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Same place, always different.
Fast forward again to October 18. It was a gorgeous(!) day at Letchworth State Park. Temperature was in the low 60sF with clear blue skies. The colors were beginning to peak. I hiked five miles.
I started at Archery Field, took the cutoff to Inspiration Point, then followed Trail 1 along the gorge rim back to Archery Field.
Inspiration Point is well named. You can see the Middle and Upper Falls and the railroad bridge arching across just past the falls.
Argus C3 Brick with the 35mm lens
FujiFilm 400, developed by Scott's Photo
Epson Perfection V500 Photo Scanner
#argusc3, #ishootfilm, #shootfilmstaypoor, #rangefinder, #35mmlens, #fujifilm, #fujifilm400, #autumncolors,
#ishootfilm, #blackandwhite, #shootfilmstaypoor,
#letchworthstatepark, #letchworth, #inspirationpoint,
...same bird as seen in preceding video.
ISO1600, aperture f/5.6, exposure .003 second (1/400) focal length 450mm
Alpine A110 1600S Si (1974-75)
Engine 1605cc S4 Fi
Registration Number Unknown
RENAULT ALPINE SET
www.flickr.com/photos/45676495@N05/sets/72157624230658852...
Introduced by Alpine in 1961 as an evolution of the A108 the A110 was updated to use Renault 8 components. It is built on a steel back bone chassis with fibre glass body and was produced in various forms until 1977. While its predecessor the A108 was designed around Dauphine components, the A110 was updated to use R8 parts. . The most obvious external difference with the A108 coupé was restyled rear bodywork. Done to accommodate the A110's larger engine, this change gave the car a more aggressive look. Like the A108, the A110 featured a steel backbone chassis and a fiberglass body
The A110 earned its spurs as a rally car n the early 1970s After winning several rallies in France in the late 1960s with the cast-iron R8 Gordini Cléon-Fonte engines the car was fitted with the aluminium-block Cléon-Alu from the Renault 16 TS. The car achieved international fame during the 1970–1972 seasons competing in the newly created International Championship for Manufacturers, winning several events around Europe, earning a reputation as one of the strongest rally cars of its time. Notable performances included a victory in the 1971 Monte Carlo Rally with Swedish driver Ove Andersson
The 1600S was added to the range in 1970 powered by a tuned R16 TS Cléon-Alu of 1565cc and producing 138 hp (125 PS) this was uprated in 1973 with a 1605cc R17 TS[Cléon-Alu engine of 140hp (127 PS) which was complimented for 1974-75 with the addition of the A110 1600S Si powered by a fuel injected version of the same engine, both models remaing in production until 1975.
The final itineration of the A110 came in 1976-77 with the A110 1600S SX unlike its more hairy predecessors was powered by a standard R16 Cleon-Alu 1647cc unit of just 92 hp (93 PS)
Thankyou for a massive 57,118,337 views
Shot 28.10.2016 at The Alexandra Palace, London REF 124-012
Same panorama in higher resolution and better interactive controls :
www.360cities.net/image/rainy-july-sunset-in-the-woods-at...
Same panorama in "flat" and static equirectangular projection:
Lotus Evora S (2010-21) Engine 3456cc V6 Toyota 2GR-FE Supercharged 345bhp
Registration Number G 14 LOT (Vehicle related cherished number. first issued from Portsmouth)
LOTUS SET
www.flickr.com/photos/45676495@N05/sets/72157623671671113...
Designed by Russell Carr under the project name Eagle, as 2+2 and as suchwas the largest car in the then current Lotus range, weighing in at weighing 1380kg.
The Evora S is powered by a 3.5 litre DOHC Supercharged V6 VVTi 24 valve engine of 345bhp, coupled to six speed manual transmission. With a claimed top speed of 178mph, with a weight of 1437kg.
In 2010, Lotus unveiled a high performance variant of the Evora called the Evora S. The "S" in the name stood for "Supercharged" but was not intercooled. The car had the same standard design but was more powerful, rated at 345bhp due to a new supercharger manufactured by Harrop
A facelifted and more powerful Evora 400 model was unveiled at the 2015 Geneva Motor Show, followed by a more powerful variant, the Evora GT430 which was unveiled in 2017.
The replacement for the Evora, Exige and Elise it is understood be the Russell Carr designed Lotus Emira
Diolch yn fawr am 67,588,384 o olygfeydd anhygoel, mwynhewch ac arhoswch yn ddiogel
Thank you 67,588,384 amazing views, enjoy and stay safe
Shot 02.09.2018 at Himley Hall, Wolverhampton Ref 136-157
Continuing this chase we again see CSXT train M427 (Rigby to Selkirk manifest) westbound on their former Pan Am Railways nee Boston and Maine Worcester mainline. They are are crossing the long causeway at MP WOR 16 (former MP X10) beside the Stillwater River which is an arm of Wachusett Reservoir that was completed in 1905 and necessitated relocation of the railroad and the building of this fill and some stone arch bridges prior to the filling of the reservoir in 1908.
Rising beyond the train poking above the tree tops is the white spire of the 1859 Oakdale United United Methodist Church, the only West Boylston church still in its original building and active on its original site that survived the building of the Wachusett reservoir.
Oakdale was once an important and busy junction where the east west Central Massachusetts line crossed. The construction of the reservoir also led to the elimination of six miles of the Central Mass line east of here to Berlin. The diamond was removed and through traffic on the Central Mass shared the Worcester line to Clinton where a newly constructed route ran east via a high viaduct and tunnel on to a connection with the original Central Mass in West Berlin. However the importance of that route waned and the Central Mass was taken out of service west of here to Rutland in 1938 and a year later was formerly abandoned 24 miles to the west as far as the mill in Wheelwright which would now only be accessed from the west via Northampton. After that date Oakdale ceased to be a junction though to this day the scars on the land still distinctly show where the wye connection was back on the other side of the causeway near the rear of the train.
The train has a nice consist in the form of CSXT 8040 (EMD SD40-2 blt. Jul. 1979 for the SCL with the same number and dressed in family lines paint), CSXT 478 (GE AC4400CW blt. Sep. 2000 and still wearing its as delivered bright future livery) and MEC 3402 (EMD SD40-2 blt. Apr. 1973 as QNSL 254) in Pan Am blue dip.
If you want to see a better photo (but less cool power) on a perfect winter day check out this one: flic.kr/p/2kxuCYJ
West Boylston, Massachusetts
Friday August 4, 2023
I'm not too happy with this one, it wasn't the grand vision that i had imagined, and i cheated.
Right i got some bubble gum the other week with a plan to do a bubble blowing shot....i had done my research, as i haven't blown a bubble for years. as advised, i had put 5 sticks in my mouth and chewed until the sugar had gone. and try as i might, i just couldn't get a bubble to blow bigger than 1cm.
then alison came up and after she finished taking the mickey, she tried and the same thing, it was just splitting.....so in a fit of rage i stormed down the shops to get some balloons....and then when i set up the shot i realised that i had not switched the flash off from the beach yesterday and i had no more batteries charged.....F*&$!
anyway this is the best that i could manage, its OK, i'll live with it.......
