Image Sources: 1, 2, 3, 4, 5, 6

I dunno what it is with me… but I seem to have this natural inclination to gravitate toward bunny girls of a certain color hue.  Specifically, I seem to have a subconscious affinity toward rabbits who are yellow, tan, or orange.  This is so deep-seated that when I was making my rabbicoon character, she ended up having that kind of fur color, too!

Like I said, I have no idea why.  I like not-yellowy bunnies just fine, but my absolute favorite rabbits are almost always the ones who are between yellow and orange in coloration.

I wonder if that means anything to anyone…?

Swedish artist Peter Ern (b 1965).

ABOUT

MADE TO MEASURE VOL.1

feat. MINIMAL COMPACT, BENJAMIN LEW, AKSAK MABOUL & TUXEDOMOON

Originally released in 1984, the inaugural volume of the series included works commissioned as soundtracks for dance & theatre performances, films, and a fashion show. The album offers both a glimpse into unusual aspects of these four artists’ work, and a testimony of the buzzing activity in what was becoming a close-knit community of musicians revolving around Crammed Discs’ Brussels headquarters, which spawned many collaborations (some of which are mentioned below).

MINIMAL COMPACT: PIECES FOR NOTHING

Following their momentous debut release (their self-titled 1981 mini-album), the original trio of Samy Birnbach (later known as DJ Morpheus), Malka Spigel and Berry Sakharof were joined by drummer Max Franken, and the multicultural gang (now including members born in Turkey, Israel, Poland and Holland) recorded their debut full-length, One By One which, upon its release in 1983, positioned the band as an influential force across the European music scene, where their incisive, Middle-East- ern coloured, lyrical post-new wave sound made a strong impression.

Their encounter with French choreographer Pierre Droulers gave Minimal Compact the opportunity for a new experience, as Droulers commissioned them to write four tracks for a dance piece. The band had recently befriended fellow-expats Tuxedo- moon, and this led to the US band’s Peter Principle and then-regular sound engineer Gilles Martin taking on production duties for the recording of these tracks, which also benefitted from contributions by Tuxedomoon’s Steven Brown on sax & clarinet, and Jeannot Gillis (Julverne) on violin.

The resulting Pieces for Nothing is an elegant suite which shows another dimension of Minimal Compact’s musical scope, a direction they’ll later pursue with their Lowlands Flight project for Made To Measure. The band went on to record and release five more albums with Crammed.

BENJAMIN LEW: A LA RECHERCHE DE B.

Benjamin Lew is a unique artist, who produced some of the most original, mesmerizing music of the 80s/90s, over the course of five albums (all out in the Made To Measure series). An enlightened amateur -in the noble and almost Renaissance-like sense of the word-, he dabbled with equal grace in photography, writing, visual arts... His brilliant debut album (Douzième Journée, his first collab with Steven Brown) had come out in 1982, and his contribution to Made To Measure Vol.1 was recorded shortly thereafter, as a soundtrack for a fashion exhibition (“Huit jeunes stylistes limbourgeois”).

Benjamin Lew would go on to record another great album with Steven Brown (À propos d’un paysage, featuring Vini Reilly/ Durutti Column, 1986), then the truly inspiring Nebka (1988), a collaboration with Samy Birnbach (When God Was Famous [A Tribute To Poetry], 1989), and Le parfum du raki (1993). Two compilations of his work have come out, one on Crammed (Compiled Electronic Landscapes, 2003), and one on the Stroom label, in collab with Crammed (Le personnage principal est un peuple isolé, 2019).

AKSAK MABOUL: SCRATCH HOLIDAY & UN CHIEN MÉRITE UNE MORT DE CHIEN

At the point where Made To Measure Vol.1 was conceived, in 1983, the seminal Crammed band had released its two initial albums, merged with The Honeymoon Killers (whose touring was then in full swing), and Marc Hollander & Véronique Vincent were busy writing and recording the songs for the 3rd album, which would eventually be released in 2014 as Ex-Futur Album (and included a song which developed from one of the pieces in Un Chien...).

Scratch Holiday could be described as an avant-garde melodic turntablist piece. All the sounds were generated with a turn- table, a 7” pop single from the 1960s and some orange marmelade. Recorded by Vincent Kenis with Family Fodder’s Alig, it was then arranged and mixed by Kenis, Marc Hollander and Gilles Martin. Kenis & Hollander claimed that the track was made as a soundtrack for a Honeymoon Killers holiday movie but, to this day, it hasn’t been possible to verify this assertion.

Un chien mérite une mort de chien was Aksak Maboul’s soundtrack for Michel Gheude’s eponymous theatre play, which re- volves around the life of Russian writers Vladimir Mayakovsky, Ossip Brik, Lili Brik, Velimir Khlebnikov and the Russian Futurist movement. Expanding on some aspects of the Onze danses pour combattre la migraine album, these six pieces were written and performed by Marc Hollander, and produced in collaboration with Vincent Kenis and Gilles Martin

TUXEDOMOON: VERDUN

Born in 1977, in the heady atmosphere of San Francisco’s postpunk golden age, Tuxedomoon soon became a central part of New York’s No Wave scene, then signed to The Residents’ Ralph Records, and released two classic albums, Half Mute (1980) and Desire (1981), which soon got them worldwide exposure. Fleeing Reagan’s America, Tuxedomoon moved to Europe in the early ‘80s, and stayed there throughout the decade. Their ability to crystallize a certain dark and romantic zeitgeist quickly turned them into one of the most influential bands around, yet their music transcended all genres. The band members respec- tively moved to distant parts of the globe, and stopped working together for fifteen years, before getting together again and recording five great albums between 2003 and 2015. New music is currently in the works.

In 1983, Tuxedomoon were living in Brussels and, after a couple of releases with Les Disques du Crépuscule, they had inev- itably started gravitating towards Crammed Discs, at first in the context of solo projects and collaborations. The inclusion of Verdun in Made To Measure Vol.1 was the first proper Tuxedomoon release on Crammed. It would soon be followed by the creation of CramBoy (1985), an imprint entirely devoted to Tuxedomoon’s new and back catalogue works, on which no less than 20 releases would take place over the course of the next 35 years.

The three tracks in Verdun were recorded for the soundtrack of a movie about the famous WW1 battlefield, entitled Het Veld van Eer and directed by Dutch filmmaker Bob Visser.

— MADE TO MEASURE VOL.1 remastered edition - vinyl, digital & CD out April 30, 2021 on Crammed Discs —

A hand­shake can quell polit­i­cal unrest and sti­fle impend­ing war. It can, with a bit of spit, val­i­date a gentleman’s agree­ment, end a years-long roman­tic rela­tion­ship or send a young heart rac­ing. But it all depends on the two par­ties involved.

Daisy, 21, felt a seis­mic jolt when Har­ry Styles, 25, wear­ing a striped jumper and rings on three of his five fin­gers, clutched her hand two days after this year’s Met Gala in New York, when she served him gela­to at the shop where she worked.

