#david del real model

[david-actor-schauspieler]

Canal de DailyMotion de DAVID DEL REAL

Chistes, frases, anécdotas, fotos de modelaje y apariciones en TELENOVELAS y SERIES. Actualmente subiendo "Chistes de la Selva"

#david del real #david #ese Davis! #Dailymotion #David del Real en DailyMotion #david del real actor #david del real comediante #david del real model #david del real modelo #chistes de la selva #frases #anecdotas #trabalenguas #actor #attor #comedian #comedi #comedy #fun #omd #Dailymotion de David del Real #Chistes de David del Real

[daviddelrealactor]

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David del Real, foto.

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[aevyk-ing]

Watching Guillermo del Toro’s Pinocchio

SPOILERS AHEAD

- Wait, the HENSON company? Ok, that’s a sign of quality here.

-  I love the models, the animation, the music... can’t wait to see this world!

- Eh... the Great War? Is this set during WWII?

- Wait, is this a musical?

- Stop playing with my heart, I know the boy dies.

- Sebastian’s design is top-notch. Love how he looks like the little gentleman he is. Also, what’s with del Toro and four-armed characters?

- Oh, those creepy eyes... great.

- I’ve said it before with Korra and I’ll say it again: kudos for showing trauma.

- Is that Merlin’s voice? I think it’s Merlin’s voice. (BTW, David Bradley is great in this).

 - Ok, that boy is dangerous. 

- But look at the way he moves, with his long arms. 

- Oh, so Stromboli is French here. He’s not even called Stromboli.

- I read the original book too many years ago, maybe I should check it out again.

- Gregory Mann (Pinocchio) has a lovely singing voice.

- Okay, now he’s dead.

- Ah, the Underworld looks fantastic! And are those Foo-Foos? Wait, what?

- What an imagination. The sphinx in the room full of sand clocks is my favorite part. 

- Also, this is the second time he talks to a magic being and doesn’t mention he wants to be a real boy. Maybe he won’t transform in this one?

- They want him to be a soldier! Is there going to be more war in this? 

- BTW, that would be great. Enough with sugarcoating history. War is bad. Kids need to know that.

- This boy is learning fast.

- I’ve been enjoying the snippets of Italian and Italian culture. 

- I bet that sailor is Gobber’s descendant. 

- I’m starting to think there’s not going to be a donkey transformation in this neither. Huh. But the youth camp as the opposite of Pleasure Island hits hard. 

- Because maybe that actually happened. They trained little kids in lots of wars.

- Huh... Pinocchio gets his own cross in the pyre. And he was complaining because everybody seems to love JC in the church and but not him and both are made of wood. 

- Weird.

- It’s good to see that Gepetto has been eating his meals while he was inside the monster.

- And it’s nice that he can understand Sebastian. 

- He’s a smart cookie. Ewan McGregor does a great job.

- Of course he was going to use his only wish to bring Pinocchio back . 

- But... no, he’s not a real boy.

- And that’s ok.

- Oh, no, are they’re going to show all the deaths?

- Yep.

- At least, a bittersweet ending done well.

- And Sebastian gets to finish his song.

- BTW, although they all have good voices, some songs were way better than others. Maybe this didn’t have to be a musical? 

- But, yeah, a good movie. 

#pinocchio #guillermo del toro pinocchio #guillermo del toro #ramblings #httyd #3below #spoilers

[byneddiedingo]

Neil Hamilton and Constance Bennett in What Price Hollywood? (George Cukor, 1932)

Cast: Constance Bennett, Lowell Sherman, Neil Hamilton, Gregory Ratoff, Brooks Benedict, Louise Beavers, Eddie Anderson. Screenplay: Jane Murfin, Ben Markson, Gene Fowler, Rowland Brown, based on a story by Adela Rogers St. John. Cinematography: Charles Rosher. Art direction: Carroll Clark. Film editing: Del Andrews, Jack Kitchin. Music: Max Steiner. 

Bradley Cooper's 2018 film A Star Is Born is often called a remake of the films by that title starring Fredric March and Janet Gaynor in 1937, James Mason and Judy Garland in 1954, and Kris Kristofferson and Barbra Streisand in 1976. But all four of them can trace their origin to What Price Hollywood?, produced by David O. Selznick and directed by George Cukor in 1932. The name is different but the plot's the same: A successful man in the entertainment business discovers a young woman whom he helps become a star, but as her career ascends, his personal problems send him into a tailspin. if there's any doubt about the link with What Price Hollywood? and at least the first A Star Is Born, both were produced by Selznick. RKO, which released What Price Hollywood?, threatened to sue Selznick over the similarities, but decided against it. Selznick also asked Cukor to direct the 1937 film, but Cukor declined, so William A. Wellman took it on. But then Cukor went on to direct the 1954 Star Is Born. I don't think there's any direct connection between What Price Hollywood? and the 1976 version, produced by Streisand and Jon Peters and directed by Frank Pierson, but the lineage by then was obvious. The idea for the original film is a natural in a Hollywood that had become increasingly conscious of its own myth, and many real-life rising-star-falling-mentor analogs can be found in the history of the industry. Selznick commissioned Adela Rogers St. Johns, a former reporter for Photoplay and the Hearst newspapers, to write the story for the film, and various other hands turned it into a screenplay, though St. Johns and Jane Murfin claimed most of the credit when they were nominated for an Oscar for best original story. The film begins with a touch of screwball comedy when Max Carey (Lowell Sherman), an alcoholic director, encounters Mary Evans (Constance Bennett), a waitress at the Brown Derby looking for her chance to break into the movies. After some funny scenes involving Max's drunkenness and Mary's initial ineptness as an actress, the movie unfortunately begins to get serious. Though it's clear Mary really loves Max, when she becomes a big star she marries a society polo player, Lonny Borden (Neil Hamilton), after a somewhat cutesy courtship. But Borden is unhappy being "Mr. Mary Evans," and eventually storms out, though she's pregnant. Meanwhile, Max's decline continues, and after Mary rescues him from the drunk tank and promises to rehabilitate him, he shoots himself, thereby embroiling her in a headline-making scandal. But then Borden returns to apologize and all is well again. What keeps the film alive despite its clichés are the performances. Bennett is quite charming, and Sherman clearly models Max on John Barrymore, whom he knew well: He was married to Helene Costello, whose sister, Dolores, was Barrymore's third wife. The supporting cast includes Gregory Ratoff as the producer of Mary's films, Louise Beavers as (of course) her maid, and Eddie Anderson as Max's chauffeur -- five years before he became famous as Jack Benny's chauffeur, Rochester, on radio.  

#What Price Hollywood? #George Cukor #Neil Hamilton #Constance Bennett

[wetsteve3]

2004 Ducati 749R

After an absence of three years, Ducati Corse re-entered the World Supersport Championship for the 2004 season. It was a tentative entry, with only Lorenzo Lanzi riding the factory 749R. The short-stroke 749R was the most advanced production bike yet offered by Ducati, and for racing the power was increased to 140 horsepower at 13,000 rpm. The bike was extremely fast, with Lanzi timed at 292 km/h at Monza, and he finished fifth in the 2004 World Supersport Championship. David Muscat also won the French Supersport Championship on a 749R, and Michael Laverty finished second in the British Supersport series on a similar machine.