D200, Sigma 10-20, sb-600 on virtually no power, remote, some cheap arse balloons from the corner shop
An earlier variation on the image Diagonal Pattern, from two images back.
Though I prefer to use masks, I finally edited my brush for this by making a brush and using it with the eraser tool.
GIMP has a tool called the Paths Tool, which is like the Pen Tool in Adobe. I used it to create the brush used in this pattern.
Masking is easy; clipping masks are rather confusing. Just what I need to keep my mind occupied : )
Long Pine Key, Everglades National Park, FL
From the archives...
It was very breezy, I didn't have a macro lens and shooting these skittish guys is anything but easy - I don't have the MrClean charm. But funnily enough, although they didn't stay still very long, they always seemed to come back to the same place... at least once in a while. So you just had to wait and hope that the blade of grass they were holding on to didn't move too much. And then, of course, there was the issue that the dragonfly might be right in front of your nose, I mean lens, but you only got the butt of it to see...
View the dragon large on black.
34. In the Bible it says, “this same Jesus … shall so come in like manner as you have seen him go into heaven.” When the Lord returns, it shall be with Him riding on a white cloud, why would He become flesh? (Gospel Music Videos)
www.holyspiritspeaks.org/how-can-he-be-incarnated-again/
The Answer from God’s Word:
Since Jesus departed, the disciples who followed Him, and all of the saints who were saved thanks to His name, have been desperately pining for Him and awaiting Him. All those who were saved by the grace of Jesus Christ during the Age of Grace have been longing for that joyful day during the last days, when Jesus the Savior arrives on a white cloud and appears among man. Of course, this is also the collective wish of all those who accept the name of Jesus the Savior today. Throughout the universe, all those who know of the salvation of Jesus the Savior have been desperately yearning for the sudden arrival of Jesus Christ, to fulfill the words of Jesus when on earth: “I shall arrive just as I departed.” Man believes that, following the crucifixion and resurrection, Jesus went back to heaven upon a white cloud, and took His place at the Most High’s right hand. Similarly, man conceives that Jesus shall descend, again upon a white cloud (this cloud refers to the cloud that Jesus rode upon when He returned to heaven), among those who have desperately yearned for Him for thousands of years, and that He shall bear the image and clothes of the Jews. After appearing to man, He shall bestow food upon them, and cause living water to gush forth for them, and shall live among man, full of grace and love, living and real. And so on. Yet Jesus the Savior did not do this; He did the opposite of what man conceived. He did not arrive among those who had yearned for His return, and did not appear to all men while riding upon the white cloud. He has already arrived, but man does not know Him, and remains ignorant of His arrival. Man is only aimlessly awaiting Him, unaware that He has already descended upon a white cloud (the cloud which is His Spirit, His words, and His entire disposition and all that He is), and is now among a group of overcomers that He will make during the last days.
from “The Savior Has Already Returned Upon a ‘White Cloud’” in The Word Appears in the Flesh
(....)
… Many people may not care what I say, but I still want to tell every so-called saint who follows Jesus that, when you see Jesus descend from the heaven upon a white cloud with your own eyes, this will be the public appearance of the Sun of righteousness. Perhaps that will be a time of great excitement for you, yet you should know that the time when you witness Jesus descend from the heaven is also the time when you go down to hell to be punished. It will herald the end of God’s management plan, and will be when God rewards the good and punishes the wicked. For the judgment of God will have ended before man sees signs, when there is only the expression of truth. Those who accept the truth and do not seek signs, and thus have been purified, shall have returned before the throne of God and entered the Creator’s embrace. Only those who persist in the belief that “The Jesus who does not ride upon a white cloud is a false Christ” shall be subjected to everlasting punishment, for they only believe in the Jesus who exhibits signs, but do not acknowledge the Jesus who proclaims severe judgment and releases the true way of life. And so it can only be that Jesus deals with them when He openly returns upon a white cloud.
from “When You Behold the Spiritual Body of Jesus Will Be When God Has Made Anew Heaven and Earth” in The Word Appears in the Flesh
(Signs of the End Times | Christian Short Film "The Days of Noah Have Come") (Eastern Lightning）
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Same owner since 2002. It was nice to spot this late basic Astra MK3. Probably my favourite colour on the Astra here. This one has done over 130k miles.
Yeah... It's another saguaro sunset...
After having not a single cloud in the sky all day, the evening ended with an unexpectedly nice sunset. Don't know where the clouds came from. They just suddenly appeared about 10 minutes before the sun went down. I grabbed the camera and ran.
The Great spotted woodpecker , Dendrocopos major is one of three native woodpeckers here in the U.K ( the other two species are the Lesser spotted and Green woodpecker ) The Great spotted woodpecker is actually smaller than most people imagine being roughly the same size as a Blackbird. It’s easily confused with the lesser spotted woodpecker, which is much smaller (roughly sparrow-sized) and has distinctive white stripes on its back.
The GSW has white cheeks with black lines underneath and a black cap. Males can be identified by a red patch on the back of the neck. They have a pale breast with black upper parts, and a bright red rump. Their wings are black with white spots. It has a wingspan of 34 to 38cm and an average weight of around 85g. The beak is thick and powerful. The average lifespan in the wild is approximately two years.
Great spotted woodpeckers can be found across mainland Britain, but are limited to the west of Ireland. Mature broadleaved woodland is prime habitat, but great spotted woodpeckers can be found in coniferous woodland and parks or gardens with plenty of mature trees. Listening out for the great spotted woodpecker’s distinctive drumming is the easiest way to tell if the species is around. You might also see the holes woodpeckers have made in tree trunks when hunting. Sightings in woodland are often fleeting, as these birds can be shy of humans. The best views are often available in gardens, where woodpeckers are attracted to feeders containing nuts, seeds and suet.
Although there are over 200 species of woodpecker in the world, there are only 3 species in the UK: the Great Spotted Woodpecker, Lesser Spotted Woodpecker, and the Green Woodpecker.
Insects are the great spotted woodpecker’s main prey. It uses its powerful beak to hammer holes in tree bark and then extracts beetle larvae with its long, flexible tongue. Caterpillars, adult beetles and spiders are also taken. In spring, the chicks and eggs of smaller birds are often eaten. Species that nest in tree cavities are targeted as woodpeckers can use their beaks to access these spaces. Nuts and seeds are also an important food source, particularly in winter. When woodpeckers hammer into wood to get at grubs, they also have another anatomical adaptation designed to help them feed. The roots of their tongues are coiled round the back of their skulls and can be extended a prodigious distance to harpoon insect larvae in their tunnels. The Great Spotted Woodpecker’s tongue protrudes 40mm beyond the tip of the bill.
The great spotted woodpecker’s beak plays a key role in its breeding behaviour. Males use it to hammer against dead trees, making a drumming sound. This proclaims ownership of its territory, warning off any rivals. Such activity would cause brain damage among most birds, but woodpeckers have a shock-absorbing skull that means they are not affected by the impact. The beak is also used to excavate a nesting cavity within a tree. Once the hole is ready, four to six eggs are that measure 27 mm × 20 mm and weigh about 5.7 g .
