View allAll Photos Tagged weegee
Installation shot from Breathless Days 1959-1960: A Chronotropoic Experiment.
April 16 - June 2, 2010
Photo by Michael R. Barrick, Morris and Helen Belkin Art Gallery
Futuro 001
Futuro, or Futuro House, is a round, prefabricated house designed by Matti Suuronen, of which fewer than 100 were built during the late 1960s and early 1970s. The distinctive flying saucer like shape and airplane hatch entrance has made the houses popular among collectors. The Futuro is composed of fiberglass-reinforced polyester plastic, measuring 4 metres high and 8 metres in diameter.
The WeeGee Exhibition Centre, Tapiola, Espoo, Finland is a cornucopia of museums, exhibitions and events, includes five museums, a modern art gallery, a café and three museum shops. This building, originally designed as a printing house by architect Aarno Ruusuvuori, has been transformed into a unique exhibition centre for culture and different events. It contains over 20'000 square metres of living culture, art, exhibitions and events.
Futuro 001 has been owned by TV celebrity Matti Kuusla since its manufacture. It is worth noting that despite the 001 numbering this was not the first Futuro manufactured - the prototype was numbered 000 and that Futuro has been fully restored and is on display at the Museum Boijmans Van Beuningen in Rotterdam, Netherlands. The Futuro has spent its life on a lakeside property in Hirvensalmi where, mainly because it has never had an electrical supply, it has been only used in a very limited way.
Max Lindquist Presents – The Human Show
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Robbie Williams ––––– Let Me Entertain You
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Welcome to the Human Show Season 2025
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Episode 2 ———————————— Chapter 9
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Ennio Moricone —–––– The Ecstasy of Gold
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Make the World Fucking Peace Again Fuck !
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Bad Brains –––––––––––– Universal Peace
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Make the World Fucking Great Again Fuck !
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Cat Stevens ——————————- Peace Train
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this photo is about people getting together and celebrating life this photo is about peo
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Elvis Costello —————–– What's So Funny?
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the greatest country in the world is the USA
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Chris Stapleton – The Star-Spangled Banner
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the name max in early scandinavian writing
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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American Swedish —- A Vanishing Language
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lovely documentary on literal last breaths of swedish speaking towns in america - weeks months only a few few few years away they unfortunately likely will be gone ...... forever
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Linkin Park ––––––––––––––––- In the End
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without artists tyranny runs wildeer and the world would be 1,000x worse than it is now
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Franz Schubert ————————- Trio Op. 100
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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John Mellencamp - Let Them Run Your Lives
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John Mellencamp - Do You Think That's Fair?
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John Mellencamp – Justice & Independence
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John Mellencamp –- You've Got to Stand For
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John Mellencamp –– The Face of the Nation
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John Mellencamp –– Twentieth Century Fox
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John Mellencamp —– Between Laugh & Tear
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John Mellencamp —– Rain on the Scarecrow
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John Mellencamp ––- Chestnut St. Revisited
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John Mellencamp ——– Small Town Acoustic
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John Mellencamp –––– A Little Night Dancin
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John Mellencamp ––––- Dream Killing Town
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John Mellencamp ––––- Hand to Hold on To
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John Mellencamp ––––– Alley of the Angels
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John Mellencamp ———– When I Was Young
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John Mellencamp ———— Grandma's Theme
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John Mellencamp –––––- Hit the Road Jack
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John Mellencamp —––––- Young Genocides
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John Mellencamp ————- I Ain't Even Done
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John Mellencamp ————– American Dream
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John Mellencamp ————–- Chestnut Street
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John Mellencamp —————- Do You Believe
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John Mellencamp ————–– Jack & Diane 2
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John Mellencamp —————– Small Paradise
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John Mellencamp —————– High C Cherrie
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John Mellencamp –––––––– I Need a Lover
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John Mellencamp —————— Born Reckless
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John Mellencamp —————— Pretty Woman
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John Mellencamp —————— Make Me Feel
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John Mellencamp ——————- Taxi Dancer 2
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John Mellencamp ——————- Taxi Dancer 3
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John Mellencamp —————–– Cherry Bomb
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John Mellencamp ————–––- Jack & Diane
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John Mellencamp ————–––– Latest Game
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John Mellencamp ——————— Pray For Me
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John Mellencamp ——————–– Danger List
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John Mellencamp ———————- Taxi Dancer
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John Mellencamp ——————–– Small Town
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John Mellencamp ———————– Martha Say
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John Mellencamp ———————–– China Girl
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John Mellencamp ————————–– Factory
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John Mellencamp ————————–– To M.G.
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John Mellencamp ————————––- To Live
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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NY Islanders v Golden Knights Feb 4, 2025
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Patrick Roy Post-game Press C. NYI vs VGK
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Bo Horvat Post-game Interview NYI vs VGK
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Anders Lee Post-game Intervie. NYI vs VGK
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Brock Nelson Post-game Interv. NYI vs VGK
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NY Islanders on Bright Burning Orange Fire
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New York Islanders from Nassau County NY
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NY Islanders — Greatest Club Hockey Team
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NY Islanders vs Tampa Bay —–- Feb 1, 2025
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NY Islanders vs Tampa Bay –- Full Overtime
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Patrick Roy Post-game Interview NYI vs TBL
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Tony DeAngelo Post-game Inter. NYI vs TBL
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Adam Boqvist Post-game Interv. NYI vs TBL
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JB Pageau Post-game Interview NYI vs TBL
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NY Islanders vs Flyers ———— Jan 30, 2025
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NY Islanders vs Avalanche —- Jan 28, 2025
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NY Islanders vs Hurricanes —- Jan 25, 2025
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NY Islanders vs Flyers ———— Jan 24, 2025
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NY Islanders vs Blue Jackets - Jan 20, 2025
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Islanders vs San Jose Sharks - Jan 18, 2025
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Islanders vs Utah Hockey Club Jan 11, 2025
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NY Islanders vs Golden Knights Jan 9, 2025
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NY Islanders vs Boston Bruins Jan 5 – 2025
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Entombed —— Ride Shoot & Speak the Truth
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Entombed ———– Something out of Nothing
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Entombed ———— Ensemble of the Restless
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Entombed ————– Through the Colonades
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Entombed ————— Like This With the Devil
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Entombed ——————– Morbid Devourment
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Entombed ——————–- Premature Autopsy
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Entombed ———————- Seeing Red Demo
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Entombed ———————- When It Hits Home
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Entombed ———————– Kick Out the Jams
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Entombed ——————––- Chief Rebel Angel
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Entombed ———————— The Truth Beyond
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Entombed ———————— Won't Back Down
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Entombed ————————- But Life Goes On
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Entombed ————————– Carnal Leftovers
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Entombed ————————– Supposed to Rot