Based on Pierre Terblanche’s 2003 999, the 749R was Ducati’s most exciting 2004 model. A real racer for the street, it was the most technically advanced production bike ever offered by Ducati up to that time. Powering the 749R was a new short-stroke version of the Testastretta motor. The 94x54mm motor displaced 749.5cc, and with a 12.7:1 compression ratio produced 118 horsepower at 10,250 rpm. The pressure die-cast crankcases were deeper sump, the pistons forged Asso, with unmachined cylinder head ports to allow modification for racing. As the top-end assembly was identical to other 749s, the shorter stroke required longer titanium Pankl con-rods (128.5mm). These also had the advantage of limiting piston lateral thrust against the cylinder. The camshafts were higher lift (13mm intake and 11.5mm exhaust), with extremely steep ramps, and valves 39.5 and 32mm. The 749R was the first production Ducati with titanium valves (by Del West) as standard equipment, and because titanium has high surface abrasion, the valve seats and valve guides were Berilbronz.

While the included valve angle was unchanged at 27°, the closing valve stem adjuster set-up was the same as on the factory Superbike engines, with two titanium cotters instead of the usual half-rings. The desmodromic rocker arm acted on the adjuster to close the valve, its thickness determining the clearance. The valve stems were also narrower (6mm) than on other Testastrettas. The crankshaft was also designed for racing, with smaller flywheels, the cross-section tapered and grooved to reduce internal friction. To minimise timing belt failure due to excessive heat build up, a cooling duct was installed on the rear carbon-fibre belt cover. The clutch was a slipper clutch type, the pressure plate with cylindrical clutch springs and a composite drum with inclined surfaces activated during back torque. The valve covers were magnesium.

Unlike the regular gear teeth on the 749 and 749S, a phonic wheel was machined on the outer rim of the camshaft drive gear, coupled to a magnetic induction sensor, to generate the rpm signal and phase for the engine management. This provided a clearer electronic signal at higher rpm. For racing, another sensor was installed for rpm, coupled to the flywheel with four teeth at 90° intervals. The single Magneti Marelli IWPR2 injector per cylinder, mounted above the throttle inside the 54mm throttle body, was not the single-hole injector found on other Testastrettas, but a 12-hole racing type. The ECU was an IAW 5AM.

The chassis included a new aluminium swingarm, similar to the 999 F03 World Superbike racer. The pivot area was cast aluminium, while the arms were box sectioned, the left side featuring lower reinforcement. It also incorporated Superbike type chain adjustment sliders instead of a conventional cam mechanism. Also new was the rear suspension linkage, with FLAT progression, including a different spring and shorter stroke (from 71 to 56mm) for the Öhlins shock absorber. The rocker arm was positioned above the shock absorber with a revised push-rod mount. As on the 999R, the 43mm Öhlins front fork allowed for radial Brembo brake calipers, and the forged aluminium wheels featured five “Y” spokes with 10 anchor points on the inside of the rim. For racing, the fork offset could also be altered via a pin. There were two settings, 30 and 36mm, but this feature was disabled for street use. As it was such a high specification model Ducati only produced around 1000 749Rs, as required for FIM homologation for 2004 and 2005.

[back-and-totheleft]

The Entertainment Industry Task Force

The building on Fuji Way in Marina del Rey, California, is as nondescript as they come — just another glass and concrete office tower like so many others hunkered in business parks across Los Angeles. But 20 years ago, just a few weeks after the 9/11 tragedy, a group of elite Hollywood figures and a handful of top U.S. Army brass met for a clandestine summit straight out of a Michael Crichton novel.

A lot of what transpired that night is still top secret, but this much we do know: One evening in October 2001, just weeks after al-Qaeda terrorists took down the Twin Towers in Manhattan and maimed the Pentagon, a group of about 30 of Hollywood’s top creatives — A-listers like Oliver Stone, “Law & Order” producer Dick Wolf, “Seven” director David Fincher, “NYPD Blue’s” David Milch and the late John Singleton, to name just a few — were quietly invited to mingle with high-level members of the U.S. military.

The group was officially, though secretly, named the Entertainment Industry Task Force and its mission, which everyone enthusiastically accepted, was to help America prevent another 9/11 by brainstorming terrorist scenarios so out-of-the-box crazy they could only happen in the movies. Unless, that is, al-Qaeda thought of them first. After all, until 2001 nobody had ever imagined — or prepared for the idea — that hijacked planes could be used as deadly missiles against landmark buildings like the World Trade Center and the Pentagon.

“The 9/11 attacks had just happened,” A. Michael Andrews II, the now-retired major general who came up with the idea for the meeting, told the The Wrap in an exclusive interview offering details about the group and its membership that have not previously been disclosed. “The Pentagon was in gear and rolling. We had a defense-science board and an Army-science board looking at all the standard actors. But nobody knew what to expect. So, I thought it would be worthwhile to look outside our usual way of thinking about terrorism. I asked if we could get some entertainment industry volunteers together and see if they could dream up plot lines that might expose a weakness in our real-life anti-terrorism network capabilities. It was an opportunity for us to learn and for Hollywood to help.”

To some degree, Hollywood had already been helping. The Institute for Creative Technology, launched in 1999 by the Army Research Lab in affiliation with USC, had been drawing on Hollywood talent for a couple of years as a super-high-tech war-modeling and virtual-reality training facility. Screenwriter John Milius, most famous for penning “Apocalypse Now” and the “Dirty Harry” movies, was said to be an early consultant.

So after 9/11, when the Army decided to corral a bunch of movie and TV execs for a terrorism bull session, it was only natural that they’d hold the confab at the ICT’s marina command center, which turned out to be much cooler-looking on the inside than its drab exterior would suggest. “It had this one door that seemed like it was out of SPECTRE headquarters,” James Korris, a former Universal TV producer who served as the ICT’s creative director during the early 2000s, told The Wrap, referring to James Bond’s nemesis. “It slid open electrically and we even added a sound effect, so it sounded like the doors on the Enterprise.”

The first meeting of the Entertainment Industry Task Force — the acronym EITK somehow never caught on — began at around 7 p.m. and didn’t break up until sometime before midnight. Attendees had so many horrifyingly destructive and diabolical ideas, they decided to meet again a few weeks later for a second session. All signed NDA’s swearing them to secrecy and while there were whispers in Hollywood newsrooms about some sort of hush-hush summit, nobody blabbed a word. In fact, to this day, those who attended have kept their lips sealed; every one of the task force creatives contacted by The Wrap was unavailable to share their memories of the event. One attendee confirmed those who attended, but declined to talk further.

