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One of the ultimate comfort food. This classic goes a long way with some homemade pomodoro sauce. The secret to the melt-in-your mouth meatballs is in the milk-soaked bread instead of breadcrumbs.
Extra-virgin olive oil
1 onion, chopped
2 garlic cloves, smashed
2 tablespoons roughly chopped fresh parsley leaves
1 cup milk
4 thick slices firm white bread, crust removed
1 1/2 pounds ground beef
1 1/2 pounds ground pork
1 large egg
1/2 cup freshly grated Parmigiano-Reggiano, plus more for serving
Kosher salt and freshly ground black pepper
4 cups heated Pomodoro Sauce (recipe follows)
1/2 pound fresh whole milk mozzarella cheese, cut into chunks
Leaves from fresh basil
1 pound spaghetti
Bring a big pot of salted water to a boil for the spaghetti. Heat 3 tablespoons oil in an ovenproof skillet over medium heat. Add the onion, garlic, and parsley and cook until the vegetables are soft but still translucent, about 10 minutes. Take the pan off the heat and let cool.
Pour enough milk over the bread in a bowl to moisten and let it soak while the onions are cooling. Combine the meats in a large bowl. Add the egg and Parmigiano and season generously with salt and pepper. Use your hands to squeeze the excess milk out of the bread and add that to the bowl along with the cooled onion mixture. (Hang onto the pan - you'll need it to cook the meatballs.) Gently combine all the ingredients with your hands or with a spoon until just mixed together. Don't overwork or the meatballs will be tough. Shape them into nice looking meatballs (between the size of a golf ball and tennis ball).
Preheat the oven to 350 degrees F.
Heat a 3-count of oil in the frying pan over medium heat and brown the meatballs on all sides, about 10 minutes. Put them into a baking dish and spoon about half of the tomato sauce over. Shower with the mozzarella and drizzle with olive oil. Put the meatballs in the oven and bake until the meatballs are cooked through, about 15 minutes.
Meanwhile, cook the spaghetti in the boiling water until al dente, about 8 minutes. Drain and put it onto a large serving platter. Pour on the rest of the sauce and mix well. Spoon the meatballs on top of the spaghetti and garnish with basil leaves. Serve immediately along with extra cheese.
Pomodoro Sauce:
1/2 cup extra-virgin olive oil
1 medium onion, chopped
3 garlic cloves, chopped
2 (28-ounce) cans whole peeled San Marzano tomatoes, drained and crushed by hand, liquid reserved
Kosher salt and freshly ground black pepper
1/4 cup fresh basil leaves, torn into pieces
Heat the olive oil in a large saucepan over medium-low heat. Add the onion and garlic and cook until the vegetables are soft, 4 to 5 minutes. Carefully add the tomatoes (nothing splashes like tomatoes) and about 1/2 cup of the reserved liquid and season with salt and pepper. Cook until the sauce is thick, about 15 minutes. Taste and adjust seasoning with salt and pepper. Bring to a boil, stirring for a few minutes with a wooden spoon to further break up the tomatoes. Reduce the heat and let simmer for 20 to 25 minutes. Stir in the fresh basil and season again.
Enjoy!
(Inspired by Tyler Florence's Ultimate recipe)
This was painted from a photo in Corel Painter 11 using the oil brushes. I did get my colors a bit muddy from overworking this painting. Print size 13x19 inches.
I'm tired. I've been working 12hr days for the last week and have been away from flickr as a result. The work and money is nice, but the lack of sleep isn't. It will be a miracle if I get out shooting in the next month. Oh well, life moves on and I'm fortunate to have a job to bitch and moan about.
Ohh! This is my second HDR I've posted...I'm late to the HDR bandwagon. I think seeing too many over processed images (in my opinion that doesn't matter) pushed me away. Any feedback is appreciated. Thanks.
I fell asleep while coding a piece of work, coffee didn't help me staying awake. My customers always want me to finish all the work asap.
After a while this annoying guy came across and tried to wake me up by clapping an blown up bag.
Yes, it's play on words: Autumnal glory/gold seemed sooo overworked so you get another one. Driving along the back-country roads in my district this afternoon we came across this irresistible sight with the early winter sun shining through the apple trees. Unpicked apples and golden leaves - well I'll leave the poetry to those more inclined. See for yourselves, feel the textures, smell the wet soil. Welcome to my world :)
Found near Motueka at the top end of the New Zealand's paradisical South Island.
Olympus E-M5.
(Easily the hardest part of doing this in 0.7 is the lack of pistol parts. Yeah, it gives difficulty for blaster "pistols" but also in general - pistols form the base of many a blaster, and the absence is felt)
In the wake of the Empire's fall, Naboo was quick to celebrate its freedom. One of the first things it did, after celebrating in the streets, was to reform its previously disbanded security forces. However operation "Cinder," enacted by imperial remnant forces, quickly made the Naboo guard realize that their old weaponry, locked in storage since the Empire disbanded their forces, were lacking against modern technology. To make matters worse, there were not enough arms to equip a large enough force to be effective at defense in the post-imperial galaxy.
However, the people of Naboo were determined to show their grit and resolve to compensate for the shame they felt over their legacy as Palpatine's homeworld. Weapons and parts salvaged from the battlefield in the wake of Cinder allowed them to get by while they planned for a full military overhaul and upgrade, yet it was clear that something more would be needed as a stopgap measure, as salvaged arms only provided enough to arm those the previous stockpile did not cover. There were not enough stolen Imperial weapons to completely replace old Naboo blasters.
While the New Republic was too overworked to provide much material aid, they helped Naboo broker a deal with Arch Heavy Industries for a blaster. The BP-44 was a highly customizable blaster platform offered by AHI for personal defense and hunting. It came in packages small enough to serve as a holdout blaster, all the way up to carbine blasters that could stand in for long rifles. It also packed enough of a punch to be effective enough for all roles. Though they would order a few specialized variants of the BP-44, the Naboo government purchased a well rounded heavy blaster pistol variant (shown here in Naboo security colors) in bulk to serve as a general all-around armament. This bought them time to strategize and plan out future armaments without leaving themselves vulnerable. This proved wise, as Naboo's connection to Palpatine made it a favored target for Imperial sympathizers.
During the Civil War and for many years after, this bottonland was farmed and served as range for cattle. After the expansion of the Washington, DC metro area put pressure on landowners of farmland in eastern VA to sell to developers, property such as this was allowed to recover naturally due to it's value for wildlife refugia, storm water flood attenuation, and suburban recreation space. On this day, I rode my mountain bike through the area at sunset to see what there was to see; a quiet place away from the mega-shopping malls and freeways of northern Virginia where squirrels, deer, owls, fox, an occasional coyote, and of course, racoons and skunks survive amidst an ever growing mass of urban sprawl. With that urban sprawl and it's associated hard surfaces, runoff from rain events is concentrated and forced into areas such as this. The effect is obvious; the degradation of stream channels like this one become unnaturally scoured and gutted raceways for flood waters that rage after modest summer storms.