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Entombed ————————— Stranger Aeons
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Entombed ————————— God of Thunder
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Entombed ————————— Shreds of Flesh
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Entombed —————————– Left Hand Path
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Entombed ————————––- Year One Now
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Entombed ————————––- Out of Heaven
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Entombed —————————— Sinners Bleed
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Entombed —————————–- Say It In Slugs
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Entombed ——————————- Black Breath
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Entombed ————————–––- Chaos Breed
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Entombed ——————————-- About to Die
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Entombed ——————————– Scottish Hell
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Entombed ——————————– Bursting Out
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Entombed ——————————— Out of Hand
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Entombed ——————————— Living Dead
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Entombed ——————————— Seeing Blue
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Entombed ——————————— I For An Eye
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Entombed ———————————- Blessed Be
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Entombed ———————————– Rotten Soil
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Entombed ———————————– Bitter Loss
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Entombed ———————————— Forsaken
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Entombed ————————————- Vandal X
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Entombed ————————————- Drowned
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Entombed ————————————- Fractures
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Entombed ————————————— Superior
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Entombed —————————————- DCLXVI
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Entombed ——————————————- Evilyn
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Entombed ——————————————- Crawl
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Claudio Baglioni – Questo Piccolo Grande A
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Claudio Baglioni —–- Con Tutto L'Amore Che
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Claudio Baglioni –––––––– Strada Facendo
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Claudio Baglioni —————–– Ora Che Ho Te
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Claudio Baglioni ————————– Fotografie
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Claudio Baglioni ———————————– Solo
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Claudio Baglioni ———————————— E Tu
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Claudio Baglioni ———————————–– Via
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Sepultura - From the Past Comes the Storms
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Sepultura ——————–– Roots Bloody Roots
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Sepultura ———————— Amen & Inner Self
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Sepultura ———————— Bestial Devistation
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Sepultura ———————–– Warriors of Death
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Sepultura —————————— Desperate Cry
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Sepultura ———————––––– Septic Schizo
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Sepultura ——————————–– Propaganda
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Sepultura ——————————––– The Curse
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Sepultura ——————————————— Arise
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Neil Diamond ————— Red Red Wine Mono
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Neil Diamond —————––– Red Rubber Ball
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Neil Diamond —————–––– Someday Baby
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Neil Diamond ———————— Cracklin' Rosie
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Neil Diamond ——————––– Red Red Wine
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Neil Diamond ————–––––– Solitary Man 2
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Neil Diamond ———————––– Solitary Man
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Neil Diamond —————————— I Am I Said
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Neil Diamond ——————–––––– Oh No No
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Neil Diamond —————————–– La Bamba
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Neil Diamond ——————————–– America
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Neil Diamond ———————————––– Do It
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Ministry —————— What a Wonderful World
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Ministry ———–––––– Jesus Built My Hotrod
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Ministry ————————–– Roadhouse Blues
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Ministry —————————– Under My Thumb
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Ministry ———————————– Just Got Paid
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Ministry ———————————— Lay Lady Lay
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Ministry ———————————— Just One Fix
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Ministry ————————————– Scare Crow
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Ministry ————————————– Black Betty
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Ministry —————————————– Psalm 69
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Ministry —————————————–– Thieves
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Ministry ———————————————- N.W.O.
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Dismember ———– Override of the Overture
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Dismember ———————- Full Documentary
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Dismember ———————— In Death's Sleep
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Dismember ———————— Case # Obscene
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Dismember ———————–- Dreaming in Red
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Dismember ———————–- Defective Decay
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Dismember ————————- Deathevocation
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Dismember ———————––– Skin Her Alive
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Dismember —————————- And So is Life
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Dismember —————————- Dismembered
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Dismember —————————– Sickening Art
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Dismember —————————— Bleed for Me
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Dismember ——————————- Sorrowfilled
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Dismember ———————————- Skinfather
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Dismember ———————————– Fleshless
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Juan the Beast — I Want to Know What Love
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Juan the Beast —————————– Hallelujah
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Juan the Beast ————————––– Faithfully
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Antonello Venditti – Che Fantastica Storia e'
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Antonello Venditti -- Sotto Il Segno Dei Pesci
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Antonello Venditti —————– Piero e Cenzia
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Antonello Venditti ——————– Grazie Roma
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Antonello Venditti ———————– Alta Marea
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Antonello Venditti ————————–- Che C'è
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Roy Orbison ———––- She's a Mystery to Me
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Roy Orbison –––––––— Where Have All the
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Roy Orbison ––––––––––- In the Real World
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Roy Orbison –––––––––—— Careless Heart
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Roy Orbison –––––––––——- California Blue
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Roy Orbison ––––––––––––- The Only One
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Roy Orbison ––––––––––––——- In Dreams
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Roy Orbison ––––––––—————- You Got It
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Roy Orbison ––––––––––––––––—- Crying
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Roy Orbison ––––––––––––––—––- Dream
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Beat Checkazz ———— The Power of Love 2
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Beat Checkazz ———— The Power of Love 3
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Beat Checkazz ———— The Power of Love 4
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Beat Checkazz ———— The Power of Love 5
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Beat Checkazz ———––– The Power of Love
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Refused —————————— Rather Be Dead
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Refused ———————————— I Am Not Me
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Refused ——————————––—- Everlasting
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Refused ——————————––——- Symbols
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Refused ————————————––- The Real
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Refused ——————————————– Burn It
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Willie Nelson –––- Things I Might Have Been
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Willie Nelson ——–- Darkness on the Face of
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Willie Nelson —––– Don't You Ever Get Tired
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Willie Nelson ––––- It Should Be Easier Now
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Willie Nelson ––––– The Hill Country Theme
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Willie Nelson ––––— Healing Hands of Time
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Willie Nelson –––––– Make Way for a Better
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Willie Nelson –––––– Funny How Time Slips
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Willie Nelson ––––––- A Mansion on the Hill
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Willie Nelson ––––––– Lonely Little Mansion
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Willie Nelson –––——— Home in San Antone