“He decid­ed on a small mint choco­late gela­to and I made his and the one for his friend and I said, ​‘Can I just say I absolute­ly loved your Met Gala look’ and he said ​‘Thank you very much! What’s your name?’ And I said, ​‘Daisy’ AND HE FUCK­ING EXTEND­ED HISHAND AND REACHED TO SHAKE MY HAND AND I ACTU­AL­LY FUCK­INGSHOOK HIS HAND WHAT THE FUCK,” she wrote on Insta­gram after The Shak­en­ing. ​“Like I didn’t even say any­thing to gas him up besides ​‘I loved your met gala look’ and his fine ass went and shook my hand! WHAT A BEAU­TI­FUL FUCK­ING HUMAN BEINGTHAT HE IS GOD BLESS HIM AND I HOPE HW [sic] LIVES FOREVER.”

For Har­ry Styles, a hand­shake can be a roman­tic ges­ture, con­jur­ing a potent rev­er­ence in its recip­i­ent, like the time he met Gucci’s cre­ative direc­tor Alessan­dro Michele. ​“He was as attrac­tive as James Dean and as per­sua­sive as Gre­ta Gar­bo. He was like a Luchi­no Vis­con­ti char­ac­ter, like an Apol­lo: at the same time sexy as a woman, as a kid, as a man,” Michele told me, has­ten­ing to add: ​“Of course, Har­ry is not aware of this.”

No, Styles has no idea the pow­er he wields. In per­son, he’s tow­er­ing, like some­one who is not that much taller but whose rep­u­ta­tion adds four inch­es. Styles has a seda­tive bari­tone, spo­ken in a rum­my north­ern Eng­lish accent, that tum­bles out so slow­ly you for­get the name of your first born, a swag­ger that has been nursed and per­fect­ed in myth­i­cal places with names like Pais­ley Park, or Abbey Road, or Grace­land. Makes com­plete sense that he would be up for the role of Elvis Pres­ley in Baz Luhrmann’s upcom­ing biopic. He was primed, nay, born to shake his hips, all but one but­ton on his shirt cling­ing for dear life around his tor­so. Then the part was award­ed to anoth­er actor, Austin Butler.

“[Elvis] was such an icon for me grow­ing up,” Styles tells me. ​“There was some­thing almost sacred about him, almost like I didn’t want to touch him. Then I end­ed up get­ting into [his life] a bit and I wasn’t dis­ap­point­ed,” he adds of his ini­tial research and prepa­ra­tions to play The King. He seems relaxed about los­ing the part to But­ler. ​“I feel like if I’m not the right per­son for the thing, then it’s best for both of us that I don’t do it, you know?”

Styles released his self-titled debut solo album in May 2017. The boy­band grad was clear­ly unin­ter­est­ed in hol­low­ing out the charts with more for­mu­la­ic meme pop. Instead, to the sur­prise of many, he dug his heels into retro-fetishist West Coast ​’70s rock. Some of the One Direc­tion fan-hordes might have been con­fused, but no mat­ter: Har­ry Styles sold one mil­lion copies.

Despite its com­mer­cial and crit­i­cal suc­cess, he didn’t tour the album right away. He want­ed to act in the Christo­pher Nolan film Dunkirk. To his cred­it, his por­tray­al of a British sol­dier cow­er­ing in a moored boat on the French beach­es as the Nazis advanced wasn’t skew­ered in the press like the movie debuts of, say, Madon­na or Justin Tim­ber­lake. Per­haps he was fol­low­ing advice giv­en by Elton John, who had urged him to diver­si­fy. ​“He was bril­liant in Dunkirk, which took a lot of peo­ple by sur­prise,” John writes in an email. ​“I love how he takes chances and risks.” Act­ing, unlike music, is a release for Styles; it’s the one time he can be not himself.

“Why do I want to act? It’s so dif­fer­ent to music for me,” he says, sud­den­ly ani­mat­ed. ​“They’re almost oppo­site for me. Music, you try and put so much of your­self into it; act­ing, you’re try­ing to total­ly dis­ap­pear in who­ev­er you’re being.”

Fol­low­ing the news that he missed out on Pres­ley, his name was float­ed for the role of Prince Eric in Disney’s live-action remake of The Lit­tle Mer­maid. How­ev­er, fans will have to wait a bit longer to see Styles on the big screen as that idea, too, has sunk. He won’t be The King or the Prince. ​“It was dis­cussed,” he acknow­ledges before swift­ly chang­ing the sub­ject. ​“I want to put music out and focus on that for a while. But every­one involved in it was amaz­ing, so I think it’s going to be great. I’ll enjoy watch­ing it, I’m sure.”

The new album is wrapped and the sin­gle is decid­ed upon. ​“It’s not like his last album,” his friend, rock ​‘n’ roll leg­end Ste­vie Nicks, told me recent­ly over the phone. ​“It’s not like any­thing One Direc­tion ever did. It’s pure Har­ry, as Har­ry would say. He’s made a very dif­fer­ent record and it’s spectacular.”

Beyond that, Styles is keep­ing his cards close to his chest as to his next musi­cal move. How­ev­er, the air is thick with rumours that his main wing­man for HS2 is Kid Har­poon, aka Tom Hull, who co-wrote debut album track Sweet Crea­ture. No less an author­i­ty than Liam Gal­lagher told us that both big band escapees were in the same stu­dio – RAK in north-west Lon­don – at the same time mak­ing their sec­ond solo albums. Styles played him a cou­ple of tracks, ​“and I tell you what, they’re good,” Gal­lagher enthused. ​“A bit like that Bon Iver. Is that his name?”

Har­ry Styles met Nicks at a Fleet­wood Mac con­cert in Los Ange­les in April 2015. Some­thing about him felt authen­tic to the leg­endary front­woman: ground­ed, like she’d known him for­ev­er, blessed with a win­ning moon­shot grin. A month lat­er, they met back­stage at anoth­er Mac gig, this time at the O2 in Lon­don. Styles brought a car­rot cake for Nicks’ birth­day, her name piped in icing on top. By her own admis­sion, Nicks doesn’t even cel­e­brate birth­days, so this was a sur­prise. ​“He was per­son­al­ly respon­si­ble for me actu­al­ly hav­ing to cel­e­brate my birth­day, which was very sweet,” she says.

Styles’ rela­tion­ship with Nicks is hard to define. Induct­ing her into the Rock and Roll Hall of Fame in New York as a solo artist ear­li­er this year, his speech hymned her as a ​“mag­i­cal gyp­sy god­moth­er who occu­pies the in-between”. She’s called him her ​“lovechild” with Mick Fleet­wood and the ​“son I nev­er had”. Both have moved past the pre­lim­i­nary chat acknowl­edg­ing each other’s unquan­tifi­able tal­ents and smooth­ly accel­er­at­ed towards play­ful cut-and-thrust ban­ter of a witch mom and her naughty child.

They per­form togeth­er – he sings The Chainand Stop Drag­gin’ My Heart Around; she sings the one alleged­ly writ­ten about Tay­lor Swift, Two Ghosts. One of those per­for­mances was at the Guc­ci Cruise after­par­ty in Rome in May, for ​“a lot of mon­ey”, Nicks tells me, in a ​“big kind of cas­tle place”. She has become his de fac­to men­tor – one phone call is all it takes to reach the Queen of Rock’n’Roll for advice on sequenc­ing (“She is real­ly good at track list­ing,” Styles admits) or just to hear each other’s voic­es… because, well, wouldn’t you?