But for the first time, Korris shared with TheWrap the full list of attendees. Some choices were logical, directors and producers behind crime dramas like “Hill Street Blues” and war epics like “Platoon.” Others seemed almost random, like Randal Kleiser, the director of…. “Grease” and “The Blue Lagoon.” Here’s the full roster, complete with noteworthy pre-2001 credits:

David Ayer, screenwriter (“Training Day”) Danny Bilson, Screenwriter (“Viper,” “The Sentinel”) Martha Coolidge, Director Christopher Crowe, Screenwriter (“The Last of the Mohicans”) Steven de Souza, Screenwriter (“Diehard”) David Fincher, Director (“Se7en,” “The Game”) Naomi Foner, Screenwriter (“Losing Isaiah”) Spike Jonze, Director (“Being John Malkovich”) Jerome Gary, Producer (“Pumping Iron,” “Stripper”) Walon Green, Screenwriter (“The Wild Bunch”) Randal Kleiser, Director (“Grease”) Mary Lambert, Director (“Pet Sematary”) Niki Marvin, Producer (“Shawshank Redemption”) David Milch, Executive Producer (“Hill Street Blues”) Jonathan Sanger, Producer (“Elephant Man”) Robert Shaye, Executive, Producer, Director (New Line Cinema) John SIngleton, Director (“Boyz N the Hood”) Oliver Stone, Writer-Director (“Platoon,” “JFK”) Robert Ward, writer (“Hill Street Blues”) Dick Wolf, Producer (“Law and Order”) Joseph Zito, Director (“Friday the 13th”)

According to Korris, who attended both sessions, a large portion of the first meeting was devoted to dissecting and analyzing the mindset of a terrorist. “They spent a fair amount of time trying to figure out what Osama bin Laden was all about,” he says. “What his personality was like, what was driving him. At the time, Bin Laden was a blank slate that we were trying to fill in. So, it was basically character development.” But the group also did a lot of work on story arcs, pitching various potential terrorist plot lines. “I have a whole book full of them but I don’t want to say too much about the specifics,” Korris said. “I don’t want to give anyone ideas. But some of them were common sense and some of them were a little more obscure. It was a lot like being in a writers’ room. They just came up with ideas and I wrote them down and then I made a report.”

That report — which to this day remains unavailable to the public — was ultimately delivered to the highest levels of the George W. Bush administration, with Korris and Andrews flying to Washington, DC for a briefing with Wayne Downing, then the deputy national security adviser in charge of combating terrorism (who reported directly to then-National Security Advisor Condoleezza Rice and then-Assistant to the President for Homeland Security Tom Ridge). “Downing was obviously someone who didn’t suffer fools gladly, but he was very gracious and very polite,” Korris said. “I gave him the report but I have no idea what he ended up doing with it.”

Andrews has a similar recollection of the meeting. “I don’t think Downing asked a single question,” he says.

Of course, it’s possible that the report saved lives. Who knows what dastardly plots it might have predicted and helped to foil? Thanks to Oliver Stone and Dick Wolf and the others who devoted brain cells to the anti-terrorism cause, America is possibly a little bit more secure today than when they gathered in the marina. The ICT, which is still around, although no longer headquartered on Fuji Way, is certainly in better shape; its budget, funded primarily by the U.S. Army Research Lab, has ballooned from an initial $45 million in 1999 to close to $300 million today, according to an individual with knowledge of the operation.

And for Hollywood, there was an extra bonus: Some of the ideas cooked up by the Entertainment Industry Task Force came in handy once the attendees got back to their studio lots. “Oh, I think several of them ended up in films,” says Korris. “It wouldn’t shock me if some of the people in the meeting thought, ‘Hey, that’s a good idea.’”

-Benjamin Svetkey, TheWrap, Sept 10 2021 [x]

https://www.thewrap.com/hollywood-pentagon-secret-9-11-summit-oliver-stone-dick-wolf-david-fincher/

#oliver stone #entertainment industry task force #the wrap #benjamin svetkey #terrorism #9/11 #anti terrorism

[onlinein]

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[kateandthediamonds]

Kate Middleton turns 40, the official photos by Paolo Roversi: "I made her dance in front of the camera".

The greenhouse of the marvellous Kew Gardens was the green set for the three portraits of Kate Middleton's 40th birthday today. In these royal botanical gardens (10 kilometres from London) there are many plant collections (alpine, Mediterranean, carnivorous, bonsai, orchids, etc.), but also one of the most important collections of seeds, including the endangered seeds saved in 1985 by Sir David Attenborough (one of the protagonists at the 2021 Glasgow Cop 26), which will be placed in a glass capsule to be opened in 2085.

The model of beauty that Kate represents today is all in this profile, a classic of certain Renaissance paintings (such as the Dama del Pollaiolo) and to give us a new image of herself (which will become part of the National Portrait Gallery in London, the museum of which the Duchess of Cambridge is patroness), she has chosen a master of photography, creator of iconic visions with the égéries of fashion, Paolo Roversi. Already at the age of nine, when he took a photo of his eighteen-year-old sister dressed up for a party, he sensed his vocation.

Born in Ravenna in 1947 (where he opened his first portrait studio at the age of 23 and was one of the first to use Polaroid 20x25 cameras), Roversi has been in Paris since 1973. His artistic practice is nourished by literature, philosophy, theatre, music and the work of other great colleagues. He has photographed many celebrities: Naomi Campbell, Kate Moss, Natalia Vodianova, Sting, Rihanna, Madonna, Belmondo, Ezra Pound...

First meeting last November at Kensington Palace, with Kate and her staff at a typical five o'clock tea with biscuits. And it's the first Royal Highness she's captured.

"A nice meeting, and then some nice pictures. But the Duchess was apprehensive at first. Every day she is swarmed by photographers but not used to posing; knowing my photos with the models she was a bit apprehensive about doing a real session, which took about four hours. But once we started it would be very easy, I reassured her. And so it was. Kate, who also studied art in Florence, is very fond of photography, in particular of authors such as Julia Margaret Cameron and Lewis Carroll, who wrote Alice in Wonderland".

Since 2019 she has also been patron of the Royal Photographic Society, since Queen Elizabeth II left her the role after 67 years. Natural or artificial light to portray her?

"All in natural light. Not much make-up, no hairstyle, just pearl earrings, a ring... The focal point of Kate's face is her gaze and her smile. I didn't want her to be too lady duchess, too establishment, but as pure and as contemporary as possible, even more timeless".

Timeless, but also very Pre-Raphaelite. There is an atmosphere in the Duchess' profile photo (which she considers to be the official one, even though it is not from a protocol point of view) that recalls the painting of that mid-nineteenth-century English movement. To Dante Gabriel Rossetti or Sir David Coyle Burne-Jones, I refer in particular to his 1873 drawing Desiderium, woman in profile....

"Kate showed me some reproductions of the works of those artists she mentions to inspire me, but I have always been a Pre-Raphaelite.

Three photos and three very different Kate. The first, in profile, regal and with a maturity that goes beyond her age and the white dress that softens the seriousness of an effigy. The second chosen by William and his children where she returns a carefree girl. The third in colour is how she sees herself, a little more glamorous.

"In the official portrait, she is also a bit of Angelica from Visconti's Leopard".

There are often dreamlike and poetic elements in the photos you take. Then she says that through the lens of her lens she sees many things, in depth. What has Kate's person revealed to you?

"She is a friendly, welcoming woman who puts people at ease and respects everyone's work. She exudes joie de vivre. Open, generous, bright, I think she can bring a lot of hope to England and to the whole world.