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Willie Nelson –––——— The Part Where I Cry
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Willie Nelson –––––––– Did I Ever Love You
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Willie Nelson –––––––– What Now My Love
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Willie Nelson ––––––––- Within Your Crowd
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Willie Nelson ––––––––- One Day at a Time
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Willie Nelson –––––––—- My Window Faces
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Willie Nelson ––——–––– Some Other World
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Willie Nelson ––——–——- San Antonio Rose
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Willie Nelson ––––––––– One Step Beyond
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Willie Nelson ––———–––— Hold Me Tighter
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Willie Nelson ––——–––––— Making Believe
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Willie Nelson ––—–––––––– December Day
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Willie Nelson –––––––––––- So Much to Do
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Willie Nelson ––––––––—–– The Last Letter
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Willie Nelson ––––––––––– Undo the Right
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Willie Nelson ––––––––—–– I'll Stay Around
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Willie Nelson –––––––––––— One in a Row
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Willie Nelson ––––––—––––— Are You Sure
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Willie Nelson ––––––––––––– I Walk Alone
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Willie Nelson ––––––––––——- Little Things
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Willie Nelson ––––––——–––– Go on Home
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Willie Nelson ––––––––––––— Home Motel
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Willie Nelson –––––––––––––- San Antonio
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Willie Nelson ––––––––––––— Good Times
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Willie Nelson –––––––––———- Once Alone
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Willie Nelson –––––––––––—–- Heartaches
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Willie Nelson ––––––––––––––- Hello Wals
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Willie Nelson ––––––––––––––- The Ghost
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Willie Nelson ––––––––––––––– Touch Me
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Willie Nelson –––––––––––––––- Roly Poly
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Willie Nelson ––––––––––––––— Night Life
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Willie Nelson –––––––––––––––––– Dallas
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Willie Nelson –––––––––––––––––– Crazy
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Willie Nelson ––––––––––––––——– Buddy
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Drömhus —————– Vill Ha Dig Zach & Cazz
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Drömhus —————––- Vill Ha Dig Radio Edit
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Drömhus ——————— Vill Ha Dig Extended
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Drömhus ———————————–– Vill Ha Dig
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Whitney Houston —— I Will Always Love You
__________________________________
Whitney Houston ———- Greatest Love of All
__________________________________
Whitney Houston ———–- Nobody Loves Me
__________________________________
Whitney Houston ———––- Someone For Me
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Whitney Houston —————- How Will I Know
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Whitney Houston —————– I Wanna Dance
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Whitney Houston ———–––– I Have Nothing
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Whitney Houston ——————- Higher Love 2
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Whitney Houston ———————- Higher Love
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Whitney Houston ———————– All At Once
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Whitney Houston —————————— Miracle
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Mark Isham ————–- You Would Have Been
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Mark Isham —————— Waiting Then Calling
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Mark Isham ——————- Pictures in the Dark
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Mark Isham ——————— Portrait of an Artist
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Mark Isham ——————— The Great Bernzini
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Mark Isham ———————– Many Questions?
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Mark Isham ———————– The Meat Market
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Mark Isham ————————– The Public Eye
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Mark Isham ————————–- An Artist Once
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Mark Isham —————————- The Massacre
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Mark Isham ————————————- The Kiss
__________________________________
ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Arthur "Weegee" Fellig - The Dead Guys Hat
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Arthur "Weegee" Fellig —–- The Professional
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Arthur "Weegee" Fellig ––––– The Last Rites
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Arthur "Weegee" Fellig ———– The Shootout
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Arthur "Weegee" Fellig ———– The Publisher
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Arthur "Weegee" Fellig ————– The Portrait
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Arthur "Weegee" Fellig –––––––- The Trailer
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Arthur "Weegee" Fellig ——–––––– The Talk
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Joe Pesci —- If It Doesn't Snow on Christmas
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Joe Pesci ———–- Take Your Love & Shove It
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Joe Pesci ———––- What A Wonderful World
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Joe Pesci ————––– I've Got News For You
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Joe Pesci —————–––– Little People Blues
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Joe Pesci ————————— He'll Have to Go
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Joe Pesci ——————————- Old Man Time
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Joe Pesci ——————————– Robbie Hood
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Joe Pesci ——————————–- Funny How?
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Joe Pesci ——————————–––– Wise Guy
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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HIM —————- When Love & Death Embrace
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HIM ————————– Right Here in My Arms
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HIM ————————–– Bury Me Deep Inside
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HIM ———————————– Join Me in Death
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HIM ————————————- Your Sweet 666
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HIM —————————————- Wicked Game
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HIM ——————————————— Poison Girl
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HIM ———————————————- I Love You
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HIM ———————————————- Rebel Yell
__________________________________
__________________________________
ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Disturbed ———————————- Shout 2000
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Disturbed —————————————– Conflict
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Disturbed —————————————— Stupify
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Eros Ramazzotti – Il Tempo Non Sente Ragio
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Eros Ramazzotti –––– Una Storia Importante
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Eros Ramazzotti ——–– Buongiorno Bambina
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Eros Ramazzotti —————— Quando l'Amore
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Eros Ramazzotti ———————— Cuori Agitati
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ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
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Warren Zevon ——–– Werewolves of London
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David Cisneros ——————————–– Karma
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Leo Moracchioli ———————————– Hello
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Deicide —––––––––––– In the Minds of Evil
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Balzac —————————–– Out of the Blue II
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Cypress Hill ———————–– Rock Superstar
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Limp Bizkit ————————————— Thieves
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Philip Glass –––––––––––– Dreaming of Fiji
__________________________________
ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ ᚨ ᛉ ᛗ
ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ ᚬ ᛉ ᛘ
__________________________________
WeeGee, Tapiola, Espoo, Finland - Professor Aarno Ruusuvuori designed the WeeGee building in the 1960s for Weilin & Göös printing company as their new printing house. Ruusuvuori’s printing house is a trademark of Finnish constructivism. It is a nationally notable architectural monument that has also received international acclaim. A miniature model of the building is located in the permanent exhibition at New York’s Museum of Modern Art. Other famous buildings designed by Ruusuvuori include the churches in Hyvinkää and Tapiola as well as Paragon company’s printing house in Helsinki.
Tapiola was located relatively close to Helsinki and the “light and tidy” industrial production of Weilin & Göös was seen as an appropriate addition to the surrounding natural environment. The foundation for the design was the production process of the printing house, which required as much uninterrupted free space as possible. The machines and equipment needed to be arranged in a way that would allow the production process and logistics to run smoothly and efficiently. The number of supporting structures had to be kept to a minimum and the separating walls were to be light and easily movable. Printing work demanded plenty of steady light, but, on the other hand, the process could not be exposed to direct sunlight. Efficient utilisation of the large floor space permitted by the lot would require a two-storey solution.