Fol­low­ing anoth­er Fleet­wood Mac con­cert, at London’s Wem­b­ley Sta­di­um, in June, Nicks met Styles for a late (Indi­an) din­ner. He then invit­ed her back to his semi-detached Geor­gian man­sion in north Lon­don for a lis­ten­ing par­ty at mid­night. The album – HS2or what­ev­er it’ll be called – was fin­ished. Nicks, her assis­tant Karen, her make-up artist and her friends Jess and Mary crammed onto Styles’ liv­ing-room couch. They lis­tened to it once through in silence like a ​“bunch of edu­cat­ed monks or some­thing in this dark room”. Then once again, 15 or 16 tracks, this time each of his guests offer­ing live feed­back. It wrapped at 5am, just as the sun was bleed­ing through the curtains.

Even for a pop star of Styles’ stature, press­ing ​“play” on a deeply per­son­al work for your hero to digest, watch­ing her face react in real time to your new music, must be… what?

“It’s a dou­ble-edged thing,” he replies. ​“You’re always ner­vous when you are play­ing peo­ple music for the first time. You’ve heard it so much by this point, you for­get that peo­ple haven’t heard it before. It’s hard to not feel like you’ve done what you’ve set out to do. You are hap­py with some­thing and then some­one who you respect so much and look up to is, like: ​‘I real­ly like this.’ It feels like a large stamp [of approval]. It’s a big step towards feel­ing very com­fort­able with what­ev­er else hap­pens to it.”

Wad­ing through Styles’ back­ground info is exhaust­ing, since he was spanked by fame in the social media era where every god­dam blink of a kohl-rimmed eye has been doc­u­ment­ed from six angles. (And yes, he does some­times wear guyliner.)

Deep breath: born in Red­ditch, Worces­ter­shire, to par­ents Des and Anne, who divorced when he was sev­en. Grew up in Holmes Chapel in Cheshire with his sis­ter Gem­ma, mum and step­dad Robin Twist. Rode hors­es at a near­by sta­ble for free (“I was a bad rid­er, but I was a rid­er”). Stopped rid­ing, ​“got into dif­fer­ent stuff”. Formed a band, White Eski­mo, with school­mates. Aged 16, tried out for the 2010 run of The X Fac­torwith a stir­ring but aver­age ren­di­tion of Ste­vie Wonder’s Isn’t She Love­ly. Cut from the show and put into a boy band with four oth­ers, Louis Tom­lin­son, Liam Payne, Niall Horan and Zayn Malik, and called One Direc­tion. Became inter­na­tion­al­ly famous, toured the globe. Zayn quit to go solo. Toured some more. Dat­ed but maybe didn’t date Car­o­line Flack, Rita Ora and Tay­lor Swift – whom he report­ed­ly dumped in the British Vir­gin Islands. (This rela­tion­ship, if noth­ing else, yield­ed an icon­ic, can­did shot of Swift look­ing deject­ed, being motored back to shore on the back of a boat called the Fly­ing Ray.) One Direc­tion dis­cussed dis­band­ing in 2014, actu­al­ly dis­solved in 2015. They remain friend­ly, and Styles offi­cial­ly went solo in 2016.

It’s been two years since his epony­mous debut and lead sin­gle, Sign of the Times, shocked the world and Elton John with its swag­ger­ing, soft rock sound. ​“It came out of left field and I loved it,” John says.

After 89 are­na-packed shows across five con­ti­nents grossed him, the label, whomev­er, over $61 mil­lion, Styles had all but dis­ap­peared. He has emerged only inter­mit­tent­ly for pub­lic-fac­ing events – a Guc­ci after­par­ty per­for­mance here, a Met Gala co-chair­ing there. He relo­cat­ed from Los Ange­les back to Lon­don, sell­ing his Hol­ly­wood Hills house for $6mil­lion and ship­ping his Jaguar E-type across the Atlantic so he could take joyrides on the M25.

“I’m not over LA,” he insists when I ask about the move. ​“My rela­tion­ship with LAchanged a lot. What I want­ed from LA changed.”

A great escape, he would agree, is some­times nec­es­sary. He was in Tokyo for most of Jan­u­ary, hav­ing near­ly fin­ished his album. ​“I need­ed time to get out of that album frame-of-mind of: ​‘Is it fin­ished? Where am I at? What’s hap­pen­ing?’ I real­ly need­ed that time away from every­one. I was kind of just in Tokyo by myself.” His sab­bat­i­cal most­ly involved read­ing Haru­ki Murakami’s The Wind-Up Bird Chron­i­cle, singing Nir­vana at karaoke, writ­ing alone in his hotel room, lis­ten­ing to music and eaves­drop­ping on strangers in alien con­ver­sa­tion. ​“It was just a pos­i­tive time for my head and I think that impact­ed the album in a big way.”

Dur­ing this break he watched a lot of films, read a lot of books. Some­times he texts these rec­om­men­da­tions to his pal Michele at Guc­ci. He told Michele to watch the Ali Mac­graw film, Love Sto­ry. ​“We text what friends text about. He is the same [as me] in terms of he lives in his own world and he does his own thing. I love dress­ing up and he loves dress­ing up.”

Because he loves dress­ing up, Michele chose Styles to be the face of three Guc­ci Tai­lor­ing cam­paigns and of its new gen­der­less fra­grance, Mémoire d’une Odeur.

“The moment I met him, I imme­di­ate­ly under­stood there was some­thing strong around him,” Michele tells me. ​“I realised he was much more than a young singer. He was a young man, dressed in a thought­ful way, with uncombed hair and a beau­ti­ful voice. I thought he gath­ered with­in him­self the fem­i­nine and the masculine.”

Fash­ion, for Styles, is a play­ground. Some­thing he doesn’t take too seri­ous­ly. A cou­ple of years ago Har­ry Lam­bert, his styl­ist since 2015, acquired for him a pair of pink metal­lic Saint Lau­rent boots that he has nev­er been pho­tographed wear­ing. They are exceed­ing­ly rare – few pairs exist. Styles wears them ​“to get milk”. They are, in his words, ​“super-fun”. He’s not sure, but he has, ball­park, 50 pairs of shoes, as well as full clos­ets in at least three post­codes. He set­tles on an out­fit fair­ly quick­ly, maybe changes his T-shirt once before head­ing out, but most­ly knows what he likes.

What he may not ful­ly com­pre­hend is that sim­ply by being pho­tographed in a gar­ment he can spur the career of a design­er, as he has with Har­ris Reed, Palo­mo Spain, Charles Jef­frey, Alled-Martínez and a new favourite, Bode. Styles wore a SS16 Guc­ci flo­ral suit to the 2015 Amer­i­can Music Awards. When he was asked who made his suit on the red car­pet, Guc­ci began trend­ing world­wide on Twitter.

“It was one of the first times a male wore Alessandro’s run­way designs and, at the time, men were not tak­ing too many red car­pet risks,” says Lam­bert. ​“Who knows if it influ­enced oth­ers, but it was a spe­cial moment. Plus, it was fun see­ing the fans dress up in suits to come see Harry’s shows.”

Yet tra­di­tion­al gen­der codes of dress still have the minds of mid­dle Amer­i­ca in a choke­hold. Men can’t wear women’s clothes, say the online whingers, who have labelled him ​“trag­ic”, ​“a clown” and a Bowie wannabe. Styles doesn’t care. ​“What’s fem­i­nine and what’s mas­cu­line, what men are wear­ing and what women are wear­ing – it’s like there are no lines any more.”

Elton John agrees: ​“It worked for Marc Bolan, Bowie and Mick. Har­ry has the same qualities.”

