2019), an independent experimental meta-art film, and La Bête dans la jungle/The Beast in the Jungle (Patric China, 2023), an upcoming internationally co-produced drama based on a novella by Henry James.
Sources: Jason Buchanan (AllMovie), Colin Randall (The Telegraph), Henry Samuel (The Telegraph), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Kelly country tour: Fifteen Mile Creek. Kelly mother's homestead..
Edward "Ned" Kelly (December 1854 – 11 November 1880) was an Australian bushranger of Irish descent..
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Kelly was born in the British colony of Victoria as the third of eight children to an Irish convict from County Tipperary and an Australian mother with Irish parentage. His father died after serving a six-month prison sentence, leaving Kelly, then aged 12, as the eldest male of the household. The Kellys were a poor selector family who saw themselves as downtrodden by the Squattocracy and as victims of police persecution. Arrested in 1870 for associating with bushranger Harry Power, Kelly was convicted of stealing horses and imprisoned for three years. He fled to the bush in 1878 after being indicted for the attempted murder of a police officer at the Kelly family's home. After he, his brother Dan, and two associates fatally shot three policemen, the Government of Victoria proclaimed them outlaws..
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During the remainder of the Kelly Outbreak, Kelly and his associates committed armed bank robberies in Euroa and Jerilderie, and murdered Aaron Sherritt, a friend turned police informer. In a manifesto letter, Kelly—denouncing the police, the Victorian government and the British Empire—set down his own account of the events leading up to his outlawry. Demanding justice for his family and the rural poor, and threatening dire consequences against those who defied him, he ended with the words, "I am a widow's son outlawed and my orders must be obeyed.".
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When Kelly's attempt to derail and ambush a police train failed, he and his gang, dressed in homemade suits of metal armour, engaged in a final violent confrontation with the Victoria Police at Glenrowan on 28 June 1880. All were killed except Kelly, who was severely wounded by police fire and captured. Despite thousands of supporters attending rallies and signing a petition for his reprieve, Kelly was tried, convicted and sentenced to death by hanging, which was carried out at the Old Melbourne Gaol. His final words are famously reported to have been, "such is life"..
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Even before his execution, Kelly had become a legendary figure in Australia. Historian Geoffrey Serle called Kelly and his gang "the last expression of the lawless frontier in what was becoming a highly organised and educated society, the last protest of the mighty bush now tethered with iron rails to Melbourne and the world." Despite the passage of more than a century, he remains a cultural icon, inspiring countless works in the arts, and is the subject of more biographies than any other Australian. Kelly continues to cause division in his homeland: some celebrate him as Australia's equivalent of Robin Hood, while others regard him as a murderous villain undeserving of his folk hero status.Journalist Martin Flanagan wrote: "What makes Ned a legend is not that everyone sees him the same—it's that everyone sees him. Like a bushfire on the horizon casting its red glow into the night." Excerpt from Wikepedia.
In 2014, I visited OMO CHILD, a home that cares for Mingi (cursed) children abandoned/sentenced to death by their tribes. The practice is slowly disappearing thanks to efforts like OMO CHILD. I had a chance to see the school where local Jinka and Mingi children were educated together…what an incredible experience. At the end of the school day, this lovely girl was in charge of lowering the Ethiopian national flag.
For more information on Mingi children and the ongoing efforts to protect them, I recommend you have a look at omochild.org/.
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