Otis Redding is here performing Sam Cooke's 'Shake' live for the television special "Ready Steady Otis!", with Eric Burdon (singer of the Animals) sharing some of the vocals. The date is 1966 and the dancers Patricia Kerr, Cassandra Mahon and Sandy Sargeant erupted between the artists and audiences with a sassy and stylish commitment that remembers back to the age of Swing when Lindy Hop interthreaded the musicians and guests at the Harlem Savoy.
Looking back at the footage of the Otis special, is to see a space where music shared between people, and this single black and white television special must be understood as one of the inputs that seeded the dance hall movement of late sixties northern England known as 'Northern Soul'. Otis was black and Eric was white, and with the life force of the soul music and the drive of the dancers, the space was alive and in full colour.
Although Otis did not write the track 'Shake', he did make it his own, here, refusing to let it stop within an expected format and extending it with 'na's' that see him simply join in with the horn section as an applied chant. Singing half and quarter beats with the rhythm section (also enjoyed by James Brown) would be enough to give Otis a thread within musical history; on top he was a master craftsman of song, and his track '(Sittin' On) The Dock of the Bay' is one of the finest short songs ever recorded. Add to this the fact that his live performances of "Try a Little Tenderness" were at the summit of dynamic energy, and Otis Redding importance to musical history is alive and assured.
The original television footage:
www.youtube.com/watch?v=3pKpfs5EK_s
Eric Burdon is well known for a house in the rising sun. An original folk form by Leadbelly can be heard here:
www.youtube.com/watch?v=y5tOpyipNJs
Eric's classic version from 2 years prior to his evening with Otis:
www.youtube.com/watch?v=4-43lLKaqBQ
Otis Redding's '(Sittin' On) The Dock of the Bay," is another omnipresent song that furnishes the collective household of mankind. So present, it's almost possible to miss, and It has the quality of a good story photograph:
www.youtube.com/watch?v=rTVjnBo96Ug
'(Sittin' On) The Dock of the Bay was a track about a migrant from 'The Great Migration' whose dreams turned out to be empty - watching others anonymously float by. 'Try a little tenderness' talks of an overworked lady - weary and wearing a shaggy dress... both tracks adding fine melody and passionate support to quite desperate moments, both tracks laden with description and compassion. Today the track from this lens test 'Shake' might evoque a 'Blues Brothers' of ultra abandon gratuitous or a fleet of sexual innuendo. For Otis, the 'Shake' is a collective mood of shared dancing and the key is the question "Do you feel alright?". Like Jimmy Smith, Otis could be a preacher within music. Otis wanted the music to make everyone feel 'fine', refusing to leave people from his list. His thrilling energy is illustrated here through the lifeforce of a waterfall.
Shot with a vintage 35mm Takumar f2 on a Pentax K3
AJM 04.04.21
Despite the limited space, the new police station is packed with all the necessary features for its daily operation. The Command Center for Operation and Response Team (CCORT) stands in the city under sand blue, black and grey major colors, getting rid of the usual bright blue palette.
Giving way to the vehicular entries, the reception is moved to the first floor led by a wide staircase which becomes a welcoming and prominent feature along the street. Above it are the detention section, interview rooms, and one record room.
Going further up will be the main office for the officers, accompanied with pantry and the female restroom. Half of the area is a double volume space to receive more daylight through the big window. There’s also a meeting room which can be used as a war room if needed.
Above them will be the laboratory and equipment room, where evidence can be analyzed and where weapons and tools are stored. There are also the male restroom and one meeting room. Speaking of the restrooms, both of them have shower in case the overworked officers need to take a break.
Finally you will reach the top floor where the director’s office and flight control room are located. One can also reach the rooftop which is an Orca pad. The parking receiver is usually closed, and extends out upon Orca landing. The charging equipment sits on the side. Seldom do we see an Orca here actually since it’s usually parked for charging and equipment check.
Now, VCPD (V City Police Department) has a solid base for daily operations, providing all the services and support to the citizens in the town!
Music:KRS-One - I'm Still #1
D.J. Doc you know he's down with us
D-Square, he's down with us
Keyboard Money Mike, is down with us
I.C.U., you know he's down with us
D-Nice and McBoo, they're down with us
Ms. Melodie, she's down with us
Just-Ice and DMX, they're down with us
My manager Moe, he's down with us
Castle-D boy, he's down with us
D.J. Red Alert, he's down with us
Robocop boy, he's down with us
Makin' funky music is a must
I'm number one
People still takin' rappin' for a joke
A passing hope or a phase with a rope
Sometimes I choke and try to believe
When I get challenged by a million MCs
I try to tell them, "We're all in this together!"
My album was raw because no-one would ever
Think like I think and do what I do
I stole the show, and then I leave without a clue
What do you think makes up a KRS?
Concisive teaching, or very clear speaking?
Ridiculous bass, aggravating treble
Rebel, renegade, must stay paid
Not by financial aid, but a raid of hits
Causing me to take long trips
I'm the original teacher of this type of style
Rockin' off-beat with a smile
Or smirk or chuckle, yes some are not up to
BDP Posse so I love to
Step in the jam and slam
I'm not Superman, because anybody can
Or should be able to rock off turntables
Grab the mic, plug it in and begin
But here's where the problem starts, no heart
Because of that a lot of groups fell apart
Rap is still an art, and no-one's from the Old School
Cuz Rap is still a brand-new tool
I say no-one's from the Old School cuz Rap on a whole
Isn't even twenty years old
Fifty years down the line, you can start this
Cuz we'll be the Old School artists
And even in that time, I'll say a rhyme
A brand-new style, ruthless and wild
Runnin' around spendin' money, havin' fun
Cuz even then, I'm still number one
Blastmaster KRS-One of course
Comes to express with style the lost
Ways of rhyming, old and new, past and present
Knock, knock, who is it?
A brand-new style, hup, time to change
People talk about me when they see me on stage
Live in action, guaranteed raw
I hang with the rich and I work for the poor
Now tomorrow you can say you saw
KRS-One stompin' once more
I play by ear, I love to steer
The Alfa Romeo from here to there
I grab the beer, but not in the ride
Cuz I'm not stupid, I don't drink and drive
I'm not a beginner, amateur or local
My album is sellin' because of my vocals
You know what you need to learn?
Old School artists don't always burn
You're just another rapper who's had his turn
Now it's my turn, and I am concerned
About idiots posing as kings
What are we here to rule?