Then there is the ques­tion of Styles’ sex­u­al­i­ty, some­thing he has admit­ted­ly ​“nev­er real­ly start­ed to label”, which will plague him until he does. Per­haps it’s part of his allure. He’s bran­dished a pride flag that read ​“Make Amer­i­ca Gay Again” on stage, and plant­ed a stake some­where left of cen­tre on sexuality’s rain­bow spectrum.

“In the posi­tion that he’s in, he can’t real­ly say a lot, but he chose a queer girl band to open for him and I think that speaks vol­umes,” Josette Maskin of the queer band MUNA told The Face ear­li­er this year.

“I get a lot of…” Styles trails off, wheels turn­ing on how he can dis­cuss sex­u­al­i­ty with­out real­ly answer­ing. ​“I’m not always super-out­spo­ken. But I think it’s very clear from choic­es that I make that I feel a cer­tain way about lots of things. I don’t know how to describe it. I guess I’m not…” He paus­es again, piv­ots. ​“I want every­one to feel wel­come at shows and online. They want to be loved and equal, you know? I’m nev­er unsup­port­ed, so it feels weird for me to over­think it for some­one else.”

Sex­u­al­i­ty aside, he must acknowl­edge that he has sex appeal. ​“The word ​‘sexy’ sounds so strange com­ing out of my mouth. So I would say that that’s prob­a­bly why I would not con­sid­er myself sexy.”

Har­ry Styles has emerged ful­ly-formed, an anachro­nis­tic rock star, vague in sen­si­bil­i­ty but des­tined to impress with a dis­arm­ing smile and a warm but firm handshake.

I recite to him a quote from Chrissie Hyn­de of The Pre­tenders about her time atop rock’s throne: ​“I nev­er got into this for the mon­ey or because I want­ed to join in the super­star sex around the swim­ming pools. I did it because the offer of a record con­tract came along and it seemed like it might be more fun than being a wait­ress. Now, I’m not so sure.”

Styles – who worked in a bak­ery in a small north­ern town some time before play­ing to 40,000 scream­ing fans in South Amer­i­can are­nas – must have wit­nessed some shit, been invit­ed to a few pool­side sex par­ties, in his time.

“I’ve seen a cou­ple of things,” he nods in agree­ment. ​“But I’m still young. I feel like there’s still stuff to see.”

The Face - Volume 4 . Issue 1

A hand­shake can quell polit­i­cal unrest and sti­fle impend­ing war. It can, with a bit of spit, val­i­date a gentleman’s agree­ment, end a years-long roman­tic rela­tion­ship or send a young heart rac­ing. But it all depends on the two par­ties involved.

Daisy, 21, felt a seis­mic jolt when Har­ry Styles, 25, wear­ing a striped jumper and rings on three of his five fin­gers, clutched her hand two days after this year’s Met Gala in New York, when she served him gela­to at the shop where she worked.

“He decid­ed on a small mint choco­late gela­to and I made his and the one for his friend and I said, ​‘Can I just say I absolute­ly loved your Met Gala look’ and he said ​‘Thank you very much! What’s your name?’ And I said, ​‘Daisy’ AND HE FUCK­ING EXTEND­ED HIS HAND AND REACHEDTO SHAKE MY HAND AND I ACTU­AL­LY FUCK­ING SHOOK HIS HAND WHAT THEFUCK,” she wrote on Insta­gram after The Shak­en­ing. ​“Like I didn’t even say any­thing to gas him up besides ​‘I loved your met gala look’ and his fine ass went and shook my hand! WHATA BEAU­TI­FUL FUCK­ING HUMAN BEING THAT HE IS GOD BLESS HIM AND I HOPE HW[sic] LIVES FOREVER.”

For Har­ry Styles, a hand­shake can be a roman­tic ges­ture, con­jur­ing a potent rev­er­ence in its recip­i­ent, like the time he met Gucci’s cre­ative direc­tor Alessan­dro Michele. ​“He was as attrac­tive as James Dean and as per­sua­sive as Gre­ta Gar­bo. He was like a Luchi­no Vis­con­ti char­ac­ter, like an Apol­lo: at the same time sexy as a woman, as a kid, as a man,” Michele told me, has­ten­ing to add: ​“Of course, Har­ry is not aware of this.”

No, Styles has no idea the pow­er he wields. In per­son, he’s tow­er­ing, like some­one who is not that much taller but whose rep­u­ta­tion adds four inch­es. Styles has a seda­tive bari­tone, spo­ken in a rum­my north­ern Eng­lish accent, that tum­bles out so slow­ly you for­get the name of your first born, a swag­ger that has been nursed and per­fect­ed in myth­i­cal places with names like Pais­ley Park, or Abbey Road, or Grace­land. Makes com­plete sense that he would be up for the role of Elvis Pres­ley in Baz Luhrmann’s upcom­ing biopic. He was primed, nay, born to shake his hips, all but one but­ton on his shirt cling­ing for dear life around his tor­so. Then the part was award­ed to anoth­er actor, Austin Butler.

“[Elvis] was such an icon for me grow­ing up,” Styles tells me. ​“There was some­thing almost sacred about him, almost like I didn’t want to touch him. Then I end­ed up get­ting into [his life] a bit and I wasn’t dis­ap­point­ed,” he adds of his ini­tial research and prepa­ra­tions to play The King. He seems relaxed about los­ing the part to But­ler. ​“I feel like if I’m not the right per­son for the thing, then it’s best for both of us that I don’t do it, you know?”

Styles released his self-titled debut solo album in May 2017. The boy­band grad was clear­ly unin­ter­est­ed in hol­low­ing out the charts with more for­mu­la­ic meme pop. Instead, to the sur­prise of many, he dug his heels into retro-fetishist West Coast ​’70s rock. Some of the One Direc­tion fan-hordes might have been con­fused, but no mat­ter: Har­ry Styles sold one mil­lion copies.

Despite its com­mer­cial and crit­i­cal suc­cess, he didn’t tour the album right away. He want­ed to act in the Christo­pher Nolan film Dunkirk. To his cred­it, his por­tray­al of a British sol­dier cow­er­ing in a moored boat on the French beach­es as the Nazis advanced wasn’t skew­ered in the press like the movie debuts of, say, Madon­na or Justin Tim­ber­lake. Per­haps he was fol­low­ing advice giv­en by Elton John, who had urged him to diver­si­fy. ​“He was bril­liant in Dunkirk, which took a lot of peo­ple by sur­prise,” John writes in an email. ​“I love how he takes chances and risks.” Act­ing, unlike music, is a release for Styles; it’s the one time he can be not himself.

“Why do I want to act? It’s so dif­fer­ent to music for me,” he says, sud­den­ly ani­mat­ed. ​“They’re almost oppo­site for me. Music, you try and put so much of your­self into it; act­ing, you’re try­ing to total­ly dis­ap­pear in who­ev­er you’re being.”

Fol­low­ing the news that he missed out on Pres­ley, his name was float­ed for the role of Prince Eric in Disney’s live-action remake of The Lit­tle Mer­maid. How­ev­er, fans will have to wait a bit longer to see Styles on the big screen as that idea, too, has sunk. He won’t be The King or the Prince. ​“It was dis­cussed,” he acknow­ledges before swift­ly chang­ing the sub­ject. ​“I want to put music out and focus on that for a while. But every­one involved in it was amaz­ing, so I think it’s going to be great. I’ll enjoy watch­ing it, I’m sure.”

