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Yashica Mat 124G | Ilford Delta 100
This is my first try with Ilford Delta 100. While I was processing this photo I listened to Vanilla - Origin album over and over again. youtu.be/lSU1eFxgr68 I think it affected in some way the final result. Track no 11 "Traveller" in particular.
The origin of the name 'Roe' is unclear. Suggestions include a Viking origin in the 8th/9th century, and the Irish 'rua', meaning 'red', ie the Red River. In the winter when water levels are high the river takes on a strong red hue as a result of peat being washed down the river.
The Roe Basin (or Roe Valley) is a wide, glacial valley. The river flows most of the way to Limavady through an open, grassy, pastoral farmland landscape before narrowing through a metamorphic rock gorge ( just behind the camera in this shot) within the Roe Valley Country Park.
Photo details
Overall image composed of two HDR's ( comprising of three exposures) blended and tonemapped in photomatix, then stitched in photoshop, tonal adjustments also made in lightroom.
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Mom must be worried, it's past 8:30. Maybe I should give her a call to let her know I'm waiting for the next subway car.
Smoke comes pouring out of a nearby hallway and with it a mysterious man dressed all in black.
"You, have been chosen boy."
"Chosen for what?"
"To be the next protector, come with me to discover your true potential."
"Where are we going?"
"To see the wizard."
We walked down the hallway but it looked different than it usually does. There were strange pictures and holograms all over the walls. We arrived at at a train and the doors opened.
"Get in."
"Where will it take me?"
"That I've already told you."
"I still don't understand, why am I here?"
"I'm afraid I must allow you to find that out for yourself, you must ride this train to your destination."
"How do I know when to get off?"
"This train only makes one stop."
The train started moving, I'm defiantly going to be late.
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They say plants don't move.
Only some 120- hours ago these were all yellow dandelions.
And thye figured out haw to mix their males and females to fly far away without using any of their own energy,,
Parachutes come to mind.
The most recent Catholic tribute painting by expressionist artist Stephen B Whatley.
The origins of this devotion to the Blessed Virgin Mary date back to 1830, in the Chapel of The Sisters of Charity (now known as The Chapel of Our Lady of The Miraculous Medal) in Paris, France, where Sister ( now Saint ) Catherine Laboure received three miraculous visitations from Our Lady informing her that She was giving her a mission.
On November 27, 1830 Sister Catherine saw a vision of Our Lady standing on a globe that the Mother of God explained represented the whole world; especially France that was experiencing great poverty during the aftermath the many wars of the time. Her foot is placed on a serpent, below her representing Satan.
Streaming from rings on Mary's fingers were many rays of light that symbolised the graces she obtains for those who ask. Framing the vision was an inscription,
"O Mary conceived without sin,
pray for us who have recourse to you"
Mother Mary instructed Sister Catherine to have a medal - now known as the Miraculous Medal - created of this image. She then showed her what should be detailed on the reverse of the medal: 12 stars encircling a large "M" from which arose a Cross, below which are two hearts, representing The Sacred Heart of Jesus and The Immaculate Heart of Mary.
The Blessed Virgin Mary told Sister Catherine that "…Those who wear the medal will receive great graces, especially if they wear it around their neck"
Painting in prayer, the artist embroidered all the elements of the Blessed Virgin Mary's instructions into his painting - with a special intention that the painting should bring light, peace, hope and blessings of healing to those who view it.
'Miraculous Medals' cut to this divine design can be bought from cathedrals, churches & Catholic shops.
A Novena (9 day prayer) to the Miraculous Medal can be see read via this link to the official website of The Chapel of Our Lady of The Miraculous Medal in Paris , 140 rue du Bac, Paris, France:
www.chapellenotredamedelamedaillemiraculeuse.com/EN/h5.asp
The work of Stephen B Whatley, which has been published in TIME magazine & widely in the Catholic press is in collections worldwide & in public collections including the BBC Heritage, London Transport Museum, The Royal Collection, The Tower of London (where there is a permanent walkway of the artist's work at Tower Hill) & London's Westminster Cathedral which staged an exhibition of his Catholic tributes, Paintings From Prayer - which included a portrait of Pope Francis - in August 2013.
