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sugasiren · 9 months

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🧜🏾‍♀️ SIRENE (1009): Top 3 Sex Symbols! 💋

SIREN: A seductively beautiful or charming woman, especially one who beguiles men; A woman who is a very attractive but dangerous temptress. 🔥🔥

The Sirene (1009) asteroid is one of my absolute favorites to explore. 🧜🏾‍♀️ And I have many! Its placement in a woman's chart tells us about her brand of Dark Femininity. How she seduces and influences. How she harnesses her power and the TYPES of men who are helplessly drawn to her. 💋 Every Sign has incredible qualities! I'm simply sharing my Top 3 Sirens based on the research I've done. So enjoy and share your Siren below!

**FYI - Men with these placements are also very sexy and captivating in their own way. 💯 So I will include some famous examples for them as well.

~♡~♡~♡~♡~

Siren in Scorpio 🔥

Famous Women:

Sophia Loren (pictured above)

Sade (pictured above)

Lisa Bonet (pictured above)

Lana Del Rey (pictured above)

Dita Von Teese (pictured above)

Beyonce

SZA

Traci Lords

Monica Bellucci

Mae West

Grace Kelly

Bridget Bardot

Christina Aguilera

Angelica Houston

Zeudi Araya

Liv Tyler

Siren in Scorpio MEN:

The Rock

Brad Pitt

Paul Newman

Ryan Gosling

Carlos Santana

Idris Elba

Bruno Mars

Fabio

JFK

SCORPIO SIRENS lure you in with their hypnotic eyes that are as deep as the Blue Sea. 🧜🏾‍♀️ Their powerful aura will quickly swallow you whole and you will enjoy every moment of it. 💋 They effortlessly captivate and are explosive Lovers! They love to keep you guessing. As they know, you'll be addicted to the mystery of it all and keep coming back for more. And they're right! Just like Monica Bellucci and Lana Del Rey - these women can casually sit somewhere, smoking a cigarette, and *everyone* around them is watching in total ENVY of that damn cigarette. 🔥 Others like Lisa Bonet and Sade are gentle and ethereal but they will *still* snatch your SOUL. The Male Sirens are charismatic heartthrobs who make panties drop everywhere they roam. Women submit to them with glee. They want their 'Notebook' moment with Ryan Gosling, okay! And for The Rock to lay the smackdown (and pipe) on their kitty. 😺 And nothing less.

Siren in Capricorn 👑

Famous Women:

Brooke Shields (pictured above)

Megan Thee Stallion (pictured above)

January Jones (pictured above)

Stevie Nicks (pictured above)

Amal Clooney (pictured above)

Megan Fox (pictured above)

Teyana Taylor

Doja Cat

Mamie Van Doren

Ava Gardener

Mariah Carey

Shania Twain

Tyra Banks

Karrine Steffans

Amber Heard

Ellie Goulding

Eartha Kitt

Siren in Capricorn MEN:

James Dean

Robert Plant

Robert Pattinson

Matthew McConaughey

William Holden

Prince William

Kobe Bryant

Suge Knight

Andrew Tate

AJ McLean

Gerard Butler

CAPRICORN SIRENS lure you in with their deeply earthy, erotic energy. They are smoldering volcanoes underneath their cool IDGAF exterior and this enticing contrast drives people wild! 🔥 They have monstrous sex drives yet are very grounded in their personal power and selective about who they entertain, so others seek their approval. The Female Sirens often attract highly influential and/or dominant men who crave her submission and loyalty. Their desire to control her can truly consume them! 💯 They see her as the Ultimate Challenge and want her AT ALL COSTS. Their results vary depending upon what *she* actually wants. For instance, Amal Clooney. She was able to capture the heart of life-long bachelor George Clooney with impeccable ease. 🩷 He looks at her with stars in his eyes! They have the ideal marriage. Mariah Carey ultimately made Tommy Matola (the Record Executive who signed her to his label) wait until they were married before being intimate with him. She had such an effect on her ex-husband after **opening her luscious Pearly Gates** 🙌 that he put cameras up around the house to watch her every move. He was utterly obsessed with her! Amber Heard is an example of Capricorn Siren in full Destruction Mode. And Karrine "Superhead" Steffans in literal Maneater Mode slurping her way to THE TOP. The Male Sirens simply have Big Dick Energy - period. They are Doms, Bosses and Kings. 👑 Women yearn for them to (symbolically) suck their blood and their p***y like Robert Pattinson in 'Twilight' with carnivorous passion. 🔥 They want to surrender doggystyle to a man like Gerard Butler in the '300' movie. And even when they are stone cold killers like Suge Knight or manipulative pimps like Andrew Tate... they still command respect! They possess massive amounts of Masculine charm.