The new album is wrapped and the sin­gle is decid­ed upon. ​“It’s not like his last album,” his friend, rock ​‘n’ roll leg­end Ste­vie Nicks, told me recent­ly over the phone. ​“It’s not like any­thing One Direc­tion ever did. It’s pure Har­ry, as Har­ry would say. He’s made a very dif­fer­ent record and it’s spectacular.”

Beyond that, Styles is keep­ing his cards close to his chest as to his next musi­cal move. How­ev­er, the air is thick with rumours that his main wing­man for HS2 is Kid Har­poon, aka Tom Hull, who co-wrote debut album track Sweet Crea­ture. No less an author­i­ty than Liam Gal­lagher told us that both big band escapees were in the same stu­dio – RAK in north-west Lon­don – at the same time mak­ing their sec­ond solo albums. Styles played him a cou­ple of tracks, ​“and I tell you what, they’re good,” Gal­lagher enthused. ​“A bit like that Bon Iver. Is that his name?”

Har­ry Styles met Nicks at a Fleet­wood Mac con­cert in Los Ange­les in April 2015. Some­thing about him felt authen­tic to the leg­endary front­woman: ground­ed, like she’d known him for­ev­er, blessed with a win­ning moon­shot grin. A month lat­er, they met back­stage at anoth­er Mac gig, this time at the O2 in Lon­don. Styles brought a car­rot cake for Nicks’ birth­day, her name piped in icing on top. By her own admis­sion, Nicks doesn’t even cel­e­brate birth­days, so this was a sur­prise. ​“He was per­son­al­ly respon­si­ble for me actu­al­ly hav­ing to cel­e­brate my birth­day, which was very sweet,” she says.

Styles’ rela­tion­ship with Nicks is hard to define. Induct­ing her into the Rock and Roll Hall of Fame in New York as a solo artist ear­li­er this year, his speech hymned her as a ​“mag­i­cal gyp­sy god­moth­er who occu­pies the in-between”. She’s called him her ​“lovechild” with Mick Fleet­wood and the ​“son I nev­er had”. Both have moved past the pre­lim­i­nary chat acknowl­edg­ing each other’s unquan­tifi­able tal­ents and smooth­ly accel­er­at­ed towards play­ful cut-and-thrust ban­ter of a witch mom and her naughty child.

They per­form togeth­er – he sings The Chain and Stop Drag­gin’ My Heart Around; she sings the one alleged­ly writ­ten about Tay­lor Swift, Two Ghosts. One of those per­for­mances was at the Guc­ci Cruise after­par­ty in Rome in May, for ​“a lot of mon­ey”, Nicks tells me, in a ​“big kind of cas­tle place”. She has become his de fac­to men­tor – one phone call is all it takes to reach the Queen of Rock’n’Roll for advice on sequenc­ing (“She is real­ly good at track list­ing,” Styles admits) or just to hear each other’s voic­es… because, well, wouldn’t you?

Fol­low­ing anoth­er Fleet­wood Mac con­cert, at London’s Wem­b­ley Sta­di­um, in June, Nicks met Styles for a late (Indi­an) din­ner. He then invit­ed her back to his semi-detached Geor­gian man­sion in north Lon­don for a lis­ten­ing par­ty at mid­night. The album – HS2or what­ev­er it’ll be called – was fin­ished. Nicks, her assis­tant Karen, her make-up artist and her friends Jess and Mary crammed onto Styles’ liv­ing-room couch. They lis­tened to it once through in silence like a ​“bunch of edu­cat­ed monks or some­thing in this dark room”. Then once again, 15 or 16 tracks, this time each of his guests offer­ing live feed­back. It wrapped at 5am, just as the sun was bleed­ing through the curtains.

Even for a pop star of Styles’ stature, press­ing ​“play” on a deeply per­son­al work for your hero to digest, watch­ing her face react in real time to your new music, must be… what?

“It’s a dou­ble-edged thing,” he replies. ​“You’re always ner­vous when you are play­ing peo­ple music for the first time. You’ve heard it so much by this point, you for­get that peo­ple haven’t heard it before. It’s hard to not feel like you’ve done what you’ve set out to do. You are hap­py with some­thing and then some­one who you respect so much and look up to is, like: ​‘I real­ly like this.’ It feels like a large stamp [of approval]. It’s a big step towards feel­ing very com­fort­able with what­ev­er else hap­pens to it.”

Wad­ing through Styles’ back­ground info is exhaust­ing, since he was spanked by fame in the social media era where every god­dam blink of a kohl-rimmed eye has been doc­u­ment­ed from six angles. (And yes, he does some­times wear guyliner.)

Deep breath: born in Red­ditch, Worces­ter­shire, to par­ents Des and Anne, who divorced when he was sev­en. Grew up in Holmes Chapel in Cheshire with his sis­ter Gem­ma, mum and step­dad Robin Twist. Rode hors­es at a near­by sta­ble for free (“I was a bad rid­er, but I was a rid­er”). Stopped rid­ing, ​“got into dif­fer­ent stuff”. Formed a band, White Eski­mo, with school­mates. Aged 16, tried out for the 2010 run of The X Fac­torwith a stir­ring but aver­age ren­di­tion of Ste­vie Wonder’s Isn’t She Love­ly. Cut from the show and put into a boy band with four oth­ers, Louis Tom­lin­son, Liam Payne, Niall Horan and Zayn Malik, and called One Direc­tion. Became inter­na­tion­al­ly famous, toured the globe. Zayn quit to go solo. Toured some more. Dat­ed but maybe didn’t date Car­o­line Flack, Rita Ora and Tay­lor Swift – whom he report­ed­ly dumped in the British Vir­gin Islands. (This rela­tion­ship, if noth­ing else, yield­ed an icon­ic, can­did shot of Swift look­ing deject­ed, being motored back to shore on the back of a boat called the Fly­ing Ray.) One Direc­tion dis­cussed dis­band­ing in 2014, actu­al­ly dis­solved in 2015. They remain friend­ly, and Styles offi­cial­ly went solo in 2016.

It’s been two years since his epony­mous debut and lead sin­gle, Sign of the Times, shocked the world and Elton John with its swag­ger­ing, soft rock sound. ​“It came out of left field and I loved it,” John says.

After 89 are­na-packed shows across five con­ti­nents grossed him, the label, whomev­er, over $61mil­lion, Styles had all but dis­ap­peared. He has emerged only inter­mit­tent­ly for pub­lic-fac­ing events – a Guc­ci after­par­ty per­for­mance here, a Met Gala co-chair­ing there. He relo­cat­ed from Los Ange­les back to Lon­don, sell­ing his Hol­ly­wood Hills house for $6 mil­lion and ship­ping his Jaguar E-type across the Atlantic so he could take joyrides on the M25.

“I’m not over LA,” he insists when I ask about the move. ​“My rela­tion­ship with LA changed a lot. What I want­ed from LA changed.”

