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swift-knigth · 2 years

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𓂃 ⋕ 𝗦𝕚𝗹𝕧𝗲𝕣 - 𝗠𝕠𝗼𝕟 ֶָ֪

→ Personajes Canon

⚔️ ▸ Lord of the rings - The Hobbit

• Arargorn

• Legolas

• Thorin Oakenshield

• Frodo Bolson

• Bilbo Bolsón

• “Sam” sagaz Gamyi

• Boromir

📀 ▸ Matrix

• Neo

• Trinity

• Bugs

• Sati

• Lexy

• Berg

✨ ▸ Marvel

• Bucky Barnes

• Steve Rogers

• Howard Stark

• Peter Quill

• Peter Parker (Tom Holland)

• Peter Parker (Andrew Garfield)

• Quentin Beck

• Clint Barton (Boyd Holbrook)

• Sam Wilson

• Darcy Lewis

• Pietro Maximoff

• Charles Xavier

• Bobby Drake

• Alex Summers

• Logan Howlett

🐺 ▸ Teen Wolf

• Isaac Lahay

• Theo Raken

• Scott McCall

• Liam Dunbar

• Derek Hale

• Chris Argent

• Peter Hale

🧬 ▸ Divergente

• Cuatro

• Christina

• Uriah

• Zeke

• Tori

🕯️ ▸ Stranger Things

• Max

• Nancy

• Steve

• Billy

• Lucas

• Robin

• Joyce

• Hopper

🎈 ▸ It (Kids & adult versions)

• Bill Denbrough

• Eddie

• Richie

• Ben

• Mike

• Beverly

🧟‍♂️ ▸ The walking dead Universe

• Troy Otto

• Nicolás Clark

• Alycia Clark

• Madison Clark

• Glenn Rhee

• Carl Grimes

• Abraham

• Aarón

• Daryl

• Alden

• Luke

🏃🏻‍♂️ ▸ Maze Runner

• Newt

•Thomas

• Minho

• Mark (Virus letal book)

• Alec (virus letal book)

• Darnell (Virus letal book)

⚖️ ▸ DC

• Clark Kent

• Diana Prince

• Steve Trevor

• Oliver Queen

• Roy

• Mon-el

• Kara Danvers

• Alex Danvers

🗡️ ▸ Cazadores de sombras

• Alec

• Jace

• Clary

• Isabelle

• Magnus Bane

🩸 ▸ The Vampire diaries *(Sin estrenar)*

• Stefan Salvatore

• Niklaus Mikaelson

• Elijah Mikaelson

• Jeremy Gilbert

• Luke Parker

• Enzo St John

⚰️ ▸ Crepúsculo

• Alice

• Jacob

• Jasper

• Edward

☠️ ▸ Hunger games

• Peeta

• Gale

• Finnick

• Katniss

🔮 ▸ Harry Potter

• Viktor Krum

• Fred Weasley

• George Weasley

• Ron Wesley

• Draco

• Hermione Greanger

• James Potter

• Sirius Black

• Remus Lupin

• Cedric Diggory

✡️ ▸ El conjuro

• Ed Warren

• Lorraine Warren

• Drew

📚 ▸ Libros

• Patch Cipriano

• Will Trainor

• Artemis Hidalgo

• Percy Jackson

• Nico Di Angelo

▸ Otros

• Jack Frost

• El cazador (Blancanieves)

+ Personajes de Jurassic World

+ The witcher

+ Las crónicas de Narnia

→ Personajes out - canon

ᴄʜɪᴄᴏ

Chris Evans/Nick Jonás as Nathan Williams

⤷ 32 años ⟩ Bisexual ⟩ intentando algo

Henry Cavill as Christopher Black

⤷ 35 años ⟩ Bisexual ⟩ En algo

Liam Hemsworth as Alexander Blackwell

⤷ 29 años ⟩ Bisexual ⟩ intentando algo

Tom Holland/Andrew Garfield as Daniel Lombardí

⤷ 24 años ⟩ bisexual ⟩ intentando algo

Dominic sherwood as James Blackwell

⤷ 27 años ⟩ bisexual ⟩ soltero

Matthew Daddario as Evan Black

⤷ 25 años ⟩ Bisexual ⟩ en algo

Dylan Sprayberry as Dylan Blackwell

⤷ 20 años ⟩ Bisexual ⟩ soltero

Cody Christian as Derek Mitchell

⤷ 21 años ⟩ Bisexual ⟩ soltero

Dylan O'brien as Connor Breaker

⤷ 26 años ⟩ bisexual ⟩ soltero

Daniel Sharman as Mattheo Blackwell

⤷ 23 años ⟩ Bisexual ⟩ soltero

Sebastián Stan as James Lockwood

⤷ 37 años ⟩ bisexual ⟩ soltero

Michel Morrone as Máximo Black

⤷ 34 años ⟩ Bisexual ⟩ soltero

Joseph Morgan as William Blackwell

⤷ 38 años ⟩ bisexual ⟩ soltero

Paul Wesley as Adam Fox

⤷ 34 años ⟩ Bisexual ⟩ soltero

Daniel Reynolds as Jake Mitchell

⤷ 32 años ⟩ Bisexual ⟩ soltero

Ben Barnes as Viktor Mitchell

⤷ 30 años ⟩ bisexual ⟩ en algo

Lucas Lyngard as Matthew Blackwell

⤷ 21 años ⟩ bisexual ⟩ soltero

ᴄʜɪᴄᴀ

Gal gadot as Brooke Black

⤷ 32 años ⟩ Heterosexual ⟩ soltera

Courtney Eaton as Mackenzie Blackwell

⤷ 24 años ⟩ Heterosexual ⟩ En algo

Mellisa Benoist as Katherine Breaker

⤷ 27 años ⟩ Heterosexual ⟩ intentando algo

Zendaya as Alex Blackwell

⤷ 26 años ⟩ Heterosexual ⟩ soltera

Katherine McNamara as Hayden Fox

⤷ 25 años ⟩ Heterosexual ⟩ soltera

Emeraude Toubia as Isabelle Black

⤷ 25 años ⟩ Heterosexual ⟩ soltera

‌

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deepartnature · 10 months

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Aksak Maboul: Before And After Bandits (Documents 1977-1980, 2015)

“Formed in 1977 by Marc Hollander and Vincent Kenis, the Belgian avant-rock band, Aksak Maboul, excelled at the playful construction of ersatz yet exciting musical forms and counterfeit cross-cultural soundtracks that seem ever more radical and innovative with the passing of time. Their first recording, Onze Danses Pour Combattre la Migraine (‘Eleven Dances for Fighting Migraines’), fused early electronica, classical chamber orchestral, improvised jazz, Balkan folk, traditional Turkish music and Satie-esque miniatures with a light and humorous touch that transcended its hybrid nature to anticipate future musical forms, such as its proto-techno opener ‘Saure Gurke.’ ...”

