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Visiting Essencia hotel in SL for 2 days. Will be snapping a few pictures. Full album on Facebook.
www.facebook.com/media/set/?set=a.658576335457167&type=3
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Essencial Hotel Info
Taxi:
maps.secondlife.com/secondlife/ANIMAS%20MTNS/187/142/30
Website: Reservations:
essenciahotel.wixsite.com/travelbusiness
Fb:
Screens have always been a measured, controlled distance for me. I’ve grown up alongside the changing digital landscape, from vice to necessity, for better or worse. I have been everyone and no one online; I have been naively vulnerable and rigidly cryptic. I sarcastically joke about “my stint with agoraphobia” years ago because it’s easier than explaining the painful terror of that kind of isolation. Now it’s a global stint. Now it’s more screen time for everyone, the place that’s been my home inside my home since we had to hum along to dial-up. I think now about the nostalgic sounds of doors opening when people were available to you and closing when they weren’t. I open and close the doors between myself with others as a second nature and I weave in and out of my connectivity along the way. Do you know me? Can you ever know me? Would I even let you?
Screens have always been a measured, controlled distance for me. I’ve grown up alongside the changing digital landscape, from vice to necessity, for better or worse. I have been everyone and no one online; I have been naively vulnerable and rigidly cryptic. I sarcastically joke about “my stint with agoraphobia” years ago because it’s easier than explaining the painful terror of that kind of isolation. Now it’s a global stint. Now it’s more screen time for everyone, the place that’s been my home inside my home since we had to hum along to dial-up. I think now about the nostalgic sounds of doors opening when people were available to you and closing when they weren’t. I open and close the doors between myself with others as a second nature and I weave in and out of my connectivity along the way. Do you know me? Can you ever know me? Would I even let you?
our spare room triples as sewing room, dining room and office!
when we have guests for dinner we use this screen.
After months of working on a tiny laptop screen, I'm finally back to dual external monitors. Hooray for screen space! And the ability to color calibrate those screens!
(Yes, that is the cat's tail on the left - I made the mistake of laying a towel in the open space, now it's "his spot" and I'm stuck with it til he gets bored of it.)
I was going to say "roll over the photo to view notes on the desk layout" . . . . . but it appears Flickr has removed the option to ad or view notes on a photo. Boo!
Please support on Lego Ideas:
ideas.lego.com/projects/c5e0de2d-6837-46fd-82ee-16a1a0d56bc2
Chip 'n Dale: Rescue Rangers
Watching this colorful classic as a kid I dreamed to be a member of their brave team and face breakneck adventures daily! Pretty sure so did many of you :) Time passes by and here is another great childhood memory that inspired me to build this idea!
About The Build
This idea consists of close to 500 pieces and features all 5 members of Rescue Rangers team and their iconic aircraft built by Gadget :) Also there is a stand designed to look like a part of a tree and a ladder for balancing the plane and extra play-ability.
In this build I used only existing molds with some recolors and custom prints!
Easter Egg
Those who follow me know that every MOC I make features an Easter Egg! If you were able to find it - leave a comment :)
Personal
I've put as much love and nostalgia in this creation as I could. This cartoon is very special to me and this time I'm not setting a goal to reach 10k since I'm not even sure it can pass a moderation, so basically if you're reading this - I'm already one happy guy behind a screen!
Original poster - 'Blowing in the Mind/ Mister Tambourine Man', colour screen-print from multiple stencils on gold foil paper, designed by Martin Sharp, London, 1968. It is a complex multi-stencil design in red and black inks screen-printed on gold foil paper, the design featuring multiple radiating circular motifs with two portraits of Bob Dylan, the large central frontal profile with reflecting dark glasses and caption 'Blowing in the Mind', the smaller side profile placed in front of an entwined 'Mister Tambourine Man'. Lyrics of the song are written within letters and circles. This was the first "serious" poster I bought.