A great escape, he would agree, is some­times nec­es­sary. He was in Tokyo for most of Jan­u­ary, hav­ing near­ly fin­ished his album. ​“I need­ed time to get out of that album frame-of-mind of: ​‘Is it fin­ished? Where am I at? What’s hap­pen­ing?’ I real­ly need­ed that time away from every­one. I was kind of just in Tokyo by myself.” His sab­bat­i­cal most­ly involved read­ing Haru­ki Murakami’s The Wind-Up Bird Chron­i­cle, singing Nir­vana at karaoke, writ­ing alone in his hotel room, lis­ten­ing to music and eaves­drop­ping on strangers in alien con­ver­sa­tion. ​“It was just a pos­i­tive time for my head and I think that impact­ed the album in a big way.”

Dur­ing this break he watched a lot of films, read a lot of books. Some­times he texts these rec­om­men­da­tions to his pal Michele at Guc­ci. He told Michele to watch the Ali Mac­graw film, Love Sto­ry. ​“We text what friends text about. He is the same [as me] in terms of he lives in his own world and he does his own thing. I love dress­ing up and he loves dress­ing up.”

Because he loves dress­ing up, Michele chose Styles to be the face of three Guc­ci Tai­lor­ing cam­paigns and of its new gen­der­less fra­grance, Mémoire d’une Odeur.

“The moment I met him, I imme­di­ate­ly under­stood there was some­thing strong around him,” Michele tells me. ​“I realised he was much more than a young singer. He was a young man, dressed in a thought­ful way, with uncombed hair and a beau­ti­ful voice. I thought he gath­ered with­in him­self the fem­i­nine and the masculine.”

Fash­ion, for Styles, is a play­ground. Some­thing he doesn’t take too seri­ous­ly. A cou­ple of years ago Har­ry Lam­bert, his styl­ist since 2015, acquired for him a pair of pink metal­lic Saint Lau­rent boots that he has nev­er been pho­tographed wear­ing. They are exceed­ing­ly rare – few pairs exist. Styles wears them ​“to get milk”. They are, in his words, ​“super-fun”. He’s not sure, but he has, ball­park, 50 pairs of shoes, as well as full clos­ets in at least three post­codes. He set­tles on an out­fit fair­ly quick­ly, maybe changes his T-shirt once before head­ing out, but most­ly knows what he likes.

What he may not ful­ly com­pre­hend is that sim­ply by being pho­tographed in a gar­ment he can spur the career of a design­er, as he has with Har­ris Reed, Palo­mo Spain, Charles Jef­frey, Alled-Martínez and a new favourite, Bode. Styles wore a SS16 Guc­ci flo­ral suit to the 2015 Amer­i­can Music Awards. When he was asked who made his suit on the red car­pet, Guc­ci began trend­ing world­wide on Twitter.

“It was one of the first times a male wore Alessandro’s run­way designs and, at the time, men were not tak­ing too many red car­pet risks,” says Lam­bert. ​“Who knows if it influ­enced oth­ers, but it was a spe­cial moment. Plus, it was fun see­ing the fans dress up in suits to come see Harry’s shows.”

Yet tra­di­tion­al gen­der codes of dress still have the minds of mid­dle Amer­i­ca in a choke­hold. Men can’t wear women’s clothes, say the online whingers, who have labelled him ​“trag­ic”, ​“a clown” and a Bowie wannabe. Styles doesn’t care. ​“What’s fem­i­nine and what’s mas­cu­line, what men are wear­ing and what women are wear­ing – it’s like there are no lines any more.”

Elton John agrees: ​“It worked for Marc Bolan, Bowie and Mick. Har­ry has the same qualities.”

Then there is the ques­tion of Styles’ sex­u­al­i­ty, some­thing he has admit­ted­ly ​“nev­er real­ly start­ed to label”, which will plague him until he does. Per­haps it’s part of his allure. He’s bran­dished a pride flag that read ​“Make Amer­i­ca Gay Again” on stage, and plant­ed a stake some­where left of cen­tre on sexuality’s rain­bow spectrum.

“In the posi­tion that he’s in, he can’t real­ly say a lot, but he chose a queer girl band to open for him and I think that speaks vol­umes,” Josette Maskin of the queer band MUNA told The Face ear­li­er this year.

“I get a lot of…” Styles trails off, wheels turn­ing on how he can dis­cuss sex­u­al­i­ty with­out real­ly answer­ing. ​“I’m not always super-out­spo­ken. But I think it’s very clear from choic­es that I make that I feel a cer­tain way about lots of things. I don’t know how to describe it. I guess I’m not…” He paus­es again, piv­ots. ​“I want every­one to feel wel­come at shows and online. They want to be loved and equal, you know? I’m nev­er unsup­port­ed, so it feels weird for me to over­think it for some­one else.”

Sex­u­al­i­ty aside, he must acknowl­edge that he has sex appeal. ​“The word ​‘sexy’ sounds so strange com­ing out of my mouth. So I would say that that’s prob­a­bly why I would not con­sid­er myself sexy.”

Har­ry Styles has emerged ful­ly-formed, an anachro­nis­tic rock star, vague in sen­si­bil­i­ty but des­tined to impress with a dis­arm­ing smile and a warm but firm handshake.

I recite to him a quote from Chrissie Hyn­de of The Pre­tenders about her time atop rock’s throne: ​“I nev­er got into this for the mon­ey or because I want­ed to join in the super­star sex around the swim­ming pools. I did it because the offer of a record con­tract came along and it seemed like it might be more fun than being a wait­ress. Now, I’m not so sure.”

Styles – who worked in a bak­ery in a small north­ern town some time before play­ing to 40,000scream­ing fans in South Amer­i­can are­nas – must have wit­nessed some shit, been invit­ed to a few pool­side sex par­ties, in his time.

“I’ve seen a cou­ple of things,” he nods in agree­ment. ​“But I’m still young. I feel like there’s still stuff to see.”

get to know me tag! (read more since it’s not really ace related)

answer these questions then tag people you would like to get to know better!

tagged by @acestro!! thanks dude!

nickname: Kal

height: 5′10″

time: 9:26am

fave bands/artists: for kpop A.C.E, also really got into Tove Styrke and Pale Waves last year, waiting for new music!! also seeing Epik High in May and super stoked. 

song stuck in my head: none I just woke up and I’m a lil foggy haha

last movie i saw: I honestly... don’t remember... maybe crazy rich asians? I don’t go to the movies often...

other blogs: @tulips2kiss, @freeacegifs, @acefanart, @acemukbang, @imiss2ne1, @bojackartman

do i get asks: usually only if I ask for em or if I accidentally pissed somebody off lol

why i chose this username: love me some king wow, the second the official spelling of their names was confirmed in the Callin album I jumped on that shit. I love my twitter handle (punksehyoon) but good lord I’d kill for the actual “sehyoons” url pighfhtdfgwgeofus it keeps switching hands and they’re all generally inactive multis and it’s KILLIN ME

following: 610

what i’m wearing: black shorts, gray tshirt

dream job: refugee resettlement 

favorite food: I love food but I don’t have favs really. last night I had leftover kimchi jjigae and then made fried rice because I had some leftover and it was bomb 👌👌

play any instruments: nah

hair color: brown, really wanna fuck around w colors again but I’m also considering donating it again and I can’t do that if I bleach so... 

language you speak: eng and some v basic korean

most iconic song: I was listening to Canvas by 4 Minute last night and it’s one of the best B-side’s I’ve ever heard and doesn’t get enough love

random fact: my History of North(ern) Korea class switched rooms today and I’m kinda bummed because I liked the people around me so I hope they sit by me again

describe yourself in aesthetic things: sleeping in sunbeams. nostalgic memories of camping at the lake. drinking caffeine and blasting music on a long road trip. the sublime feeling when you look out on a huge field of flowers and feel like you could swim in them. staying up too late with your friends as a teen and laughing until it hurt to breathe. 

