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I can't remember when it was good
moments of happiness in bloom
maybe I just misunderstood
all of the love we left behind
watching our flash backs intertwine
memories I will never find
inspite of whatever you become
forget that reckless thing turned on
I think our lives have just begun
I think our lives have just begun
and I'll feel my world crumbling down
feel my life crumbling now
feel my soul crumbling away
falling away
falling away with you
staying awake to chase a dream
tasting the air you're breathing in
I hope I won't forgot a thing
I wish to hold you close and pray
watching our fantasies decay
nothing will ever stay the same
and all of the love we threw away
and all of the hopes we've cherished fade
making the same mistakes again
making the same mistakes again
and I'll feel my world crumbling down
feel my life crumbling now
feel my soul crumbling away
and falling away
falling away with you
all of the love we left behind
watching our flash backs intertwine
memories I will never find
memories I will never find
FALLING AWAY WITH YOU
with: Deke McClelland
The elusive alpha channel remains one of the most misunderstood yet powerful tools in Photoshop. Alpha channels are collections of luminance data that control the transparency of an image, and they inform just about every aspect of Photoshop. Selections, layer boundaries, the Quick Mask mode, layer masks, knockouts, and the Channels palette all rely on alpha channels. In Photoshop CS3 Channels and Masks, award-winning author and Photoshop expert Deke McClelland taps the vast capabilities of popular tools like layer masks, luminance blending, and paths. He also takes on many little known but very useful features, including Calculations, blue-screen masking, high dynamic range, and displacement masks. Plus, Deke teaches how to select and composite highlights, shadows, clouds, fabric, feathers, glass, flames, lights, eyes, and all kinds of hair. Exercise files accompany the tutorials.
Duration: 33 hours
On 2 DVD-ROM
Wilco Setlist:
Misunderstood
Art Of Almost
I Might
I Am Trying to Break Your Heart
Born Alone
Side With The Seeds
Spiders (Kidsmoke) (Acoustic Version)
Impossible Germany
Kamera
Not For The Season
Standing O
At Least That's What You Said
Jesus, Etc.
I Must Be High
Whole Love
Can't Stand It
Candyfloss
Dawned On Me
A Shot in the Arm
Encore:
Airline To Heaven
Christ For President
Walken
I'm the Man Who Loves You
Dreamer In My Dreams
Wynkoop House, Old Haarlem - 1888
Henry Ossawa Tanner (American, 1859 - 1937)
“Wynkoop House, Old Haarlem” represents a frequently misunderstood aspect of Tanner's oeuvre. Along with his characteristic biblical subjects, the artist depicted specific sites and buildings that have erroneously been seen by some writers on Tanner "as diversions from the intense work of composing elaborate biblical subjects intended for the Salon."(1)1 Recent research, however, has demonstrat¬ed that subjects such as “Wynkoop House” were important to the core of Tanner's symbolic civil-rights messages.
At first glance, the title of our painting, “Wynkoop House, Old Haarlem”, suggests that the building is in the Netherlands. However, a Wynkoop House also known as Vredens-Hof and Vrendens Berg existed at Northha¬mpton Township in Bucks County, Pennsylvania, not far from Tanner's home in Philadelphia.(2)2 It was built in 1739 by Nicolas Wynkoop, who named the place Vrendens-Hof, "abode of peaceful rest."(3)3 "When a house is distin¬guished by association with such sturdy and loyal characters as Vrendens-Hof has been, it assumes a greater dignity; Washington, Lafayette, and James Monroe having been guests, under its hospitable roof at the same time, at the close of the American Revolution."(4)4 When it was owned by George Washington's abolitionist friend Judge Henry Wynkoop5 the house would have been of interest to Tanner because Judge Wynkoop "treated his slaves so well that although he gave them their freedom, most of them remained on the farm and upon their deaths, according to legend, were buried under a tree" near Vrendens-Hof.(6)6 Tanner emphasized the tree in the foreground of “Wynkoop House” and by so doing gave it the type of social underpin¬ning found in his other site-specific works.