The Feast Day of Our Lady of The Miraculous Medal is celebrated the same day as that of Our Lady of The Immaculate Conception: December 8th.
Prayers for peace & miracles of strength & healing during Advent Christmas & in the New Year.
Oil on canvas,
39.5 x 27.5in/100 x 70cm
In the 25th century, the Justice League's history- their origins, their identities, are all an open book, and they're all linked by one thing. Tragedy. It's inescapable. There is no life without loss. No progress without pain. Barry Allen lost his mother when he was a boy. Bruce Wayne lost his parents. J'onn Jonzz was the last son of Mars. And in my time, they are heroes. They are better because of it. They know what they have to sacrifice to win, to be greater.
...I know tragedy too. I lost *my* mother when I was eight, my father was gunned down by police. I lost my marriage, my mentor, my ability to walk, to tragedy. It's what brought me to the Reverse-Flash, and it's what finally gave me a new purpose.
My name is Hunter Zolomon, and for years I was best friends with Wally West. Ever since I met him, I wanted nothing more than to be his teacher, to show him that tragedy is not something to be avoided, it is *necessary.* Time and time again, he rejected my gift. He didn't understand that you can't save the world with a smile on your face. You can't save the world without dirtying your hands. Some consider him a lost cause, that he can't be helped, and that? That hurts me more than anything.
===Arkham Asylum===
Since the inmates were transferred to Arkham City the year before, the Asylum had been quiet. Peaceful, one might even say. No more desperate screaming through padded cells. No more deranged cackling from the basement.
As far as most people knew, it had been abandoned. The acting mayor even had plans to demolish it come spring.
But it wasn't abandoned.
The low trundle of a wheelchair squeaked against the wet ground. A greyish hand grasped the wheel, and propelled himself forward. The last of Arkham's patients. He'd been told he wouldn't survive the trip to Slabside. That his body was too broken. And so they sent him here, discarded him like a broken toy. He looked down to the grounds below- Maybe... Yes, from this height, the fall would kill him, he thought.
And yet, he'd thought the same thing last time, during the quake, and all that had left him with was a broken body. Jonathan Crane sat there, in silence, the faint outline of his city just visible through the trees- Wayne Enterprise's latest steel monstrosity towered above the rest, as though it were mocking him...
"Ooga Wooga Booga!"
Crane turned his head slowly, unimpressed. "I knew you'd come, sooner or later. Don't presume that your little... jaunts across the island have gone unnoticed."
Knelt beside him, dressed in a bright purple suit and grinning like a hyena, was The Joker. "It's true!" he giggled. "You can't be spooked!"
Crane's tone shifted as he whispered bitterly. "I don't want to talk about it."
"Sure, you do... That's all you ever did. Lecture on top of lecture, speech on top of speech. Sure, *occasionally* you'd unleash some horrible doomsday weapon, create a new virus, but if there's one thing you loved more than fear, it was the sound of your voice when you talked about it."
"Eno-" Crane begins, but Joker's already raising a finger to silence him.
"Heh... It's funny, Straw Man," he smiles, rising to his feet, his hands on the wheelchair. "One push and... game over. "
"Joker, enough! I won't play your game."
"But it's fu-un," he sings, as he trundles the chair closer to the edge.
"In case you've forgotten, *I* can't be scared, so these cheap theatrics of yours are meaningless"
"No, but you *can* be killed," Joker continues, rocking the chair back and forth. Back and forth.
"I would welcome it!" Scarecrow hisses back.
...
"Now isn't that interesting..." Joker chuckles, his hands sliding off the handlebars.
"Let me tell you a secret Jonathan," he whispers. "There's a reason why they dumped you out here. A reason why they'd rather drop you here, than roll you out to Slabside with the big boys. They're not scared anymore. Why would they be... most evil lairs don't have disabled access after all! But I have a solution, a nasty, vile, undoubtedly bloody solution, and for that... I need your latest plague."