Certainly a truly privileged condition, but for Diana it was very different.

"Lady Diana lived through a drama that made her unhappy, but she is really living her fairytale. But she has an enormous responsibility, her every gesture is looked at under a microscope".

In December, the photos were selected from 250 shots, almost all in black and white.

"In the end there were about seventy. I made the first selection, about ten of her favourites, then we arrived at three of my favourites and one of hers, the official photo is both mine and her favourite. Kate, however, was less decisive than me in her final choice. Designer Sarah Burton (Kate's wedding dress was hers) chose the dresses: only one was red, the others neutral. For the official portrait she wore the organza one, almost like a ballet dancer. In the end I wanted to take some moving pictures, so with that wonderful wide skirt I made her dance in front of my lens, a sort of accelerated waltz mixed with a pinch of rock'n'roll". And it's a secret image for now.

Source: Corriere della Sera

#William and the kids chose the last picture🥺😭😭😭🥺😭 #catherine #duchess of cambridge #catherine at 40 #kate middleton #catherine middleton #british royal family #kate at 40

[ifuckinglovestvincent]

THE FORTY-FIVE: ST. VINCENT

Sleazy, gritty, grimy – these are the words used to describe the latest iteration of St. Vincent, Annie Clark’s alter ego. As she teases the release of her upcoming new album, ‘Daddy’s Home’, Eve Barlow finds out who’s wearing the trousers now.

Photos: Zackery Michael

Yellow may be the colour of gold, the hue of a perfect blonde or the shade of the sun, but when it’s too garish, yellow denotes the stain of sickness and the luridness of sleaze. On ‘Pay Your Way In Pain’ – the first single from St. Vincent’s forthcoming sixth album ‘Daddy’s Home’ – Annie Clark basks in the palette of cheap 1970s yellows; a dirty, salacious yellow that even the most prudish of individuals find difficult to avert their gaze from. It’s a yellow that recalls the smell of cigarettes on fingers, the tape across tomorrow’s crime scene or the dull ache of bad penetration.

The video for the single, which dropped last Thursday, features Clark in a blonde wig and suit, channeling a John Cassavetes anti-heroine (think Gena Rowlands in Gloria) and ‘Fame’-era Bowie. She twists in front of too-bright disco lights. She roughs up her voice. She sings about the price we pay for searching for acceptance while being outcast from society. “So I went to the park just to watch the little children/ The mothers saw my heels and they said I wasn’t welcome,” she coos, and you immediately recognise the scene of a free woman threatening the post-nuclear families aspiring to innocence. Clark is here to pervert them.

She laughs. “That’s how I feel!” From her studio in Los Angeles, she begins quoting lyrics from Jimi Hendrix’s ‘Red House’. “It’s a blues song for 2021.” LA is a city Clark reluctantly only half calls home, and one that is opposed to her vastly preferred New York. “I don’t feel any romantic attachment to Los Angeles,” she says of the place she coined the song ‘Los Ageless’ about on 2017’s ‘Masseduction’ (“The Los Ageless hang out by the bar/ Burn the pages of unwritten memoirs”).“The best that could be said of LA is, ‘Yeah it’s nice.’ And it is! LA is easy and pleasant. But if you were a person the last thing you’d want someone to say about you is: ‘She’s nice!’”

On ‘Daddy’s Home’, Clark writes about a past derelict New York; a place Los Angeles would suffocate in. “The idea of New York, the art that came out of it, and my living there,” she says. “I’ve not given up my card. I don’t feel in any way ready to renounce my New York citizenship. I bought an apartment so I didn’t have to.” Her down-and-out New York is one a true masochist would love, and it’s sleazy in excess. Sleaze is usually the thing men flaunt at a woman’s expense. In 2021, the proverbial Daddy in the title is Clark. But there’s also a literal Daddy. He came home in the winter of 2019.

On the title track, Clark sings about “inmate 502”: her father. He was sentenced to 12 years in prison for his involvement in a $43m stock fraud scheme. He went away in May 2010. Clark reacted by writing her third breakthrough album ‘Strange Mercy’ in 2011; inspired not just by her father’s imprisonment but the effects it had on her life.“I mean it was rough stuff,” she says. “It was a fuck show. Absolutely terrible. Gut-wrenching. Like so many times in life, music saved me from all kinds of personal peril. I was angry. I was devastated. There’s a sort of dullness to incarceration where you don’t have any control. It’s like a thud at the basement of your being. So I wrote all about it,” she says.

Back then, she was aloof about meaning. In an interview we did that year, she called from a hotel rooftop in Phoenix and was fried from analytical questions. She excused her lack of desire to talk about ‘Strange Mercy’ as a means of protecting fans who could interpret it at will. Really she was protecting an audience closer to home. It’s clear now that the title track is about her father’s imprisonment (“Our father in exile/ For God only knows how many years”). Clark’s parents divorced when she was a child, and they have eight children in their mixed family, some of whom were very young when ‘Strange Mercy’ came out. She explains this discretion now as her method of sheltering them.

“I am protective of my family,” she says. “It didn’t feel safe to me. I disliked the fact that it was taken as malicious obfuscations. No.” Clark wanted to deal with the family drama in art but not in press. She managed to remain tight-lipped until she became the subject of a different intrusion. As St. Vincent’s star continued to rocket, Clark found herself in a relationship with British model Cara Delevingne from 2014 to 2016, and attracted celebrity tabloid attention. Details of her family’s past were exposed. The Daily Mail came knocking on her sister’s door in Texas, where Clark is from.

“Luckily I’m super tight with my family and the Daily Mail didn’t find anybody who was gonna sell me out,” she says. “They were looking for it. Clark girls are a fucking impenetrable force. We will cut a bitch.”

Four years later, Clark gets to own the narrative herself in the medium that’s most apt: music. “The story has evolved. I’ve evolved. People have grown up. I would rather be the one to tell my story,” she says, ruminating on the misfortune that this was robbed from her: a story that writes itself. “My father’s release from prison is a great starting point, right?” Between tours and whenever she could manage, Clark would go and visit him in prison and would be signing autographs in the visitation room for the inmates, who all followed her success with every album release, press clipping and late night TV spot. She joked to her sisters that she’d become the belle of the ball there. “I don’t have to make that up,” she says.

There’s an ease to Clark’s interview manner that hasn’t existed before. She seems ready not just to discuss her father’s story, but to own certain elements of herself. “Hell where can you run when the outlaw’s inside you,” she sings on the title track, alluding to her common traits with her father. “I’ve always had a relationship with my dad and a good one. We’re very similar,” she says. “The movies we like, the books, he liked fashion. He’s really funny, he’s a good time.” Her father’s release gave Clark and her brothers and sisters permission to joke. “The title, ‘Daddy’s Home’ makes me laugh. It sounds fucking pervy as hell. But it’s about a real father ten years later. I’m Daddy now!”

