Friday, January 11, 2013
Hints To Figure Out Who The Person Is In The Mystery Image
Mystery Image for the Month (January)
Hint # 1: She was born in the 1800's on the outskirts of an Eastern European town.
# 2: She was leader of a radical feminist movement that revolted against the men of town.
# 3: One of her nicknames was 'The Bitter Queen'
# 4 She was rumored to have castrated three different men. That claim has never been verified.
Hint # 1: She was born in the 1800's on the outskirts of an Eastern European town.
# 2: She was leader of a radical feminist movement that revolted against the men of town.
# 3: One of her nicknames was 'The Bitter Queen'
# 4 She was rumored to have castrated three different men. That claim has never been verified.
Monday, January 7, 2013
Saturday, January 5, 2013
(From the craigslist universe archive #2) I wish I could afford an assault weapon and Holy Cow Pies Batman
I wish I could AFFORD an assault weapon
Date:
qwdfdeffcceei@craigslist.orgMust be nice to have that much money to piss away.
Same goes for a higher caliber pistol.
It will be cheaper to move somewhere far away from assholes.
That's exactly what I am going to do.
- it's NOT ok to contact this poster with sermons or other solicitations
re.holy cow pies batman (nc) (okayyyy???)
Date:
xphdk-352343434972@pers.craigslist.org- Location: okayyyy???
- it's NOT ok to contact this poster with services or other commercial interests
PostingID:35256567774
Thursday, January 3, 2013
On 'Django Unchained'
A few words on Quentin Tarantino's new film 'Django Unchained'.
I have several friends on facebook who are ranting and raving about this film and clamoring to go see it immediately a second time because to them it was just that good. I wish I shared in their unbridled enthusiasm and full acceptance of the film. I love Quentin Tarantino. I don't like everything he's done equally but I am always glad when a new Tarantino movie comes out because no one makes 'em like he does and he is, in my opinion, one of the top three or four most influential directors of the last 50 years no matter what. He is able to distill our collective love for movies in general and lay it out for our enjoyment in clever ways. I like all the self referential humor, the pop violence, the centrality of the music, the way he has his characters put on an act so it becomes and act within an act and of course, just the way his films look.(Credit to some wonderful Cinematographers)
The first half of this movie is borderline great. The Dr Shultze character played brilliantly again by Christophe Waltz in some ways steals the show and for me in some ways overshadows Jaime Foxx's Django. The early scene where Dr Shultze comes upon the slave traders in the night is Tarantino at his best from beginning to end. The whole bounty hunting section with Django gaining confidence and wearing new fashionable clothes was funny, violent and entertaining and we're flowing along with bursting colors and natural locations from cinematographer Bob Richardson, and the pacing is good and then we bumble into the Leonardo DeCaprio section with Django trying to find his wife and rescue her. For me, this is where things become very unfortunately flawed. Here's just a few: Why concoct the ruse that Django and Dr. Shultz are in the business to buy a Mandingo fighter if Django's wife can simply be purchased? I could understand it if Leo's Mr. Candy's character was in love with her--then an elaborate ploy would make more sense. But apparently Mr. Candy didn't really mind giving her up as long as it was for enough money.The scenes back at Candyland just didn't work well. If it was a place renown for its Mandingo fighting, we saw no visual evidence of it--And really, for me, as soon as Dr. Shultze's character is removed, the movie loses a big part of its magic.
In conclusion, something still bugs me about Jamie Foxx in the role as Django. I wonder if Will Smith or somebody would have made a better fit. Still, its the most realistic western I have ever seen and probably one of my favorites within the genre though to be honest I haven't even seen most of the classic westerns. The source of much controversy, the constant use of the N word, in my opinion, keeps the reality of the piece in its authentic skin and vibe. While I didn't go as berserk for the film as some of my friends, there is still alot to like and admire and soak in with this picture. It may not be my favorite Tarantino film but its certainly not my least favorite either. What if, because of how beautiful she was and how she spoke fluent German, Dr. Shultze falls in love with Django's wife and conflict ensues? Or even if Mr. Candy... Oh, I don't know. Maybe I'll go see again myself. What the heck.
I have several friends on facebook who are ranting and raving about this film and clamoring to go see it immediately a second time because to them it was just that good. I wish I shared in their unbridled enthusiasm and full acceptance of the film. I love Quentin Tarantino. I don't like everything he's done equally but I am always glad when a new Tarantino movie comes out because no one makes 'em like he does and he is, in my opinion, one of the top three or four most influential directors of the last 50 years no matter what. He is able to distill our collective love for movies in general and lay it out for our enjoyment in clever ways. I like all the self referential humor, the pop violence, the centrality of the music, the way he has his characters put on an act so it becomes and act within an act and of course, just the way his films look.(Credit to some wonderful Cinematographers)
The first half of this movie is borderline great. The Dr Shultze character played brilliantly again by Christophe Waltz in some ways steals the show and for me in some ways overshadows Jaime Foxx's Django. The early scene where Dr Shultze comes upon the slave traders in the night is Tarantino at his best from beginning to end. The whole bounty hunting section with Django gaining confidence and wearing new fashionable clothes was funny, violent and entertaining and we're flowing along with bursting colors and natural locations from cinematographer Bob Richardson, and the pacing is good and then we bumble into the Leonardo DeCaprio section with Django trying to find his wife and rescue her. For me, this is where things become very unfortunately flawed. Here's just a few: Why concoct the ruse that Django and Dr. Shultz are in the business to buy a Mandingo fighter if Django's wife can simply be purchased? I could understand it if Leo's Mr. Candy's character was in love with her--then an elaborate ploy would make more sense. But apparently Mr. Candy didn't really mind giving her up as long as it was for enough money.The scenes back at Candyland just didn't work well. If it was a place renown for its Mandingo fighting, we saw no visual evidence of it--And really, for me, as soon as Dr. Shultze's character is removed, the movie loses a big part of its magic.