Ruusuvuori proposed a solution that was based on serials, duplicates and geometry, which are characteristic of constructivism. The materials used included reinforced concrete and glass. Ruusuvuori first designed the structural basic unit: a 27 x 27 metre, two-storey single structure of reinforced concrete. The structural unit was divided into nine 9 x 9 meter squares on the first storey. The corners of the squares included a total of 16 pillars divided into 3 x 3 meter roof cassettes that supported a concrete beam grid (with a bearing capacity of over 2 tons/m2). The round concrete tower, with a diameter of three meters, rose through the middle square from the basement through the second storey and high over the roof. The reinforced concrete tile of the rooftop hung from this tower, supported by eight slanting beams. Therefore, the second storey, or the printing room, only included a single vertical prop per 729 m2. The ventilation system was placed inside the tower, to avoid disturbance in the production space, and its machinery was located at the bottom of the tower.
The entire building was constructed by repeatedly multiplying this construction unit. Each of the designed four construction phases included a 54 x 54 meter square, which comprised four construction units. The unit was a realization of the dialogue between opposites that was archetypal of Ruusuvuori’s architecture: light and heavy, glass and concrete.
Direct sunlight, harmful to printing production, was eliminated in the southern façade of the building by drawing the windows of the first floor in and placing the narrow window line of the second storey up under the slanting edge of the roof tiles. The entire northern façade of the building was made of glass, so that the process could gain maximum benefit from steady northern light. The large window panes were also significant to Ruusuvuori’s architectural philosophy. He wished to seamlessly incorporate the factory hall with the nature of Tapiola. The pine trees surrounding the building were therefore kept as intact as possible.
Two of the four construction phases in Ruusuvuori’s original design were carried out as he designed them. The first phase was completed in 1964 and the second was completed on the western side in 1966. Ruusuvuori was also chosen to design the third phase (or the head office) in the beginning of the 1970s. However, the new owner of the company demanded that the same office be responsible for both the design and construction of the expansion due to financial reasons. Ruusuvuori did not agree to this. Therefore, full responsibility for the third phase was assigned to the engineering office Bertel Ekengren, which did not continue Ruusuvuori’s architecture based on structural units. Consequently, Ruusuvuori fully dissociated himself from the “engineering part” of construction. The fourth phase was never fulfilled according to the original plan.
Weilin & Göös was transferred to WSOY in the 1990s. Consequently, the printing house operations at the Tapiola premises gradually came to an end. The building was leased, for example, to gyms. At this time, the city of Espoo took an interest in the building, and, after several phases, the building became the present-day museum and art centre of the city.
"Ilona Niemi's new work Personae mythologicae is on display in a fence surrounding a construction site in front of the Exhibition Centre WeeGee. The artwork is a collection of 28 soulful creatures based on Finnish mythology. Personae mythologicae is commissioned by WeeGee and will be on display throughout 2020."
emmamuseum.fi/en/exhibitions/ilona-niemi-personae-mytholo...
WEEGEE. Famoso por sorprender con sus fotos descarnadas tomadas segundos después de haber ocurrido un suceso, un crimen o una detención. En 1992 se hizo una película " El Ojo Público" basada en su personaje.
www.youtube.com/watch?v=sMLPvJFh4GY
Posłuchaj, chodź ze mną, chociaż zupełnie nie wiem dokąd
Chodź ze mną by sens nadać życia krokom
Ze mną ku słoncu, może gdzieś nad przepaść ze mną
Po szczęście albo po szaleństwo w ciemność ze mną
Marsz długi jak mało, marsz niemal w nieskońszoność
Za ręce by razem ku losowi nawet spłonąć
Chociaż na chwilę pomóż mi nie będzie lekko
Tą drogą cierni może ku krawędzi chodź ze mną
Do obiecanej ziemi wierzę ten marsz coś zmieni
Idź, idź...i nawet gdy wiatr idź ze mną
By w przyszłość bezczelnie patrzeć
Wyciągnąć środkowe palce chodź ze mną
Choć nic nie mogę Ci obiecać
Na fart nie ma co czekać uwierz w to
I chodź choć nie znam celu drogi uczyń to
Sam dla siebie zmień coś
Podnieś pierwszy raz w życiu ręke
I chodź ze mną gdzieś sam nie wiem dokąd jeszcze
Weź moją dłoń uwierz mi odrzuć swój strach
Chodź ze mną gdzieś nawet na drugą stronę lustra
Uwierz mi widziałem tamten świat, jest piękny
To nasze przeznaczenie choć obaj jesteśmy ślepi
Raz w życiu rzucić wszystko
Chodźmy do światła by wygrać lepszą przyszłość
Chodź powoli jak dziecko po omacku w ciemność
Naszych grzechów by spojrzeć prosto w oczy diabłu
W meduzę naszych porządań by stać się kamieniem
Nie boisz się przecież życie jest sennym marzeniem
Idź śmiało na przód po co strach masz na przód a wróg
By owoc z drzewa urwał w twarz zaśmiac się światu
Tak donośnie bezczelnie raz odrzucić kanon, reguły
Lecz świadomie bycia z tym obudzić się rano
Ten świat nie ma sumienia, ten świat nie chce się zmieniać
On swoje dzieci zjada by karmić swoje pragnienia
Jeśli zapragniesz znowu ucieć zawołaj mnie a będe
Ruszymy gdzieś chodz sam nie wiem dokąd jeszcze...(Pójdziemy razem)
( Obudź mnie...)
Chce lecieć jak na skrzydłach wolności nad ziemią
Chce lecieć nad światem życie zostawić podemną
Swój strach, łzy troski by promień światła ogrzał
Serce, które zwątpiło w istnienie dobra
Ulecieć ponad wszystko prosto w objęcia aniołów
Lub spłonąć na popiół w jego litości ogniu
Odzyskać wiare straconą odzyskać radość
By móc w spokoju odejść , spokojnie na zawsze zasnąć
( Obudź mnie...)
WeeGee, Tapiola, Espoo, Finland - Professor Aarno Ruusuvuori designed the WeeGee building in the 1960s for Weilin & Göös printing company as their new printing house. Ruusuvuori’s printing house is a trademark of Finnish constructivism. It is a nationally notable architectural monument that has also received international acclaim. A miniature model of the building is located in the permanent exhibition at New York’s Museum of Modern Art. Other famous buildings designed by Ruusuvuori include the churches in Hyvinkää and Tapiola as well as Paragon company’s printing house in Helsinki.
Tapiola was located relatively close to Helsinki and the “light and tidy” industrial production of Weilin & Göös was seen as an appropriate addition to the surrounding natural environment. The foundation for the design was the production process of the printing house, which required as much uninterrupted free space as possible. The machines and equipment needed to be arranged in a way that would allow the production process and logistics to run smoothly and efficiently. The number of supporting structures had to be kept to a minimum and the separating walls were to be light and easily movable. Printing work demanded plenty of steady light, but, on the other hand, the process could not be exposed to direct sunlight. Efficient utilisation of the large floor space permitted by the lot would require a two-storey solution.