The question of who’s fathering who is a serious one, but it’s also not serious. Clark wears the idea of Daddy as a costume. She likes to play. She joins today’s Zoom in a pair of sunglasses wider than her face and a silk scarf framing her head. The sunglasses come off, and the scarf is a tool for distraction. She ties it above her forehead, attempts a neckerchief, eventually tosses it aside. Clark can only be earnest for so long before she seeks some mischief. She doesn’t like to stay in reality for extensive periods. “I like to create a world and then I get to live in it and be somebody new every two or three years,” she says. “Who wants to be themselves all the time?”

‘Daddy’s Home‘ began in New York at Electric Lady studios before COVID hit and was finished in her studio in LA. She worked on it with “my friend Jack” [Jack Antonoff, producer for Lana Del Rey, Lorde, Taylor Swift]. Antonoff and Clark worked on ‘Masseduction’ and found a winning formula, pushing Clark’s guitar-orientated electronic universe to its poppiest maximum, without compromising her idiosyncrasies. “We’re simpatico. He’s a dream,” she says. “He played the hell outta instruments on this record. He’s crushing it on drums, crushing it on Wurlitzer.” The pair let loose. They began with ‘The Holiday Party’, one of the warmest tracks Clark’s ever written. It’s as inviting as a winter fireplace, stoked by soulful horns, acoustic guitar and backing singers. “Every time they sang something I’d say, ‘Yeah but can you do it sleazier? Make your voice sound like you’ve been up for three days.” Clark speaks of an unspoken understanding with Antonoff as regards the vibe: “Familiar sounds. The opposite of my hands coming out of the speaker to choke you till you like it. This is not submission. Just inviting. I can tell a story in a different way.”

The entire record is familiar, giving the listener the satisfaction that they’ve heard the songs before but can’t quite place them. It’s a satisfying accompaniment to a pandemic that encouraged nostalgic listening. Clark was nostalgic too. She reverted to records she enjoyed with her father: Stevie Wonder’s catalogue from the 1970s (‘Songs In The Key Of Life’, ‘Innervisions’, ‘Talking Book’) and Steely Dan. “Not to be the dude at the record store but it’s specifically post-flower child idealism of the ’60s,” she explains. “It’s when it flipped into nihilism, which I much prefer. Pre disco, pre punk. That music is in me in a deep way. It’s in my ears.”

On ‘The Melting Of The Sun’ she has a delicious time creating a psychedelic Pink Floyd odyssey while exploring the path tread by her heroes Marilyn Monroe, Joni Mitchell, Joan Didion and Nina Simone. It’s a series of beautiful vignettes of brilliant women who were met with a hostile environment. Clark considers what they did to overcome that. “I’m thanking all these women for making it easier for me to do it. I hope I didn’t totally let them down.” Clark is often the only woman sharing a stage with rock luminaries such as Dave Grohl, Damon Albarn and David Byrne, and has appeared to have shattered a male-centric glass ceiling. She’s unsure she’s doing enough to redress the imbalance. “There are little things I can do and control,” she says of hiring women on her team. “God! Now I feel like I should do more. What should I do? It’s a big question. You know what I have seen a lot more from when I started to now? Girls playing guitar.”

If one woman reinvented the guitar in the past decade, it’s Clark. Behind her is a rack of them. The pandemic has taken her out of the wild in which she’s accustomed to tantalising audiences at night with her displays of riffing and heel-balancing. Instead, she’s chained to her desk. Her obsession with heels in the lyrics of ‘Daddy’s Home’ she reckons may be a reflection of her nights performing ‘Masseduction’ in thigh highs. “I made sure that nothing I wore was comfortable,” she recalls. “Everything was about stricture and structure and latex. I had to train all the time to make sure I could handle it.” Is she taking the heels off when live shows return? “Absofuckinglutely not.”

Clark is interested in the new generation. She’s recently tweeted about Arlo Parks and has become a big fan of Russian singer-songwriter Kate NV. “I’m obsessed with Russia,” she says. In a recent LA Times profile, she professed to a pandemic intellectual fixation on Stalin. “Yeah! I mean right now my computer is propped up on stuff. You are sitting on The Gulag Archipelago, The Best Short Stories Of Dostoyevsky andThe Plays Of Chekhov. I’m kinda in it.” The pop world interests Clark, too. She was credited with a co-write on Swift’s 2019 album ‘Lover’. At last year’s Grammys she performed a duet with Dua Lipa. It was one of the queerest performances the Grammys has ever aired. Clark interrupts.

“What about it seemed queer?!”

You know… The lip bite, for one!

“Wait. Did she bite her lip?”

No, you bit your lip.

“I did?!”

Everyone was talking about it. Come on, Annie.

“Serious? I…”

You both waltzed around each other with matching hairdos, making eyes…

“I have no memory of it.”

Frustrating as it may be in a world of too much information, Clark’s lack of willingness to overanalyse every creative decision she makes or participates in is something to treasure. “I want to be a writer who can write great songs,” she says. “I’m so glad I can play guitar and fuck around in the studio to my heart’s desire but it’s about what you can say. What’s a great song? What lyric is gonna rip your guts open. Just make great shit! That’s where I was with this record. That’s all I wanna do with my life.”

More than a decade into St. Vincent, Clark doesn’t reflect. She looks strictly forward. “I’m like a horse with blinders,” she says. She did make an exception to take stock lately when the phone rang. “I saw a +44 and that gets me excited,” she says. “Who could this be?” Well, who was it? “Paul McCartney,” she says, in disbelief. “Anything I’ve done, any mistake I’ve made, somehow it’s forgiven, assuaged. I did something right in my life if a fucking Beatle called me.”

Now there’s a get out of jail free card if ever she needed one.

Daddy’s Home by St. Vincent is out May 14, 2021.

#‘I HAVE NO MEMORY OF IT’ #LOOOOOL #WHY ARE U LIKE THIS #st vincent #full of shit #annie clark #Annie Clark on beds #yellow is the color for dull ache of bad penetration?

[david-actor-schauspieler]

Mi página en Blogspot,,,

My Page in Blogspot

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#david del real #blog #blogspot #blogger #actor #model #Schauspieler #ator #attore #acteur #publications #blogs #david #david del real actor #writer #poet #Gedichte #poemas #apariciones #telenovelas #series #comedia #comedy #funny #sexy #hot #modelo

[daviddelrealactor]

[sartle-blog]

Reimaging a Renaissance Man: Leonardo da Vinci in Fate Grand/Order

(Source: Aniplex)

  In Delightworks's mobile game Fate Grand/Order, you’re challenged to save the world with the help of historical figures and legends. In most cases, those historical figures turn out to be far different than you’d expect. Sometimes a person like the famous shogunate swordsman Okita Souji is changed to a female without explanation, but more often than you’d expect, the game is surprisingly clever in how it incorporates historical facts about the characters into their design. If you go into a history class and start to argue that King Louis XIV was secretly female, you might get kicked out. Looking past the anime images on the surface though, there is some art history to be learned from Fate.

  (Source: Aniplex)

  Leonardo da Vinci in particular is a great example of this. Leonardo is genderbent to be female, with the explanation that his search of perfection and beauty led him to redesign his body into the Mona Lisa. Also, she’s a little obsessed with the painting.