In conclusion, something still bugs me about Jamie Foxx in the role as Django. I wonder if Will Smith or somebody would have made a better fit. Still, its the most realistic western I have ever seen and probably one of my favorites within the genre though to be honest I haven't even seen most of the classic westerns. The source of much controversy, the constant use of the N word, in my opinion, keeps the reality of the piece in its authentic skin and vibe. While I didn't go as berserk for the film as some of my friends, there is still alot to like and admire and soak in with this picture. It may not be my favorite Tarantino film but its certainly not my least favorite either. What if, because of how beautiful she was and how she spoke fluent German, Dr. Shultze falls in love with Django's wife and conflict ensues? Or even if Mr. Candy... Oh, I don't know. Maybe I'll go see again myself. What the heck.
Van Gogh's Portrait of Adeline Ravoux
If you are ever in Cleveland and you don't know what to do, if you think it's all abandoned buildings and ole' steel mills and grey smoke stacks and bleak skies, well then take a turn and visit the Cleveland Museum of Art. There, among many many things, you will find a painting that Mr.Vincent Van Gogh painted in the last months of his life in 1890. It is the portrait of 13 yr. old Adeline Ravoux. Though I get annoyed at reading descriptions of paintings in Art books, I'm gonna give it a shot as long as you remember the only real way to experience paintings, is in the physical world, in their presence/absence sorcery exchange.
Up close you can see the thick brush strokes of her face and light hair. Her eyebrows are bent in consternation. Before I read officially that the person in the painting in real life was 13 yrs old I figured she was several years older. The thick globs of paint for her hair, her dress and especially her face with its look of resigned sadness as she peers out at nothing in particular indicate a laborious heaviness. She seems to carry the look of one who has been put to work hard her whole life. Her look says I am sick to death of manual labor and I will not wear a false mask or put on an act. Since she was the daughter of the man who owned the Inn where Van Gogh was staying in Auvers, north of Paris, one could assume she was kept busy tending to rooms and guests and a multitude of chores.
And it seems we juxtapose this heavy, gritty blue collar feel against the beauty of this vital young lady with her long hair pulled back in a tail and whose colors and color combinations do something to me mysterious and effect the overall vibe of the painting like the colors in a hip current film by Tarantino or the Cohen Brothers and seems futuristic for its time. Imagine sea-foam green, almost a fluorescent green but not really,(this is her dress) and imagine it against a thick black background. Now imagine her face. She does not look at the viewer. She seems to be biding her time until she may be freed from this posing obligation.
Perhaps the girl's Father wanted a painting of his daughter and maybe it paid Van Gogh's rent for a few days. I don't know and I don't need to know. Every time I am in Cleveland and at the Museum I go back to this painting. I like to see her as someone in her twenties who didn't let the grime and shit and labor of life bring her down. Instead she shined and followed her dreams. I thought about easy metaphors about the city itself but I thought again. Then I thought about how this painting was once owned by one of the wealthiest families in Cleveland. Let me re-focus.
She is the way I like women. No make up, nothing opulent and gaudy. Though Van Gogh's use of color is bold and full of force and a big reason why this appeals to me on different levels, its also the appeal of Adeline's disgruntled yet stoic patience as she waits to be set free from the pose, perhaps from the Inn, her Father, from her life style. She's too damn pretty and too damn smart to just be the Inn Keeper's Daughter.
Up close you can see the thick brush strokes of her face and light hair. Her eyebrows are bent in consternation. Before I read officially that the person in the painting in real life was 13 yrs old I figured she was several years older. The thick globs of paint for her hair, her dress and especially her face with its look of resigned sadness as she peers out at nothing in particular indicate a laborious heaviness. She seems to carry the look of one who has been put to work hard her whole life. Her look says I am sick to death of manual labor and I will not wear a false mask or put on an act. Since she was the daughter of the man who owned the Inn where Van Gogh was staying in Auvers, north of Paris, one could assume she was kept busy tending to rooms and guests and a multitude of chores.
And it seems we juxtapose this heavy, gritty blue collar feel against the beauty of this vital young lady with her long hair pulled back in a tail and whose colors and color combinations do something to me mysterious and effect the overall vibe of the painting like the colors in a hip current film by Tarantino or the Cohen Brothers and seems futuristic for its time. Imagine sea-foam green, almost a fluorescent green but not really,(this is her dress) and imagine it against a thick black background. Now imagine her face. She does not look at the viewer. She seems to be biding her time until she may be freed from this posing obligation.
Perhaps the girl's Father wanted a painting of his daughter and maybe it paid Van Gogh's rent for a few days. I don't know and I don't need to know. Every time I am in Cleveland and at the Museum I go back to this painting. I like to see her as someone in her twenties who didn't let the grime and shit and labor of life bring her down. Instead she shined and followed her dreams. I thought about easy metaphors about the city itself but I thought again. Then I thought about how this painting was once owned by one of the wealthiest families in Cleveland. Let me re-focus.
She is the way I like women. No make up, nothing opulent and gaudy. Though Van Gogh's use of color is bold and full of force and a big reason why this appeals to me on different levels, its also the appeal of Adeline's disgruntled yet stoic patience as she waits to be set free from the pose, perhaps from the Inn, her Father, from her life style. She's too damn pretty and too damn smart to just be the Inn Keeper's Daughter.
Subscribe to:
Posts (Atom)