Ruusuvuori proposed a solution that was based on serials, duplicates and geometry, which are characteristic of constructivism. The materials used included reinforced concrete and glass. Ruusuvuori first designed the structural basic unit: a 27 x 27 metre, two-storey single structure of reinforced concrete. The structural unit was divided into nine 9 x 9 meter squares on the first storey. The corners of the squares included a total of 16 pillars divided into 3 x 3 meter roof cassettes that supported a concrete beam grid (with a bearing capacity of over 2 tons/m2). The round concrete tower, with a diameter of three meters, rose through the middle square from the basement through the second storey and high over the roof. The reinforced concrete tile of the rooftop hung from this tower, supported by eight slanting beams. Therefore, the second storey, or the printing room, only included a single vertical prop per 729 m2. The ventilation system was placed inside the tower, to avoid disturbance in the production space, and its machinery was located at the bottom of the tower.
The entire building was constructed by repeatedly multiplying this construction unit. Each of the designed four construction phases included a 54 x 54 meter square, which comprised four construction units. The unit was a realization of the dialogue between opposites that was archetypal of Ruusuvuori’s architecture: light and heavy, glass and concrete.
Direct sunlight, harmful to printing production, was eliminated in the southern façade of the building by drawing the windows of the first floor in and placing the narrow window line of the second storey up under the slanting edge of the roof tiles. The entire northern façade of the building was made of glass, so that the process could gain maximum benefit from steady northern light. The large window panes were also significant to Ruusuvuori’s architectural philosophy. He wished to seamlessly incorporate the factory hall with the nature of Tapiola. The pine trees surrounding the building were therefore kept as intact as possible.
Two of the four construction phases in Ruusuvuori’s original design were carried out as he designed them. The first phase was completed in 1964 and the second was completed on the western side in 1966. Ruusuvuori was also chosen to design the third phase (or the head office) in the beginning of the 1970s. However, the new owner of the company demanded that the same office be responsible for both the design and construction of the expansion due to financial reasons. Ruusuvuori did not agree to this. Therefore, full responsibility for the third phase was assigned to the engineering office Bertel Ekengren, which did not continue Ruusuvuori’s architecture based on structural units. Consequently, Ruusuvuori fully dissociated himself from the “engineering part” of construction. The fourth phase was never fulfilled according to the original plan.
Weilin & Göös was transferred to WSOY in the 1990s. Consequently, the printing house operations at the Tapiola premises gradually came to an end. The building was leased, for example, to gyms. At this time, the city of Espoo took an interest in the building, and, after several phases, the building became the present-day museum and art centre of the city.
WeeGee, Tapiola, Espoo, Finland - Professor Aarno Ruusuvuori designed the WeeGee building in the 1960s for Weilin & Göös printing company as their new printing house. Ruusuvuori’s printing house is a trademark of Finnish constructivism. It is a nationally notable architectural monument that has also received international acclaim. A miniature model of the building is located in the permanent exhibition at New York’s Museum of Modern Art. Other famous buildings designed by Ruusuvuori include the churches in Hyvinkää and Tapiola as well as Paragon company’s printing house in Helsinki.
Tapiola was located relatively close to Helsinki and the “light and tidy” industrial production of Weilin & Göös was seen as an appropriate addition to the surrounding natural environment. The foundation for the design was the production process of the printing house, which required as much uninterrupted free space as possible. The machines and equipment needed to be arranged in a way that would allow the production process and logistics to run smoothly and efficiently. The number of supporting structures had to be kept to a minimum and the separating walls were to be light and easily movable. Printing work demanded plenty of steady light, but, on the other hand, the process could not be exposed to direct sunlight. Efficient utilisation of the large floor space permitted by the lot would require a two-storey solution.
Ruusuvuori proposed a solution that was based on serials, duplicates and geometry, which are characteristic of constructivism. The materials used included reinforced concrete and glass. Ruusuvuori first designed the structural basic unit: a 27 x 27 metre, two-storey single structure of reinforced concrete. The structural unit was divided into nine 9 x 9 meter squares on the first storey. The corners of the squares included a total of 16 pillars divided into 3 x 3 meter roof cassettes that supported a concrete beam grid (with a bearing capacity of over 2 tons/m2). The round concrete tower, with a diameter of three meters, rose through the middle square from the basement through the second storey and high over the roof. The reinforced concrete tile of the rooftop hung from this tower, supported by eight slanting beams. Therefore, the second storey, or the printing room, only included a single vertical prop per 729 m2. The ventilation system was placed inside the tower, to avoid disturbance in the production space, and its machinery was located at the bottom of the tower.
The entire building was constructed by repeatedly multiplying this construction unit. Each of the designed four construction phases included a 54 x 54 meter square, which comprised four construction units. The unit was a realization of the dialogue between opposites that was archetypal of Ruusuvuori’s architecture: light and heavy, glass and concrete.
Direct sunlight, harmful to printing production, was eliminated in the southern façade of the building by drawing the windows of the first floor in and placing the narrow window line of the second storey up under the slanting edge of the roof tiles. The entire northern façade of the building was made of glass, so that the process could gain maximum benefit from steady northern light. The large window panes were also significant to Ruusuvuori’s architectural philosophy. He wished to seamlessly incorporate the factory hall with the nature of Tapiola. The pine trees surrounding the building were therefore kept as intact as possible.
Two of the four construction phases in Ruusuvuori’s original design were carried out as he designed them. The first phase was completed in 1964 and the second was completed on the western side in 1966. Ruusuvuori was also chosen to design the third phase (or the head office) in the beginning of the 1970s. However, the new owner of the company demanded that the same office be responsible for both the design and construction of the expansion due to financial reasons. Ruusuvuori did not agree to this. Therefore, full responsibility for the third phase was assigned to the engineering office Bertel Ekengren, which did not continue Ruusuvuori’s architecture based on structural units. Consequently, Ruusuvuori fully dissociated himself from the “engineering part” of construction. The fourth phase was never fulfilled according to the original plan.
Weilin & Göös was transferred to WSOY in the 1990s. Consequently, the printing house operations at the Tapiola premises gradually came to an end. The building was leased, for example, to gyms. At this time, the city of Espoo took an interest in the building, and, after several phases, the building became the present-day museum and art centre of the city.
George Christie accused along with girlfriend Helen Tiernan of murdering Helen's daughter and attempting to murder her son. New York. May 19, 1937. (A. Fellig photo) www.vulture.com/2019/05/weegee-lost-nyc-crime-scene-photo...