The Quietus - Before And After Bandits: Marc Hollander Of Aksak Maboul & Crammed Discs (Video)

YouTube: Aksak Maboul: Before And After Bandits (Documents 1977-1980, 2015) 1:18:38

2014 November: Aksak Maboul, 2017 July: Made to Measure, Vol. 1 (1984), 2020 March: Tout a une fin / Blaue Bleistift (2020), 2020 August: Aksak Maboul ‎– Figures (2020), 2020 September: From Aksak Maboul to Crammed Discs, Marc Hollander Envisions a Musical Melting Pot, 2023 April: Une Aventure De VV - Songspiel (2023)

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garadinervi · 4 years

Photo

Reinbert De Leeuw (piano), Erik Satie: 'Vexations', SAT 001, Harlekijn Holland Produkties / Stedelijk Museum Amsterdam, 1976 [räume.spaces, Musashino City Tokyo]. Design: Wim Crouwel

#graphic design #typography #pattern #music #music album #vinyl #cover #wim crouwel #reinbert de leeuw #erik satie #harlekijn holland produkties #stedelijk museum amsterdam #1970s

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thatsagreatpainting · 4 years

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#album covers #music #Reinbert De Leeuw #Wim Crouwel #Erik Satie #Vexations #Harlekijn Holland Produkties #.nl #1976 #Stedelijk Museum #Amsterdam

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shinymoonbird · 3 years

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youtube

2021-08-16c Holland Park: Michael James discusses

Śrī Aruṇācala Navamaṇimālai - The Necklace of Nine Gems for Arunachala, Verse 6

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This video begins with Sadhu Om singing verse 6 of ஸ்ரீ அருணாசல நவமணிமாலை (Śrī Aruṇācala Navamaṇimālai), ‘The Necklace of Nine Gems for Arunachala’, and then Michael James explains and discusses the meaning and implications of it:

காமாரி யென்றுநீ யன்பரா லென்றுமே கதித்திடப் படுகின்றா யாமாமெ யுனக்கிது வாமாவென் றையுறு மருணாச லேச்சுரனே யாமாயி னெங்ஙனத் தீரனே சூரனே யாயினும் வல்லனங்கன் காமாரி யாகுமுன் காலரண் சரண்புகு கருத்தினுட் புகவலனே.

kāmāri yeṉḏṟunī yaṉbarā leṉḏṟumē kathittiḍap paḍugiṉḏṟā yāmāme yuṉakkidu vāmāveṉ ḏṟaiyuṟu maruṇāca lēśśuraṉē yāmāyi ṉeṅṅaṉad dhīraṉē śūraṉē yāyiṉum vallaṉaṅgaṉ kāmāri yāhumuṉ kālaraṇ śaraṇpuhu karuttiṉuṭ puhavalaṉē.

பதச்சேதம்: காமாரி என்று நீ அன்பரால் என்றுமே கதித்திடப்படுகின்றாய். ஆம், ஆம், மெய். உனக்கு இது ஆமா என்று ஐ உறும், அருணாசலேச்சுரனே. ஆம் ஆயின், எங்ஙன் அத் தீரனே சூரனே யாயினும் வல் அனங்கன் காமாரி ஆகும் உன் கால் அரண் சரண்புகு கருத்தினுள் புக வலனே?

Padacchēdam (word-separation): kāmāri eṉḏṟu nī aṉbarāl eṉḏṟumē kathittiḍappaḍugiṉḏṟāy. ām, ām, mey. uṉakku idu āmā eṉḏṟu ai uṟum, aruṇācalēśśuraṉē. ām āyiṉ, eṅṅaṉ a-d-dhīraṉē śūraṉē āyiṉum val aṉaṅgaṉ kāmāri-y-āhum uṉ kāl araṇ śaraṇpuhu karuttiṉuḷ puha valaṉē?

அன்வயம்: அருணாசலேச்சுரனே, காமாரி என்று நீ அன்பரால் என்றுமே கதித்திடப்படுகின்றாய். ஆம், ஆம், மெய். உனக்கு இது ஆமா என்று ஐ உறும். ஆம் ஆயின், தீரனே சூரனே யாயினும், எங்ஙன் அவ் வல் அனங்கன் காமாரி ஆகும் உன் கால் அரண் சரண்புகு கருத்தினுள் புக வலனே?

Anvayam (words rearranged in natural prose order): aruṇācalēśśuraṉē, kāmāri eṉḏṟu nī aṉbarāl eṉḏṟumē kathittiḍappaḍugiṉḏṟāy. ām, ām, mey. uṉakku idu āmā eṉḏṟu ai uṟum. ām āyiṉ, dhīraṉē śūraṉē āyiṉum, eṅṅaṉ a-v-val aṉaṅgaṉ kāmāri-y-āhum uṉ kāl araṇ śaraṇpuhu karuttiṉuḷ puha valaṉē?

🕉️

English translation:

O Aruṇācalēśvara, you are always described by devotees as the slayer of lust. Yes, yes, true. Doubt arises whether this is suitable for you. If it is suitable, how can that mighty bodiless one, though brave and valiant, enter a mind that takes refuge in the fortress of the feet of you, who are the slayer of lust?

🕉️

Explanatory paraphrase:

O Aruṇācalēśvara [God in the form of Aruṇācala], you are always described by devotees as Kāmāri [the slayer of kāma or lust] [1]. Yes, yes, true. [However] doubt arises whether this [name] is suitable for you. If it is suitable, how can that mighty Anaṅgan [Kāma, the ‘bodiless one’], though brave and valiant, enter a mind that takes refuge in the fortress of the feet of you, who are Kāmāri?

🕉️

While discussing the meaning, significance and implication of this verse Michael also refers to and discusses other passages from Bhagavan’s writings, namely:

Śrī Aruṇācala Navamaṇimālai:

Verse 4: https://youtu.be/Rlytp1BaS-Y Verse 5: https://youtu.be/y2VMeKh5zAU

Uḷḷadu Nāṟpadu:

Verse 25: https://happinessofbeing.blogspot.com/2017/10/ulladu-narpadu-tamil-text.html#un25

Nāṉ Ār?:

Paragraph 10: https://www.happinessofbeing.com/nan_yar-5#para10 Paragraph 11: https://www.happinessofbeing.com/nan_yar-5#para11

On several occasions in the first half of this video Michael inadvertently refers to verses 4 and 5 of Śrī Aruṇācala Navamaṇimālai as verses 5 and 6 respectively.

An audio copy of this video can be listened to or downloaded from Sri Ramana Teachings podcast (https://ramanahou.podbean.com ): https://ramanahou.podbean.com/e/sri-arunachala-navamanimalai-verse-6

🕉️

[1] Kama is Cupid; his temptation of Siva while engaged in tapas (meditation), ended in his conflagration by a wrathful glance from Siva’s third eye. Out of pity for his disconsolate wife, Sati, Siva subsequently granted him continued existence in a subtle body.

ॐ Arunachalam ॐ

38:38 … when thoughts appear then and there, in the very place from which where they rise by vichara it's necessary to destroy them in the very place from which they rise. That means as soon as the vasana arises - how do we kill it in the very place from which it rises as soon as it arises ? Only by clinging firmly to 'I am'. The more we cling to ourselves the less we will be swayed by whatever vasanas arise. So that is what Bhagavan refers to in this verse as taking refuge in the fortress of his feet. So we need to cling firmly to self-attentiveness in order to overcome whatever vasanas may rise. And among all the vasanas that rise one type of vasana which is particularly strong and which we are particularly liable to be swayed by is this vasana of lust, the vasana of sexual desire. This is why Bhagavan composed this verse.