  Left: Mona Lisa by Shimokoshi (image: Aniplex) Right: Mona Lisa by Leonardo da Vinci in the Louvre

  Fate also features a lot of art, called “craft essences” that come with effects to assist you while equipped in battle. Most of which have no historical basis except for, obviously, the Mona Lisa.

  (Source: Aniplex)

  As a mobile game, Fate rotates time-limited events and one called “Da Vinci and the Seven Counterfeit Servants” featured three craft essences inspired by famous masterpieces. They were earned by collecting Leonardo’s famous manuscripts and counterfeits of all his masterpieces and writings. 

  Left: Maiden Leading Chaldea by pako (image: Aniplex) Right: Liberty Leading the People by Eugène Delacroix in the Louvre

  Collecting Leonardo’s manuscripts rewarded you with Maiden Leading Chaldea inspired by Delacroix's Liberty Leading the People. In it, Liberty has been swapped out with Joan of Arc, referred to as Jeanne D’Arc in Fate, whose flag is as inspiring to your in-game army as Liberty’s was to France. In the bottom left, you can spot Gilles De Rais, who was a close ally of Jeanne, but this is the Bluebeard version of Gilles, not the noble warrior he was prior to Jeanne’s death. In history, Gilles de Rais was a companion-in-arms who fought alongside Joan of Arc. But after retiring from the military he became known for an interest in the occult and was convicted as a child serial killer. The story of his horrible murder spree was the inspiration for the Bluebeard fairytale.

  On Jeanne’s right is Hans Christian Anderson who’s holding up papers in place of guns because words are his weapons and the pen is mightier - well you get the picture. In the back are other in-game characters, but neither have a historical counterpart, so moving on. 

  Left: The Merciless One by Aoi Tsukimoto (image: Aniplex) Right: Pietà by Michelangelo, in the Apostolic Palace

  The counterfeit manuscripts give you The Merciless One, based on the Pietà by Michelangelo who was a close friend of Leonardo (in Fate lore not so much in real life). This features Jeanne D’Arc Alter who is a dark version of Joan of Arc. In the image she’s cradling the pre-Bluebeard version of Gilles de Rais, the noble warrior who fought bravely by her side. The art mirrors Jesus being held by Mary after his crucifixion with Gilles de Rais’s fall into evil. 

  Left: The Scholars of Chaldea by Cherokee (image: Aniplex) Right: The School of Athens by Raphael in the Apostolic Palace

  The last famous art inspired craft essence of the event was The Scholars of Chaldea. You received this one by collecting fake copies of Mona Lisa, Self Portrait, and Vitruvian Man. This piece was inspired by the painting The School of Athens, but specifically just Plato and Aristotle in the back center. In it, Dr. Roman (your in-game boss essentially) and Leonardo are featured as the two great minds whose partnership will help save the world.

  Leonardo Da Vinci also has two side quests focused on her, both of which, while fictional narratives, feature a few winks and nods to lesser-known facts and paintings from the artist’s life. 

  Tobias and the Angel by Andrea del Verrocchio in the National Gallery London

  In the first, she’s traveling with you to London and casually mentions she was the model for the archangel Raphael in Verrocchio’s painting in the National Gallery. Based on that brief description it's most likely Tobias and the Angel to which she is referring. There’s no historical evidence to back her claim as a model but it's possible (the real-life) Leonardo did assist in the painting of the piece and if so it's his earliest work as a painter.

  (Source: Aniplex)

  You don’t get to visit the National Gallery to see the piece, instead you make your way to the British Museum to see Leonardo’s old friend “Mikey”. It’s the only appearance that Michelangelo makes in Fate so far, and Leonardo makes a point of saying that he’ll be unable to return in the future. She speaks of him fondly as a dear friend, calling him the other “uomo universale” but since he’s a lingering ghost and the game is mainly combat-based you do have to kill him. Rest in peace Mikey.

  In real life, Leonardo da Vinci and Michelangelo were known rivals. Their best known interaction was a pair of commissions that put them in direct competition with each other. They were hired to paint battle scenes on the same wall of a Council Hall in Florence. Long story short, neither finished their work and they parted on unfriendly terms. But, it is thought that despite their rivalry they both had a private respect and appreciation for the other’s work. 

  Drawing of Michelangelo’s David by Leonardo Da Vinci in the Windsor Castle, The Royal Collection

  At least on Leonardo’s side, we know Leonardo did a sketch of Michelangelo’s David for example. In Fate, Leonardo mentions more than once how much she admires David, but in real life Leonardo likened Michelangelo’s depiction of human musculature to a “sack of walnuts.” Maybe he meant that, maybe he was just bitter. 

  If Michelangelo ever drew any of Leonardo’s works we’ll never know since he torched most of his sketches right before he died. At the core of their interaction in Fate, Leonardo is basically saying that Michelangelo was the closest she ever had to a true equal to her level of genius, at least in the field of arts. That aspect might have held true for real-life Leonardo. 

  Virgin of the Rocks by Leonardo da Vinci in the Louvre

  Leonardo’s second side quest focuses a lot on her mother and the painting Virgin of the Rocks. It’s not known if she’s talking about the one housed in the Louvre or the one in the National Gallery. She’s referring to both but mentions she can’t remember if one was painted by her apprentice. Based on the museums’ descriptions of the two versions, they were both done by Leonardo himself. She says that while painting the Madonna she found herself longing for her mother and that’s what prompted her to bring her mother to come stay with her in Milan.

  Leonardo says this with a twinge of regret, remarking that by moving her mother to Milan she may have unknowingly shortened her life and caused her to fall ill. In actual history, there isn’t much known about Leonardo’s mother. He writes in his journal of a Caterina, who is strongly believed to be his mother, that visited him in Milan but died within a year. Her cause of death is also up for debate so the tragic narrative suggested by Fate’s Leonardo does seem to be a fictional invention. It’s been theorized by some that Mona Lisa is based off of Leonardo’s mother. When asked about this in Fate, she says no but adds she’s sure her mother had a wonderful smile.

  In the side quest, Leonardo also mentions going way past the deadline for the commission of Virgin of the Rocks and getting really annoyed when she found out how much the patron wanted to pay for the piece. This has some historical basis, the description of the version in the National Gallery says it was possibly made to replace the original since Leonardo wasn’t paid adequately for the first and sold it elsewhere. 

  (Source: Aniplex)

  Next in the side quest, you encounter Leonardo’s assistant Gian Giacomo Caprotti who she refers to as Salaì. How she describes him in the above image seems to be historically accurate. Salaì is a nickname that means “little devil” and he stole from Leonardo often. Leonardo da Vinci wrote of him frequently in his journal, mostly documenting what he broke and how much Salaì’s father would have to repay him. 

  Despite all of his antics, Salaì lived with Leonardo for thirty years and was even left half a vineyard in his mentor’s will. So when you run into his ghost in Fate, it's pretty clear Leonardo was hoping for a real reunion but since he’s an evil ghost who can’t talk you have to put him out of his misery just like with Mikey. Rest in peace little devil. 

  (Source: Aniplex)

  Lastly, Fate introduced a second Leonardo Da Vinci, called Da Vinci Lily, and she is a reference to a unfinished masterpiece of Leonardo’s. This version is also known as Gran Cavallo, the name of a horse sculpture the real-life Leonardo was unable to ever complete. 