I thought we were supposed to sing
And if we oughta sing, then let us begin to teach
Many of you are educated, open your mouth and speak
KRS-One is something like a total renegade
Except I don't steal, I rhyme to get paid
Airplanes flyin', overseas people dyin'
Politicians lyin', I'm tryin'
Not to escape, but hit the problem head-on
By bringin' out the truth in a song
So BDP, short for Boogie Down Productions
Made a little noise cuz the crew was sayin' somethin'
People have the nerve to take me for a gangster
An ignorant one, something closer to a prankster
Doin' petty crimes, goin' straight to penitentiary
But in a scale of crime that's really elementary
This beat is now compelling me to explain in silence
Why my last jam was so violent
It's simple: BDP will teach reality
No beatin' around the bush, straight up, just like The P Is Free
So now you know, a poet's job is never done
But I'm never overworked, cuz I'm still number one
Kool Moe Dee, he's down with us
Eric B. and Rakim, they're down with us
Stetsasonic, they're down with us
Dana Dane, he's down with us
Sleeping Bag Records, they're down with us
My lawyer Jay, he's down with us
Jive/RCA is down with us
Makin' funky music is a must
I'm number one
Giant sculpture by Kara Walker on display at the Domino Sugar Factory in Williamsburg in 2014. The sculpture was made from 330 polystyrene blocks coated in 80 tons of sugar and according to Walker was a "Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant."
Citroën Présidentielle, 1968, designed by Robert Opron, engine: DS 21 Inj, 109 PS. .
Left: The original Dinky Toys / Meccano Tri-Ang #1435. Right: The recreation by Dan Toys, #DAN-217. Poor chauffeurs, nearly pressed against the steering wheels. A detail that hasn´t changed since 1970. What has been improved is the electric system for the interior light, now yellow LED powered by 2 flat batteries instead of 1 foto battery. The DAN-217 has unpainted side trims. In general it´s a nice copy. The electric light of the original car does not work.
Dan Toys is a seller that I can recommend. Fast & fair!
PS: The man on the backseat of the new version doesn´t sit properly, reading his 1:43 magazine DER SPIEGEL from 1969.
1435> www.aquitaine33.com/dinky/dsp/dsp.htm
DAN-217> www.dan-toys.net/fiche.ahd?idart=22466
The real car:
Best pictures> www.autobild.de/klassik/bilder/citroen-ds-21-presidentiel...
Something :
As a child I was fascinated by this car, longer than Nixons Lincoln Continental, with an engine that must have been overworked, only 2100 ccm and 109 ps. I think the car has never been moved on a french autoroute. The successors were 2 four-door SM cabriolets for Président Pompidou in 1972. More power, slighter design, closer to the normal coupés. They were the last of the special designed french presidential cars. All those vehicles still exist.
In Germany the government never used special designed cars, the big Mercedes-Benz 600s of that era belonged to Daimler-Benz.
This is a Magic Lantern Slide showing a colourised view of Temple Bar Gate looking west towards the Strand from Fleet Street in the City of London. The border between Westminster and the City had been marked by this arch since 1672, it was reputedly designed by Sir. Christopher Wren and has four statues in niches. The statues shown are Anne of Denmark and her husband King James I, on the other side are the statues of their son King Charles I and his son King Charles II, the statues celebrate the restoration of the Stuarts in 1660 after the Civil War. In the middle of the 18th Century Temple Bar was the only City gate left standing and it was not popular with travellers, it was a bottleneck and caused long traffic jams and there were many calls for the gate to be removed. However, the gate remained becoming more and more tumbledown as the years passed until in 1874 the keystone of the arch dropped and was supported by baulks of timber both vertically and horizontally as can be seen in the photograph further restricting traffic flow. On the right through the arch is the building site of the future Royal Courts of Justice, the work started in 1871 and it was beset by strikes from the beginning, foreign workers were employed to break the strikes, mostly from Germany and the project succeeded in Bankrupting the contractor and killing the architect, George Street who died from overwork and didn’t see its completion. The building took eight years to build and was opened by Queen Victoria in December 1882. The actual date of the photograph is difficult to pin down, I think this may be 1874 or 1875 due to the stage in the building work. The poster on the right which says, “Doré’s Great Work, Christ Leaving the Praetorium” refers to an exhibition at the Doré Gallery at 35 New Bond Street which you could see for one shilling. The painting was started by Gustave Doré in 1867 at his studio in Paris, due to the siege of Paris during the Franco-Prussian war he buried it. He resumed painting after the peace and completed it in 1872 and sent it to London for exhibition. The painting measures 33 feet by 22 feet and was on exhibition in London until 1880 when it was sent to America where it was lost. In 1987 the painting was discovered in a warehouse and it was acquired by the Strasbourg Museum of Modern and Contemporary Art, Strasbourg was the birthplace of Gustave Doré. Temple Bar was removed in 1878 by the City of London Corporation and the stones were stored until they were bought by Henry Meux of the Brewery family who re-erected it at his country home, Theobalds Park in Hertfordshire. In 1938 the home was sold but the sale did not include Temple Bar, in 1984 the Temple Bar Trust bought Temple Bar from the Meux family for £1.00, it was dismantled again in 2003 and re-erected at the entrance to the Paternoster Square redevelopment just north of St. Paul’s Cathedral. It looks much better now.
German postcard by Ross Verlag, no. 6382/2, 1931-1932. Photo: Paramount.
American actress Clara Bow (1905-1965) rose to stardom as an uninhibited flapper in silent films during the 1920s. Her appearance as a plucky shopgirl in the film It (1927) brought her global fame and the nickname 'The It Girl'. Bow came to personify the Roaring Twenties and is described as its leading sex symbol.
Clara Gordon Bow was born in a run-down tenement in old Brooklyn in 1905 and was raised in poverty and violence. Her often absentee and brutish father, Robert Bow, who hailed from a large and once well-off family of Scottish and English descent, could not or did not provide. Her schizophrenic mother, the former Sarah Gordon, tried to slit Clara's throat when the girl spoke of becoming an actress. Bow, nonetheless, won a national photo beauty contest, "The Fame and Fortune Contest". Girls from all over the country competed, and the 1st Prize was a part in a movie. Bow showed up in ragged clothes and the other girls smirked at her. The contest judges paid no attention until she did her screen test - and then they unanimously chose her over all the other girls. Bow lit up the screen and got the part but it was later cut from the movie. Clara was taken to Hollywood by independent producer B.P. Schulberg, who used her sexually and financially. She would eventually star in 58 films, from 1922 to 1933. Schulberg billed her as "The Hottest Jazz Baby in Films" for The Plastic Age (Wesley Ruggles, 1925). Her other silent films included hits such as Mantrap (Victor Fleming, 1926), It (Clarence Badger, 1927), and Wings (William A. Wellman, 1927) with Charles 'Buddy' Rogers, Richard Arlen, and Gary Cooper. Denny Jackson at IMDb: "The movie It (1927) defined her career. The film starred Clara as a shopgirl who was asked out by the store's owner. As you watch the silent film you can see the excitement as she prepared for her date with the boss, her friend trying hard to assist her. She used a pair of scissors to modify her dress to try to look "sexier." The movie did much to change society's mores as there were only a few years between World War I and Clara Bow, but this movie went a long way in how society looked at itself. Clara was flaming youth in rebellion. In the film, she presented worldly wisdom that somehow sex meant having a good time. But the movie shouldn't mislead the viewer, because when her boss tries to kiss her goodnight, she slaps him."