Siren in Sagitarius 👠

Famous Women:

Marilyn Monroe (pictured above)

Dorothy Dandridge (pictured above)

Rita Hayworth (pictured above)

Shakira (pictured above)

Indira Varma (pictured above)

Kim Cattrall

Margot Robbie

Robin Givens

Tina Turner

Dana Delaney

Emilia Clarke

Gwen Stefani

Aishwarya Rai

Rose McGowan

Sagittarius Siren MEN:

Paul Walker

Patrick Swayze

Elvis Presley

Clark Gable

Mario Lopez

Marilyn Manson

Shia LaBeouf

Michele Marrone

Marvin Gaye

SAGITTARIUS SIRENS lure you in like smoke rising from a bonfire in an enchanted forest during a Drum Circle. They illuminate dangerous levels of heat. ☀️ That will melt you like hot lava with their dynamic sex appeal. Baddies to the bone! Their esthetic widely appeals to the masses and individuals from *all* walks of life. People from *all* ethnic backgrounds admire and lust after them. 💋 They are exciting and make people feel ALIVE. And they're often the epitome of someone's Dream Girl or Guy. Marilyn Monroe is a FOREVER Icon who lives on generation after generation. 🌟 And her Feminine prowess remains unmatched no matter how much time goes by. Rita Hayworth is another immortal Sex Symbol and proud Latina. As is Dorothy Dandridge - who broke many barriers for Black Women in film and greatly appealed to a variety of powerful men such as Marlon Brando and Otto Priminger. Margot Robbie in the 'Wolf of Wallstreet' and 'Barbie' movies? 🩷 Nuff said! The Male Sirens are usually a strong yet suave bunch - like Clark Gable and Patrick Swayze. And that's a killer combination, my friends! They are often Rebels. 💪 Whether clean-cut ones like Paul Walker, goth ones like Marilyn Manson or rebels GONE WRONG like Shia LaBeouf. Either way, they are magnetic.

~♡~♡~♡~♡~

And that's a wrap for now! 💛 I'll be back soon with more on SIREN and other awesome asteroids. Thanks for reading.

#siren asteroid #asteroid astrology #asteroid observations #siren #astro tumblr #astroblr #astro observations #capricorn #sagittarius #scorpio #scorpio astrology #venus astrology #9th house #10th house #8th house #pluto #saturn #jupiter

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grandhotelabyss · 2 years

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—Autumn Christian, “Autumn Christian’s Rules for Writing”

My favorite excerpts above from a better list of “rules for writing” than most out there. Nothing, blessedly, about cutting adverbs. Adverbs are fine, mostly. Every tiny thing doesn’t have to serve action; some things can be there for the sake of tone, pace, mood. Even vagueness has its uses.

But yes, we should all be doing more of nothing. The world doesn’t need books-by-the-foot. Inspiration is undervalued because uncontrollable—literally priceless. I make attempts on stories and novels all the time, “raids on the inarticulate,” but I know when it’s inspired and when it’s not, and I only bother to finish when it is. This is advice for creative writing, beautifully gratuitous writing, writing for which the world didn’t ask and doesn’t yet know it wants. For other types of writing, more professional varieties, you must of course produce clean copy on deadline, which I am happy to do.

Anything on the list I disagree with? “Find your voice”—I’ve always thought this advice misleading unless you’re a lyric poet. But many lyric poets, even ones we think of as quite “pure,” write in many voices. Emily Dickinson—she’s a bird, she’s a boy, she’s a corpse—who knows what she’ll be next? If you write novels, plays, screenplays, comics, or anything else with more than one character, doing different voices isn’t optional.