We share the sadness
Split screen sadness
Two wrongs make it all alright tonight
Two wrongs make it all alright tonight
Two wrongs make it all alright tonight
Two wrongs make it all alright tonight
"All you need is love" is a lie 'cause
We had a love but we still said goodbye
Now we’re tired, battered fighters
And it stings when it nobody’s fault cause there's
Nothing to blame At the drop of your name
It’s only the air you took and the breath you left
So maybe I’ll sleep inside my coat and
Wait on your porch 'til you come back home
Oh, right
I can’t find a flight
So I’ll check the weather wherever you are
Cause I wanna know if you can see the stars tonight
It might be my only right
Sister's birthday Tomorrow
should be fun :)
German postcard. Photo: Asta Nielsen and Hugo Flink in Die Kinder des Generals/The General's Children (Urban Gad, 1912).
Danish silent film actress Asta Nielsen (1881-1972), was one of the most popular leading ladies of the 1910s and one of the first international film stars. Of her 74 films between 1910 and 1932, seventy were made in Germany where she was known simply as 'Die Asta'. Noted for her large dark eyes, mask-like face, and boyish figure, Nielsen most often portrayed strong-willed passionate women trapped by tragic consequences.
Asta Sofie Amalie Nielsen was born in the Copenhagen suburb of Vesterbro, Denmark, in 1881. She was the daughter of an often unemployed blacksmith and a washerwoman. Nielsen's family moved several times during her childhood while her father sought employment. When she was fourteen years old, her father died. Asta's stage debut came as a child in the chorus of the Kongelige Teater's production of Boito's opera 'Mephistopheles'. At the age of eighteen, Nielsen was accepted into the drama school of the Royal Danish Theatre. During her time there, she studied with the Royal Danish actor Peter Jerndorff. In 1901, twenty years old, she became pregnant and gave birth to her daughter, Jesta. Nielsen never revealed the identity of the father, and chose to raise her child alone with the help of her mother and older sister. In 1902, she graduated from drama school. For the next three years, she worked at the Dagmar Theatre, then toured in Norway and Sweden from 1905 to 1907 with De Otte and the Peter Fjelstrup companies. Returning to Denmark, she was employed at Det Ny Theater (The New Theatre) from 1907 to 1910. Although she worked steadily as a stage actress, her performances remained unremarkable. Danish historian Robert Neiiedam wrote that Nielsen's unique physical attraction, which was of great value on the screen, was limited on stage by her deep and uneven speaking voice.
In 1909, set designer and director Urban Gad encouraged Asta Nielsen to become a film actress and she starred in his Danish silent film Afgrunden/The Abyss (Urban Gad, 1910). Gary Morris observes in Bright Lights Film Journal: "this film established from the beginning key components of her legend: scandalous eroticism and a uniquely minimalist acting style." Asta plays a music teacher lured away from her stolid fiancee (Robert Dinesen) by a sexy but faithless circus cowboy (Poul Reumert). In a startling sequence of sexual intensity, she lassos her boyfriend and does a lewd dance, bumping and grinding against him. Morris: "This vulgar ‘gaucho-dance’ was what most viewers remembered, but critics of the time also applauded Asta's naturalistic acting." The film was a huge success so she was encouraged to continue. The following year Balletdanserinden/The Ballet Dancer (August Blom, 1911) proved to be another success. Nielsen and Gad soon married. A German distributor, Paul Davidson, invited Nielsen to Germany, where he was building a new studio. Eventually, this would become Europe's largest film studio - the Universum Film Union A.-G. (or Ufa). Asta signed a contract for $80,000 a year, then the highest salary for a film actress. In 1911, she moved to Berlin with Urban Gad. In a Russian popularity poll of that year, she was voted world's top female film star, behind French comedian Max Linder and ahead of her Danish compatriot Valdemar Psilander.