They are laid from mid-April to June. The eggs are incubated by either adult during the day and by the male at night,for 10–12 days before hatching. Both birds brood and feed the naked chicks and keep the nest clean. The young fledge in 20–23 days from hatching. Each parent then takes responsibility for feeding part of the brood for about ten days, during which time they normally remain close to the nest tree.
The great spotted woodpecker population is doing well and has increased by more than 300% since the 1970s. There are now around 25,000 to 30,000 pairs of these striking birds breeding in Britain. They do need woodland, but that does not mean they will not visit isolated groups of trees or even single ones if they have nice dead wood on them with lots of grubs to eat. A few pairs now breed in Ireland, making them a recent colonist. It’s thought the species may have benefited from an increase in dead wood caused by Dutch elm disease, as well as the availability of food in gardens. As this species relies on mature trees and woodland, it’s important that these habitats are protected to safeguard the great spotted woodpecker’s future.
Read more at www.wildonline.blog
The same promenade, what on previous photo, but this time view on the opposite side :)
Makarska is a small city on the Adriatic coastline of Croatia. It's a tourist centre, located on a horseshoe shaped bay between the Biokovo mountains and the Adriatic Sea. The city is noted for its palm-fringed promenade, where cafes, bars and boutiques overlook the harbour. Adjacent to the beach are several large capacity hotels as well as a camping ground. The center of Makarska is an old town with narrow stone-paved streets, a main church square where there is a flower and fruit market, and a Franciscan monastery that houses a sea shell collection featuring a giant clam shell. In the Roman era the city appears in the Tabula Peutingeriana as the port of Inaronia, but is mentioned as Muccurum, a larger settlement that grew up in the most inaccessible part of Biokovo mountain, probably at the very edge of the Roman civilisation. In the 7th century the region between the Cetina and Neretva was occupied by the Narentines, with Mokro, located in today's Makarska, as its administrative centre. The principality was annexed to the Kingdom of Croatia in the 12th century, and was conquered by the Republic of Venice a century later. In 1499 the Makarska coastal area fell to the Turks. During the Candian War between Venice and the Turks (1645–1669) the desire among the people of the area to be free of the Turks intensified, and in 1646 Venice recaptured the coastline. After the fall of the Venetian Republic, it was given to the Austrians by the Treaty of Campo Formio (1797). With the fall of Venice, the Austrian army entered Makarska and remained there until Napoleon took the upper hand. The Congress of Vienna assigned Makarska to Austria-Hungary, under which it remained until 1918. During World War II, Makarska was part of the Independent State of Croatia. After the war, Makarska experienced a period of growth, and the population tripled. All the natural advantages of the region were used to create in Makarska one of the best known tourist areas on the Croatian Adriatic.
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Jeszcze jedno zdjęcie z promenady w Makarskiej, tym razem w przeciwną stronę :)
Makarska – miasto w południowo-wschodniej Chorwacji (Dalmacja), w żupani splicko-dalmatyńskiej, u podnóża masywu górskiego Biokovo (Góry Dynarskie), nad Morzem Adriatyckim. W przeszłości znajdowała się tutaj rzymska osada, prawdopodobnie nazywana Muccurum. W VI w. została ona podbita przez Gotów, a następnie przez nich zniszczona. W późniejszych wiekach tutejsze tereny zdobyli Słowianie - traktowali miasto jako punkt strategiczny, z którego mogli atakować przepływające do Wenecji statki. W kolejnych wiekach w Makarskiej rządzili królowie chorwacko-węgierscy, a w XV w. na tutejszych terenach pojawili się Turcy, którzy zostali stąd wypędzeni dopiero w 1646 r. za sprawą Wenecjan. Makarska była we władaniu Wenecjan, aż do 1797 r., kiedy nastąpił upadek Republiki Weneckiej. Wówczas te tereny zdobyli Habsburgowie. Miasto zostało poważnie zniszczone w trakcie II wojny światowej. Część zabudowy, która ocalała podczas wojny, ucierpiała podczas trzęsienia ziemi w 1962 r. W kolejnych latach Makarska była sukcesywnie odbudowywana i rozbudowywana, a obecnie jest to jeden z najważniejszych ośrodków turystycznych w kraju. Miasto posiada dwa nadmorskie bulwary, wysadzane palmami i otoczone punktami gastronomiczno-handlowymi, a także półtorakilometrową, kamienistą plażę w zatoce Donja Luka.
The Blue Tit is a popular and easy to recognise garden favourite. With its small size and distinctive blue and yellow plumage , the Blue tit is a regular garden visitor that’s wide spread throughout the British Isles and mainland Europe. The Blue Tit is a member of the Tit family of birds , Paridae . Usually resident , the bird does not migrate and in fact most stay within a short distance from where they hatch , typically less than 20 miles.
The Blue Tit is around 12 cm long with a wingspan of 18 cm and weighs between 11- 20 g . With a blue crown and dark line passing through the eye, with white cheeks to the chin. The forehead and a bar on the wing are white. The nape, wings and tail are blue and the back is yellowish green. The underparts is mostly yellow with a dark line down the abdomen. Both male and female adult birds have a similar appearance.
The Blue tit will nest in any suitable hole in a tree, wall, or stump, or an artificial nest box, competing with Great Tits and House Sparrows for nesting sites. The same hole ( nesting site ) is returned to every year, and when one pair dies another pair will takes possession of the nesting site. It is estimated that there are 3,300,000 breeding pairs in the UK.
The successful breeding of chicks is dependent on sufficient supply of green caterpillars as well as satisfactory weather. Breeding seasons may be affected badly if the weather is cold and wet between May and July, particularly if this coincides with the emergence of the caterpillars on which the nestlings are fed.
Eggs are small in size, 14–18 mm in diameter. The egg size does vary, depending mostly on the size of individual females and habitat . The nesting material is usually moss, wool, hair and feathers, and the eggs are laid in April or May. The number in the clutch can be very large with seven or eight eggs laid by a single female. During the incubation period, female blue tits perform all of the incubation, however the male feeds the female during this time.
The Blue Tits diet is made up of small insects and spiders during the summer months supplemented by fruit , nuts and the young buds of trees and plants. The bird has adapted and evolved the ability to digest milk and cream and is an acrobatic favourite on bird feeders up and down the country.
Read more at www.wildonline.blog
Exactly five years ago I spent an unforgettable Easter week at Bjørnsund lighthouse, where I shot this sunset. And today the sun looked just like it did when it set exactly five years ago - large, bright and orange.
Tonight I watched it from the bus before arriving my the island I'm from. I really look forward to spend the Easter week here together with my family!
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Ah yes, the world famous bottle train. I had a weird appreciation or lack of appreciation of the bottle trains. I almost never shot them. Growing up in the "Region" I saw so many bottle trains that they just about became "invisible." Oh look, there's a bottle train, YAWN..You know something, they still look the same twenty years later. Yeah, the color of the engines has changed, but still. This guy here is getting on the IHB and about to cross the old CE&I, now UP. That's the old B&O, now CSX, to the far right. See what I mean? I guess I'd better go shoot a bottle train; there's bound to be one around here somewhere.
Пара интервью с вокалистом Felt.