I would say instead find your sensibility, your field of inquiry, your matters of concern, your color palette. Really, I trust the authority of my dreams. If I can write something that approximates their paradoxically grounded surrealism, their workaday prophecies, their transfiguration of elsewhere into home or vice versa, then I know I am on the track. How restricted or unrestricted this dreaming will be is not up to us, neither at the outset nor as we go on. Where any of us falls on the continuum expressed in Mark van Doren’s old line, “Homer is a world, Virgil a style,” is for others to say. Style over world has its costs, though. Again from Christian’s list, this one is properly haunting:

Most people have one glaring fatal flaw that keeps them from being great, even if they possess all the ability and talent. Have your psyche remain unexplored at your own peril.

If it were only one flaw, we could all avoid it. But every writer has a particular flaw, usually coiled inoperably around the very source of power. All the flaws could probably be gathered under the heading of “fear,” but to say so is to tempt people into cheap shock tactics when that isn’t the point. Provocation can be as much of a safe space as sentimentality. The greatest writers were never afraid to have it all, the provocation and the sentiment close enough to touch, as in life.

I’m still reading through D. H. Lawrence’s major novels. I understand what I take to be his decline in these terms. In Sons and Lovers, Paul and his sister helplessly giggle as they prepare their dying mother a mercy-killing overdose of morphine. That’s just how it happens in life, all the emotions at once. This is the world, worthy of Homer. But by Women in Love, Lawrence has a little girl drown, and all the main characters, including her brother, shrug and essentially say, well, whatever, death is omnipresent and probably better than a boring existence. This is a fall into style. The final fatal flaw, then, to which even eminences like Virgil and Lawrence were prey, is to fail to be a world.

#creative writing #fiction writing #writing #autumn christian

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atomicdope · 1 year

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【 VANS 】 23 SS 新作スニーカー入荷しました👟 VANS SK8-HI スニーカースケートハイサイズ: 26cm ~ 28.5cm カラー: カモオリーブ / ホワイト素材 : キャンバス 10,450円(税込) VANS OLD SKOOL スニーカーオールドスクールサイズ: 26cm ~ 28.5cm カラー: カモオリーブ/ホワイト素材: キャンバス 8,800円(税込) VANS AUTHENTIC スニーカーオーセンティックサイズ: 26cm ~ 28.5cm カラー: カモオリーブ/ホワイト素材: キャンバス 7,150円(税込) 【VANS (バンズ)】 VANS は、南カリフォルニアを拠点に1966年に創業されました。創業者は、Paul Van Doren、Gordon C.Lee、Serged'Elia で“VANS”という社名は創設者の Paul Van Doren の名前に由来しています。特徴的なワッフルソールが自転車のモトクロスライダー達の目にとまり、1976年からのスケートボードブームでカリフォルニアのスケーターには欠かせないアイテムになっていきました。現在でも、数多くの個性あふれるスケーターや BMX ライダーなどのサポートを行うなど、音楽、アーティスト、スポーツと深い関わりあいを持つシューズブランドです。 082-247-5998 [email protected] Atomicdope.com #VANS #streetstyle #fashion #selectshop #hiroshima #Atomicdope #バンズ #アトミックドープ #広島 (Atomicdope) https://www.instagram.com/p/CpCXjJPSEBv/?igshid=NGJjMDIxMWI=

#vans #streetstyle #fashion #selectshop #hiroshima #atomicdope #バンズ #アトミックドープ #広島

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marinalanda · 2 months

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heatnhartsthreads · 3 months

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Check out this listing I just added to my Poshmark closet: Vans-Red Tropical Van Doren lace up sneaker 5.

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pardontheglueman · 4 months

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Rewatching It's A Wonderful Life

Not a year goes by without a nationwide re-release of Frank Capra’s festive classic It’s A Wonderful Life (1946). Over recent years, the film has regularly been screened by mainstream cinema chains in Wales as well as independent venues like Chapter and Tramshed in the capital. This year’s most imaginative showing will take place at the National Waterfront Museum in Swansea. With a musical adaptation by Paul McCartney and Lee Hall (Billy Elliott & Rocketman) seemingly set to bring this magical tale to a whole new generation of fans, Kevin McGrath takes a look at the unique story of how a movie that flopped at the Oscars and which barely made a dent at the box office somehow became an enduring part of Christmas for so many.