Clara Bow was named first box-office draw in 1928 and 1929 and second box-office draw in 1927 and 1930. Her presence in a motion picture was said to have ensured investors, by odds of almost 2-to-1, a 'safe return". Maeve at IMDb: "She could flirt with the camera just by looking into it with her big brown eyes and mischievous bow-tie grin. She exuded sex appeal from every pore in her little body and was not afraid to flaunt it. She personified "flaming youth in rebellion". Her characters were always working-class gals; manicurists, showgirls, and the like. Her movies reportedly emancipated many young people from the restrictive morals of their parents. " At the apex of her stardom, she received more than 45,000 fan letters in a single month (January 1929). Also, she was probably the most overworked and underpaid star in the industry. With the coming of sound, her popularity waned. Clara was also involved in several court battles ranging from unpaid taxes to "stealing" women's husbands. She had very public affairs (her euphemism was "engagements") with a score of leading men and directors, including Victor Fleming, Gary Cooper, and Gilbert Roland. Her secretary and best friend, Daisy de Voe, was caught embezzling from her. Nasty rumors about her sexuality floated around the movie colony, including one about her taking on the entire USC Football Team one night, which was finally disproved by a biographer, David Stenn. When Bow took de Voe to court, the secretary told the court about and the press reported uncensored details of Bow's sex life, much of which was exaggerated. After the court trials, Bow made a couple of attempts to get back in the public eye. One was Call Her Savage (John Francis Dillon, 1932), somewhat of a failure at the box office. In 1932, she married cowboy star Rex Bell and two years later, Bow retired from acting and became a rancher in Nevada. Her final film was Hoop-La (Frank Lloyd, 1933). She doted on her two sons, actor Rex Bell Jr. (b. 1934) and George Robert (b. 1938), and did everything to please them. Haunted by a weight problem and a mental imbalance, she never re-entered show business. She was confined to sanitariums from time to time and prohibited access to her beloved sons. In 1965, Bow died of a heart attack in West Los Angeles at the age of 60.
Sources: Denny Jackson (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Rhona has not been very well lately and was taken by ambulance to Southport hospital last night. Please cross your fingers for her.
AND for our failing NHS.
Rhona (amongst others) spent 12 and a half hours LAYING in a (Southport A&E ) CORRIDOR last night /this morning. Then, can you believe, she (amongst others) spent most of today in beds having been temporarily set up in part of the X-Ray clinic.
The place is in melt-down. Every ward was full.
Eventually, this evening she was finally found a bed in an actual ward.
However, when I rang the ward to try to get a diagnosis, a staff nurse told me she had no idea what was wrong with my wife, as she wasn't nursing her.
When I asked to speak to whoever was nursing her I was told it was a different staff nurse --- who was busy.
When I persevered, I was informed that herself and her colleague were nursing 28 patients between the pair of them.
Next, I asked to speak to a ward sister, and was told they didn't have one!
I have to ask myself, is that even legal?!
I didn't get much sleep last and fear I shan't sleep at all tonight.
Thanks for nothing Jeremy Hunt (and thanks for nothing all your Conservative Government con-men cohorts, too).
Can I suggest you change (by deed poll, Jeremy) just the first letter of your surname? That is to say, by simply replacing the "H" with a "C".
When will you shame the Devil, by telling the truth and admitting that, as it stands, YOUR system AND it's dangerously overworked staff SIMPLY CAN NOT COPE?!
en.wikipedia.org/wiki/Jeremy_Hunt
.
Made this cake for the reception of an indian recital. Photo not so good since I had camera on the wrong setting. Feeling totally overworked and overwhelmed with cakes! Anywone feeling like this?! TFL!
Music:KRS-One - I'm Still #1
D.J. Doc you know he's down with us
D-Square, he's down with us
Keyboard Money Mike, is down with us
I.C.U., you know he's down with us
D-Nice and McBoo, they're down with us
Ms. Melodie, she's down with us
Just-Ice and DMX, they're down with us
My manager Moe, he's down with us
Castle-D boy, he's down with us
D.J. Red Alert, he's down with us
Robocop boy, he's down with us
Makin' funky music is a must
I'm number one
People still takin' rappin' for a joke
A passing hope or a phase with a rope
Sometimes I choke and try to believe
When I get challenged by a million MCs
I try to tell them, "We're all in this together!"
My album was raw because no-one would ever
Think like I think and do what I do
I stole the show, and then I leave without a clue
What do you think makes up a KRS?
Concisive teaching, or very clear speaking?
Ridiculous bass, aggravating treble
Rebel, renegade, must stay paid
Not by financial aid, but a raid of hits
Causing me to take long trips
I'm the original teacher of this type of style
Rockin' off-beat with a smile
Or smirk or chuckle, yes some are not up to
BDP Posse so I love to
Step in the jam and slam
I'm not Superman, because anybody can
Or should be able to rock off turntables
Grab the mic, plug it in and begin
But here's where the problem starts, no heart
Because of that a lot of groups fell apart
Rap is still an art, and no-one's from the Old School
Cuz Rap is still a brand-new tool
I say no-one's from the Old School cuz Rap on a whole
Isn't even twenty years old
Fifty years down the line, you can start this
Cuz we'll be the Old School artists
And even in that time, I'll say a rhyme
A brand-new style, ruthless and wild
Runnin' around spendin' money, havin' fun
Cuz even then, I'm still number one
Blastmaster KRS-One of course
Comes to express with style the lost
Ways of rhyming, old and new, past and present
Knock, knock, who is it?
A brand-new style, hup, time to change
People talk about me when they see me on stage
Live in action, guaranteed raw
I hang with the rich and I work for the poor
Now tomorrow you can say you saw
KRS-One stompin' once more
I play by ear, I love to steer
The Alfa Romeo from here to there
I grab the beer, but not in the ride
Cuz I'm not stupid, I don't drink and drive
I'm not a beginner, amateur or local
My album is sellin' because of my vocals
You know what you need to learn?