• их главный хит Primitive Painters спродюсировал Робин Гатри из Cocteau Twins, и на бэк-вокале с его подачи там спела Elizabeth Fraser;
• сингл Primitive Painters попал на вершину UK Independent Singles Chart, чего не удалось достичь ни The Smiths, ни Cocteau Twins;
• когда песня взлетела в топы МакГи из Creation и Cherry Red решили снять видео на этот сингл, но МакГи (был на мели) не заплатил ребятам (Cherry и Creation изначально договаривали разделить расходы пополам), поэтому они смогли снять только полклипа (!), из-за этого Lawrence собирался уничтожить видео, к счастью копия была не только у него (группа как раз перешла из Cherry на Creation);
• Робин очень любил эту группу и старался им помочь по мере сил, но для сведения альбома они заставили их вокалиста (по имени Lawrence Hayward) подписать бумажку, что он никаким образом не будет вмешиваться в сведение записи, потому что были наслышаны о его характере, он очень страдал что не может повлиять;
• видео сняли спустя пару лет после выхода альбома, в доме Фила Кинга (в будущем басиста Lush и The Jesus and Mary Chain) в Hammersmith, он тогда играл в Felt; штатным басистом Felt был Marco Thomas, так что Phil King даже не отмечен ни на одной их пластинке, хотя и снялся в их самом популярном видео;
• Martin Duffy сыграл на клавишах на этой пластинке, когда ему было всего 18 (а пришёл он в группу вообще в 16 лет), после распада Felt он примкнет к Primal Scream (на днях скончался /RIP);
Felt discography
1982.01 — Crumbling the Antiseptic Beauty (Cherry Red)
1984.02 — The Splendour of Fear (Cherry Red)
1984.10 — The Strange Idols Pattern and Other Short Stories (Cherry Red)
1985.09 — Ignite the Seven Cannons (Cherry Red) - Primitive Painters отсюда
1986.06 — Let the Snakes Crinkle Their Heads to Death (Creation)
1986.09 — Forever Breathes the Lonely Word (Creation)
1987.06 — Poem of the River (Creation)
1988.05 — The Pictorial Jackson Review (Creation)
1988.07 — Train Above the City (Creation)
1989.11 — Me and a Monkey on the Moon (Creation)
compilation
1987.09 — Gold Mine Trash [Cherry Red]
1990.04 — Bubblegum Perfume [Creation]
1992.04 — Absolute Classic Masterpieces [Cherry Red]
1993.10 — Absolute Classic Masterpieces Vol. II [Creation]
1993.10 — Felt Box [Cherry Red]
2003.05 — Stains on a Decade [Cherry Red]
singles
1979 — Index
1981 — Something Sends Me to Sleep
1982 — My Face Is on Fire / Trails of Colour Dissolve
1983 — Penelope Tree
1984 — Mexican Bandits / The World Is as Soft as Lace
1984 — Sunlight Bathed the Golden Glow
1985 — Primitive Painters
1986 — Ballad of the Band
1986 — Rain of Crystal Spires
1987 — The Final Resting of the Ark
1988 — Space Blues
• Уникальный саунд Felt — заслуга гитариста Maurice Deebank (Lawrence его друг детства) и он покинет группу сразу после альбома «Ignite the Seven Cannons», 1985, он говорил в другом интервью, что на первых альбомах учил всех играть на инструментах, там все самоучки кроме него (и даже после его ухода, они играли так как он их научил), Maurice признавал что Lawrence великий поэт, но они разошлись т.к. парни перестали слушать его советы по поводу саунда, плюс им вскружил голову успех Primitive Painters — Джон Пил и все остальные там подпрыгивали от радости когда её включали и они реально остановились в полушаге от глобальной популярности, но эта же песня стала их последним большим хитом;
Phil King играл в группах:
The Servants (1986)
Felt (1986-1987)
Apple Boutique (1987)
Hangman's Beautiful Daughters (1987)
Biff Bang Pow! (1988-1989)
See See Rider (1989-1992)
Lush (1992-1997, 2015-2016)
The Jesus & Mary Chain (1997-1998, 2017-)
(удивительно конечно, что я посмотрел живьём и Lush и JAMC хотя даже и не мечтал о таком!)
Felt одна из самых недооценённых британских групп, как и McCarthy.
...
An interview with Lawrence: “‘Primitive Painters’ was this great big statement, Felt were going to be massive.”
— Michael Bonner @ Uncut, 24.07.2015
www.uncut.co.uk/features/an-interview-with-lawrence-primi...
— Where were Felt just prior to Ignite the Seven Cannons?
— Honestly there’s so much. I don’t want to blab on and on. Originally I wanted to continue with John Leckie after The Strange Idols Pattern. He didn’t want to do it. I was writing these trademark pop songs at the time, short 3-minute things. Leckie said, “They’re all the same, they just seem to start and then stop, there’s no beginning.” Things like that. He was reluctant to get involved. But I said, “These are just a few rough demos that you’re listening to, the songs are nothing like that really. They’re quite expansive, there’s a lot going on.” But he wouldn’t give it a chance. So he passed on it anyway. We were trying to get Tom Verlaine as well.
— Did you approach Verlaine?
— We did, yeah. He said – oh God, his quote was classic – he said he didn’t want to get involved himself because he felt the guitars were playing all the way through the songs. That’s the gist of it. They would start and continue, like a long solo. The songs, they weren’t arranged. Like most would start and then continue all the way through the song. That’s a lot to do with me, because Maurice [Deebank] is such a great guitarist that I encouraged him to play from beginning to end, especially on my songs. That’s something Tom Verlaine picked up on. It was a good criticism, I suppose, in a way, if you were trying to write conventional songs. But we weren’t. At the beginning of this chat my point would be that these people didn’t give us a chance to see what could happen in the studio with this.
— How did Robin Guthrie become involved?
— Cocteau Twins had approached us to play with them live because we were Robin’s favourite band. We didn’t know them, they got in touch with us, and Robin said they were doing a small UK tour – well, for them it was a massive tour. It was 5 days on the trot I think, or 6 days. They took us with them in their mini bus and they paid for everything. They were very kind to us, and we became great friends on this tour. So, I thought, “Maybe I’ll ask Robin because he seems to know what he’s doing in the studio.” He wasn’t known as a producer then, he’d only produced Cocteau Twins. Now he’s known as more of a producer. I wanted to work with a musician. Robin liked us a lot, and he agreed to do it as long as I wasn’t at the mixing. I had to sign a contract to say that I wasn’t allowed to be at the mixing, because he thought my presence was too overpowering. There could only be one person mixing the record, and that would be him.
— Is that just how he works or was that about you personally?
— That was about me personally, absolutely. Because I was in control of every asset of the band. I had a comment on everything, even a shoelace, for example. I was in to everything, and I was completely obsessed. I think he thought, if he was going to produce, he’d want to produce it his way. He’d probably heard stories of me in the studio before anyway.
— What sort of stories?
— I don’t know, the usual. You always hear stories about people in the studio that are kind blown up out of all proportion. I don’t know what he could have heard, there are so many. He’d probably heard that it’s very hard to work with me. I signed this piece of paper anyway. There was a production contract and there was an extra contract for me to sign saying that I wouldn’t be there at the mixing. I can’t go into the whole thing, we’d need a whole book. But, what happened was, as we were recording the album, I was more and more reluctant to go along with this. I wasn’t sure that I shouldn’t be there. It got to the point where we had 11 days to record and five or six days to mix. We did it in Palladium studios in Edinburgh. Robin knew the engineer, the guy who owned it. Jon Turner I think his name was.