Comic strip featuring a classic 4 x 5 Speed Graphic camera.
seen here : www.gocomics.com/shoe/2008/05/18/
even me, an itinerent street snapper was moved by the runners courage. I went to the Navy recruiter to put down my x and do my part. Unfortunatly they were closed for patriots day.
At a flea market this weekend I spotted a stack of old press photos and purchased a handful. This one caught my eye because the woman on the right reminded me of a subject in one of Weegee's shots. On the chance that it might be her, I added it to my purchase pile. When I got home I discovered that it is indeed the same woman depicted in 'The Critic.'
She is Mrs. George Washington Kavanaugh, a widowed New York socialite who lived in a grand mansion at 10 East 62nd Street and whose activities were chronicled extensively by the New York Times. (I checked their archives and the links went on for page after page.)
In Weegee's photo she is arriving at the Metropolitan Opera's opening night in 1943. As is widely known now, the inebriated woman seen 'greeting' her was lured from Sammy's Bar on the Bowery by an assistant and paid to bring some drama to the photograph.
In this photo, Kavanaugh is seen with her daughter, Leonora Warner, arriving at the Metropolitan Opera's opening night in 1944. It makes me wonder if either of the subjects or even the photographer was aware of Weegee's similar shot from the previous year.
If you're interested to know more about Mrs. Kavanaugh, this page offers a nice overview.
Addendum
A few hours after I posted this photo, Jenni and I exchanged Christmas gifts. (Today's the 25th, right?) Among the books she gave me is 'Growing Up in New York,' by Arthur Leipzig. And among the photos in the book is one of a smiling Mrs. Kavanaugh adjusting her tiara -- taken at the Met's opening night of 1946.
Diane Arbus wears the mantle of "Queen of the Bizarre." The former fashion photographer turned her two and a quarter Rolleiflex camera to the physically and mentally challenged; including dwarfs, giants and circus performers, among others.
She befriended many of them, so she really was not an exploiter of the abnormal. Having serious mental concerns herself, she committed suicide in 1971, which immediately increased the value of her prints.
As when a cynic proclaimed, at Elvis Presley's death in 1977, that it was a good career move, the same could be said of Arbus. And it could be argued that Elvis' death, in turn, was a slow suicide over years of flagrant drug abuse.
This Casa Grande, Arizona Halloween night celebration of the Dr. Suess characters and "Predator," echoes Arbus. The black youth on the edge of the frame echoes the bag lady in Weegee's "The Critic."
"Most people go through life dreading they'll have a traumatic experience. Freaks were born with their trauma. They've already passed their test in life. They're aristocrats."...Diane Arbus (1923-1971)
"People are so wonderful that a photographer has to wait for that breathless moment to capture what he wants on film."...Weegee, aka Arthur Fellig (1899-1968)
@2009 David Lee Guss Homage, Diane Arbus & Weegee, Halloween, Casa Grande, Arizona, 2004-2008
I loaded up my bag with some FP-100c45 and Press 25 bulbs in order to shoot WeeGee style with my Graflex Crown Graphic press camera.
pictured: Dane of The Smoove Sailors and FPP!
film courtesy of Imagine That! ( www.facebook.com/pages/Imagine-That/212737594988 ) Thanks, Leslie!
photo: Michael Raso
22 May 2012
FPP - The Film Photography Podcast.An Internet Radio Show & On-Line Resource for Film Shooters Worldwide
WeeGee, Tapiola, Espoo, Finland - Professor Aarno Ruusuvuori designed the WeeGee building in the 1960s for Weilin & Göös printing company as their new printing house. Ruusuvuori’s printing house is a trademark of Finnish constructivism. It is a nationally notable architectural monument that has also received international acclaim. A miniature model of the building is located in the permanent exhibition at New York’s Museum of Modern Art. Other famous buildings designed by Ruusuvuori include the churches in Hyvinkää and Tapiola as well as Paragon company’s printing house in Helsinki.
Tapiola was located relatively close to Helsinki and the “light and tidy” industrial production of Weilin & Göös was seen as an appropriate addition to the surrounding natural environment. The foundation for the design was the production process of the printing house, which required as much uninterrupted free space as possible. The machines and equipment needed to be arranged in a way that would allow the production process and logistics to run smoothly and efficiently. The number of supporting structures had to be kept to a minimum and the separating walls were to be light and easily movable. Printing work demanded plenty of steady light, but, on the other hand, the process could not be exposed to direct sunlight. Efficient utilisation of the large floor space permitted by the lot would require a two-storey solution.
Ruusuvuori proposed a solution that was based on serials, duplicates and geometry, which are characteristic of constructivism. The materials used included reinforced concrete and glass. Ruusuvuori first designed the structural basic unit: a 27 x 27 metre, two-storey single structure of reinforced concrete. The structural unit was divided into nine 9 x 9 meter squares on the first storey. The corners of the squares included a total of 16 pillars divided into 3 x 3 meter roof cassettes that supported a concrete beam grid (with a bearing capacity of over 2 tons/m2). The round concrete tower, with a diameter of three meters, rose through the middle square from the basement through the second storey and high over the roof. The reinforced concrete tile of the rooftop hung from this tower, supported by eight slanting beams. Therefore, the second storey, or the printing room, only included a single vertical prop per 729 m2. The ventilation system was placed inside the tower, to avoid disturbance in the production space, and its machinery was located at the bottom of the tower.
The entire building was constructed by repeatedly multiplying this construction unit. Each of the designed four construction phases included a 54 x 54 meter square, which comprised four construction units. The unit was a realization of the dialogue between opposites that was archetypal of Ruusuvuori’s architecture: light and heavy, glass and concrete.
Direct sunlight, harmful to printing production, was eliminated in the southern façade of the building by drawing the windows of the first floor in and placing the narrow window line of the second storey up under the slanting edge of the roof tiles. The entire northern façade of the building was made of glass, so that the process could gain maximum benefit from steady northern light. The large window panes were also significant to Ruusuvuori’s architectural philosophy. He wished to seamlessly incorporate the factory hall with the nature of Tapiola. The pine trees surrounding the building were therefore kept as intact as possible.
Two of the four construction phases in Ruusuvuori’s original design were carried out as he designed them. The first phase was completed in 1964 and the second was completed on the western side in 1966. Ruusuvuori was also chosen to design the third phase (or the head office) in the beginning of the 1970s. However, the new owner of the company demanded that the same office be responsible for both the design and construction of the expansion due to financial reasons. Ruusuvuori did not agree to this. Therefore, full responsibility for the third phase was assigned to the engineering office Bertel Ekengren, which did not continue Ruusuvuori’s architecture based on structural units. Consequently, Ruusuvuori fully dissociated himself from the “engineering part” of construction. The fourth phase was never fulfilled according to the original plan.