Frank Capra’s post-war masterpiece It’s A Wonderful Life has rightly gone down in film history as one of the greatest feel-good movies of all time. From its humble beginnings as The Greatest Gift, an unpublished short story that author Philip Van Doren Stern turned into a 24-page pamphlet-come-Christmas card, it has become the most cherished of all movies, regularly figuring in best picture polls either side of the Atlantic. For many in America, Christmas simply isn’t Christmas without the family gathering around the TV to watch this incredibly affecting festive tale. And it was TV, of course, that had rescued the film from relative obscurity when its copyright was allowed to lapse in 1974. By 1984, The Wall Street Journal discovered, 152 public stations and 175 commercial stations had taken up the rights to broadcast the movie).

The reason that It’s A Wonderful Life continues to stand the test of time today must surely be attributed to the flawless filmmaking of its visionary director Frank Capra. Prior to the outbreak of the Second World War (during which he made the exemplary documentary series, Why We Fight), Capra had established himself as one of Hollywood’s premiere directors, with a string of box office smashes to his name. The most notable of which, 1934’s romantic comedy It Happened One Night, became the first film to win all five major Academy Awards picking up Oscars for Best Picture, Best Actor, Best Actress, Best Screenplay and, of course, Best Director. Capra had become a master craftsman and a master storyteller, specialising in crowd-pleasing ‘moral fables’ about the honest Joe, the American everyman, who stands up for ‘liberal’ ideals and values against corrupt businessmen and politicians.

Screen giants like James Stewart and Gary Cooper had turned in widely acclaimed performances in Capra’s Mr. Smith Goes To Washington and Meet John Doe respectively, and it was to Stewart, his most trusted actor, that Capra turned when casting the part of quintessential nice-guy George Bailey. Stewart, one of the few major stars to enlist in the war against fascism, had been away from Hollywood for the best part of five years, and was in anguish about resuming his acting career when Capra called to offer him the role, that ultimately, film critics would regard as the finest of his distinguished career. Luckily, the director was able to talk Stewart around, and the rest, as they say, is history!

Stewart’s nuanced portrayal of the decent, unselfish, yet ultimately tormented Bailey, offers us a masterclass in screen acting. It’s as if Stewart had never been away as he plays through a succession of comic, romantic and dramatic scenes with absolute confidence. Stewart is able to convince us of George’s good heart and of his deeply felt moral opposition to scurrilous Banker Henry Potter, whilst also capturing the frustration eating away at his character’s soul as he sees life passing him by and his friends making their own mark on the world. George Bailey is a man desperately divided against himself, as Stewart’s reflective performance gradually makes clear.

Thankfully, his fellow actors are equally as good, with Lionel Barrymore proving to be an inspired piece of casting in the role of Potter, the Dickensian villain who tries to drive the Bailey family business into ruin in his quest to monopolise the wealth of Bedford Falls. (Capra had surely noted Barrymore’s legendary portrayal of Scrooge for the Campbell Playhouse dramatisation of A Christmas Carol, broadcast each Christmas Eve since 1934). And, as the years have gone by, it’s become impossible to imagine anyone other than the whimsical Henry Travers as the very special emissary Clarence Oddbody, whose celestial mission it is to save George Bailey from the tragic fate that awaits him on Christmas Eve.

The movie begins with George’s family and friends frantically seeking divine intervention to help him through a spiritual crisis at Christmas and uses the device of extended flashbacks to tell the tale of a young boy/college student determined to travel the world, all the while threatening to “shake the dust of this crummy little town off my feet”. He subscribes to National Geographic magazine and spends his days dreaming of “going out exploring someday’. A family tragedy and financial difficulties combine, though, to ensure George’s ambitions are thwarted at every turn, as he finds himself trapped into running the family Building and Loan Company, the only institution in town not owned by slum landlord Potter. George is loved by the whole of Bedford Falls for standing alone against Potter time and again, and, in a crucial scene which illustrates Capra’s humanitarian message, Bailey challenges Potter over his scandalous business practices –

‘Do you know how long it takes a working man to save five thousand dollars? Just remember this, Mr. Potter, this rabble you keep talking about…they do most of the working and paying and living and dying in this community. Well, is it too much to have them work and pay and live and die in a couple of decent rooms and a bath? Anyway, my father didn’t think so. People were human beings to him’.