Although Tanner's building is in basically the same architectural style as published photographs of Wynkoop House, it does not match exactly with any section of the mansion, even when remodeling is taken into consideration.(7)7 On the other hand, an illustration in a book on Vredens-Hof published in 1908 shows individual, unattached structures on either side of the manse and behind it that call to mind the configuration at Washington's estate in Mount Vernon.(8)8 In point of fact, Tanner's rendition of Wynkoop House may be seen as a sophisticated architectural version of the slave quarters at Mount Vernon.
Stylistically, Tanner's approach in “Wynkoop House” is inconsistent with his working method in the late 1880s, as is the signature. The painting does not echo the drawing skill or spatial arrangement of the 1888 illustration “It Must Be My Very Star” and does not bear the monogram signature.(9)9 Moreover, the treatment of Wynkoop is far removed from the confident handling of “Lion Licking Its Paw” (1886; Allentown Art Museum, Pa.). The overall style of the picture, however, is perfectly consistent with Tanner's treatment in “Boy and Sheep Lying under a Tree” (1881; private collection). The middle-ground compositions and palettes of these works match up very well. Even more compelling is the dabbled sparkling light in both works which presages one of the most beautiful aspects of Tanner's mature style.
Henry O. Tanner, African-American painter and printmaker, was born in Pittsburgh. He was the son of Sarah Miller, a freed slave, and Benjamin Tucker Tanner, a bishop of the African Methodist Episcopal Church and the editor of the “Christian Recorder”. Tanner's parents were strong civil-rights advocates, which accounts for the fact that his middle name, Ossawa, was a tribute to the abolitionist John Brown of Osawatomie.
In 1868 the Tanner family moved to Philadelphia, where Henry saw an artist at work in Fairmont Park and decided immediately to become one. His mother encouraged this ambition, though his father apprenticed him in the flour business after he graduated, valedictorian, from the Roberts Vaux Consolidated School for Colored Students in 1877. Flour work proved too strenuous for Tanner and he became ill. After his convalescence near John Brown's farm in the Adirondacks in 1879, he entered the Pennsylvania Academy of the Fine Arts and studied under Thomas Eakins, and Thomas Hovenden was his mentor. Tanner's professional career began while he was still a student. He made his debut at the Pennsylvania Academy annual in 1880, that year he also exhibited at the Progressive Works Men's Club in Philadelphia, the first exhibition ever of African-American artists organized by African Americans. During this period he specialized in seascape paintings such as “Point Judith” (ca. 1880; private collection), while also rendering memories of his Adirondack sojourn, as evinced by “Burnt Pines: Adiron¬dacks” (ca. 1880; Hampton University Museum, Va.). A tendency to use overlapping shapes and diagonal lines to create recession into space was announced in these works and can be seen over his entire career. The rich browns, blues, blue-greens, and mauve, with accents of bright red, in these pictures also remained constant in his oeuvre.
During the mid-1880s Tanner decided to become an animal painter. A superb example of this genre is “Lion Licking Its Paw” (1886; Allentown Art Museum, Pa.). In addition to easel paintings, Tanner provided illustrations for short stories for the July 1882 issue of Our Continent and the January 10, 1888, “Harper's Young People”.
In 1889 Tanner opened a photography studio in Atlanta. After this business failed, he remained in that city and taught drawing at Clark University, where he met Bishop and Mrs. Joseph Crane Hartzell. They arranged Tanner's first solo exhibition, in Cincinnati in 1890, to help the young artist raise funds for European study. Tanner set sail for Italy on January 4, 1891, but after reaching Paris he decided to remain there. He enrolled in the Académie Julian, where his teachers were Jean-Paul Laurens and Jean-Joseph Benjamin Constant. He made Paris and Trépied, France, his permanent homes for the rest of his life.
Tanner visited the United States in 1893 and concentrated on sober sympathetic depictions of African-American life to offset a history of one-sided comic representations. “Banjo Lesson” (1893; Hampton University Museum, Hampton, Va.), in which an older man instructs a young lad, is the first painting that can be ascribed to Tanner's new desire. He debuted at the Paris Salon of 1893 with this painting.