So this is a very nice prayer. If ever we find that we are troubled by thoughts of lust and we find that the desire is so strong that we're not even inclined to cling to self-attentiveness then the next best result is this prayer that Bhagavan has given us. And in this prayer he's embedded a reminder what is the way to overcome this strong sexual desire. It's by taking refuge in his feet and taking refuge in his feet means clinging firmly to 'I am'. So Bhagavan in this verse firstly he gives us a nice prayer and secondly he gives us a clue. What is the efficacy of prayer ? Prayer means we are aligning our will with the will of god. If we pray for anything that god doesn't want, that is not an appropriate prayer. That is, people who have come here to pray for the fulfillment of desire their prayers are not in accordance with the will of god.

But when we come to the spiritual path the only permissible prayers are prayers where we are praying for what Bhagavan wants for us. What Bhagavan wants for us is the annihilation of ego. So that is what all prayers should be aimed for, the annihilation of ego. So in order to annihilate ego we need to overcome all our vishaya-vasanas. One particularly strong vishaya-vasana is this lust. So in order to overcome this we must have the desire, the liking to overcome it. So when we find our liking to enjoy that thoughts of sex is stronger than our liking to cling to 'I am' then prayer is appropriate because that is trying to realign our desire along with Bhagavan's desire. Bhagavan doesn't want us to be seeking happiness in petty external pleasures, he wants us to find the infinite happiness which is our own real nature which can be found only in our own heart. So this prayer is a reminder to us. We shouldn't allow ourselves to be troubled by thoughts of sex. If we allow ourselves to be troubled when these vasanas rise, if we allow ourselves to be swayed by them, that is because we are failing to take refuge in the fortress of his feet. So what is the solution ? To take refuge in the fortress of his feet by clinging to 'I am'.

And if our liking to cling to 'I am' at that moment is not strong enough then this prayer is a very great aid to us and a reminder to us of the importance of taking refuge on his feet clinging firmly to 'I am'.

So Bhagavan has given us prayers suitable for all the problems that we may face in the spiritual path. This is one particular problem that we all face soon if not at this moment in our life. At some moment in life we are always liable to be troubled by such thoughts. So when we're troubled by these thoughts our attention is going out towards things other than ourself and thereby diverting it away from self-attentiveness. In other words it's allowing ourselves to be attracted away from the fortress of his feet out into the world. So this is a reminder to us: we must return to the fortress of his feet and take refuge in him by clinging firmly to 'I am' because Bhagavan actually is that which is always shining in our heart as 'I am'.

Om Namo Bhagavate Sri Arunachala Ramanaya.

#Bhagavan Sri Ramana Maharshi #Michael James #Arunachala Stuti Panchakam #Five Verses In Praise Of Arunachala #Arunachala Navamanimalai #AN v.6 #The Necklace of Nine Gems for Arunachala #inclinations or desires #visaya-vasanas #lust kama

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mysteryartisticwriter · 4 years

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The Siren // Jack Kline X Reader

A/N: I really wish they did more with sirens because they were some of my favorite monsters and mine would honestly take the form of Tom Holland lmfao. I got this amazing request so I hope you guys enjoy!

TAKES PLACE MIDDLE OF SEASON 13 (CAS IS ALIVE AND JACK IS WITH THEM)

REQUESTS ARE OPEN BTW

Requested: Yes // hello there! so you remember sirens that could take the form of your perfect guy or whatever? do you think you could write something where me and the boys are hunting a siren and it takes the form of jack?? if you cant then it’s completely fine! thx!!

Warnings: Blood, dead ugly body, almost killing the jackaboy

Not my gif!! (Please tell me if you, the owner, would like me to take the gif down!)

The hunt was supposed to be quick and painless. Nothing to worry about. A siren had gone loose in a town in Wyoming so the five of you went to go after it.

You’ve only encountered a siren once before and it was not pretty. The victim almost sliced you in half because of it, but luckily Sam managed to finish it off.

This time, it was not so easy. The last victim was already dead so the boys sent you out as bait to lure in the monster, much to Jack’s dismay.

“I don’t understand why (Y/n) must act as bait. Can’t we just use another method?” Jack asked.

Dean sighed. “Listen kid, (Y/n) willingly chose to be bait. It isn’t gonna take long so just calm down.”

“It’s okay, Jack.” You smiled to him. “I’m a big girl, I can handle it.”

Hesitantly, your best friend went along with it.

The plan was that you would head into a bar and wait there for an attractive person to approach you, that being the siren, then you would lure it out to an alleyway so the boys could kill it.

It was going pretty well so far. The bar was filled with several people but no one (besides a couple of dudes) had come up to you yet. You sighed as you downed your third shot of the night.

You took out your phone and began to text the boys - who waited outside - that the siren was probably not even at the bar. The whole night practically being a waste.

But a tap on your shoulder got your attention so you turned to find Jack standing there.

“Hello (Y/n).” He had his regular cute smile.

“Jack? What are you doing here? I thought you were supposed to be waiting with the guys outside?” You asked him, confused.

Jack just lightly chuckled.

“I was but...I just couldn’t wait any longer.”

You arched an eyebrow. “Wait for what?”

“There’s something I’ve been meaning to tell you but I didn’t want to say it in front of the others.”

“Whatever it is, you can tell me. We’re best friends, remember?”

“That’s what I want to change. I’m-I’m in love with you, (Y/n). I want to spent the rest of my life with you and live every single moment with you!” He confessed.

You were definitely shocked to say the least. Jack was always your best friend, someone you could always count on forever but...a part of you thought you two could always be more.

“Jack...I-I don’t even know what to say...” You trailed off, trying to find the right words to explain how you felt.

“You don’t need to say anything.”

With that, Jack leaned forward and connected your two pairs of lips together. You closed your eyes and tugged on his shirt to bring him even closer to you.

Jack surprised you by pushing his tongue into your mouth. You were startled but instantly replied back by doing the same thing to him. Your kiss only lasted for a few moments but you wanted it to last forever, you basically whined when he released your lips.

Jack chuckled. “We can do more of that after this, okay?”

You nodded, dreamily.

“But there’s one more thing left to do. And I need you to finish it before we live the rest of our lives together.” Jack’s eyes were serious.

“Anything. I’ll make sure everything is perfect for us, Jack.” You told him.

“You still need to kill the siren. Don’t worry, the others tracked him down but you need to kill it before it kills me or you.” Jack held your hands in his own. “You love me, don’t you?”

“Of course I do!”

“Then you have to kill the siren. It’ll look just like me but don’t be fooled, it’s just the siren playing tricks on you! And if you need to, get rid of anyone who stands in the way.”

You nodded numbly at every word he was saying, your mind still wrapped around the love of your life.

“I will, Jack. I’ll kill the siren and everyone else who stands in the way of our love!”

Jack, Castiel and the Winchesters waited for any text to indicate that you were leaving the bar or anything of the siren.