Crane paused. "Then, I suggest you check the bottom of the Gotham river. *Kite-Man* destroyed my factory."
"Please, don't lie, not after all we've been through- The good times! Drury's trial, the Cloudburst, others, that ellude me..."
Crane's ear's pricked up. "What do you want with that... idiot?" he asked, a note of disgust in his voice.
"Play nice, and I'll tell you... Hell, maybe I'll keep you around. Heh. You might even enjoy yourself," Joker laughs, as he pats Crane on the back, and lifts his cane up off from the ground.
"Joker, wait," Crane called out. "There's a rumour, that the pup has her father back..."
Joker smiles.
"So it's true?" Crane sighed. "There used to be a saying, do you remember? "Only the good villains come back." Though, I suppose that once Ted Carson was resurrected, that all went out the window."
"Heh. Rumours... Nasty, those. I think I killed him, you know. Maybe. Bullet to the skull really ought to have done it, but, heh, this is Gotham."
Crane nods. "Rumours, yes. I *may* have heard that the snowman took two gallons of my toxin..."
...
"Johnny, I love you, but you have to be more specific. Do you mean Freeze, or the literal hairy, yeti Kelsey Grammar bloke?"
...
"Yes, I meant Freeze."
~
It's 1991. I come home to find my parents dead. My father, gunned down by police. My mother, his final victim.
2003. The Flash, Barry Allen, encounters his first villain: Leonard Snart- Captain Cold, a self titled rogue armed with a cold gun. My fascination with these... Rogues is piqued.
2004. During my first year of college, I fall in love with my classmate, Ashley. I strike up a friendship with her father, the criminology professor at our school.
It's 2008. My wedding day. Ashley's father is my best man.
2010. Her father- in many ways *our* father, lies dead in my arms, a victim of my error. Ashley files for divorce.
2012. I come to Keystone City for a fresh start. Becoming the "Rogues Profiler" for KCPD, I meet a young man called Wally West. The Flash.
2013. A riot at Iron Heights renders me paralysed. In desperation, I turn to Wally, urging him to travel back in time, and fix my life. He refuses. In an attempt to use the treadmill myself, it explodes, effectively knocking me out of the timestream. I become Zoom. My new mission, to help the Flash, no matter the cost.
"The Flashes, are not worth your time Hunter."
~
Now, it is 2018, Louisiana. "They're nothing but selfish, cruel, vain individuals, not worthy of your... kindness." Beside me, Thawne tinkers with a machine. In a few hours, Lex Luthor will give the order, and the Secret Society will activate our Fear Gas Bomb in the heart of Gotham. Of the thousands affected, one in two will emerge stronger, their demons conquered.
"Idisagreeeeeeeee. You've spentyour eeeeeeentire life making BarryAllenbetter, JokerandBatman, Sineeeeestro- Haaaaal Jordan, BlckMnta- Aquaman. You aaaaall makeheroes strong."
"That's where you're wrong, Hunter. I don't want to *help* Barry Allen, I want to destroy him. Take apart all that he has. All that he *is*. You've seen my files. Do you really think Manta fights Aquaman to make him better?! Heh. Black Manta is a sociopathic maniac with an inane case of daddy issues. However, he does make an excellent tuna sandwich. He doesn't know I steal them."
~
Two years earlier, I am visited by an older Thawne. He's dying. Having just escaped an alternate timeline, the energy it took has dampened his speed. His one hope is a "Get out of Hell Free card." In the year that follows, Thawne recruits Drury Walker to infiltrate the Suicide Squad and find him that card. I'm not sure why he chose *him.* Thawne said it was a cruel irony of sorts, brought about by his time in this other timeline. Mothpoint. He uses the opportunity to punish Walker for his failings, and to tie up loose ends, by murdering the Van Cleer boy. His son. Moments later, the Signal Man issues a city wide blackout, wanting the card for himself. In the ensuing chaos, Thawne succumbs to his wounds, killed by the boy's stepmother.