Stewart is acting out of his straight-laced skin here, violently trembling with anger. For me, it’s one of the most genuinely moving scenes in film history.

Though George has quietly transformed the lives of all those who reside in Bailey Park, he is unable to find consolation in his own achievements. He simply cannot free himself from the resentment he feels, as first his younger brother Harry takes up his place at College, and then as his old friend Sam Wainwright cuts a dash through the business world. Drunk and despairing on Christmas Eve, he wishes he’d never been born.

Throughout the film, Capra remains in complete control of the story. Each scene plays perfectly, the transition between episodes is seamless and the script cohesive from start to finish. This is all the more remarkable given the number of writers involved in developing a screenplay that proved almost impossible to knock into shape. Whilst the final screen credit went to husband and wife screenwriting team Albert Hackett and Frances Goodrich, as well as Capra himself, there were already three fully developed scripts in existence when Capra bought the property from RKO in 1945.

Three of the biggest names in the business had failed spectacularly in adapting Van Doren Stern’s quirky fantasy. Neither Marc Connelly, the Pulitzer winning playwright and fully paid-up member of the Alongquin roundtable, Dalton Trumbo (an Oscar winner for The Brave One) or Clifford Odets, the left-wing firebrand whose work with the Group Theatre had revolutionised Broadway in the thirties, found a way to incorporate the various fantasy/reality elements of the plot into a coherent whole.

While Connolly and Trumbo’s contributions were dismissed out of hand by Capra, some key scenes from the Odets script were retained. According to Jeanine Basinger, curator of the Capra archives, his scripts “bring into focus the elements found in the final movie: the accident on the ice in which Harry nearly drowns; the Gower drug store sequence and George’s marriage to Mary.” It’s worth noting that at this stage the Potter character simply did not exist. The dramatic conflict in each of these scripts was between a good George and an evil George.

None of this turmoil is reflected in the finished movie itself. Capra was able to unfold his story with clarity, balancing the requirements of the plot with his need to convey an uncompromising message to the audience. In the same way that Dickens, who was on a lifelong crusade to improve the conditions of the poor, wrote A Christmas Carol to try and progress social change in Victorian England, so Capra, who was just back from the Second World War, his film cans stuffed with footage of the horrors of the concentration camps, passionately wanted to tell a story that would make a serious statement about the times in which he lived.

Dickens’ plea to his readers was for them to follow the example of a reformed Scrooge when, at the novella’s end, he pledges to “honour Christmas in my heart, and try to keep it all year round”. Capra’s motivation was equally straightforward. He had in mind a reaffirmation of John Donne’s view of the human condition

“No man is an island entire of itself; every man is a piece of the continent, a part of the main”

Still haunted by a war, in which Historians currently estimate, up to 70 million people died, Capra was at pains to point out how one man’s life touches another. His Christmas message was for us all to extend a helping hand to the next fellow.

When I went to see It’s A Wonderful Life at my local cinema, last Christmas, the usherette, on taking my ticket said: “I hope you’ve brought a supply of hankies”. Indeed, I had. I can never get past that early scene in Gower’s drugstore, where the distraught and drunk chemist brutally slaps a young George Bailey around, without breaking down. And, of course, the famous finale with George, having escaped from his nightmare existence in Pottersville, charging joyously through the snowy streets of Bedford Falls on Christmas Eve, wishing everyone and everything a Merry Christmas, has me in floods of tears every time I have the privilege of viewing it.

Watching It’s a Wonderful Life every Christmas, making it a part of the ritual and tradition of the festive period means it can be hard to be wholly objective about the film as a work of art. For good or bad the film comes imbued, perhaps even burdened, with our own memories and associations. In the darkness, as the credits begin to roll, we suddenly sense The Ghost of Christmas past sitting next to us in the cheap seats.

For others, Capra is too sentimental and the derogatory term “Capra-corn” applied by some cynics to his films has stuck over the years. Look beyond the joyous, feel-good message at the centre of It’s A Wonderful Life though, and there is a real darkness rooted within the heart of small-town America. Capra, having witnessed at first hand the atrocities of a World War, knew all about the evil ordinary people were capable of but remained an optimist and a believer in the brotherhood of man, nonetheless.