Jack stood impatiently in his spot, worried about you.

“We shouldn’t have let her go in there alone. One of us should have stayed with her.” Jack said anxiously.

“(Y/n) can take care of herself, I’m sure she knows what she’s doing.” Sam tried to comfort him.

Jack was about to reply when he saw you exiting the bar. You turned into the alleyway you were supposed to lead the siren to but no one else followed. Concerned, Jack went after you and ignored the calls from his father and friends.

Once he saw you, Jack called out, “(Y/n)!”

You slowly turned around and saw Jack- or the siren as you thought.

“I was very worried about you. You were in there for almost two hours and 38 minutes so I was afraid something happened to you. Where is the siren?”

“Don’t play dumb with me, siren.” You sneered at him.

“What? I’m not the-“

Before he could finish his sentence, you lunged at Jack with your bronze dagger. You went to stab him again but he kept managing to dodge all of your attacks.

You began to grow angry and frustrated with him. You just wanted to kill it and go on with your life with Jack. But the siren/Jack was not letting you have it.

By now, the three older men had caught up to you two and Cas managed to push you away.

“Cas, what are you doing? I need to kill the siren!” You exclaimed, feeling betrayed by your friend.

“That is not the siren. You are infected by the siren’s venom. Snap out of it!”

“Oh, I’m afraid she really can’t.”

The four men turned to see the siren as Jack at the end of the alleyway. He was smirking and the real Jack growled at the imposter.

“Kill them, (Y/n). So we can finally be safe and together.” The siren said softly.

You nodded with determination and began to charge towards Cas and Jack while the two brothers took care of the siren.

You continued to try to stab and kill Jack without even realizing it. Almost coming close several times. Jack just blocked and dodged your attacks, not wanting to hurt you with his powers.

“(Y/n)! It’s me, Jack!”

“Liar! You can’t trick me!”

You slashed your knife to him again, cutting the front of his shirt. It was a big cut but luckily, there was no blood.

“Jack!” Jack turned to Dean. “We need her blood!”

Nodding to elder Winchester, Jack blocked one more knife swipe at him and captured your wrist in his hand. As much as he didn’t want to, Jack put two fingers to your forehead.

“I’m sorry.” He said as you fell back to the cement.

Castiel took your broze dagger and cut open your palm to take a good amount of your blood. He then tossed the dagger to Dean, and with Sam holding down the siren, it didn’t take long for Dean to kill the siren at last.

After he was sure it was dead, Jack set two fingers to your head again to wake you. As you came to, you held your head in your hands, a minor headache came as you tried to sit up. Jack helped you stand as your mind came back to its original haze.

“Are you alright?” Jack asked.

“Besides being a little confused, I think I’m okay.” You smiled lightly.

“The siren had infected you when it took the form of Jack. I presume you understand the rest?” Cas began to explain.

You winced a bit at the memories that came flooding back.

“At least I didn’t do too much damage on the two of you...right?”

“Welp, maybe a good dinner and some rest at the motel with be good for all of us. I’m thinking of burgers!” Dean suggested.

“You always want burgers.” Sam began to tell Dean as the two of them left the alleyway.

“I will dispose of the siren’s body. I will meet you at the motel.” Cas said, the sound of wings flying and the gross, dried up siren body was gone.

You and Jack stood together in the alleyway in silence, not really knowing what to say.

“You love me?” Jack questioned out of the blue.

You hesitated before answering. “Yes, I do. Or, at least I think I do.”

“What do you mean?”

“Before the siren, I was confused on how I felt towards you before I loved having as you as a best friend but I also felt something more than that. I was afraid to tell you because, well...relationships in this life aren’t exactly the greatest.”

You turned away from Jack until he took your shoulders by his hands and crashed his lips onto yours. You sunk into the kiss right away, almost just like with the siren but this time, the kiss felt different; more real.

The kiss was simple and sweet, nothing like whatever you did with the monster. You could feel almost all your worries melt away.

Jack pulled away and leaned his forehead against your own. You were grinning like crazy and your heart was bursting inside. Although you couldn’t see or feel it, Jack’s was doing the same.

“I was confused too. When you volunteered to be the bait, I was scared and new feelings came to me. I now know what those feelings are now.”

“And what are those feelings?”

You already knew the answer, but you just wanted to hear it. Jack’s piercing eyes stared back into yours.

“Love.”

A/N: I just randomly wrote this on the spot at almost 5am hahahaha death, saty home and safe loves!

Lemme know if you wanna be tagged in my Supernatural stories!

TAGGED:

@shortwinchester

@coltcas

@urlaslongasafalloutboysongtitle

@irinazatyk

@meadow-melody

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kindaorangey · 4 years

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the original post was super long so im starting a new one, thank you @cauchemares for tagging me !!!

rules: spell out your url with song titles, then tag as many people as there are letters in your url!!

k - kill the director (the wombats)

i - i love you, but i need another year (liza anne)

n - na na na (my chemical romance)

d - devil like me (rainbow kitten surprise)

a - ache (fka twigs)

o - old fashioned morphine (jolie holland)

r - rollercoaster (bleachers)

a - adore (amy shark)

n - nina cried power (hozier)

g - gymnopédie no. 1 (erik satie, philippe entremont)

e - eyes on fire (blue foundation)

y - you're mine (phantogram)

im gonna tag @cottonsockssssss @redthread @sunsetinsanremo and @gracechastity for old times sake :)

(obvs no pressure to do it!)

#tag game #thunder rambles

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justforbooks · 4 years

Photo

Lee Konitz, jazz alto saxophonist who was a founding influence on the ‘cool school’ of the 1950s died aged 92

The music critic Gary Giddins once likened the alto saxophone playing of Lee Konitz, who has died aged 92 from complications of Covid-19, to the sound of someone “thinking out loud”. In the hothouse of an impulsive, spontaneous music, Konitz sounded like a jazz player from a different habitat entirely – a man immersed in contemplation more than impassioned tumult, a patient explorer of fine-tuned nuances.

Konitz played with a delicate intelligence and meticulous attention to detail, his phrasing impassively steady in its dynamics but bewitching in line. Yet he relished the risks of improvising. He loved long, curling melodies that kept their ultimate destinations hidden, he had a pure tone that eschewed dramatic embellishments, and he seemed to have all the time in the world. “Lee really likes playing with no music there at all,” the trumpeter Kenny Wheeler once told me. “He’ll say ‘You start this tune’ and you’ll say ‘What tune?’ and he’ll say ‘I don’t care, just start.’”

Born in Chicago, the youngest of three sons of immigrant parents – an Austrian father, who ran a laundry business, and a Russian mother, who encouraged his musical interests – Konitz became a founding influence on the 1950s “cool school”, which was, in part, an attempt to get out of the way of the almost unavoidable dominance of Charlie Parker on post-1940s jazz. For all his technical brilliance, Parker was a raw, earthy and impassioned player, and rarely far from the blues. As a child, Konitz studied the clarinet with a member of Chicago Symphony Orchestra and he had a classical player’s silvery purity of tone; he avoided both heart-on-sleeve vibrato and the staccato accents characterising bebop.