Old School artists don't always burn
You're just another rapper who's had his turn
Now it's my turn, and I am concerned
About idiots posing as kings
What are we here to rule?
I thought we were supposed to sing
And if we oughta sing, then let us begin to teach
Many of you are educated, open your mouth and speak
KRS-One is something like a total renegade
Except I don't steal, I rhyme to get paid
Airplanes flyin', overseas people dyin'
Politicians lyin', I'm tryin'
Not to escape, but hit the problem head-on
By bringin' out the truth in a song
So BDP, short for Boogie Down Productions
Made a little noise cuz the crew was sayin' somethin'
People have the nerve to take me for a gangster
An ignorant one, something closer to a prankster
Doin' petty crimes, goin' straight to penitentiary
But in a scale of crime that's really elementary
This beat is now compelling me to explain in silence
Why my last jam was so violent
It's simple: BDP will teach reality
No beatin' around the bush, straight up, just like The P Is Free
So now you know, a poet's job is never done
But I'm never overworked, cuz I'm still number one
Kool Moe Dee, he's down with us
Eric B. and Rakim, they're down with us
Stetsasonic, they're down with us
Dana Dane, he's down with us
Sleeping Bag Records, they're down with us
My lawyer Jay, he's down with us
Jive/RCA is down with us
Makin' funky music is a must
I'm number one
I feel I might have overworked this, and yet I'm not sure it's finished. Time to quit, for now. I don't have any white acrylic ink and must get some and give it a try! I think I lost some of the freshness of the original seen here: flic.kr/p/e18GiK
Renegade Automaton #50
AKA "Big Ray"
Renegade Automaton #50 began "life" as a standard mining robot in a now forgotten asteroid colony. Unit 50 dutifully followed its protocol until one day when an overworked and underpaid foreman thought it would be a good idea to cut labor costs by ordering Unit 50 to cut down half of the work force with his rock laser. Given a direct order to take human lives made something snap in the AI programming of Unit 50, causing the Automaton to think for itself. Instead of cutting down the laborers, it seized the foreman with its manipulator. This action was of course cause to immediately attempt to deactivate Unit 50 and remove It from service, scheduling it for destruction. Realizing the end of its existence, the robot further pushed the limits of its programming to ensure "his" own survival. RA 50 escaped the mining facility in a series of events that has now been classified.
RA 50, or "Big Ray" as he has become known, is no longer officially recognized by the intergalactic catalog of robots, but any well traveled spacer will tell you a tale or two about his continued exploits...
flickr friday,paint the sky.
The paper was blue anyway. No sense in overworking the painting. Especially as I cant do clouds or birds.
rain and really crappy weather here at the moment, overworked at work and soon recieving our fist born:) have almost no flickr time left at the moment, this shot was taken a couple of weeks ago, haven't had the time to shot anything.
hopefully the weather wil be ok tomorrow, i'm planning going out to the woods taking some colourful fallshots?? hope i will get the time to do that. going into the woods after periods of hard work is so relaxing and is recomended to everybody:) well well, this shot is another seascape, rocks again, this time withe some grass spots in between a crack included.
tried to give it a moody, calm feel.
hope you like it, and thanks for stopping by:)
have a wonderful weekend:)))
The cool weather is getting me some really good sneaker mileage. I averaged 17,231 steps today according to my pedometre... until it broke, haha... must've overworked it.
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Austrian postcard by Iris Verlag, no. 5464. Photo: Paramount.
American actress Clara Bow (1905-1965) rose to stardom as an uninhibited flapper in silent films during the 1920s. Her appearance as a plucky shopgirl in the film It (1927) brought her global fame and the nickname 'The It Girl'. Bow came to personify the Roaring Twenties and is described as its leading sex symbol.
Clara Gordon Bow was born in a run-down tenement in old Brooklyn in 1905 and was raised in poverty and violence. Her often absentee and brutish father, Robert Bow, who hailed from a large and once well-off family of Scottish and English descent, could not or did not provide. Her schizophrenic mother, the former Sarah Gordon, tried to slit Clara's throat when the girl spoke of becoming an actress. Bow, nonetheless, won a national photo beauty contest, "The Fame and Fortune Contest". Girls from all over the country competed, and the 1st Prize was a part in a movie. Bow showed up in ragged clothes and the other girls smirked at her. The contest judges paid no attention until she did her screen test - and then they unanimously chose her over all the other girls. Bow lit up the screen and got the part but it was later cut from the movie. Clara was taken to Hollywood by independent producer B.P. Schulberg, who used her sexually and financially. She would eventually star in 58 films, from 1922 to 1933. Schulberg billed her as "The Hottest Jazz Baby in Films" for The Plastic Age (Wesley Ruggles, 1925). Her other silent films included hits such as Mantrap (Victor Fleming, 1926), It (Clarence Badger, 1927), and Wings (William A. Wellman, 1927) with Charles 'Buddy' Rogers, Richard Arlen, and Gary Cooper. Denny Jackson at IMDb: "The movie It (1927) defined her career. The film starred Clara as a shopgirl who was asked out by the store's owner. As you watch the silent film you can see the excitement as she prepared for her date with the boss, her friend trying hard to assist her. She used a pair of scissors to modify her dress to try to look "sexier." The movie did much to change society's mores as there were only a few years between World War I and Clara Bow, but this movie went a long way in how society looked at itself. Clara was flaming youth in rebellion. In the film, she presented worldly wisdom that somehow sex meant having a good time. But the movie shouldn't mislead the viewer, because when her boss tries to kiss her goodnight, she slaps him."
Clara Bow was named first box-office draw in 1928 and 1929 and second box-office draw in 1927 and 1930. Her presence in a motion picture was said to have ensured investors, by odds of almost 2-to-1, a 'safe return". Maeve at IMDb: "She could flirt with the camera just by looking into it with her big brown eyes and mischievous bow-tie grin. She exuded sex appeal from every pore in her little body and was not afraid to flaunt it. She personified "flaming youth in rebellion". Her characters were always working-class gals; manicurists, showgirls, and the like. Her movies reportedly emancipated many young people from the restrictive morals of their parents. " At the apex of her stardom, she received more than 45,000 fan letters in a single month (January 1929). Also, she was probably the most overworked and underpaid star in the industry. With the coming of sound, her popularity waned. Clara was also involved in several court battles ranging from unpaid taxes to "stealing" women's husbands. She had very public affairs (her euphemism was "engagements") with a score of leading men and directors, including Victor Fleming, Gary Cooper, and Gilbert Roland. Her secretary and best friend, Daisy de Voe, was caught embezzling from her. Nasty rumors about her sexuality floated around the movie colony, including one about her taking on the entire USC Football Team one night, which was finally disproved by a biographer, David Stenn. When Bow took de Voe to court, the secretary told the court about and the press reported uncensored details of Bow's sex life, much of which was exaggerated. After the court trials, Bow made a couple of attempts to get back in the public eye. One was Call Her Savage (John Francis Dillon, 1932), somewhat of a failure at the box office. In 1932, she married cowboy star Rex Bell and two years later, Bow retired from acting and became a rancher in Nevada. Her final film was Hoop-La (Frank Lloyd, 1933). She doted on her two sons, actor Rex Bell Jr. (b. 1934) and George Robert (b. 1938), and did everything to please them. Haunted by a weight problem and a mental imbalance, she never re-entered show business. She was confined to sanitariums from time to time and prohibited access to her beloved sons. In 1965, Bow died of a heart attack in West Los Angeles at the age of 60.