Walker's grief, and role in Cobb's defeat inspires him to become more than a simple criminal. He runs for Mayor. A year later, the boy is resurrected. The tragedy, was undone. The lessons Walker learned? Unlearned.
2018. While Bane works to reshape the Society, Thawne is set on the path that will lead to his death. A confrontation with the Ratcatcher and the KGBeast ends with him retreating into the speedforce, as time changes around him. He's dumped in December, 2018. A new world, and is forced to work with Walker's boy. His disobedience and compassion makes him an unreliable ally. He plans to murder him once the timeline is restored.
2019. Thawne visits Bane one final time. I, am sent to deal with a rival Society spearheaded by Lex Luthor. The key, is the Riddler's journal.
The Joker destroys it before I can learn what he might have planned. The Society is satisfied.
2020. During an assault on the League of Assassins, Bane, Calculator, Sinestro and Zod are all apprehended. Kuttler's testimony grants him freedom. Though Faust, Ocean Master and Black Adam remain, each go their separate ways. The Society is finished. Intent on confronting the Joker, I travel to Gotham City. Instead, he imparts on me a new mission.
=Drury's Apartment, Keystone=
"Drury- Drury!" Wally called out. "Axel's been spotted with the Rogues, and I just- Drury?"
"Wah-Wah-Wah-Wah-Wah" a voice answered back, mockingly. Sat in the living room, draped in a tartan blanket, and a glass of scotch in his hand, was Drury Walker. Opposite him, playing Cooking Mama on the TV, was The Suit.
Wally sighed. "C-C'mon, man, that's just childish."
"Mi-Mi-Mi-Mi-Mi-Muh."
Wally edged into the room, and knelt beside Drury. "You don't want your kid in Iron Heights. I get it... I don't either! But he keeps going out with the Rogues, that's what's going to happen."
Drury took another sip of scotch. "Let him have his fun. He hasn't had *his* hopes and dreams stabbed yet.
Wally bowed his head. "Look, I'm not thrilled with this arrangement either. But we could at least try to get along, right? How about a pizza? Would you like a pizza."
"Gotham's are better."
"I can go to Gotham. Fastest man alive and all that."
"Lucky!" Drury called back sarcastically.
"Right. It's been a pleasure. Suit," he nodded, the empty costume putting the controller on the table and waving goodbye. The door slamming behind him, Drury rushed to the window. "Thank god he's gone," he smiled, and ripped his dressing gown off to reveal the costume underneath. "Now, where were we?"
He flipped the tablecloth over, unveiling a map of the prison on the other side.
"We really need to re-evaluate your artistic merits..." Drury murmured, as Suit rolled in a large mirror, and handed Walker a silver blaster.
"McCulloch this mirror gun better fucking work," Drury mused, as he pointed it at the mirror, and fired a white beam of light. The mirror now a dazzling portal, Drury winks back, and enters through the looking glass.
skyrim.nexusmods.com/images/362459
Personally, I hate these bunch of ancient draugr lord.
They use Unrelenting force continuously,
and they always kill my character with just one hit, especially with their ebony bow >:(
Ah.. They pissed me off big times! :D
If I could say, I already repeat this game for 63 times >:D
only in Skuldafn.
Another sharp one from the Arkham Origins wave 2 shoot. Full gallery at The Toyark here : news.toyark.com/2014/03/21/dc-collectibles-arkham-origins...
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.
When I walk on the beach I reach a point where the condos end and there is nothing but trees on one side and endless ocean on the other. Sometimes I am the only person there and I can imagine how it was at the beginning of time when life first emerged from the sea.
To get this shot:
I was lying on my stomach getting shots of people walking by for this simple comp but not that easy shot. I needed to focus fast and get the shot as they were walking through my frame. Surprisingly, most people walked right on through a few feet from my lens. A few thoughtful people said excuse me coming through your shot or stepped politely behind me. :) But, it was the rude ones I wanted, the ones who walked through the frame without a pause. That gave me the natural looking stride I wanted.