— Do you remember when this was?
— Let’s remember the weather… I reckon it was spring. It was coldish but there wasn’t any snow or rain. I’d say spring we did it. Definitely spring, yeah. Loads of Eighties bands went to Palladium, especially Scottish bands. Paul Haig and people.
— What was it like?
— It was residential which is the first time I’ve done that, and I didn’t like that at all, being away from my own surroundings, and sharing a room, we were all sharing a room. Like a dormitory it was.
— Who did you share with?
— I had my own room. I think that was part of it. I had to have my own room. I think we threw someone else in together, three of them together, so that I could have my own room. I think that was my one diva moment. It was awful for me, it was in the middle of nowhere. About a 45 minute bus ride into Edinburgh. It was awful, in a country lane, there was like a tiny little village down the lane. I got attacked by a dog, had to go to hospital. Like a wolf it was. It attacked me one day.
— Why did it attack you?
— I don’t know, just saw I was scared. It didn’t attack anybody else. I was on my own. Had to go to hospital. I hated it. And also I hated the food, and the whole day was geared up to “Is he going to eat or not tonight?” It’s all like that.
— What kind of food did they serve, if you don’t mind me asking?
— I can’t remember. But I didn’t eat anything. I didn’t like any meals, it was always a big deal. His wife was cooking the meals for us, of course, and you tend to be polite in those situations, but I couldn’t eat the food. Robin, he thought it was wonderful that all this was going on, and he’d make a big show of it to the wife, “He’s not eating it again, he doesn’t like your food.” All this kind of stuff. He’s quite the joker, Robin is. Everything’s based around a joke and japes with him. He sort of revelled in my idiosyncrasies.
— I want to talk more about Robin in a minute. But this is Duffy’s first record. How did he come into the picture?
— He joined late ‘84, straight from school. When we did Ignite… he was probably 16.
— How did you find him?
— I put an advert in Virgin for a guitarist. This was during one of the periods where Maurice left. This guy who worked there came up to me and said, “Look, you’re in Felt aren’t you? I know this great keyboard player.” That was Martin. I rang him and it was as simple as that. That was it really. Very lucky. I was thinking about a keyboard player anyway, because Maurice is so hard to replace. I got Martin in, we worked on all songs that were on Ignite the Seven Cannons – apart from “Primitive Painters” and Maurice’s solo song. In between then and starting the album, Maurice rejoined. He’d always leave, then he’d rejoin. Me and Gary [Ainge] would carry on on our own for a few months, and then we’d come to a low point, go round to Maurice’s house and beg him. We’d stay up all night with him and plead with him to come back. He took a lot of persuading, he wasn’t bothered about being in a group at all. So anyway, the next time we got Maurice back, Martin was with us. One of the reasons Maurice was quite happy to come back was the fact that we had a keyboard player. He thought it would be better for the arrangements.
— This was Maurice’s final record, though?
— Every record he came in and left really. That’s why he’s never in a lot of interviews, because he’d left straight after recording. But what happened this time was he’d got married to a girlfriend, and what should have been his honeymoon was spent recording Ignite the Seven Cannons. When we delivered him back to his flat in Birmingham, he got out the van and said “I’m finished now, yeah that’s it, I’m finished.” I knew he meant it that time. He left soon as we’d finished recording.
— When did you start writing “Primitive Painters”?
— When Maurice rejoined, he bought the music for “Primitive Painters”. It wasn’t like a fully formed song, it was like a cyclical riff. We arranged it together, and I put the verses in so it was a joint collaboration. But he wrote all the music to that and he brought his instrumental track, “Elegance of an Only Dream”. I wanted there to be lots of Maurice songs on that record. But he wasn’t interested, or he just found it too hard to work on his own, I think. When we wrote the songs together, we would sit opposite each other, parallel to each other, in my bedroom or flats that we subsequently got, and we’d just sit there and work on them. I’d play the chord sequence while he’d work out his guitar parts. I think he liked the camaraderie of that better than sitting on his own in a cold room trying to come up with songs, which I didn’t have a problem with. The poet in the garret was made for me. I was quite happy to be on my own composing and writing the words and writing the music, just waiting for fame. I was very prolific, but Maurice wasn’t. He wrote I think one on the first album, “I Worship The Sun”, and he wrote a song called “Spanish House” on the third album, and “Primitive Painters” and the “Elegance…” song. I was quite happy for him to present a whole album worth of stuff. We were partners and it didn’t matter who wrote what bits. We were songwriters’ together, joint songwriters. And of course, he came up with the best song, “Primitive Painters”.
— Where did the lyrics come in, do you have books of lyrics?
— I was sitting in my kitchen in Moseley doing it. The lyrics, I don’t know how they come about. That would’ve been the last song on Ignite the Seven Cannons, because I had all the others written. So that would’ve been the last lyric I wrote. I can’t say there was any special moment that made me come up with it.
— Can you explain the song?
— “Dragons blow fire, angels fly, Spirits wither in the air/It’s just me I can’t deny I’m neither here, there nor anywhere”. It’s about wanting to be in a select group. “Primitive painters are ships floating on an empty sea, gathering in galleries”. Imagine groups of really cool kids hanging out in galleries, not pubs. That was my sort of conception.
— Was that you?
— Yeah, that’s me. I’d always find myself in a gallery on my own, y’know.
— Can you talk us through how you worked on the song in the studio?
— We’d work them up in a practise room. There was no improvising going on, so we knew exactly what we were doing. Then we set up like a band in the studio. They were layered afterwards. They were very simple, very traditional big group concepts, just like everyone did. You’d set up live and you’d get the bass and the drums and the keyboards down, and the rhythm guitar, and you’d layer it from there, adding lead guitar and vocals afterwards. It’s quite boring, that aspect of it. But it was done really quickly because we didn’t have enough time to ponder, so we just did them all live.
— What was Robin like in the studio as a producer?
— While I was there, he was capturing it all with the engineer. He didn’t make any arrangement suggestions because it was all set in stone before we got there. I was very pedantic like that. But he put effects to tape, which is something you don’t do.
— Could you explain what you mean?
— You should record everything dry, and then you decide what effects to put on afterwards so you have the choice. That’s why that album sounds so impenetrable and dense because all the effects went down, so by the time of the mixing there was nothing to change. I suppose that was the way he recorded the Cocteau Twins. It was a massive mistake, and I’m sure he would never do that now. Over the years I’ve collected some of the master tapes and on the reissues that are coming out, I’ve tried to extract the Cocteau Twins from my record. You can’t really hear Maurice’s guitar leads. Okay, skip forward to the end of the mixing when I finally got my tape. I was horrified, I would never have made a record like that. I was like beside myself with anguish. The thing was in those days, you couldn’t remix an album. But Robin quite rightly said “Primitive Painters” has to be the single. He went on and on about it, and he went to Cherry Red and he told them, he persuaded everyone. I didn’t think it was a single, I thought it was too long. I went with him to a studio in London and we remixed it together. And that’s why that’s the best song, ‘cause I was there in that mixing. I went with him to Barry Blue’s studio in Camden. Remember that guy Barry Blue? He had some hits in the ‘70’s? He was like a teenybopper. His studio in Camden was by the Roundhouse. We spent an afternoon there and we remixed “Primitive Painters”. I think we should’ve done an EP with Robin; that would’ve been the best outcome. It would’ve been a different story. But, anyway, we were lumbered with a whole album. And it was 11 tracks as well. That’s something I could never get my head around because I like everything symmetrical. That hurt me a bit, straight away, before I’d even listened to it.