However, Konitz and Parker had a mutual admiration for the saxophone sound of Lester Young – much accelerated but still audible in Parker’s phrasing, tonally recognisable in Konitz’s poignant, stately and rather melancholy sound. Konitz switched from clarinet to saxophone in 1942, initially adopting the tenor instrument. He began playing professionally, and encountered Lennie Tristano, the blind, autocratic, musically visionary Chicago pianist who was probably the biggest single influence on the cool movement. Tristano valued an almost mathematically pristine melodic inventiveness over emotional colouration in music, and was obsessive in its pursuit. “He felt and communicated that music was a serious matter,” Konitz said. “It wasn’t a game, or a means of making a living, it was a life force.”

Tristano came close to anticipating free improvisation more than a decade before the notion took wider hold, and his impatience with the dictatorship of popular songs and their inexorable chord patterns – then the underpinnings of virtually all jazz – affected all his disciples. Konitz declared much later that a self-contained, standalone improvised solo with its own inner logic, rather than a string of variations on chords, was always his objective. His pursuit of this dream put pressures on his career that many musicians with less exacting standards were able to avoid.

Konitz switched from tenor to alto saxophone in the 1940s. He worked with the clarinettist Jerry Wald, and by 20 he was in Claude Thornhill’s dance band. This subtle outfit was widely admired for its slow-moving, atmospheric “clouds of sound” arrangements, and its use of what jazz hardliners sometimes dismissed as “front-parlour instruments” – bassoons, French horns, bass clarinets and flutes.

Regular Thornhill arrangers included the saxophonist Gerry Mulligan and the classically influenced pianist Gil Evans. Miles Davis was also drawn into an experimental composing circle that regularly met in Evans’s New York apartment. The result was a series of Thornhill-like pieces arranged for a nine-piece band showcasing Davis’s fragile-sounding trumpet. The 1949 and 1950 sessions became immortalised as the Birth of the Cool recordings, though they then made little impact. Davis was the figurehead, but the playing was ensemble-based and Konitz’s plaintive, breathy alto saxophone already stood out, particularly on such drifting tone-poems as Moon Dreams.

Konitz maintained the relationship with Tristano until 1951, before going his own way with the trombonist Tyree Glenn, and then with the popular, advanced-swing Stan Kenton orchestra. Konitz’s delicacy inevitably toughened in the tumult of the Kenton sound, and the orchestra’s power jolted him out of Tristano’s favourite long, pale, minimally inflected lines into more fragmented, bop-like figures. But the saxophonist really preferred small-group improvisation. He began to lead his own bands, frequently with the pianist Ronnie Ball and the bassist Peter Ind, and sometimes with the guitarist Billy Bauer and the brilliant West Coast tenor saxophonist Warne Marsh.

In 1961 Konitz recorded the album Motion with John Coltrane’s drummer Elvin Jones and the bassist Sonny Dallas. Jones’s intensity and Konitz’s whimsical delicacy unexpectedly turned out to be a perfect match. Konitz also struck up the first of what were to be many significant European connections, touring the continent with the Austrian saxophonist Hans Koller and the Swedish saxophone player Lars Gullin. He drifted between playing and teaching when his studious avoidance of the musically obvious reduced his bookings, but he resumed working with Tristano and Marsh for some live dates in 1964, and played with the equally dedicated and serious Jim Hall, the thinking fan’s guitarist.

Konitz loved the duo format’s opportunities for intimate improvised conversation. Indifferent to commercial niceties, he delivered five versions of Alone Together on the 1967 album The Lee Konitz Duets, first exploring it unaccompanied and then with a variety of other halves including the vibraphonist Karl Berger. The saxophonist Joe Henderson and the trombonist Marshall Brown also found much common ground with Konitz in this setting. Konitz developed the idea on 1970s recordings with the pianist-bassist Red Mitchell and the pianist Hal Galper – fascinating exercises in linear melodic suppleness with the gently unobtrusive Galper; more harmonically taxing and wider-ranging sax adventures against Mitchell’s unbending chord frameworks.

Despite his interest in new departures, Konitz never entirely embraced the experimental avant garde, or rejected the lyrical possibilities of conventional tonality. But he became interested in the music of the pianist Paul Bley and his wife, the composer Carla Bley, and in 1987 participated in surprising experiments in totally free and non jazz-based improvisation with the British guitarist Derek Bailey and others.

Konitz also taught extensively – face to face, and via posted tapes to students around the world. Teaching was his refuge, and he often apparently preferred it to performance. In 1974 Konitz, working with Mitchell and the alto saxophonist Jackie McLean in Denmark, recorded a brilliant standards album, Jazz à Juan, with the pianist Martial Solal, the bassist Niels-Henning Orsted Pedersen and the drummer Daniel Humair. That year, too, Konitz released the captivating, unaccompanied Lone-Lee with its spare and logical improvising, and a fitfully free-funky exploration with Davis’s bass-drums team of Dave Holland and Jack DeJohnette.

In the 1980s, Konitz worked extensively with Solal and the pianist Michel Petrucciani, and made a fascinating album with a Swedish octet led by the pianist Lars Sjösten – in memory of the compositions of Gullin, some of which had originally been dedicated to Konitz from their collaborations in the 1950s. With the pianist Harold Danko, Konitz produced music of remarkable freshness, including the open, unpremeditated Wild As Springtime recorded in Glasgow in 1984. Sometimes performing as a duo, sometimes within quartets and quintets, the Konitz/Danko pairing was to become one of the most productive of Konitz’s musical relationships.

Still tirelessly revealing how much spontaneous material could be spun from the same tunes – Alone Together and George Russell’s Ezz-thetic were among his favourites – by the end of the 1980s Konitz was also broadening his options through the use of the soprano saxophone. His importance to European fans was confirmed in 1992 when he received the Danish Jazzpar prize. He spent the 1990s moving between conventional jazz, open-improvisation and cross-genre explorations, sometimes with chamber groups, string ensembles and full classical orchestras.

On a fine session in 1992 with players including the pianist Kenny Barron, Konitz confirmed how gracefully shapely yet completely free from romantic excess he could be on standards material. He worked with such comparably improv-devoted perfectionists as Paul Motian, Steve Swallow, John Abercrombie, Marc Johnson and Joey Baron late in that decade. In 2000 he showed how open to wider persuasions he remained when he joined the Axis String Quartet on a repertoire devoted to 20th-century French composers including Erik Satie, Claude Debussy and Maurice Ravel.

In 2002 Konitz headlined the London jazz festival, opening the show by inviting the audience to collectively hum a single note while he blew five absorbing minutes of typically airy, variously reluctant and impetuous alto sax variations over it. The early 21st century also heralded a prolific sequence of recordings – including Live at Birdland with the pianist Brad Mehldau and some structurally intricate genre-bending with the saxophonist Ohad Talmor’s unorthodox lineups.

Pianist Richie Beirach’s duet with Konitz - untypically playing the soprano instrument - on the impromptu Universal Lament was a casually exquisite highlight of Knowing Lee (2011), an album that also compellingly contrasted Konitz’s gauzy sax sound with Dave Liebman’s grittier one.