Phi in the human body1.- Introduction

Marcus Vitruvius Pollio, Roman architect (c. 25 B.C.), remarked a similarity between the human body and a perfect building: "Nature has designed the human body so that its members are duly proportioned to the frame as a whole." He inscribed the human body into a circle and a square, the two figures considered images of perfection. It is widely accepted that the proportions in the human body follow the Golden Ratio. In this article we will review some studies on the subject. We will show the nineteenth century findings of the Golden Ratio in the human body by Adolf Seizing, actually approximated by a Fibonacci sequence of measures. Then we will examine the Golden proportions of the human body proposed by architects Erns Neufert and Le Corbusier in the twentieth century. Finally we will show how a common study with a german and an indian population samples confirmed the presence of the Golden Ratio in some proportions of the human body.

2.- Golden proportions in the human body found by Adolf Zeising

Adolf Zeising's main interests, back in the nineteenth century, were mathematics and philosophy. But after having retired he began his researches on proportions in nature and art. In the field of botany, he discovered the Golden Ratio in the arrangement of branches along the stem of plants, and of veins in leaves. From this starting point he extended his researches to the skeletons of animals and the branchings of their veins and nerves, to the proportions of chemical compounds and the geometry of crystals, etc., and finally to human and artistic proportions. The title of his first publication in 1854 declares his program: New theory of the proportions of the human body, developed from a basic morphological law which stayed hiherto unknown, and which permeates the whole nature and art, accompanied by a complete summary of the prevailing systems [1]. That universal law was, in efect, the Golden Ratio. There he presents his own proportional analyses of the human body (Figure 1).

Figure 1: Golden proportions in the human body found by Zeising [1].

Zeising divides the total height of a man's body into four principal zones: top of head to shoulder, shoulder to navel, navel to knee, and knee to base of foot. Each zone is further subdivided into five segments, which are arranged symmetrically within each zone: either following the pattern ABBBA or the pattern ABABA, but always summing up 2A+3B. By the way, the 3/2 proportion in each zone is a Perfect Fifth in the equal temperament musical scale. Is music involved in the design of our own body?

On the right of Figure 1 you can see the Golden proportions present in each of the segments, and between them, at different scales. Zeising's proportions of the human body are a beautiful example of how Nature closely approximates the Golden Ratio by means of a Fibonacci sequence of measures. Zeising erroneusly substitutes 90 for 89 in his measures, but we have used the exact value in the following calculations. The Fibonacci numbers present in his scheme, explicitly (green) or implicitly as grand totals (magenta), are the following:

Grouping consecutively each pair of adjacent measures one obtains an iterated division of the big segment (987) into consecutive Fibonacci numbers that closely approximate the Golden Ratio (Figure 2a). This reminds us the power of the Golden Ratio for consecutively dividing a segment with simple additions and substractions after the first split (Figure 2b). This sequence of Golden Ratio divisions also reminds us of the fractal nature behind the design of our body, because the same Golden proportion is repeated at all scales.

Figure 2: Iterated division of a segment according to (a) the numbers in the Fibonacci sequence and (b) the Golden Ratio.

3.- The Golden proportions proposed by architects Neufert and Le Corbusier

In the twentieth century the architect Erns Neufert (1900-1986) propagated the Golden Ratio as the architectural principle of proportion in the human body. Neufert did not strictly follow Zeising's human Fibonacci proportions, but introduces the exact Golden Ratio instead [2] (Figure 3). For him, the Golden section also provides the primary link between all harmonies in architecture.

Figure 3: Golden Ratio proportions of the human body after Ernst Neufert [2].

There is another great system of body proportions of the 20th century known as the Modulor, proposed by Le Corbusier (1887-1965). In his manifesto Vers une architecture, he presents the Golden Ratio as a natural rhythm, inborn to every human organism. For details on the historical origin and developement of Modulor I and II systems you can examine the excellent summary by architect Manel Franco [3]. Figure 3 shows the essential proportions proposed by Le Corbusier for the human body:

Figure 3: Simple sketch and main Golden proportions in the human body proposed by Le Corbusier [3].

In his final version, the Modulor II system proposes two Golden progressions of measures for the human body (Figure 4a). Returning to the style of Zeising, these progressions are actually two Fibonacci sequences of measures (Figure 4b). That is to say, each measure is obtained by the sum of the two preceding ones. Therefore, the ratio of any pair of consecutive values in these progressions closely approximates the Golden Ratio.

(a) Golden proportions in the human body proposed in Le Corbusier's Modulor II.(b) Detail of the red and blue progressions (in mm) in Modulor II. The ones in italic slightly deviate (1mm) from an exact Fibonacci sequence

Figure 4

4.- A field study

T. Antony Davis, from the Indian Statistical Institute (India) and Rudolf Altevogt, from the Zoologisches Institut der Universitat (Germany) conducted a study where they measured 207 german students and 252 youg men from Calcutta [4]. The measures taken A, B, C, D and E are shown in Figure 5a. In their results, they were able to confirm that the total height of the body and the height from the toes to the navel are in Golden Ratio (ratios D/C and E/D). Figure 5b summarizes their main results. They obtained the almost perfect value of 1.618 in the German sample (this value held for both girls and boys of similar ages) and the slightly different average value 1.615 in the Indian sample.

(a) The measures taken in the study [4](b) Resulting average ratios, classified by population groups [4].

Figure 5

5.- References

[1] Zeising, Adolf: New theory of the proportions of the human body, developed from a basic morphological law which stayed hiherto unknown, and which permeates the whole nature and art, accompanied by a complete summary of the prevailing systems. (In German).

[2] Neufert, Ernst: Architects Data.

[3] Franco, Manel: El Modulor de Le Corbusier (1943-54)

[4] T. Antony Davis and Rudolf Altevogt, "Golden Mean of the Human Body".

Kathy Temin (b. 1968) is an Australian artist who uses synthetic fur to create sculptural objects and installations.

https://www.instagram.com/kathytemin/

https://annaschwartzgallery.com/artists/kathy-temin/

#KathyTemin has exhibited nationally and internationally since 1990.

She is represented in a number of public collections in Australia and New Zealand and is a professor and Head of Fine Art at Monash University in Melbourne.

1. Kathy Temin, 'The Memorial Project: Black Wall (section 2)', 2015, wood, steel, synthetic fur and filling, photograph: Jacquie Manning

2. KATHY TEMIN, My Mon­u­ment: Black Cube, 2009, syn­thet­ic fur and fill­ing, wood, steel

355 x 370 x 370 cm, instal­la­tion view, Anna Schwartz Gallery

3. KATHY TEMIN, My Mon­u­ment: White Forest, syn­thet­ic fur, syn­thet­ic fibre fill, steel, wood, MDF board, 60 trees: 351 x 1073 x 677 cm; four bench­es: 42 x 310 x 45 cm (each) instal­la­tion view, Queens­land Art Gallery/​Gallery of Mod­ern Art, Brisbane #GOMA via https://www.weekendnotes.com/my-monument-white-forest-exhibition/

#KathyTemin #TeminKathy #Australianartist #syntheticfur   #sculpturalobjects  #installationart #Australianfemaleartists #syntheticsculpture #Australianfemaleartist #australiansculpture #womensart #artbywomen #PalianShow #contemporarysculpture #contemporaryfemaleartist

Tagged

Tagged by: @xmaymaychan33x 1) Name/Nicknames:
 Lauren/ “least favorite child”, “lav-ern”, “yoosung’s girl” “waifoo” “sora”

2) Height: last time i checked around 5′3?