— How did Liz Fraser come to be on the record?
— Liz came with Robin to work on her own lyrics and songs and that, so she’d be upstairs in the bedroom, in their room, working on her lyrics. She had a bed full of books that she was poring though, reading and writing. Anyway, when we’d recorded “Primitive Painters” and we listened back, Robin said “I’ve got a good idea.” He ran upstairs and he said to Liz, “I want you to sing this song.” He just played her the end section. I wrote the lyrics out for her on a piece of paper, she went in, listened to it once on headphones, and then just improvised around it. It was as real as that. It was a remarkable moment. When you listen back to something like that, we knew we’d got it.
— It was on the cusp between the 7-inch culture of the late ‘70’s and the 12-inch culture of the Eighties.
— Yeah, I wanted it to be a stand alone release like Wild Swans’ “Revolutionary Spirit” and Joy Division’s “Atmosphere” which were 12-inches. “Atmosphere” was on 7-inch, but that was that French label so it didn’t count. Songs that were too big to hold on 7-inch, they were big. Cherry Red wanted to do a 7-inch edit of “Primitive Painters”, but I wouldn’t let them.
— Talking of Cherry Red, what was your relationship like with them at that point?
— Michael Alway was the A&R guy who signed us to Cherry Red. He formed a new label with Geoff Travis and they went to Warners and they started Blanco Y Negro. He always promised that he’d take us with him. He took most of the Cherry Red rock stuff, and he left us behind, because Warners just wouldn’t entertain the idea of having Felt. So we were on a label that we didn’t want to be on. But we all made friends and we had two albums left to deliver so we did Strange Idols Pattern, and then Ignite the Seven Cannons. I’d been speaking to Alan McGee at this point so I knew we were going to Creation after this last album. There was no animosity there, we were all friends and I’ve never fallen out with them, we’d been friends for years and it was just business.
— You made a video with Phil King a couple of years later. How did that come about?
— We were on Creation when we did it. What happened was, I don’t know why but it was mooted that we should do a video for “Primitive Painters”. It got half made. Cherry Red and Creation were meant to pay for it together, pay half each. Cherry Red came up with their half because they initiated the project, and McGee didn’t pay his half. So we did half a video with Phil’s friend Danny. What you see on YouTube is half a video. We were meant to do another half and join it together, have stuff superimposed over the top, have extra scenes. But all you can see really is me and Phil in Phil’s house in Hammersmith, just standing around. It’s ridiculous. I was so embarrassed when it leaked out. So we put it to bed, and it lay there until somebody scooped it up and put it on YouTube or leaked it on a VHS probably first, it was probably a leaked VHS first.
— Yeah, it’s got that slight tracking wobble you get every now and again on VHS…
— I should’ve been more attentive and got hold of it and cut it up or something. I was very meticulous about ‘there’s no extra tracks’ and things like that, no demos or extra tracks hanging around. But with this for some reason it went wrong. I can’t remember why it was resurrected I’d say about a year and a half later. Maybe together McGee and Cherry Red were going to do something.
— Where do you think now the song fits into your body of work? Is it a song you still feel proud of?
— Oh yeah, oh wow. It was great that we went back – at that time you never went back and revisited anything – and we spent an extra afternoon getting it right and perfecting it. It was this great big statement, Felt were going to be massive. I was prone to short pop songs. My thing was, I’m going to break in to the mainstream by doing a short pop song. I was totally off the mark. We nearly had a hit single with a six-minute track that was not a traditional pop song, let’s put it that way. I reckon that if it would’ve been in the ’90s, it would’ve been a Top 10 song – because the independent movement was ready to promote songs like that. In 1985, there was no apparatus for a song like that, to take it to the mainstream. Even The Smiths would only get to 23, and the Cocteaus would only get to 38. I’m really proud of the song, I’m really proud that Maurice got his moment. I’m proud of the fact the Cocteaus are on it. I suppose it was the high point of the first days of Felt wasn’t it?
...
Trash ascetic. The minimally-monikered Lawrence - driving force behind Felt, Denim, and now Go-Kart Mozart - lives like a monk but dreams of pop stardom, drawing inspiration from the 'middle-of-the-road underground'
• The Guardian, 8 Jul 2005
www.theguardian.com/music/2005/jul/08/1
When the cult pop star Lawrence was 12, he saw a film of Gary Glitter disposing of his old life as Paul Gadd by putting all of his possessions on to a boat on the river Thames and floating them downstream. "I said to myself, 'I'm going to do that one day,'" says Lawrence, who began the process by disposing of his surname. "I'm going to put one life away in a box and start a new one."
Although he hasn't quite reached Glitter's levels of fame or infamy, Lawrence has succeeded in reinventing himself several times. For most of the 1980s, he was the sensitive leader of the influential indie band Felt. Then he re-emerged in the 1990s with Denim, whose wry wit and celebration of 1970s pop culture proved too far ahead of its time for commercial success. Now he is back with Go-Kart Mozart, and a roster of perfectly formed pop songs that he hopes will be recorded by some of the biggest stars of the day. He's setting his sights on Charlotte Church, but whether she will add Um Bongo (about the Rwanda genocide), and Transgressions (about a trend for spraying Lynx body lotion on to your tongue for a cheap high) to her repertoire remains to be seen.
"I got a letter from a fan the other day who said that I was the only true talent left, now that Stephen Duffy is writing for Robbie Williams," says Lawrence, who lives in near poverty in a featureless flat in Victoria. "But I'd love to write for Robbie Williams! I think I write hit singles anyway; it's just taken me a long time to master them because I'm a slow learner. I couldn't tie my own shoelaces until I was 12."
Lawrence manages the unlikely feat of existing as both pop star and monkish hermit. He eats as little as possible because he believes that creativity comes from being hungry - if pushed, he will admit to pigging out on the occasional sausage roll from a stall on Victoria station - yet he is in love with glamour. He likes the Norwegian singer Annie because "she's a gorgeous girl and I'm into beauty. I could never listen to that big fat oaf from Pop Idol [Michelle McManus] because she's over-indulged herself. My whole thing is about not doing things, about being as thin and as minimal as possible. Ideally I'd like to wear brown robes, eat a bowl of rice a day, and go into a trance as I stare at beautiful album covers."
Then there are the records. In the corridor of the tiny flat Lawrence has a shelving unit with his French pop and 1970s glam albums. He's heavily into what he calls the underground middle-of-the-road scene. He has two copies of his favourite ones in mint condition "just in case", and visitors are only allowed to touch them once they have donned special protective gloves. "I don't want fingerprints on the laminated covers," he explains. Asked about his prized albums, he presents the solo debut by the 1960s/70s Israeli pop star Abi and 1973's Aquashow by obscure glam rocker Elliot Murphy.