Weilin & Göös was transferred to WSOY in the 1990s. Consequently, the printing house operations at the Tapiola premises gradually came to an end. The building was leased, for example, to gyms. At this time, the city of Espoo took an interest in the building, and, after several phases, the building became the present-day museum and art centre of the city.
WeeGee helped with a fund raiser for his High Schools new football field. He got to man the dunk tank and have a turn in the hot seat. Jodi donated a wad of cash for a chance to dunk him.
This is my baby Speed Graphic...(2 1/4 X 3 1/4) Some viewers may remember a famous 4X5 photographer from the 50's. His name was Weegee and he made his reputation from cruising aound at night, speeding to crime scenes and getting some very stark and famous photos.
WeeGee, Tapiola, Espoo, Finland - Professor Aarno Ruusuvuori designed the WeeGee building in the 1960s for Weilin & Göös printing company as their new printing house. Ruusuvuori’s printing house is a trademark of Finnish constructivism. It is a nationally notable architectural monument that has also received international acclaim. A miniature model of the building is located in the permanent exhibition at New York’s Museum of Modern Art. Other famous buildings designed by Ruusuvuori include the churches in Hyvinkää and Tapiola as well as Paragon company’s printing house in Helsinki.
Tapiola was located relatively close to Helsinki and the “light and tidy” industrial production of Weilin & Göös was seen as an appropriate addition to the surrounding natural environment. The foundation for the design was the production process of the printing house, which required as much uninterrupted free space as possible. The machines and equipment needed to be arranged in a way that would allow the production process and logistics to run smoothly and efficiently. The number of supporting structures had to be kept to a minimum and the separating walls were to be light and easily movable. Printing work demanded plenty of steady light, but, on the other hand, the process could not be exposed to direct sunlight. Efficient utilisation of the large floor space permitted by the lot would require a two-storey solution.
Ruusuvuori proposed a solution that was based on serials, duplicates and geometry, which are characteristic of constructivism. The materials used included reinforced concrete and glass. Ruusuvuori first designed the structural basic unit: a 27 x 27 metre, two-storey single structure of reinforced concrete. The structural unit was divided into nine 9 x 9 meter squares on the first storey. The corners of the squares included a total of 16 pillars divided into 3 x 3 meter roof cassettes that supported a concrete beam grid (with a bearing capacity of over 2 tons/m2). The round concrete tower, with a diameter of three meters, rose through the middle square from the basement through the second storey and high over the roof. The reinforced concrete tile of the rooftop hung from this tower, supported by eight slanting beams. Therefore, the second storey, or the printing room, only included a single vertical prop per 729 m2. The ventilation system was placed inside the tower, to avoid disturbance in the production space, and its machinery was located at the bottom of the tower.
The entire building was constructed by repeatedly multiplying this construction unit. Each of the designed four construction phases included a 54 x 54 meter square, which comprised four construction units. The unit was a realization of the dialogue between opposites that was archetypal of Ruusuvuori’s architecture: light and heavy, glass and concrete.
Direct sunlight, harmful to printing production, was eliminated in the southern façade of the building by drawing the windows of the first floor in and placing the narrow window line of the second storey up under the slanting edge of the roof tiles. The entire northern façade of the building was made of glass, so that the process could gain maximum benefit from steady northern light. The large window panes were also significant to Ruusuvuori’s architectural philosophy. He wished to seamlessly incorporate the factory hall with the nature of Tapiola. The pine trees surrounding the building were therefore kept as intact as possible.
Two of the four construction phases in Ruusuvuori’s original design were carried out as he designed them. The first phase was completed in 1964 and the second was completed on the western side in 1966. Ruusuvuori was also chosen to design the third phase (or the head office) in the beginning of the 1970s. However, the new owner of the company demanded that the same office be responsible for both the design and construction of the expansion due to financial reasons. Ruusuvuori did not agree to this. Therefore, full responsibility for the third phase was assigned to the engineering office Bertel Ekengren, which did not continue Ruusuvuori’s architecture based on structural units. Consequently, Ruusuvuori fully dissociated himself from the “engineering part” of construction. The fourth phase was never fulfilled according to the original plan.
Weilin & Göös was transferred to WSOY in the 1990s. Consequently, the printing house operations at the Tapiola premises gradually came to an end. The building was leased, for example, to gyms. At this time, the city of Espoo took an interest in the building, and, after several phases, the building became the present-day museum and art centre of the city.
cousins.
(as much as I dislike using a flash, there is something endearingly classic about shots like this, taken with a big, direct Vivitar, right in their faces, like a lightning strike. I think of shots like this as Weegee style family portraits, except without the police and criminals in handcuffs.)
The theme for this week's 52 project was "other photographers." On an outing with members of the Ottawa Street Exploration Flickr group, I shot this photo of photographer Darcy Quesnel behind a classic Speed Graphic camera. The camera was actually in a glass case at the Canada Aviation and Space Museum, but I asked Darcy to pose as if he were using it. The Speed Graphic was a leading news photographer camera in the first half of the 20th century, used by photographer Weegee, and also Sam Shere's photographs of the 1937 Hindenburg explosion.
(WK#8) Other Photographers (Deadline February 20, 2012)
WeeGee, Tapiola, Espoo, Finland - Professor Aarno Ruusuvuori designed the WeeGee building in the 1960s for Weilin & Göös printing company as their new printing house. Ruusuvuori’s printing house is a trademark of Finnish constructivism. It is a nationally notable architectural monument that has also received international acclaim. A miniature model of the building is located in the permanent exhibition at New York’s Museum of Modern Art. Other famous buildings designed by Ruusuvuori include the churches in Hyvinkää and Tapiola as well as Paragon company’s printing house in Helsinki.
Tapiola was located relatively close to Helsinki and the “light and tidy” industrial production of Weilin & Göös was seen as an appropriate addition to the surrounding natural environment. The foundation for the design was the production process of the printing house, which required as much uninterrupted free space as possible. The machines and equipment needed to be arranged in a way that would allow the production process and logistics to run smoothly and efficiently. The number of supporting structures had to be kept to a minimum and the separating walls were to be light and easily movable. Printing work demanded plenty of steady light, but, on the other hand, the process could not be exposed to direct sunlight. Efficient utilisation of the large floor space permitted by the lot would require a two-storey solution.