In the next six years, Asta Nielsen played every conceivable kind of character in both tragedies and comedies. In Die Suffragette/The Militant Suffragette (Urban Gad, 1913), she is an English female liberationist whose beliefs force her to become violent, placing a bomb in Parliament. In Zapatas Bande/Zapata's Gang (Urban Gad, 1916), she plays a highway robber. In the comedy Das Liebes-ABC/The ABCs of Love (Magnus Stifter, 1916), she pretends to be a man and takes her wimpy boyfriend out on the town in order to "bring out the man in him." Nielsen was so famous that the name Asta became a trademark for cigarettes and perfumes. In the Dutch city The Hague, a cinema was named after her. Her beauty was praised by the poet Guillaume Apollinaire as "the drunkard's vision and the lonely man's dream". One of Asta's most interesting productions was Hamlet (Sven Gade, Heinz Schall, 1921). Gary Morris: "Asta brings a subtle twist to her version not by playing a man, but by playing a woman disguised as a man, adding another level of gender complexity. Hamlet was based less on William Shakespeare than on a popular book of the time that said Hamlet was actually a girl forcibly raised as a boy in order to provide an heir to the Danish throne. At first, the effect is more puzzling than effective, but the actress's strategy becomes evident in sexually charged scenes between Asta/Hamlet and Horatio, who caress and coddle each other in what surely appeared to viewers of the time (as it does to modern audiences) as a gay tryst. Asta brilliantly imparts the gender-unstable nature of the character in these scenes with Horatio and others with Fortinbras, whose encounters with Hamlet are also clearly coded as gay. The actress's effortless creation of these subtle, sympathetic homosexual tableaux gives a tremendous vitality to this production. The fact that the film was truly hers — being the first film she made with her own production company — shows just how daring and modern she was."
Nowadays Asta Nielsen is best known for Die Freudlose Gasse/The Joyless Street (G.W. Pabst, 1925). Asta plays in this film an impoverished woman who resorts to prostitution and murder. In the original prints there were two equal-time female leads: Nielsen and a young actress from Sweden, Greta Garbo. Ruthlessly cut for American release, the film suddenly became a Garbo vehicle. Fortunately, the print has been restored recently and Asta triumphs in it as the increasingly unbalanced Marie. Nielsen continued to be a screen legend in Germany, and appeared in films like Dirnentragödie/Tragedy of the Street (Bruno Rahn, 1927) and in her only sound film Unmögliche Liebe/Crown of Thorns (Erich Waschneck, 1932). After the Nazis came to power she was rumoured to be offered her own studio by propaganda minister Joseph Goebbels. Understanding the implications well, she left Germany for good in 1936, settling in Denmark where she returned to stage acting and became a private figure. In her later years, Asta Nielsen wrote articles on art and politics and a two-volume autobiography, 'Den tiende Muse' (The Silent Muse) in 1946. She also became an acclaimed collage artist. In 1964, Nielsen had to come to terms with the most severe blow of her life: her daughter Jesta committed suicide following the death of her husband. At 86, Asta directed her first film. Luise F. Pusch writes in FemBio: "After a film about her life did not meet with her approval, she set to work on the project herself. The result was a work of art." At 88, Asta Nielsen married her third husband, Christian Theede, an art dealer 18 years her junior and the great love of her life. The two enjoyed their travels together so much that they decided to leave their fortune to a foundation to fund trips for the elderly. In 1972, Asta Nielsen died in Copenhagen after a leg fracture. She was 90.
NB according to Danish Nielsen expert Ib Monty, in 1915, during a trip to South America, Nielsen met Freddy Wingårdh, Swedish fleet lieutenant and son of a shipbuilder. They soon fell in love. In the same year Nielsen separated from Urban Gad and in 1918 they officially divorced. Nielsen married Wingardh in 1919, but divorced him again in 1923. Apparently, during WWI, Wingardh made several photos of Nielsen, which were used for postcards issued by the German Photochemie company in Berlin. Wingårdh would also act in one of Nielsen's films: Das Eskimobaby ( Walter Schmidthässler, 1918). Together with Wingårdh, Nielsen founded the company Art-Film , with which she would produce three films: Hamlet, Fräulein Julie, and Der Absturz. In the latter film played with Russian actor Grigori Chmara, who became her film partner for some seven films, and from 1923 also her partner in private life.
Sources: Gary Morris (Bright Lights Film Journal), Luise F. Pusch (FemBio), Jim Beaver (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Some people have been complaining about their screens being brigher at the bottom or darker on one side. I think mine is pretty even, thankfully.