  (video source: Aniplex)

  She’s also supposedly modeled off her childhood appearance... if Leonardo looked like the Mona Lisa as a child. 

  Design for a fighting vehicle by Leonardo da Vinci in the British Museum

  Da Vinci Lily is in command of an armored vehicle called the Shadow Border. The Shadow Border, which was built/designed in part by Da Vinci, bears some similarity to an armored tank Leonardo designed in his journals. 

Studies of Horses by Leonardo da Vinci in the Collection of the Royal Library, Windsor Castle

  In real history, Gran Cavallo was to be the largest equine statue ever created, but at the time Leonardo’s attention was divided between The Last Supper and countless other projects. He created a clay model of the piece meant to be later cast in bronze, but French bowmen used it for target practice when they invaded Milan. He was never able to recreate it and the story goes he never stopped mourning the project. 

  Left: Bella Lisa by Simosi Right: Mona Lisa by Leonardo da Vinci in the Louvre

  Da Vinci Lily also got her own version of the Mona Lisa, called Bella Lisa.

On the other end of the spectrum of historical accuracy in Fate, Thomas Edison is a lion, for reasons having nothing to do with his life or career. So while the same can’t be said for every Fate character, the design and writing around Leonardo da Vinci feels like a loving homage to the life and work of the universal genius.

By: Danielle DeVeaux

#leonardo da vinci #fate grand order #mobile games #art references #art in video games #art history #fun stuff #history of art #renaissance painters #mona lisa #michelangelo

[cffabioblog]

Karmi y Hiro en el/ Karmi and Hiro at the... “Studio Uno”

Fotogramas / Screenshorts. Copyrights RAI

The studios/ Los Estudios (Prado Del Rey). Copyrights RTVE.

Episode Screenshort. Copyrights Disney TVA.

Mi version:

In english:

here, from the most BIG ANIMATED STUDIO OF THE WOLRD, THE FAMOUS STUDIO-ESTUDIO 1 OF THE CPRCATV OF PRADO DEL REY, In middle the famous variety tv program “Studio Uno”, FICCTICEMENT to charge of Disney TVA, The Channel 13 of The Television Corporation of the Pontifical Catholic University of Chile and The Original Producteds, The RAI, in this ocation, traveling to the sience and technology world, Karmi and Hiro to recreate an experiment about microbot how in the scennes of the episode “City Of Monsters pt1″ of “Big Hero 6: The Series”, to Fred’s Comes to the place and help to theys. Some to view the control room from the studio, The TV Cameras are model RCA TK60. Afther of this, Frank Sinatra and His Orchestra SInning beauiful songs. The studio, here is how are in the 60′s and 70′s in the Prado Del Rey Studios. The orchestra directed by SIR Valentín Trujillo

For more information, Studio Uno is the most variety music show in the RAI’s history, In air of 1961 to 1966 in RAI1, Directed, by Antonello Falqui and Guido Sacerdote. Some of the scritps and music, this tv program in sonsidered how of culte in Europe in reference to the withe and black tv in the 60′s.

En Español.

Aquí, desde el plato de animación y de tv mas grande del mundo, el famoso estudio 1 de Prado Del Rey, se graba el famoso programa “Sudio Uno”, producido ficticia-mente por La RAI, Disney TVA Y La Corporación De Televisión De La Pontificia Universidad Católica De Chile, en esta ocasión mostrando un lindo viaje al mundo de la ciencia y la tecnología.

En este sketch, vemos a Karmi y a Hiro recreando un experimento sobre microbots, tal cual como en las escenas del episodio “City Of Monsters pt1″ de Grandes Héroes La Serie, Luego Fred llega al lugar e interrumpe y ayuda a ellos a terminar su trabajo. Después de ello, al otro lado del set, con la orquesta de SIR Valentín Trujillo, Llega al estudio “The Voice”, Frank Sinatra a cantar hermosas canciones con su estilo. Los equipos son reales, ademas de lo que se uso en ese episodio de la serie (equipos científicos) Las camaras son modelo RCA TK60 Y EL ESTUDIO ASI ERA PRADO DE REY EN SUS AÑOS DORADOS.

Para mas info, Studio Uno es considerado como el programa de variedades mas famoso e iCónico en la historia de la RAI, Desde 1961 a 1966, bajo la dirección de Antonello Falqui y Guido Sacerdote, con música y variedades, es considerada como una serie de culto en Europa e icono de la variety europea de la televisión en blanco y negro de los años 60.

Referencia:

https://www.raicultura.it/cinema/articoli/2019/05/Studio-Uno-c821b7db-51a1-4ad3-babc-d89de0358710.html

https://it.wikipedia.org/wiki/Studio_Uno_(programma_televisivo)

Los Estudios

https://es.wikipedia.org/wiki/Estudios_de_Prado_del_Rey

https://en.wikipedia.org/wiki/Prado_del_Rey_(studios)

and seach studio uno rai in youtube

Copyrights

Kamri, Hiro and Ferd

© Disney / Marvel / Man Of Action / Claremont / Nakayama. All Rights Reserved.

Red Guy

© David Feiss / Cartoon Netowork. All Rights Reserved. 

Prado Del Rey

© RTVE. All Rights Reserved. 

Studio Uno

© RAI, Radiotelevizione Italiana S.p.A. All Rights Reserved.

#Crosover #crossover fanart #estudios prado del rey #television #variety #studio uno rai #bh6 fred #Red guy #karmi #Hiro Hamada #bh6 karmi #bh6 hiro #bh6 the series #karmiro

[brookstonalmanac]