3) Hogwarts House: pure Gryffindor, but i deeply wish i was a Hufflepuff. partially because house stereotypes have made me feel bad about it, but also Hufflepuffs are badasses. (i bet our common room is still better though)

4) Last Thing Googled:    “okinawa ww2 map“ I just finished some History homework how lame is that.

5) A fictional character I’d like as a sibling:
 too fucking many man. all of them.

6) How many blankets do I sleep with: three: a thin comforter, a poofy comforter and a soft flannel blanket. no sheets. i also wanna add that i live in fucking florida. i don’t understand either.

7) Favourite artist/band: one does not simply MCR, top, Breaking Benjamin, Our Last Night, FOB, Starset, Austin Jones, YOI soundtrack, random songs that fill my soul (some nights, hey brother, we own the night, stitches, talk too much, shelter, fire and the flood, raging fire, monodity, etc.)

8) How many blogs do I follow: 
438 currently.

9) What do I usually post about: it changes with whatever has me occupied at the time. so far the major ones have been: mysme, YOI, and voltron. i know big surprise right

10)- Do you get asks regularly: that would require followers that are interested in my life or original content what original content

11) What’s your Aesthetic: I don’t think I’ve seen enough to know?? but i really like a) always smells like coffee, dark circles for days, always tired, stays up til 1AM every night, stereotypical high-school, stressed, small but tight-knit group of friends you would trust with your life, bands, fandoms, internet friends, artartart, rainy/cloudy deserted beaches, dark comfy clothing, not caring what you look like but still looking fabulous. b) rainy days, coffee shops, tea, libraries, books, neverending books, lost in the pages, little forts with lots of pillows, forests, treehouses, daylight, mornings, creativity, alone but not lonely, cooking Asian meals for one or two.

12) Tag followers

@littlebitofanutcase @paytonbriauna @heroic-hufflepuff

Dreams & Nightmares

New Lyrics has been published on usuallyrics.com https://usuallyrics.com/lyrics/dreams-nightmares/

Dreams & Nightmares

Ain’t this what they’ve been waiting for? You ready?

I used to pray for times like this, to rhyme like this So I had to grind like that to shine like this In a matter of time I spent on some locked up shit In the back of the paddy wagon, cuffs locked on wrists See my dreams unfold, nightmares come true It was time to marry the game and I said, “Yeah, I do” If you want it you gotta see it with a clear-eyed view Got a shorty, she tryna bless me like I said, “Achoo” Like a nigga sneezed, nigga please before them triggers squeeze I’m gettin’ cream, never let them hoes get in between Of what we started, lil’ nigga but I’m lionhearted They love me when I was stuck and they hated when I departed I go and get it regardless, draw it like I’m an artist No crawlin’, went straight to walkin’ with foreigns in my garage Got foreign bitches menagin’, fuckin’, suckin’, and swallowin’ Anything for a dollar, they tell me get ’em, I got ’em I did it without an album I did shit with Mariah Lil’ nigga I’m on fire Icy as a hockey rink, Philly nigga I’m Flyer When I bought the Rolls Royce they thought it was leased Then I bought that new Ferrari, hater rest in peace Hater rest in peace, rest in peace to the parking lot Phantom so big, it can’t even fit in the parking spot You ain’t talkin’ bout my niggas then what you talkin’ bout? Gangstas move in silence, nigga and I don’t talk a lot I don’t say a word, I don’t say a word Was on my grind and now I got what I deserve fuck nigga Hold up wait a minute, y’all thought I was finished? When I bought that Aston Martin y’all thought it was rented? Flexin’ on these niggas, I’m like Popeye on his spinach Double M, yeah that’s my team, Rozay the captain, I’m the lieutenant I’m the type to count a million cash then grind like I’m broke That Lambo, my new bitch, she don’t ride like my ghost I’m ridin’ around my city with my hands strapped around my toast Cause these niggas want me dead and I gotta make it back home Cause my momma need that bill money and my son need some milk These niggas tryna take my life, they fuck around get killed You fuck around, you fuck around, you fuck around, get smoked Cause these Philly niggas I brought with me don’t fuck around, no joke All I know is murder, when it comes to me I got young niggas that’s rollin’ I got niggas throwin’ b’s I done did the DOAs, I done did the KODs Every time I’m in that bitch I get to throwin’ 30 G’s Now I’m hangin’ out that drop head, I’m ridin’ down on Collins They let my nigga Ern back home, that young nigga be wildin’ We young niggas and we mobbin’, like Batman and we’re robbin’ (Robin) This two-door Maybach, with my seat all reclinin’ I’m like real nigga what up, real nigga what up If you ain’t about that murder game then pussy nigga shut up If you diss me in yo’ raps, I’ll get your pussy ass stuck up When you touchdown in my hood, no that tour life ain’t good Catch me down in MIA, at that heat game on wood With that Puma life on my feet, like that little engine I could Boy I slide down on your block, bike on twelve o’clock And they be throwin’ deuces on the same nigga they watch And I’m the king of my city cause I’m still callin’ them shots And these lames talkin’ that bullshit the same niggas that flock I’m the same nigga from Berks Street with them nappy braids that lock The same nigga that came up and I had to wait for my spot And these niggas hatin’ on me, hoes waitin’ on me Still on that hood shit, my Rolls Royce on E They gon’ remember me, I say remember me So much money have ya friends turn into enemies And with these beef I turn my enemies to memories With them bricks they go from 40 ain’t no 10 a key, hold up Broke nigga turned rich, love the game like Mitch And if I leave you think them pretty hoes gon’ still suck my dick? It was somethin’ ’bout that Rollie when it first touched my wrist Had me feelin’ like that dope boy when he first touched that brick I’m gone

Who is Meek Mill

Robert Rihmeek Williams, famous stage name Meek Mill, is an American rapper. Born in Philadelphia, the artist began his musical career with The Bloodhoundz. In 2008, hip-hop artist T.I. made the first entry.

🔊 An [ALT]ernative to the Alternative 🕪 ----------- ♩Artist: Marcel Dettmann ♪Song: Landscape (Answer Code Request Remix) ♫Album: Landscape (B Side) [2012] ♬@marceldettmann ---------- #marceldettmann #german #dj #musician #artist #composer #mixer #producer #answercoderequest #remix #techno #electronica #experimental #electronicmusic #electro #darktechno #dark #alt #beats #music #newmusic #tunes #songs #musiclovers #instamusic #musicismylife #musicislife #altmusic [#musictherapy] [#analternativetothealternative] ----------- ▶I'm following back all listeners! ▶Tumblr: alt-music, Spotify Playlist: "An [ALT]ernative to the Alternative", Facebook Page: ALT MUSIC . ▶# MusicMondayz for more on my personal account @_mijito_

Swedish artist Peter Ern (b 1965).

Swedish artist Peter Ern (b 1965).

Swedish artist Peter Ern (b 1965).