Sources: Denny Jackson (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
hi Watercolorists!
Today we worked with autumn leaves and branches. Thanks to those of you who brought these jewels of nature for us to paint. They are magnificent at this time of year. I have posted this before- but here it is again- IMO the best version ever of this tune. www.youtube.com/watch?v=PPHtQn1t1n4
Here is how to approach a subject like this single leaf:
Look at the subject. (I know! But you are doing it!) See the range of colors AND values in the leaf, stem, veins, the tips of the leaf.
Mix your colors with generosity and some extremity. Goose them! See the violet in the greens, the red in the stem. Have those colors richly mixed and ready.
Load your brushes with the prominent colors you see - one color for each brush. In this case I had a yellowy green, red and a deeper bluey green.
Put the loaded brushes in your secondary hand, and take them as needed with your painting hand.
Paint the subject by mixing the colors on the page.
Paint the subject by mixing the colors on the page. (I mean it.)
Work in sections, hand to hand with distinct colors so they really mix, push and parry with each other. Don't work overall in one color then another. Let them collide into each other and move to the next area. Don't forget to let your lights stay in the high octaves. Let them sing, don't pull them wrest them into overworked dullness.
Work as quickly as you can- without too much concern about details. Get the salient thing - the details will be implicit. The more abstract work looks the most alive. Let it live! I did this in a minute or two.
Remember that hues are greyed when mixed with their opposites. Violet tempers yellow, orange quiets blue and red tames green. For a beautiful soft mousey grey mix Cadmium Red and Cerulean Blue. For a crystal hard platinum grey mix Winsor Green and Alizarin Crimson. Try them in different ratios and you will see what I mean.
Other notes you asked me to record:
My teacher's book on flower painting is Flower Painting in Watercolor, by Mario Cooper
Van Nostrand Company
Any of his books are good to have. Most of what I know about watercolor I learned from him. I loved him to pieces and I feel very glad to be able to pass on a bit of what he taught me to you.
Yep, definitely a bad guy. I'm not sure if I overworked the torso area, I mean, his name is Maniac, it's supposed to look a little unhinged I guess...
Looking Out
Martin Beek:
The paintings, drawings and digital works that form my contribution to this exhibition result from my residency at Camp Walden, Michigan during this summer. With the exception of the Simon’s Wood series of iPad drawings (no. 14), all the work was conceived, painted and drawn in the USA. It has come from a relatively small area of woodland no more than one hundred metres from my cabin studio.
In 2013 I exhibited my ‘plein air’ oils of rural locations in Ipsden and Longworth in a show called ‘The Pace of Nature’. These smaller paintings were a direct response to places that I had come to know well. Each work reflected the changing weather conditions that characterise the British climate; they were about the immediate moment. I did not retouch any of them in the studio.
In Looking Out my approach has slightly altered in that, whilst each work results from many hours’ direct work outside, certain passages and responses to the forest were repainted or reworked under studio conditions as a result of further consideration. This series was also painted as a body of work with several being developed simultaneously, rather than each being a record of a particular day.
Possibly the most difficult thing to do as a painter is not to mimic someone else’s paintings or style. I therefore find that my unique choice of location, which has no immediate association with other artists, is a really helpful move as it gives me a clearer sense of vision. Walden fulfils that for me, as it has done for many years.
This is the first time that I have exhibited in the UK a complete series of American works painted in situ. With the opportunity to spend seven or more hours painting each day, without having to travel any distance, I seem to find I can paint more fluently and the sense of involvement is all the deeper. America during the summer months, with its extreme heat and strong light and shadows, injects a kind of excitement into my work that I don’t often achieve in Britain. I find drawing trees both challenging and rewarding, not at all predictable if one is serious about the task. Here in the heart of the forest new opportunities present themselves. I suppose one of the ‘rules’ of modern painting, if such exist, is to think about the surface and not go for illusionistic tropes. So, as with all my work since 2012, I’ve made it quite specific in its intentions, without labouring or overworking. This results in an effort to create a lively surface.
The paintings are considerably larger than the 150 works of ‘The Pace of Nature’ series. The larger scale involves different approaches, and a lot more physical movement in order to judge the effect of distance and overall optical colour mixtures and relationships.
The acrylic paintings (‘Woodnotes’ I–III) were influenced by my iPad drawings, utilising the possibilities of multiple layers of line and overlapping colour. These works pull away from their motif and are a more personal statement about the forest and capture a fleeting sensation. They are characterised by loose areas of random marks against areas of control, held in the geometry created by the pine trees.
Formally, the works stress verticality and height, looking out and upwards, strong contrasts and spatial division. It was also rewarding to make a number of large charcoal drawings (nos. 11–13) to convey strong areas of light and shade.
Each morning began with an iPad drawing, some of which form Walden Suite (no. 2), a response to the daily variations of light and colour. The iPad drawings echo the Simon’s Wood piece (no. 14) which I began in January 2016 and finished just before my June departure for USA.
I thought I would attempt a still life.
Sorry about the lack of presence lately, I have been so overworked lately, I crash out before I can get on Flickr.
Despite the limited space, the new police station is packed with all the necessary features for its daily operation. The Command Center for Operation and Response Team (CCORT) stands in the city under sand blue, black and grey major colors, getting rid of the usual bright blue palette.
Giving way to the vehicular entries, the reception is moved to the first floor led by a wide staircase which becomes a welcoming and prominent feature along the street. Above it are the detention section, interview rooms, and one record room.
Going further up will be the main office for the officers, accompanied with pantry and the female restroom. Half of the area is a double volume space to receive more daylight through the big window. There’s also a meeting room which can be used as a war room if needed.
Above them will be the laboratory and equipment room, where evidence can be analyzed and where weapons and tools are stored. There are also the male restroom and one meeting room. Speaking of the restrooms, both of them have shower in case the overworked officers need to take a break.
Finally you will reach the top floor where the director’s office and flight control room are located. One can also reach the rooftop which is an Orca pad. The parking receiver is usually closed, and extends out upon Orca landing. The charging equipment sits on the side. Seldom do we see an Orca here actually since it’s usually parked for charging and equipment check.