Taken for our daily challenge - humanity
Ngan Cute
Binh Chanh, Saigon
04 Dec 2010
135mm f2@ f2
Special thanks to models and photography friends!
The Buenos Aires Metropolitan Cathedral (Spanish: Catedral Metropolitana de Buenos Aires) is the main Catholic church in Buenos Aires, Argentina. It is located in the city center, overlooking Plaza de Mayo, on the corner of San Martín and Rivadavia streets, in the San Nicolás neighbourhood. It is the mother church of the Archdiocese of Buenos Aires.
The Cathedral of Buenos Aires was rebuilt several times since its humble origins in the 16th century. The present building is a mix of architectural styles, with an 18th-century nave and dome and a severe, 19th-century Neoclassical façade without towers. The interior keeps precious 18th-century statues and altarpieces, as well as abundant Neo-Renaissance and Neo-Baroque decoration.
Tuscany: a gallica rose of unknown origin, dating back to at least 1596. The Flowers are deep crimson to maroon when first open and take on black and purple tones as they age.
POINTE à PITRE .
Construit en 1880, le bâtiment présente une structure en métal et brique. À l'origine maison d'habitation du directeur de l'usine sucrière Darboussier, il était à l'abandon dans les années 1970 lorsque la mairie de Pointe-à-Pitre le rachète pour en faire le Musée Saint-John Perse. Il est inauguré en 1987, à l'occasion du centenaire de la naissance du poète-diplomate.
Le bâtiment est partiellement classé au titre des monuments historiques le 17 août 19791. Le Musée est labellisé « Musée de France » et « Maison des Illustres ».
SAINT JOHN PERSE :
Fils d'Édouard Pierre Amédée Léger, avocat-avoué à Pointe-à-Pitre à partir de 1873, et Marie Pauline Françoise Renée Dormoy, fille d'une famille de planteurs, Alexis Leger naît au no 54 rue Achille-René-Boisneuf à Pointe-à-Pitre où il passe son enfance ainsi que dans les deux importantes demeures familiales que sont La Joséphine — une caféière sur les hauteurs de Saint-Claude au sud de Basse Terre —
As a note all of the 'Origins' posts will be in black in white. All posts after that will be in color or another filter. Unless you guys like the black and white filter.
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Annoyed yelling filled the small lobby of the Ace chemicals building as soon as Baker and Clock entered. Warren White, the Great White Shark, and another skinnier man in a green and yellow jacket seemed to be arguing. Baker was already annoyed. He had done many jobs such as heists, drug running, etc, and arguments almost certainly meant violence.
Wist-I don't care how many less guns Mask can afford! He's asking me to create a damn super human in a few months time! You have any idea how the he-
White-Easy for you to say Wist. Mask isn't breathing down your neck every couple weeks! I gotta take the shit for you not getting your act together and use the damn money he gave you. We could've done probably around fifty tests by now if you wouldn't stalling around working on that bel-
Clock-White! Wist!
*Clock gestured toward Baker. Baker looked at the man in the jacket and nodded to White nervously. He didn't wanna piss him off after an argument like that. White was classy, but unlike Mask, White didn't mind getting his own hands, or teeth, dirty. Also White obviously wasn't in a good mood at the moment.*
White-You! See Wist? I found you another guinea pig. One under one of my under bosses employment at that. So he meets all your damn 'qualifications.'
*Guinea pig? And they had been talking about super humans...what the hell kind of job had Baker got himself into? Didn't matter. Ask questions later. After you make sure your getting paid.*
Wist-Seems fine. A bit homely but as long as he works for you or Mask. If this works I don't want some random homeless man with magnetic powers running around, like you suggested.
White-Would'a been cheaper bet anyways lets get this trial going by now. Get the 'thing' on Wist.
Wist-It's not a 'thing' White. Honestly, I thought loan sharks were smarter.
White-What the hell you say?
Clock-Relax White, it's not like you could kill Wist anyways. Not until we get a successful trial patient.