Lawrence plays an emotional version of David Bowie's Life on Mars by British choral group the King's Singers and follows it with 1973's Dee Doo Dah by the actress and singer Jane Birkin. "And get ready for this," he says, unsheathing a poster of Michel Polnareff depicting the flamboyant French star proudly displaying his bottom. The poster was banned in 1972 and Polnareff was fined 10 francs for every copy printed. "I go mad on Polnareff. In the 1970s, he moved to the penthouse suite of a hotel in Los Angeles and as far as I know he's still there."
His only other significant possession is a book collection, shelved under a durable polythene dust cover and containing true-life accounts by heroin addicts, a few cult novels like Hunger by Knut Hamsun and Ask the Dust by John Fante, and an entire set of the Skinhead novels; the violent pulp books written by Richard Allen in the early 1970s. "I would say that real accounts by junkies are my favourites, and I'm not into fiction. I have everything by Jack Kerouac but his novels are about real life anyway."
Lawrence does dream of riches, despite currently living as an ascetic. "I love prison cells - if I had the money I would definitely build one of those cement beds that extend from a wall - but I'd really love a circular penthouse flat in Mayfair," he says. "I have a jewel case full of hits ready for ransacking, but I'm also in the market for a rich wife. She can be late 20s to early 30s and if her dad's in Who's Who, that's a bonus."
...
‘I’d rather be a tramp than reform my old bands’: Lawrence on life as British music’s greatest also-ran
• The Guardian, 27 Jul 2022
www.theguardian.com/music/2022/jul/27/lawrence-interview-...
His fans range from Charlie Brooker to Jarvis Cocker, yet the auteur behind Felt, Denim and Mozart Estate never found fame. He explains why it was all Princess Diana’s fault
The most uncompromising figure in British pop has an urgent question: “Do you need the loo?” This is Lawrence (no surnames, please), the mastermind responsible for the coruscating beauty of Felt, the knowing glam-rock of Denim and the bargain-bin ear-worms of Go-Kart Mozart, now renamed Mozart Estate. As we walk to his high-rise council flat in east London, I promise him that my bladder is empty. “Are you sure?” he persists in his Midlands lilt. “Do you want to try going in the cafe?” No one is allowed near his toilet. “A workman was round the other day, and he used it without asking. Oh God, it was ’orrible!”
Lawrence is wearing his trademark baseball cap with its blue plastic visor and a vintage-style blue Adidas jumper. His skin is pale and papery, his eyes small but vivid. He is 60 now and has been dreaming of pop stardom since he was a child. “I used to sit in the bath and pretend I was being interviewed: ‘So what’s it like to have your third No 1 on the trot?’”
Only one of his songs has ever charted: Denim’s It Fell Off the Back of a Lorry, straight in at No 79 in 1996. Summer Smash, a BBC Radio 1 single of the week, might have made good on its lyrics (“I think I’m gonna come / Straight in at No 1”) if its release in September 1997 had not been scrapped following a certain Parisian car crash. As Lawrence shows me around his ramshackle flat, which he has been decorating for the past 12 years or so, I spot a grotesquely bad portrait of Diana, Princess of Wales stowed in one corner. “My story is pinned to hers forever,” he says glumly.
We perch on wooden stools in the cluttered, dimly lit living room. Around us are piles of books and vinyl, assorted knick-knacks (feather duster, magnifying glass) and a mustard-coloured Togo chair – a rare extravagance – still in its plastic wrapping. The white blinds are pulled down; a leak has stained them urine-yellow like a child’s mattress. “I don’t think anyone’s had as much bad luck as me,” he says. “It just goes from one disaster to another.”
And yet Lawrence of Belgravia, the 2011 documentary about him which is now being released on Blu-ray, remains stubbornly inspiring. It’s the story of a born maverick who refuses either to abandon his dreams of success or lower his standards to make them a reality. “You see so many musicians reforming their old bands,” he says. “I can’t do that. You’ve got to move forward.” He knows what it’s like to be disappointed by your idols – “I couldn’t get over it in the 1980s when Lou Reed had a mullet” – and is determined never to sully his own legacy, no matter how much cash he is offered. “I’d rather be a tramp than reform Felt or play my old songs,” he says.
He has put his lack of money where his mouth is. “There came a point where I learned to live on nothing. I’d have two pence in my pocket, and I’d find a bench on the King’s Road hoping someone would sit next to me so I could ask for a cigarette. No one ever did because I looked so rough.”
Lawrence of Belgravia alludes to addiction issues and legal woes: we glimpse bottles of methadone and piles of court letters. At the start of the film, he is evicted from his previous flat. But it is still a fond and hopeful study of someone for whom fame – as symbolised by limousines, helicopters and Kate Moss – has never lost its allure. “It’s such a shame it hasn’t happened to me,” he says. “I’d love to try fame on for size, see what it’s like.” How close has he come? “There was a period in the 1990s when I could get a taxi. That was as good as it got. There’s a fame ladder and I’m near the bottom. I always have been, and I accept that.”
The documentary has helped a bit. “It’s a proper film, and that took me up a couple of rungs,” he says. “It legitimised me.” He has rarely wanted for respect: he counts Jarvis Cocker and Belle & Sebastian’s Stuart Murdoch among his fans; Charlie Brooker chose Denim’s The New Potatoes, with its Pinky & Perky vocals, as one of his Desert Island Discs. He has also started being recognised in the street – “which shows you’re getting somewhere”. But he has a little grumble: “The people who come up to me are all listening to my stuff on Spotify. I tell them: ‘Buy a bloody record!’ Some of them haven’t got a turntable, so I say, ‘Put it on the wall.’”
His hard-luck story began when Felt failed to win favour with the DJ John Peel. “If you were an indie band in the 1980s, you couldn’t make it without Peel’s support,” he says. When Lawrence formed Denim in the early 1990s, he seemed ideally placed to ride the incipient Britpop wave. “Except I made one super error,” he points out. “I thought live music was over, so we didn’t play live at first.’” He believed it would add mystique if fans couldn’t see Denim in the flesh. “I wanted to be a cartoon band. But it turned out to be the beginning of the live boom. Indie suddenly went mainstream. I didn’t spot that coming.”
If the hard-gigging likes of Blur stole a march on Lawrence, it was another Damon Albarn outfit that pipped him to the post with the “cartoon band” idea. “I couldn’t believe it when Gorillaz happened,” he splutters. “I was like, ‘That’s what I wanted to do!’”
Soon after the Summer Smash debacle, Denim were dropped by EMI. “We had to go down to making records for nothing, getting favours from friends.” Go-Kart Mozart was intended as a stop-gap but the songs, many of them musically upbeat and lyrically harsh (When You’re Depressed, Relative Poverty, We’re Selfish and Lazy and Greedy), have kept on coming for more than two decades. The name-change to Mozart Estate reflects, says Lawrence, “the tougher times we live in”.