At the turn of the century, Tanner devoted himself almost exclusively to biblical scenes, a result of both his devout family background and the economic opportuni¬ties provided by the subject. Almost all Tanner's biblical themes centered around ideas of birth and rebirth, both physical and spiritual. Tanner expressed his upbringing in the fledgling civil-rights movement through these themes that relate to Abraham Lincoln's Emancipation Proclamation of 1863, which promised freedom or "birth and rebirth" to black slaves. This approach was also consistent with Tanner's desire to render sympathetic depictions of African Americans.
Tanner's relatively few portraits brought to the fore images of individuals involved with civil rights and other humane concerns. Stylistically, the portraits are characterized by a very shallow recession into space or a certain flatness, while maintaining the rich brown, blue, blue-green, and mauve palette spiked with bright reds and multiple light sources. These characteris¬tics are particularly notable in his genre scenes based on visits to North Africa in 1908 and 1912.
Frustrated by World War I, Tanner stopped painting and instead became a major figure in the American Red Cross. He resumed his career as artist on November 11, 1918, the very day of the Armistice, when the American Expeditionary Force authorized Tanner's travel to make sketches of the front, such as “Canteen at the Front” (1918; Ameri¬can Red Cross, Washington, D.C.). Tanner's mature style was characterized by experiments with thickly built up enamel-like surfaces, seen in one of his last paintings “Disciples Healing the Sick” (c. 1930; Clark Atlanta University Collection of African-American Art, Atlanta).
Tanner garnered ample recognition in the international art literature of his time and exhibited frequently on both sides of the Atlantic. He received a gold medal at the 1915 Panama-Pacific International Exposition in San Francisco and the prestigious Cross of the Legion of Honor in 1923. He was elected a member of the American Negro Academy, Washington, D.C., in 1898; associate and full academician of the National Academy of Design, New York, in 1909 and 1927, respectively. It would be impossible to imagine the generation of African-American artists who contributed to the Harlem Renaissance without the example of Tanner's single-minded pursuit of artistic success and his international recognition.
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"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
Often misunderstood and rarely properly pronounced, chupacabras just need a good home. Adopt one and show us your favorite bonding moment.
I may smile when your around but when I'm alone you don't know. You don't know me, you can't see my pain
Wilco Setlist:
Misunderstood
Art Of Almost
I Might
I Am Trying to Break Your Heart
Born Alone
Side With The Seeds
Spiders (Kidsmoke) (Acoustic Version)
Impossible Germany
Kamera
Not For The Season
Standing O
At Least That's What You Said
Jesus, Etc.
I Must Be High
Whole Love
Can't Stand It
Candyfloss
Dawned On Me
A Shot in the Arm
Encore:
Airline To Heaven
Christ For President
Walken
I'm the Man Who Loves You
Dreamer In My Dreams
It's delightful to come home to a delicious gift. Thanks!
THE JEALOUS SOUND - "The Gift Horse"
Dear misunderstood,
When you fight back does it feel good?
Did you manage to forget
'Cause you tried the tourniquet?
Forgive me if I'm gushing
You have no currency to pay,
You have no influence to sway,
Is there nothing that will steer you from this course?
I force your hand to write,
List what you left behind,
Did I force your hand to move like mine?
Will the damage be too much?
Did you ever get enough?
Does the damage make you dangerous?
No currency to pay,
You have no influence to sway,
Is there nothing that will steer you from this course?
And dear, I fear you've killed the gift horse,
Should we all fall to our knees for you?
There's no detail that you sweat,
There's no gold in the sunset,
You're nothing if not fortunate
No currency to pay,
You have no influence to sway,
Is there nothing that will steer you from this course?
And dear, I fear you've killed the gift horse,
Should we all fall to our knees?
Is it everything you want?
Is it everything you need?
It's more than you can stand,
We finally agreed
Dear misunderstood,
Can you fight back?
Does it feel good?
Should we all fall to our knees? (All fall to our knees),
Is it everything you want?
Is it everything you need?