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janetburston · 4 months

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lordjoy73 · 5 months

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perfettamentechic · 1 year

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6 maggio … ricordiamo …

6 maggio … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2022: Eugenio Allegri, attore e regista italiano. Primi passi nel teatro, diplomato alla scuola teatrale nel 1979. Era il direttore artistico della Fonderia Leopolda di Follonica. Morto all’età di 66 anni a causa di un malore all’improvviso. (n. 1956) 2021: Paul Van Doren, è stato un imprenditore statunitense, fondatore della Vans, azienda di scarpe negli Stati Uniti. Suo padre era un inventore…

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#6 maggio #Ann Todd #Arnaldo Ninchi #Charles Farrell #Eugenio Allegri #George Lindsey #Guido Brignone #Guy Williams #Luigi Almirante #Maria Laura Rocca #Marlene Dietrich #Martin Spellman #Morti 6 maggio #Paolo Ferrari #Paul Van Doren #Personaggi morti 6 maggio #Ricordiamo #Virginia Belmont #Vittorio Zarfati

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j77m · 5 months

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unblogparaloschicos · 7 months

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Cine y TV: Montgomery MacNeil

"Fama" fue, durante los ochenta, un fenómeno tan global como "High School Musical" (2006) o "Glee" (2009-2015). Ya el filme, dirigido por Alan Parker (tras las cámaras de otros proyectos musicales igualmente icónicos como "Pink Floyd, The Wall" o "Evita"), dejó a la canción "Fame", en la voz de Irene Cara, como símbolo de la década y ganadora del Oscar a la Mejor Canción. Luego, el suceso se extendería con una serie aún más popular que duró seis temporadas (entre 1982 y 1987) y una remake no muy bien recibida, estrenada en 2009.

La trama, en la que un grupo de jóvenes asisten a la High School of Performing Arts, institución en la que aprenderán diversas expresiones artísticas, versa en cuatro etapas: Audiciones, Primer Año (Freshman Year), Segundo Año (Sophomore Year), Tercer Año (Junior Year) y Cuarto Año (Senior Year), el final.

Montgomery MacNeil (Paul McCrane en el filme; P. R. Paul en la serie, en la que aparece sólo la primera temporada y el último episodio de la sexta) es uno de los muchachos a los que la historia presta atención, junto a la ya mencionada Cara (Coco Hernandez), Lee Curreri (Bruno Martelli), Laura Dean (Lisa Monroe), Antonia Franceschi (Hilary Van Doren), Barry Miller (Ralph Garci), Gene Anthony Ray (Leroy Johnson) o Maureen Teefy (Doris Finsecker). MacNeil inicia la película con un parlamento doloroso que, luego descubriremos, forma parte de un texto para las audiciones que le permita ser aceptado en la escuela. Muchacho sensible cuya pasión es la actuación, gran amigo de Ralph y Doris, más tarde contará otra historia, la suya, en la que a los diez años manifiesta los primeros signos de su homosexualidad. Tanto él como su familia creían que sería un asunto pasajero, una fase, pero un psicólogo les confirma lo inevitable. Desde luego, aparecen burlas homofóbicas, pero, por lo general, no pasan a mayores.

Su madre también fue actriz (y una muy exitosa, de nombre Melinda) y la serie revela que la relación entre ambos no es exactamente afectuosa. De mentalidad centrada (algo que queda claro en la película), tiene un talento nato para los negocios. A pesar de que es uno de los personajes más queridos de la obra original, su paso televisivo es evasivo y misterioso, a tal punto de que en su última aparición no deja ninguna explicación sobre su destino durante las temporadas anteriores.

Aquí, algunas imágenes de MacNeil en la serie:

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#cine #MontgomeryMacNeil #Fame #Fama #EstadosUnidos #gay #adolescencia #musical #AlanParker #PaulMcCrane #PRPaul #IreneCara #LeeCurreri #LauraDean #AntoniaFranceschi #BarryMiller #GeneAnthonyRay #MaureenTeefy

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