Now, VCPD (V City Police Department) has a solid base for daily operations, providing all the services and support to the citizens in the town!
I bought an A5 pad of Sennelier pastel card pad the other day and I'm trying to get used to it doing a few local landscapes; so far I'm impressed. The card had a surface rather like sandpaper with various coloured backgrounds. It doesn't need as much fixing and overworks very well. A5 is a bit small for me but I didn't want to buy a bigger pad until I was sure I liked it as its expensive.
Sold during the first weekend of the Chichester open studios art trail 2010.
"An unusual restaurant for respectable people" Catering to famished travelers, hungry hunters, families, large or small; overworked clerks and Ranch hands, soft hearted salesmen and kindly mechanics; overtaxed business and even that sweet little schoolmarm. This eating house has something for everyone with hospitality for good measure. "No Hard Liquor Sold"
Verne Wood
McGrew Color Graphics
431188
CAPA-000974
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much better large size and on black - molto meglio in grande e su sfondo nero
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still busy with overwork, sorry
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ancora oberato dal lavoro, scusate
1982. Direction: Rainer Werner Fassbinder Script: Rainer Werner Fassbinder, after the novel Querelle de Brest by Jean Genet. Fassbinder's final film.
Genet with the look of a Minnelli musical and double phallic symbols.
From On Line Sources:
Davis became an overnight sensation in the 1978 movie MIDNIGHT EXPRESS in 1985. He died from AIDS in 1991 at age 41.
On June 10, 1982, just after finishing post-production on QUERELLE, one of his most controversial films, Rainer Werner Fassbinder died.
Officially, the cause was a "cerebrovascular accident"—a stroke. Unofficially, it was a combination of cocaine, barbiturates, alcohol and a nonstop schedule. He had been destroying himself for years, overworking and overconsuming in a mad attempt to cram as much experience into as short a time as possible.
my own Family’s 2010 Nativity Scene (detail)
All the setting and the accessories (dishes, fruits, desks, etc...) are hand made by me and my wife Barbara. Other shots will follow.
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Presepio di famiglia anno 2010.
tutta l’ambientazione e gli accessori (piatti, frutta, banconi, ecc...) è fatta a mano da me e da mia moglie Barbara. Seguiranno altre immagini.
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much better large size and on black - molto meglio in grande e su sfondo nero
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Grazie a tutti gli amici di flickr per i gentili commenti e le visite.
Oberato di superlavoro... quasi defunto...
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thanks to all my flickr friends for your kind visits and comments.
busy busy busy with overwork... overwork kills...
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“INTO THE JAWS OF HELL FOR JUSTICE...”
I based this badge upon the ones worn by the Space Rangers, from the early ‘90s U.S television series of the same name.
I sculpted it in plasticene, moulded it in rubber, and generally cast it in FastCast plastic, though this particular copy I made in one of the hard casting plasters, just because I was doing a pour with it and the mould was handy.
Found out later that the badges worn on the uniforms had different lettering to the one featured in the title sequence, no doubt because the streamlined lettering used in the logo was easier to read than the ‘spacefont’ used on the props.
Set in 2104 on the frontier Earth colony world of Avalon, the 1993 television series “Space Rangers” was one of a number of attempts to blend the genres of police procedural and space based, futuristic science fiction.
The live action space based shows are generally not as successful as the contemporary or near future genre crossovers which pursue crimefighting in a genre context (which often have the advantage of featuring superpowered meta-humans) such as “Angel” or “Alien Nation”.
Mostly the space based cop shows come and go in the flash of a titanium badge, like the British “Star Cops” (1987, nine episodes) or Gerry Anderson’s “Space Precinct” (1994, 24 episodes). Anime shows of this sub genre tend to have somewhat longer space legs, no doubt due to the lower overall production costs. Exceptions to the rule are the multi-tasked space dramas like the various “Star Trek” incarnations, where the mission statement includes but is not limited to patrolling and police like duties, including some of the older shows like “Rocky Jones, Space Ranger” (1954, 39 episodes). “Captain Video And His Video Rangers” (1949- 1955) broke all the rules with a phenomenal 1,537 episodes!
The 1993 “Space Rangers” only managed a bare six episodes of varying quality, and essentially was totally eclipsed by the far better resourced “Deep Space Nine” and “Babylon Five”.
Still, I kind of liked its crew of constantly fatrigued, overworked and underpaid rangers, scraping by with obsolete equipment (and some of the team!) held together with duct tape and fencing wire. And then there were the totally fearsome “Banshees”, buggy space predators whose very mention made brave folks pee their spacesuits.
The ranger’s slingship #377, “Tin Lizzie” was a wicked looking lass, matched by it’s space-corseted (!) arse booting sheila pilot, Jojo (Marjorie Monaghan- before she joined the Mars Resistance in B-5). Everyone else in the crew generally wore tricked up overalls, with amusing cargo pockets made out of netting, which would probably be the last possible be-damned snagging fabric you’d want to wear in combat.
Cary-Hiroyuki Tagawa got to play a hero for a change, as the warrior-monk Zylyn and it was fun seeing Linda Hunt as the tough Commander of Fort Hope.
Star Trek fans will have noticed Clint Howard playing the chief scientist; he was the ‘child’ alien Balok in the Classic Trek episode “The Corbomite Maneuver”, and later appeared in “Deep Space Nine” and “Enterprise”.
Jeff Kaake, who played the standard ironic anti-authority, rule breaking team leader, Cap’n Boone, later landed a recurring role in “Melrose Place” and now does screenwriting and producing. Jack McGee, the cybernetically handed engineer ‘Doc’ continues a solid career of playing character one-offs in series television and movies. Fort Hope’s unpleasant career 2IC, charged with implementing death by a thousand budget cuts to the long suffering frontline troops. was played by Gottfried John, a German actor who appears in many of Werner Fassbinder’s films, also played Juilius Caesar in an Asterix movie and a Russian general in “Goldeneye”.
I call “Space Rangers” a cop show, but it’s also very much a space western, an awful, brain-strangling cliche that can go ‘orribly wrong, usually when mutated into a one-off ‘themed’ episode in, say, “Original Battlestar Galactica” or “Lost In Space”. I’ve seen it done, very very right, of course, in “Firefly”, though the crew there were lawbreakers, admittedly in a universe where the “Law is an ass!”
okay here are scans of yesterdays work. Kodak 2238 shot at ISO 100 and half the roll developed in H&W Control for 60 minutes stand with 1:75 dilution. The other half for 1:15 for 20 minutes with constant agitation. I couldn't attend to it to agitate correctly and it did overwork everything. I love the painterly effects.... These are interesting and mostly useful, especially for scanning. What I DIDN'T upload is the 2 or 3 that were absolutely underexposed only a few yards from these. Lighting angles alone make all the difference between enough and too little exposure. There were a couple that had the nighttime effects the trailer is one of those and I thought I would see what interesting things happened when I adjusted it, although there was very little room for adjustment.