Konitz was co-founder of the leaderless quartet Enfants Terribles (with Baron, the guitarist Bill Frisell and the bassist Gary Peacock) and recorded the standards-morphing album Live at the Blue Note (2012), which included a mischievous fusion of Cole Porter’s What Is This Thing Called Love? and Subconscious-Lee, the famous Konitz original he had composed for the same chord sequence. First Meeting: Live in London Vol 1 (2013) captured Konitz’s improv set in 2010 with the pianist Dan Tepfer, bassist Michael Janisch and drummer Jeff Williams, and at 2015’s Cheltenham Jazz Festival, the old master both played and softly sang in company with an empathic younger pioneer, the trumpeter Dave Douglas. Late that year, the 88-year-old scattered some characteristically pungent sax propositions and a few quirky scat vocals into the path of Barron’s trio on Frescalalto (2017).

Cologne’s accomplished WDR Big Band also invited Konitz (a resident in the German city for some years) to record new arrangements of his and Tristano’s music, and in 2018 his performance with the Brandenburg State Orchestra of Prisma, Gunter Buhles’s concerto for alto saxophone and full orchestra, was released. In senior years as in youth, Konitz kept on confirming Wheeler’s view that he was never happier than when he didn’t know what was coming next.

Konitz was married twice; he is survived by two sons, Josh and Paul, and three daughters, Rebecca, Stephanie and Karen, three grandchildren and a great-grandchild.

• Lee Konitz, musician, born 13 October 1927; died 15 April 2020

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

#JUST FOR BOOKS #Lee Konitz

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johnslamson · 5 years

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Artling, la maison de l’élégance

par John Slamson

« Avant, c’était des magasins où il fallait entrer, pénétrer, et où on se trouvait immédiatement confronté avec l’achat. Maintenant, il n’y a plus que des vitres, de l’air, des portes béantes, un étalage qui déborde de partout, des tableaux presque vivants, une plage, une chambre à coucher, des parasols rayés, des mannequins qui tiennent des ballons, avec des invitations péremptoires, nos soldes, nos prix qui cassent tout, nos prix qui pulvérisent, j’entre dans une galerie, c’est un univers enchanté, miroirs, acier, néons, plexiglas, des choses qui tournent, qui brillent, qui bougent, des montres au kilo, des robes jetées en vrac, des femmes qui les essayent, qui sortent, qui rentrent, des caisses, des paniers pleins de trucs, et toujours l’invitation péremptoire : à saisir, liquidation, nos prix qui pulvérisent, comme un monde dont on dirait qu’il court au désastre, un monde qui brade, qui bazarde, qui se débarrasse, des objets partout dont on ne sait plus à quoi ils servent et peut-être à rien d’autre qu’à être achetés, des bouffées de musique qui viennent on ne sait d’où, des bouffées de chaleur qui vous montent entre les jambes, des lumières, des reflets, un monde clos mais où tout est ouvert, comme un échantillon de ville devenue folle, hagarde, une ville de gadgets, éclairs, tubulures, comme un orchestre enfoui au milieu d’une forêt, comme une clairière enterrée au milieu des immeubles. »

Félicien Marceau, Le corps de mon ennemi (1975)

Ce que décrivait Félicien Marceau par l’intermédiaire de son personnage sortant de prison et confronté à l’irruption d’une modernité dérangeante, c’est la disparition graduelle de la relation commerçante au bénéfice du seul produit. Ce triste effacement de l’humain est devenu la nouvelle norme car les magasins sont désormais des hangars à produits où de ternes portants alternent avec des piles d’articles piteux. Le vendeur n’y a plus comme seul rôle que de replier les vêtements dérangés et de produire un sourire mécanique accompagnant des formules obligatoires forçant à des achats sans joie. Cette uniformisation des produits comme des rapports humains est peut-être ce qu’on cherche avant tout à éviter quand on va chez un tailleur.

Or, chez Artling, on est dans une vraie boutique à l’ancienne : les beaux meubles d’époque en bois sont un écrin parfait pour les nombreux accessoires de très bon goût : pochettes de chez Simonnot-Godard, bretelles de chez Albert Thurston, épingles à cravate, etc. L’ambiance est bien celle d’une boutique dont le classicisme ambiant constitue une halte protectrice pour le gentleman qui veut compulser tranquillement des liasses de beaux tissus dans le petit salon d’essayage avec ses miroirs et ses tentures

Pourtant, c’est un établissement éminemment moderne. En effet, la maison, créée en 2010, s’ancre dans les pratiques les plus contemporaine du sur-mesure. La particularité d’Artling est que son propriétaire, Martial Arnaud, est également propriétaire de son outil de production, un atelier au Portugal qui réalise une bonne partie des opérations à la main, ce qui permet des ajustements très précis (à 0,5 cm près). C’est notamment ce qui permet à Artling de gérer des complications en intervenant au niveau du patronage et non de la retouche : il s’agit donc d’un degré supérieur de précision dont les éléments sont intégrés dans la fiche client pour les commandes suivantes. D’ailleurs, Artling est capable de gérer des demandes variées qui vont jusqu’aux costumes de scène.

L’abondance de références de qualité permet par ailleurs de faire un véritable choix de tissu. On trouve en effet les drapiers essentiels : Hardy Minnis, Scabal, Loro Piana, Holland & Cherry, Drapers, Solbiati, etc.

J’étais venu avec en tête une veste verte et un pantalon clair pour la mi-saison et l’été : Martial Arnaud a parfaitement su proposer toutes les options possibles, des lins mélangés au fresco en passant par le fil-à-fil, chez tous les drapiers. Grâce à ses suggestions, le choix s’est finalement arrêté sur un tissu très original de Loro Piana, mélange de laine, lin et soie avec un effet shantung pour la veste et, pour le pantalon, le classique des classiques : un fresco de chez Hardy Minnis.

Le résultat est intéressant. La veste a nécessité un petit décintrage pour l’aisance du dos tandis que le pantalon était parfait pour le confort et n’a eu besoin que d’être raccourci. Stylistiquement, la Maison Artling a pu gérer ma demande d’une épaule souple sans cigarette mais avec une légère épaulette pour ne pas accentuer mes épaules basses. L’équilibre a donc été trouvé pour une veste décontractée aux poches plaquées, semi-doublée, avec boutonnière milanaise et dotée d’un accessoire qui n’est pas qu’un gadget : la poche holster sous l’aisselle pour le téléphone, moyen très efficace de ne pas déformer la silhouette et de conserver son téléphone sur soi.

Ce tissu vert s’est avéré polyvalent, avec une certaine rigidité qui lui donne un bon tombé. Le fresco de Hardy Minnis est un indispensable, doté de propriété respirante et d’un poids qui lui permet un bon drapé sans froissement.

Je ne parle pas de perfection parce que ce n’est jamais le cas de la demi-mesure. En revanche, la demi-mesure autorise un plaisir qui s’en approche : la satisfaction.

Si la racine satis (« assez » en latin) est cousine avec l’anglais sad et « satire » (au terme de saisies sémantiques trop longues à explorer ici), la satisfaction renvoie avant tout au sentiment de plénitude que l’on peut en effet éprouver quand on a ce qu’on voulait. Tel est au fond ce que propose la demi-mesure : le plaisir de choisir, la satisfaction d’un vêtement qui corresponde à la projection de ce que chacun peut imaginer.