Should we all fall to our knees? (All fall to our knees),
Was it more than you could stand
When we finally agreed?
You have no currency to pay,
You have no influence to sway
And everything you had,
You just gave it all away
Should we all fall to our knees (all fall to our knees, all fall to our knees)
For you?
There's no such thing as bad light, just misunderstood light. by Don McCullin.
One of the greatest quote which I now stand by in photography. Light has changed the way I see things. As I learn more and more about strobing and composing images using natural or artificial light...I begin to enjoy lighting qualities. I'm learning a great deal on the uses of lights.
Strobist info: One big fireball fired @ 1/1 via God.
Do yourselves a favor, view in black.
Dodongos are misunderstood creatures and can't even manage to spread their anti-smoking propaganda around Hyrule without some uppity elf in a pointy hat tossing bombs down their gullets
Pretty much was sick like the previous day. Was at second home the entire day and sis got me chicken rice soup. OMG it did wonders because I could talk again. Spent the day on tumblr and catching up on my shows.
Misunderstood was that I woke up and felt empty and felt as if I had done something wrong. I didn't like the feeling at all hence why Kowari (YES MY STUFFED ANIMAL HAS A NAME DON'T JUDGE ME!) was my buddy for the night. As they say teddy bears are the next best thing when you seek comfort but can't find it.
I got this in a misunderstood swap - I expected three ATCs but I called it a mini journal page, so my partner sent it as she understood what a mini journal was (bits and pieces of things), so I made this ATC from what she sent me. I love it!
Don’t Let Me Be Misunderstood by Rob "ProBlak" Gibbs and Victor "Marka27" Quiñonez was part of the 2020 project at Underground at the Ink Blot. This mural, centered on a raised Black fist and portraits of Nina Simone, connects past injustices faced by Black people and People of Color with ongoing racial inequities, symbolizing solidarity, justice, and hope, while reflecting African roots through red, black, and green.
Underground at Ink Block, located on an 8-acre underpass beneath Boston’s I-93, situated between the South End and South Boston neighborhoods, opened in 2007. Initiated by the Massachusetts Department of Transportation (MassDOT) as part of the Infra-Space program, the project aimed to repurpose underutilized urban spaces, the park features landscaped pedestrian boardwalks, bicycle paths along the Fort Point Channel, and world-class street art.
Place: Castle of Thoiry,situated in Thoiry Yvelines at around 50 kms from Paris
Camera: Canon EOS 50D
Lens:Canon 70-200 L F4 @ 5.6
Wilco Setlist:
Misunderstood
Art Of Almost
I Might
I Am Trying to Break Your Heart
Born Alone
Side With The Seeds
Spiders (Kidsmoke) (Acoustic Version)
Impossible Germany
Kamera
Not For The Season
Standing O
At Least That's What You Said
Jesus, Etc.
I Must Be High
Whole Love
Can't Stand It
Candyfloss
Dawned On Me
A Shot in the Arm
Encore:
Airline To Heaven
Christ For President
Walken
I'm the Man Who Loves You
Dreamer In My Dreams
Crime Scene Cleanup is an often misunderstood industry. Plenty of people are not aware of its existence, often associating the clean up of crime scenes with police, coroner, EMT or medical examiner. In fact, after a body is removed from a scene, the homeowner is left with the mess. Private companies that specialize in crime scene cleanup are used and contracted to clean blood and bodily fluids. Here are some facts pertaining to the crime scene cleanup industry, and handy tips to know when first reaching out to such a company. Learn more at www.biorecovery.com
Awww, poor misunderstood Dahlia. You just need a friend...
...and it looks like you found one!
Wasn't Raspberry Tart a bit of a mischief-maker too?
Just looking through my lovely pet photo stash and thought that i would do a montage of some of my favorites..
To begin-- this is Mean Lady. When we first got her, her name was Lady May, but as her personality began to show after she got used to us and the other cats, she was renamed to suit. As you have probably already guessed, she is fierce-- or as other, more understanding individuals call it "misunderstood". It was VERY hard to get a picture of her sitting still, but I am still working on getting some good shots of her.
Enjoy!