Ruusuvuori proposed a solution that was based on serials, duplicates and geometry, which are characteristic of constructivism. The materials used included reinforced concrete and glass. Ruusuvuori first designed the structural basic unit: a 27 x 27 metre, two-storey single structure of reinforced concrete. The structural unit was divided into nine 9 x 9 meter squares on the first storey. The corners of the squares included a total of 16 pillars divided into 3 x 3 meter roof cassettes that supported a concrete beam grid (with a bearing capacity of over 2 tons/m2). The round concrete tower, with a diameter of three meters, rose through the middle square from the basement through the second storey and high over the roof. The reinforced concrete tile of the rooftop hung from this tower, supported by eight slanting beams. Therefore, the second storey, or the printing room, only included a single vertical prop per 729 m2. The ventilation system was placed inside the tower, to avoid disturbance in the production space, and its machinery was located at the bottom of the tower.
The entire building was constructed by repeatedly multiplying this construction unit. Each of the designed four construction phases included a 54 x 54 meter square, which comprised four construction units. The unit was a realization of the dialogue between opposites that was archetypal of Ruusuvuori’s architecture: light and heavy, glass and concrete.
Direct sunlight, harmful to printing production, was eliminated in the southern façade of the building by drawing the windows of the first floor in and placing the narrow window line of the second storey up under the slanting edge of the roof tiles. The entire northern façade of the building was made of glass, so that the process could gain maximum benefit from steady northern light. The large window panes were also significant to Ruusuvuori’s architectural philosophy. He wished to seamlessly incorporate the factory hall with the nature of Tapiola. The pine trees surrounding the building were therefore kept as intact as possible.
Two of the four construction phases in Ruusuvuori’s original design were carried out as he designed them. The first phase was completed in 1964 and the second was completed on the western side in 1966. Ruusuvuori was also chosen to design the third phase (or the head office) in the beginning of the 1970s. However, the new owner of the company demanded that the same office be responsible for both the design and construction of the expansion due to financial reasons. Ruusuvuori did not agree to this. Therefore, full responsibility for the third phase was assigned to the engineering office Bertel Ekengren, which did not continue Ruusuvuori’s architecture based on structural units. Consequently, Ruusuvuori fully dissociated himself from the “engineering part” of construction. The fourth phase was never fulfilled according to the original plan.
Weilin & Göös was transferred to WSOY in the 1990s. Consequently, the printing house operations at the Tapiola premises gradually came to an end. The building was leased, for example, to gyms. At this time, the city of Espoo took an interest in the building, and, after several phases, the building became the present-day museum and art centre of the city.
WeeGee, Tapiola, Espoo, Finland - Professor Aarno Ruusuvuori designed the WeeGee building in the 1960s for Weilin & Göös printing company as their new printing house. Ruusuvuori’s printing house is a trademark of Finnish constructivism. It is a nationally notable architectural monument that has also received international acclaim. A miniature model of the building is located in the permanent exhibition at New York’s Museum of Modern Art. Other famous buildings designed by Ruusuvuori include the churches in Hyvinkää and Tapiola as well as Paragon company’s printing house in Helsinki.
Tapiola was located relatively close to Helsinki and the “light and tidy” industrial production of Weilin & Göös was seen as an appropriate addition to the surrounding natural environment. The foundation for the design was the production process of the printing house, which required as much uninterrupted free space as possible. The machines and equipment needed to be arranged in a way that would allow the production process and logistics to run smoothly and efficiently. The number of supporting structures had to be kept to a minimum and the separating walls were to be light and easily movable. Printing work demanded plenty of steady light, but, on the other hand, the process could not be exposed to direct sunlight. Efficient utilisation of the large floor space permitted by the lot would require a two-storey solution.
Ruusuvuori proposed a solution that was based on serials, duplicates and geometry, which are characteristic of constructivism. The materials used included reinforced concrete and glass. Ruusuvuori first designed the structural basic unit: a 27 x 27 metre, two-storey single structure of reinforced concrete. The structural unit was divided into nine 9 x 9 meter squares on the first storey. The corners of the squares included a total of 16 pillars divided into 3 x 3 meter roof cassettes that supported a concrete beam grid (with a bearing capacity of over 2 tons/m2). The round concrete tower, with a diameter of three meters, rose through the middle square from the basement through the second storey and high over the roof. The reinforced concrete tile of the rooftop hung from this tower, supported by eight slanting beams. Therefore, the second storey, or the printing room, only included a single vertical prop per 729 m2. The ventilation system was placed inside the tower, to avoid disturbance in the production space, and its machinery was located at the bottom of the tower.
The entire building was constructed by repeatedly multiplying this construction unit. Each of the designed four construction phases included a 54 x 54 meter square, which comprised four construction units. The unit was a realization of the dialogue between opposites that was archetypal of Ruusuvuori’s architecture: light and heavy, glass and concrete.
Direct sunlight, harmful to printing production, was eliminated in the southern façade of the building by drawing the windows of the first floor in and placing the narrow window line of the second storey up under the slanting edge of the roof tiles. The entire northern façade of the building was made of glass, so that the process could gain maximum benefit from steady northern light. The large window panes were also significant to Ruusuvuori’s architectural philosophy. He wished to seamlessly incorporate the factory hall with the nature of Tapiola. The pine trees surrounding the building were therefore kept as intact as possible.
Two of the four construction phases in Ruusuvuori’s original design were carried out as he designed them. The first phase was completed in 1964 and the second was completed on the western side in 1966. Ruusuvuori was also chosen to design the third phase (or the head office) in the beginning of the 1970s. However, the new owner of the company demanded that the same office be responsible for both the design and construction of the expansion due to financial reasons. Ruusuvuori did not agree to this. Therefore, full responsibility for the third phase was assigned to the engineering office Bertel Ekengren, which did not continue Ruusuvuori’s architecture based on structural units. Consequently, Ruusuvuori fully dissociated himself from the “engineering part” of construction. The fourth phase was never fulfilled according to the original plan.
Weilin & Göös was transferred to WSOY in the 1990s. Consequently, the printing house operations at the Tapiola premises gradually came to an end. The building was leased, for example, to gyms. At this time, the city of Espoo took an interest in the building, and, after several phases, the building became the present-day museum and art centre of the city.
If you don't know who WeeGee is...
don't talk to me anymore.
Just Kidding.
Actually Arthur Fellig is why I do what i do. When I was a freshman in college one of our assignments for basic photo was to write a paper about an art exhibition we attended. The one I choose was "WeeGee's World" at the International Center for Photography in Manhattan.
I had no idea who WeeGee was, what he shot or how he did it. All I know is that I left that show later that day a changed artist. His life, history and images showed to me that there was a place for a darker artistic vision, that the world wasn't all about setting suns, pretty flowers and kittens.
The world can be a dark place sometimes. It's ok to look.
She was landing some unbelievable shots; clearly the hustler side of the couple. That look is something else.