Pour répondre à cela, l’attrait fondamental d’une maison comme Artling, c’est à la fois la gamme des propositions de fabrication, la qualité du conseil et la gestion du patronage pour le rapprocher de l’idéal individuel. Si chaque maison possède ses particularités, elles manquent aussi parfois d’originalité. Or chez Artling, le classicisme est celui d’amoureux du vêtement : tous les employés y sont impeccables, à l’image de Martial Arnaud et de ses belles tenues, aussi sobres que charismatiques — un bel exemple pour guider les clients dans leurs ambitions sartoriales.

Maison Artling

55, rue des Saints Pères - 75006 Paris

Tél. 01 42 22 99 92

https://www.artling.fr/

(Brown tie by @tieyourtiefirenze-blog; patterned cream ps by @drakes-diary)

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furukawa-genichiro · 5 years

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Der fliegende Hollander(1842)/Richard Wagner

Symphony no.6(1903-04)/Gustav Mahler

Eine Alpensinfonie(1915)/Richard Strauss

Parade(1917)/Erik Satie

L'enfant et les sortilèges(1924)/Maurice Ravel

An American in Paris(1928)/George Gershwin

ほか

大学院生対象の講義。

テーマは「オーケストラに導入される非楽音と表現媒体の拡がり」。

作曲家は方途を尽くし我々のこころを動かそうとする。

#仕事

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theloniousbach · 5 years

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A Listener’s Journal #9: Week of 22 December 2018

Jazz is about serendipity and finding wonder in the moment. We start somewhere and possibilities open up.

I started planning to follow the various Artemis players but then Ingrid Jensen happened. She’s a fine fine player with great ideas and a strong tone. I started with her collaboration with Ron Miles, “Kind of New,” a fond evocation of later Miles Davis with actual versions of “Sanctuary” and “Jean Pierre” as well as some nifty other work—electric and rhythmically thick. But Jensen is undaunted and speaks in her own voice very nicely indeed. It’s a good enough introduction to her playing, but better is another trumpet tribute to IKenny Wheeler. There’s a “Jazz Night in America” video session with co-leader Steve Treseler and Geoffrey Keezer (whom I want to know better) with Martin Wind and Jon Wikan as the rhythm section. Drummers continue to impress me and Hakin is of the ilk. Since he is married to Jensen and, in this case more importantly, they’ve been in bands together for a long time, their rhythmic conceptions undoubtedly have intertwined.

I need to know Wheeler much better. I came awfully close to buying “Gnu High” back in the early ECM days and just never did. So it’s a starting point as is his collaboration with Lee Konitz, Dave Holland, and Bill Frisell, “Angel Eyes.” I’ve just started and write with more Jensen/Tressler than Wheeler himself, but the tunes are rich, sophisticated, and appealing. He’s a strong, smart player. That he seems to have a foot in the English avant-garde suggests a whole other rock to kick over. So, Azimuth next maybe. I found a Rutgers University Master's thesis on Wheeler on line and am enjoying the exposition and insights that only deepen my appreciation.

I also read Maxine Gordon’s Sophisticated Giant, so dipping into Dexter’s oeuvre is a welcome temptation. I reached for “Homecoming” as that is an appropriate intersection of author with Woody Shaw and Gordon. She’s “Little Red” whom they both fantasized about and “Fenja” following is about the wife Gordon left in Denmark. It’s a strong book with good attention to the social context of jazz and insights into the music too. I’ve already been pushed to listen to the early Savoy stuff like the Melba Liston homage, “Mischievous Lady” and the workout with Wardell Gray. That Gordon was a proud Eckstine band alumnus is something I’ve known in my head but not in my ears. I barely know the late 1950s stuff, much less the even early bebop stuff.

Next week might well include some The Bad Plus and/or Orrin Evans as I will see them as part of their kick off of 2019 at Jazz St. Louis and then there's the WGTE Jazz Spectrum Best of the Year playlist to study. But it's an improvisation, ain't it? ETAM listening remains with French Impressionism. I have a music historian friend who knows the period well who has given me a syllabus of sorts. I told her about Cyrus Chestnut’s “Kaliedoscope” and she approved, saying his reading of “Gymnopedie #1” is how Satie would play it today. So, I cycle through Debussy, Ravel, and Satie, mostly piano works but some chamber music too. There is such tonal innovation and shifts that open up the harmonic structure in ways that are striking and not quite familiar.

I wish I knew piano better to be able to articulate that better, but I’ve maybe got the first half of the Bach Invention #1 in my fingers sort of. I’m playing for appreciation rather than accomplishment, but I am beginning to see little glimmers of compositional techniques at play. So it’s starting to work if just a little.

#2018 #jazz #listener's journal

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bugunguncel · 3 years

Link

Geçtiğimiz yılın Temmuz ayında piyasaya çıkan Ghost of Tsushima oyunu kısa sürede ciddi satış rakamlarına ulaştı. Sucker Punch Productions tarafından geliştirilen oyun PlayStation oyun konsollarına özel olarak yayınlanmıştı. Yalnızca Sony ekosistemi içerisinde yapım milyonlarca kopya satmayı başardı.

Aksiyon-macera temalı oyun 2020’nin en saygın yapımlarından biri oldu. Bir diğer önemli PS4 oyunu The Last of Us 2‘den kısa bir süre sonra piyasaya çıkan yapım kendine has bir hayran kitlesi oluşturmayı başardı. Yalnızca PlayStation kullanıcılarına hitap eden oyundan şimdi ilk satış verileri geldi. Ancak raporların, John Wick’in yönetmeni Chad Stahelski tarafından geliştirilen Ghost of Tsushima filminin duyurusundan hemen sonra ortaya çıkması dikkat çekti.

Ghost of Tsushima 6,5 milyondan fazla sattı

GameRant tarafından sunulan raporlara göre Ghost of Tsushima henüz sekiz ay gibi kısa bir zaman diliminde 6,5 milyondan fazla kopya sattı. Ufak bir karşılaştırma yapmak gerekirse; Sucker Punch’ın bir başka oyunu InFAMOUS: Second Son altı yıl içerisinde yaklaşık 6 milyon birim satmıştı. Dolayısıyla popüler samuray oyunu stüdyo için büyük bir başarıyı temsil ediyor. Aynı zamanda bu veriler, şirketin bir devam oyununun çok da uzakta olmayacağına işaret ediyor.

Ghost of Tsushima’nın başarısı yalnızca satış rakamları ile sınırlı değil. Aynı zamanda oyun PlayStation Network kupa istatistiklerine göre en çok tamamlanan PlayStation 4 oyunlarından biri olarak gözleri üzerine çekiyor. Oyunu oynayanların yarısından fazlasının hikayeyi tamamladığı bilinmekte.

Satış rekorları kıran Ghost of Tsushima’nın film uyarlaması geliyor.

Ghost of Tsushima’nın sinema filmi uyarlaması yolda!