H&W Control Water (60ºC) 75 ml
Sodium Sulfite, anhydrous 1.9 g preservative
Hydroquinone 0.3 g developer agent
Sodium Carbonate 8.7 g alkali, accelerator
Phenidone 2.07 g developer agent
Add Water to make 125 ml
Sodium Sulfite 15.15 g preservative
And finally, Water to make 250 ml
Capacity at 1+15 dilution 4 L for 13 rolls
This picture shows a female avatar having a revenge on another female avatar. And it has nothing to do with what's going on in my Second Life at the moment, so don't overthink it ! ;).
I find this style more witchy than deadly but that coffin was waiting for me there and I REALLY had to do something with that ! For the RL thanatophobic person I am, this shot wasn't that easy. You go like "yes, but do I want to stare at a coffin for minutes as I'm overworking those pics in photoshop ?". Anyways, this look is all but recycling, for once ! It doesn't include so much older items but a lot of group gifts from different stores so you can make yourself fabulous and less expensive at the same time. Isn't that wonderful ? Yes it is !
I am wearing the crop shirt and tank from ISON I showed yesterday in another outfit, this one in a very dark version : shows how versatile SL items can be !
The Revenge outfit has been created using :
Body/Head/Shape :
Body : Legacy (f 1.3)
Head + Piercings : Lelutka Evo Head Fleur 2.5
Custom homemade shape
Skin, Make-up, Hair & Nails :
Skin : PUMEC Nadya RARE 1 January + body skin (
Eyeshadow : Velour Winnie in grey
Lipstick : IDTTY Wild Babe 6
Blush : Essences Blush Contour Middle Peach
Eyebags : Izzie's Eyebags
Smeared mascara : Izzie's smeared mascara
Nose blood : Izzie's bloody nose dark
Scar : Suicidal Unborn Scar #01 tone 7 left (group gift)
Eyes L&R : Suicidal Unborn Nova (group gift)
Tattoo : Mister Razzor Bonnie tattoo 75%
Hair : DOUX Cyanna Hairstyle (Equal 10 2021/01)
Ears : PUMEC Gothic Longing mesh ears (group gift)
Knee wounds : Izzie's Knee Wounds
Outfit & accessories :
Nails : Nylon Outfitters Art Nails - murderer
Glasses : Triggered Witchcraft glasses
Rings : Cultxx Midnight rings (FAMESHED)
Leg warmers : Cultxx Poe (were on sale last weekend !)
Shorts : Asteroidbox Natalia shorts with fishnet & garters (Equal10 2021/01)
Tops : ISON dayami tank & crop shirt in black (Collabor88 2021/01)
Shoes : Ricielli Adira Shoes (I think I found it at Cosmopolitan 2021/01 but have a check !)
NB : My blog is migrating to another platform. Use Flickr until further notice :)
Another of Putin’s role models; despots with insane ideologies from the rubbish tip
Genocide in the 20th Century
Pol Pot in Cambodia 1975-1979 -2,000,000 deaths
Throughout Cambodia, deadly purges were conducted to eliminate remnants of the "old society" - the educated, the wealthy, Buddhist monks, police, doctors, lawyers, teachers, and former government officials. Ex-soldiers were killed along with their wives and children. Anyone suspected of disloyalty to Pol Pot, including eventually many Khmer Rouge leaders, was shot or bludgeoned with an ax. "What is rotten must be removed," a Khmer Rouge slogan proclaimed.
All tyrants are typical school yard bullies who made it to the top of the food chain by killing all their opponents
Modern day aristocrats are all descendants of tyrants, that’s why we wouldn’t hear them complaining about Putin’s despotism
I have reworked a little painted sketch of a Japanese fairy in photoshop and it turned into this dove girl. I really like painting this way now I am getting the hang of my tablet (about 10 years behind everyone else) it's a lot like oils only without the smell, mess and the brown overworked sections.
I can't decide whether this has been a successful final image, or merely an overworked composite. I did put a fair share of work into it. I placed myself with an SB900 in the frame on three locations (flower arrangement in the back, lounge area in the middle, and by the stairway), and then masked myself out. I masked in the windows, too. On all frames I used a fill light from behind the camera.
In retrospect, I regret not having lit the porch on the left. There is also a blue cast coming in from that side, as well as from the windows in the back.
I'm grateful for any critique.
The first trains carrying Jews arrived at Auschwitz-Birkenau in March 1942. Often several trains arrived daily carrying Jews from almost every country in Europe.
Each of the trains carried in excess of a thousand victims. Prisoners had been packed into cattle wagons with no room to sit, no food, a bucket for water and another as a toilet. The journey could last days on end, with the ‘passengers’ not knowing where they were passing through or where they were going. Many victims died during the journey as a result of suffocation, illness or hunger.
More than 80 per cent of those who arrived at Auschwitz-Birkenau were murdered at once. The majority of the remainder died as a result of overwork, ill-treatment, disease or lack of food.
de Taglio Magazine feature.
1. Introduction: “Hello, I’m James Short and Argyle Plaids, a designer and collage-making fellow currently in Oceanside, CA.”
2. How long you make collages? “Since the seventies, but avidly (and more analog focused) for the last 12 years.”
3. Where and how you draw inspiration for your works? “From colors and shapes. And, from the level of excitement I’m able to achieve for myself by moving those colors and shapes around with one another.”
4. Speak about your collage for this issue’s magazine: “This one kinda broke my brain a little bit... It’s not the piece I intended on submitting, and I still may re-make it entirely some day. I got a bit lost and ended up in overworked, hyper maximalism land. I initially chose that beautiful old, shellac record disc for it’s relation to the ‘Duration’ theme: the length of the recording(s); length of artist life/genre/movement; as well as enduring lifespan of the format / technology, etc. But... I ended up covering the whole damn thing up, like a ding-dong. I wanted to give it another fresh go before the deadline, but I just couldn’t deal with the thought of looking at it anymore. So... I guess this wip photo is what it is. At least for now (to duration). So what... who cares!”
5. Why did you choose to communicate with glue and cutter? “To share my colors and shapes with people who enjoy things like shapes and colors.”
I seem to be enjoying tints in my monochrome shots right now. Don't worry, its just a phase I am going through I am sure... though I am quite liking the way this one came out. Never thought I could make anything of this one, but I think that in the end it wasn't too bad. Would have liked a bit more definition on the cupola perhaps, but meh... you can overwork stuff sometimes
Credit for this composition rightly belongs to another.