*Another man, one cloaked in a blue cape with an steps out of the shadows in the corner of the room. Jacob could just make out his...his, head...his glass head?
The Man-You shhloud killll him Whhite. Then wee could shtlop haaavink to stlay in this damnn builldink wish hiiim.
Clock-Shut up Preston, your just the hired muscle.
White-You have a point Press, but, Clock's right, unfortunately, Mask wants him alive.
Wist-Yes listen to the pile of clay in a glass jar. I'm going to prepare the machine.
*Machine? The hell is this job? Didn't matter, just think of the money. Or he could stare in horror at...whatever the hell that man was. His 'head' was a glass dome with a hideous deformed face inside. The dome was stained with a flesh colored substance. Clay? Dirt? Worse yet, the face almost seemed melting. Like a scoop of ice cream. Sounded like his name was-
White-Preston! Keep an eye on Wist. I don't like him being alone with a machine that could blow us all to hell or reverse are 'magnetic fields' the hell that is.
Preston-Yesshh Whitche
*The man...Preston's mouth seemed to droop as he talked. His mouth, along with the rest of his face, was continuously...dripping.*
White-So you ready for this?
Baker-What the hell is 'this'?
White-Wist'll tell you. Has something to do with magnetism. Also, you better be ready cause we'll be strapping you in that chair either way.
Baker-Chair?
Wist-White it's ready. Bring the guinea pig, whatever his name is!
White-Showtime.
*Showtime?*
I had a blast making these guys! I don't have a lot of the pieces that most guys make these figs with but I made do. I really liked how they turned out. My favorites are probably Deadshot, Electrocutioner, or Bane. The only non purist parts of this is Slade's visor and Deadshot's helmet.
Left to Right: Killer Croc, Bane, Deathstroke , Deadshot, Firefly, Electrocutioner, Copperhead, Shiva
Torso credit on Deathstroke and Copperhead go to TheMooseFigs
C&C appreciated! :)
An elegant lady and a child posing with an NSU automobile. Are they mother and daughter or siblings? The car is registered in the Bavarian district of Lower Franconia (II U = Kreis Unterfranken). Note the motion blur in the girl's face.
Country of origin: Germany
one of my latest ooak-projects: I combined some disneyclassics with the modern eah-students... and this is what happend!!! :)
1 Dover Air Force Base's aircraft inventory has received a new tail flash, a design painted on the tails of aircraft to represents a plane's origin and the units that fly them. Dover AFB's tail flash design is based on wing and state logos and colors. The eagle's head represents the 436th Airlift Wing, also known as the Eagle Wing; and the Liberty Bell represents the 512th AW, also known as the Liberty Wing; the colonial blue represents the background color of the Delaware state flag; and the diamond represents the first state.
2 The Liberty Bell pre-dates the Revolution. The Pennsylvania Assembly had the Liberty Bell made in 1751 to mark the 50-year anniversary of William Penn's 1701 Charter of Privileges, which served as Pennsylvania's original Constitution.
The following Bible verse is on the Bell: “Proclaim Liberty throughout all the land unto all the inhabitants thereof." Also included is information about the Pennsylvania Assembly and the Bell’s maker.
No one knows today when the Bell was cracked. The crack is a big subject of debate among historians. One theory is the Bell got its first crack in 1752 when it was tested upon its arrival in Philadelphia.
The last big crack happened on Washington’s Birthday. The Liberty Bell cracked up, literally, in February 1846, when it was rung on President’s Day, celebrated on Washington’s birthday, and then stopped ringing because of damage from the major crack.
Proyecto de autorretratos hecho mientras estudiaba fotografía, sobre conectar con las raíces aborígenes canarias (Islas Canarias). Inspirado por el concepto de "repatriación espiritual" de Christian Thompson, de su proyecto "We bury our own". / Project of self-portraits made while studying photography about connecting through photography with Canarian aboriginal roots. Inspired by Christian Thompson's concept "spiritual repatriation" from his We Bury Our Own project.