Hızla yükselen Ghost of Tsushima oyunu yakında film olacak. Etkileyici satış rakamlarına ulaşan oyun Sony tarafından sinema adaptasyonu için uyarlanmaya başladı. Projenin yönetmeni John Wick’ten de hatırladığımız Chad Stahelski olurken; yapımın şu anda erken geliştirme aşamasında olduğu söylendi. Dolayısıyla şimdilik oyuncu kadrosu ve filmin yayın tarihi gibi detaylar belirsiz.

Sinema salonlarında boy gösterecek tek Sony yapımı Ghost of Tsushima olmayacak elbette. Şirket popüler oyunu Uncharted için bir film uyarlaması üzerinde çalışıyor. 2022 yılında gösterime girmesi beklenen yapımda efsane Nathan Drake karakterini Tom Holland canlandırıyor.

Kaynak: Shiftdelete.net

#Oyun #Teknoloji #Oyunu #playstation #Satış Ghost of Tsushima #sony #Yapım #haber #haberler #sondakik

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grucomdoo · 3 years

Photo

Nudimo vam odmah dostupne gumene gusenice za sve marke i modele mini bagera i ostalih građevinskih mašina kao što su: Caterpillar, Jcb, Volvo, Komatsu, Liebherr, Yanmar, Terex, New Holland, Fiat - Hitachi, LiuGong, O& K, Kobelco, Bobcat, Hyundai, Daewoo - Doosan, Neuson, Case. . . Gusenice su u kvalitetu, iz Italije sa godinu dana garancije ili hiljadu radnih sati. Za više informacija možete nas pozvati na 0659930900 , 0668330021 i 0112147093 ili nam poslati upit na mejl [email protected] Gusenice se mogu lično preuzeti u Beogradu ili možemo slati brzom poštom. Posetite naš sajt i saznajte šta sve još možemo ponuditi od delova i servisa za vaše građevinske mašine i teretni program www.grucom.rs Pozdrav! #gumenegusenice #gusenicar #gusenice #bager #minibager #caterpillar #takeuchi #yanmar #volvo #komatsu #liebherr #neuson #jcb #kubota #terex #case #kobelco #delovizabagere #delovizagradjevinskemasine #delovizamehanizaciju #grucomdoo (у месту Grucom doo) https://www.instagram.com/p/CLzt3Gah1HP/?igshid=v8nzentb8z5k

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charif-films · 4 years

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# 44

The Year of Living Locked Up (Gustavo Charif, 2020).

Runtime: 104 minutes.

Format: 16:9 HD / Color.

Country: Switzerland / Spain / USA.

Language: original in English and luzaniano, with Spanish version and few quotes in Russian, Chinese, German, French and Italian.

NOTE

Original in English available for free in YouTube (click here to see) from July 11, 2020.

Versión en castellano disponible gratis en YouTube (click aquí para ver) a partir del 18 de julio de 2020.

Trailer available here.

VISUAL EFFECTS, EDITION, SCRIPT and DIALOGUES

Gustavo Charif

ADDITIONAL DIALOGUES

William Shakespeare, John Clifford, Joseph Green with Rex Carlton, and Maurice Sandoz

FOOTAGE in PUBLIC DOMAIN

Benjamin Christensen (1922), Roland West (1925), Frank R. Strayer (1933), Louis J. Gasnier (1936), William Cameron Menzies (1953), Bert I. Gordon (1958), John Newland (1959), Sid Davis (1960), Herk Harvey (1962) and Joseph Green (1962)

QUOTATIONS

Georges Schéhadé, 冰心 (Bing Xin), Robert Walser, Ludwig Wittgenstein, André Gide, William Shakespeare, Samuel Beckett, Kurt Schwitters, Leonardo da Vinci, Fyodor Dostoevsky, Boris Vian, Bruno Teinturier, Meander of Mile End

MUSIC

Ludwig van Beethoven, Richard Wagner, Johann Strauss II, Edvard Gieg, Frédéric Chopin, J. S. Bach, Erik Satie, Gene Moore, Marlin Skiles, Albert Glasser, Manfred Drefnam, Gustavo Charif, Harry Lubin, Tony Restaino, Abe Baker, and Doug Maxwell / Media Right Productions.

MUSIC (opening credits)

E Minor Prelude, composed by Frédéric Chopin and performed by Charif.

ASSOCIATE PRODUCERS

Daniel Abigador - Manuel Zamora

ASSOCIATE PRODUCER and TECHNICAL ADVISOR

Martín Ramírez

CAST (archive footage) in order of appearance

John Newland : Virus Man

Ken Miller : Little Man

Scott Peters : Little Man

John Agar : Little Man

June Kenney : Little Woman

Laurie Mitchell : Little Woman

Marlene Willis : Little Woman

Jason Evers : Gunnar Eduard von Hashem Hausenrhïn

Lola Mason : Donna

Audrey Devereau : Jeannie

Virginia Leith : Violet

Bruce Brighton : Dr. Whisker

Benjamin Christensen : Lord of the Tar, the Devil

Johnny Arthur : Honolulu Man

Doris Brent : Talker Nurse

Gerald LeRoy : American Guy

Kevin Tighe : American Guy

Shannon Wallace : American Boy

Anthony La Penna : Dr. Britva

George Diestel : Government Receptionist

Adele Lamont : Lola

Mike Connors : Anarchist Friend in a Bar

Ruggero Romor : Duceist Friend in a Bar

Jason Evers : PePe Guy

Eddie Carmel : Podemos Guy

Tora Teje : Woman Dreaming

Fay Wray : Silent Film Actress

Melvyn Douglas : Silent Film Actor

Stella Adams : Enlightened Woman

Arny Freeman : Manolo

Dan Abigator : Himself

Bruce Kerr : Beauty Contest M.C.

Marilyn Hanold : First Contest

“Terri Lund” : Conchita

“Betty Brockton” : Valkyrie

“Helen Appleton” : Pam

Candace Hilligoss : Mary

Sidney Berger : John

Bonnie Sharie : Pin Up Dancer

Herk Harvey : Man in the Waters

June Kenney : Stalked Girl in Advertisement

John Hoyt : Enlightened Man

Stan Levitt : Psychiatrist

Jack Sheldon : Romeo Betto -the Dolce Duce-

Anthony Holland : Voice Over reading Vian

Katherine Emery : Lady Producer

Richard Carlson : Man Producer

Veronica Hurst : Girl Producer

Herk Harvey : Enlightened Man on Route

Josef Forte : Newscaster

Michael Pate : Charif’s Steward

Robin Hughes : New Character - Funny Man

John Dodsworth : New Character - Thinker Man

Veronica Hurst : New Character - Young Lady

Hillary Brooke : New Character - Elegant Woman

Richard Carlson : New Character - The Third Man

Frances Feist : Pariah Lady

Stan Levitt : Pariah Man

Judith O’Dea : Swedish Activist Teen

June Kenney : Charif’s Bride

John Agar : Gustavo Charif

SPECIAL THANKS

Rick Prelinger, Prelinger Archives, Brewster Kahle, The Internet Archive, Eric Eldred, Lawrence Lessig III, Hal Abelson, Creative Commons, YouTube Audio Library

Official Charif’s Site: infinilogy.wordpress.com

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