Even he was taken aback while checking the lyric sheet for the new Mozart Estate album Pop-Up, Ker-Ching and the Possibilities of Modern Shopping, which is to be released in January. “Every song has something ’orrible,” he says. One track features the line, “London is a dustbin full of human trash.” Another is called I Wanna Murder You. “I’m never going to get any PRS money for that,” he says. “Still, it’s very catchy. Breaks into a lovely chorus.”
It’s all too much for some people. When the first Go-Kart Mozart album came out, he received a call from Alan McGee, his Creation boss from the Felt days. “Alan said, ‘What’s this song Sailor Boy, then? Jean Genet going down on you? I don’t get it, Lawrence. I don’t get what the fuck you’re doing!’” He looks pleased as punch.
Paul Kelly, the director of Lawrence of Belgravia, thinks the singer is in a healthier and more optimistic state now than during the making of the film. Production took eight years, largely because Lawrence kept disappearing for months on end. “First I’d be frustrated, then I’d worry,” says Kelly. “When he finally turned up, he’d act as though nothing had happened. He has that disarming personality so you always forgive him. I think he had a fear that when we were finished, there’d be nothing else. He didn’t want to let the film go.”
These days, Lawrence has fingers in umpteen pies (Felt reissues, a limited-edition folder of collectible bits-and-pieces and a 10-inch EP, all ahead of the new album). He is bubbling with ideas: he wants to write a play for the Royal Court, collaborate with Charli XCX, be directed by Andrea Arnold. “Do you know her?” he asks hopefully. “I want to be in one of her films and write a song for it.”
His greatest enthusiasm is reserved for the larger-than-life-sized pink marble bust which the sculptor Corin Johnson is making of him: “He came up to me at a gig and said, ‘I’d like to do a statue of you.’” A month’s worth of sittings later – including one spent with straws in his nostrils while his head was encased in plaster of Paris – and it’s almost ready. Nick Cave, one of Lawrence’s heroes, has been working in the same yard on a ceramics project about the devil. “He keeps saying, ‘When are you going to bloody finish that?’”
Even on Lawrence’s rinky-dink, old-school mobile phone, which is no bigger than a Matchbox car, the pictures of the bust look imposing. A hood is yanked up over his baseball cap, sunglasses are clamped to his face, his expression is surly and defiant: it’s a literal monument to his artistic purity. “This should push me a few rungs up the fame ladder,” he says, marvelling at his marble doppelganger. I think he’s in love.
...
📼 Felt - Primitive Painters [feat Elizabeth Fraser] (1985)
Producer: Robin Guthrie (Cocteau Twins)
video 1987 - Lawrence Hayward & Phil King (in Phil’s house in Hammersmith)
Duo-toned tulips...a couple, dancing A Menuet... celebrating Spring!
A REAL TREAT LARGE AND View On Black
THANX for ALL your comments and visits, so appreciated, too many to be returned (sadly, however I DO try!... )
Each time I think... that's it, there's only so much you can do with flowers... and yet again and again, I'll see something new.
Being creative is not a choice... it is an urge in me.
READ MORE HERE, new Blog: magdaindigo.blogspot.com/2010/02/valentines.html
Have a wonderful day, filled with love, M, (*_*)
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Why not view the set as a slide-show?
Also I often upload more than one image at the same time, I see a tendency to only view the last uploaded...
A couple leaving the Spruce Street Bridge located in Banker's Hill just north of downtown San Diego, California.
Our Daily Challenge:
Clair de Lune... is the topic for Sunday ~ December 13th, 2020
Same location as Gloomside but 15 minutes later with different light.
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Epic gold 45 revolver swimsuit bikni model goddess video shot at the same time as the stills:
www.youtube.com/watch?v=3iFIS9hzZB0
Nikon D800E Photos Pretty Swimsuit Bikini Model Goddess Modeling Gold 45 Revolver Swimsuits & Lingerie !
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Nikon D800E Photos of a Pretty Swimsuit Bikini Model Goddess in Modeling Gold 45 Revolver Gold'N'Virtue Swimsuits & Lingerie with the famous golden gun! She had pretty blue-green-grey-hazel eyes--the colors kept changing! The Colt 45 Revolver comes directly form Clint Eastwood's/Sergio Leone's Fistful of Dollars--my favorite Western--heck my favorite all-time film, exalting the classical, archetypal themes I seek in all my photography! The goddess is standing in front of the 45surf summer beach house!
She was tall, thin, pretty, and fit with gorgeous hazel-blue-green eyes and long, long legs! Shot with the new D800E and my favorite workhorse lens the very sharp Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens. A slight change of pace for all my flickr fans!
Here's some HD video shot during the lingerie shoot that day:
www.youtube.com/watch?v=3iFIS9hzZB0
www.youtube.com/watch?v=_25O_gtbCMA
www.youtube.com/watch?v=rbnk6RiLDJ0
www.youtube.com/watch?v=1-OIgUDBUfA
Modeling the black & gold "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
May the Hero's Journey Mythology Goddess inspire you (as they have inspired me!) along your own artistic journey! Love, love, love the 70-200mm F/2.8 Lens! Holding it up all day, alongside the Sony NEX 6 with the 50mm F/1.8 lens for cool video bokeh which I have mounted under the Nikon D800E camera, is quite the workout! My shoulders have gotten bigger after so many days with six hour shoots in the AM and 3 hour shoots in the PM holding that rig up :). Plus I have to carry all the gear, books, and clothes a few hundred yards up and down the steep cliffs. I count my photography days as two workout days. :) But I love it! Every day presents a puzzle--how to figure out the light, and every model presents a mystery to be unlocked--what are her best angles/poses/actions? Nothing beats the challenge of capturing the natural beauty of a day out there, when the light's dynamic range can change by a factor of ten in a few minutes as the mist burns away to reveal the sun, and then the wind whips up and a fog rolls on in, making it seem like a windy December dusk in July. One must always be mindful of tide, times, and temperatures and work quickly before the cameras get too hot in the sun, or the model gets too cold in the wind, as the tide and rogue waves reach out to grab your equipment/props/clothes and claim them for Poseidon, the god of the sea . Beach photography/video is just like surfing, with the conditions always changing and every wave a bit different. Studio photography is like riding an exercise bike set at level 1 in a gym in front of a TV. And shooting stills and video @ the same time is like Jimmy Page or Slash improvising on his double-necked guitar.
I'm working on a book called "Lone Cowboy Photography: A Humble Hero's Journey into the Art of Photography" about how to shoot it all on your own--stills and video for sports, portraits, and landscapes--with no assistants nor teams. Just you and the goddesses, the heroic athletes, the majestic, epic landscapes, and a copy of Homer's Iliad and Odyssey to teach you of the poetry of epic, heroic beauty. You gotta be ready, son--you gotta be ready for quick-draw showdowns at sunrise and sunset, during the magic hours and in the harsh light at high noon. Every shoot is over the second you finish packing your bags for the day with all your batteries, backup cameras, freshly-cleaned lenses, washed and folded clothes and hoodies, and props and polarizer filters. Every shoot ends the second the prep is over, and the fun, and art, and life of the live performance begins. :) "Every fighter has a plan," said boxing great Mike Tyson, "Until they get hit."
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy!
Pretty blond standing in front of the black 1969 Stingray Convertible Corvette !
Epic backlighting with the sun god Apollo behind the goddess!