Events 9.13

585 BC – Lucius Tarquinius Priscus, king of Rome, celebrates a triumph for his victories over the Sabines, and the surrender of Collatia. 509 BC – The Temple of Jupiter Optimus Maximus on Rome's Capitoline Hill is dedicated on the ides of September. 379 – Yax Nuun Ahiin I is crowned as 15th Ajaw of Tikal 533 – Belisarius of the Byzantine Empire defeats Gelimer and the Vandals at the Battle of Ad Decimum, near Carthage, North Africa. 1229 – Ögedei Khan is proclaimed Khagan of the Mongol Empire in Kodoe Aral, Khentii: Mongolia. 1437 – Battle of Tangier: a Portuguese expeditionary force initiates a failed attempt to seize the Moroccan citadel of Tangier. 1501 – Italian Renaissance: Michelangelo begins work on his statue of David. 1504 – Queen Isabella and King Ferdinand issue a Royal Warrant for the construction of a Royal Chapel (Capilla Real) to be built. 1541 – After three years of exile, John Calvin returns to Geneva to reform the church under a body of doctrine known as Calvinism. 1584 – San Lorenzo del Escorial Palace in Madrid is finished. 1609 – Henry Hudson reaches the river that would later be named after him – the Hudson River. 1645 – Wars of the Three Kingdoms: Scottish Royalists are defeated by Covenanters at the Battle of Philiphaugh. 1743 – Great Britain, Austria and the Kingdom of Sardinia sign the Treaty of Worms. 1759 – Battle of the Plains of Abraham: the British defeat the French near Quebec City in the Seven Years' War, known in the United States as the French and Indian War. 1782 – American Revolutionary War: Franco-Spanish troops launch the unsuccessful "grand assault" during the Great Siege of Gibraltar. 1788 – The Philadelphia Convention sets the date for the first presidential election in the United States, and New York City becomes the country's temporary capital. 1791 – King Louis XVI of France accepts the new constitution. 1808 – Finnish War: In the Battle of Jutas, Swedish forces under Lieutenant General Georg Carl von Döbeln beat the Russians, making von Döbeln a Swedish war hero. 1812 – War of 1812: A supply wagon sent to relieve Fort Harrison is ambushed in the Attack at the Narrows. 1814 – In a turning point in the War of 1812, the British fail to capture Baltimore. During the battle, Francis Scott Key composes his poem "Defence of Fort McHenry", which is later set to music and becomes the United States' national anthem. 1843 – The Greek Army rebels (OS date: September 3) against the autocratic rule of king Otto of Greece, demanding the granting of a constitution. 1847 – Mexican–American War: Six teenage military cadets known as Niños Héroes die defending Chapultepec Castle in the Battle of Chapultepec. American troops under General Winfield Scott capture Mexico City in the Mexican–American War. 1848 – Vermont railroad worker Phineas Gage survives an iron rod 1+1⁄4 inches (3.2 cm) in diameter being driven through his brain; the reported effects on his behavior and personality stimulate discussion of the nature of the brain and its functions. 1862 – American Civil War: Union soldiers find a copy of Robert E. Lee's battle plans in a field outside Frederick, Maryland. It is the prelude to the Battle of Antietam. 1882 – Anglo-Egyptian War: The Battle of Tel el-Kebir is fought. 1898 – Hannibal Goodwin patents celluloid photographic film. 1899 – Henry Bliss is the first person in the United States to be killed in an automobile accident. 1899 – Mackinder, Ollier and Brocherel make the first ascent of Batian (5,199 m – 17,058 ft), the highest peak of Mount Kenya. 1900 – Filipino insurgents defeat a small American column in the Battle of Pulang Lupa, during the Philippine–American War. 1906 – The Santos-Dumont 14-bis makes a short hop, the first flight of a fixed-wing aircraft in Europe. 1914 – World War I: The Battle of Aisne begins between Germany and France. 1922 – The final act of the Greco-Turkish War, the Great Fire of Smyrna, commences. 1923 – Following a military coup in Spain, Miguel Primo de Rivera takes over, setting up a dictatorship. 1933 – Elizabeth McCombs becomes the first woman elected to the New Zealand Parliament. 1942 – World War II: Second day of the Battle of Edson's Ridge in the Guadalcanal Campaign. U.S. Marines successfully defeated attacks by the Japanese with heavy losses for the Japanese forces. 1944 – World War II: Start of the Battle of Meligalas between the Greek Resistance forces of the Greek People's Liberation Army (ELAS) and the collaborationist security battalions. 1948 – Deputy Prime Minister of India Vallabhbhai Patel orders the Army to move into Hyderabad to integrate it with the Indian Union. 1948 – Margaret Chase Smith is elected United States senator, and becomes the first woman to serve in both the U.S. House of Representatives and the United States Senate. 1953 – Nikita Khrushchev is appointed General Secretary of the Communist Party of the Soviet Union. 1956 – The IBM 305 RAMAC is introduced, the first commercial computer to use disk storage. 1956 – The dike around the Dutch polder East Flevoland is closed. 1962 – An appeals court orders the University of Mississippi to admit James Meredith, the first African-American student admitted to the segregated university. 1964 – South Vietnamese Generals Lâm Văn Phát and Dương Văn Đức fail in a coup attempt against General Nguyễn Khánh. 1964 – Martin Luther King Jr. addresses a crowd of 20,000 West Berliners on Sunday, in Waldbühne. 1968 – Cold War: Albania leaves the Warsaw Pact. 1971 – State police and National Guardsmen storm New York's Attica Prison to quell a prison revolt, which claimed 43 lives. 1971 – Chairman Mao Zedong's second in command and successor Marshal Lin Biao flees China after the failure of an alleged coup. His plane crashes in Mongolia, killing all aboard. 1977 – General Motors introduces Diesel engine, with Oldsmobile Diesel engine, in the Delta 88, Oldsmobile 98, and Oldsmobile Custom Cruiser models amongst others. 1979 – South Africa grants independence to the "homeland" of Venda (not recognised outside South Africa). 1982 – Spantax Flight 995 crashes at Málaga Airport during a rejected takeoff, killing 50 of the 394 people on board. 1985 – Super Mario Bros. is released in Japan for the NES, which starts the Super Mario series of platforming games. 1987 – Goiânia accident: A radioactive object is stolen from an abandoned hospital in Goiânia, Brazil, contaminating many people in the following weeks and causing some to die from radiation poisoning. 1988 – Hurricane Gilbert is the strongest recorded hurricane in the Western Hemisphere, later replaced by Hurricane Wilma in 2005 (based on barometric pressure). 1989 – Largest anti-Apartheid march in South Africa, led by Desmond Tutu. 1993 – Israeli Prime Minister Yitzhak Rabin shakes hands with Palestine Liberation Organization chairman Yasser Arafat at the White House after signing the Oslo Accords granting limited Palestinian autonomy. 1997 – A German Air Force Tupolev Tu-154 and a United States Air Force Lockheed C-141 Starlifter collide in mid-air near Namibia, killing 33. 2001 – Civilian aircraft traffic resumes in the United States after the September 11 attacks. 2007 – The Declaration on the Rights of Indigenous Peoples is adopted by the United Nations General Assembly. 2007 – The McLaren F1 team were found guilty of possessing confidential information from the Ferrari team, and were fined $100 million and were excluded from the constructors' championship standings. 2008 – Delhi, India, is hit by a series of bomb blasts, resulting in 30 deaths and 130 injuries. 2008 – Hurricane Ike makes landfall on the Texas Gulf Coast of the United States, causing heavy damage to Galveston Island, Houston, and surrounding areas. 2013 – Taliban insurgents attack the United States consulate in Herat, Afghanistan, with two members of the Afghan National Police reported dead and about 20 civilians injured. 2018 – The Merrimack Valley gas explosions: One person is killed, 25 are injured, and 40 homes are destroyed when excessive natural gas pressure caused fires and explosions.

#Events

[fabioferreiraroc]

Todos os filmes em que as cenas de sexo foram para valer

A Bula reuniu em uma lista todos os filmes da história do cinema nos quais os atores se envolvem em atos sexuais reais, não simulados. A diferença entre esses longas e a pornografia é que, embora possam ser considerados eróticos, a trama deles não é meramente pornográfica. Ao todo, a lista conta com 264 títulos.

A Bula reuniu em uma lista todos os filmes da história do cinema nos quais os atores se envolvem em atos sexuais reais, não simulados. Nos Estados Unidos, esse tipo de cena era proibido no cinema convencional, mas a partir dos Anos 1960 os cineastas começaram a ultrapassar os limites. A diferença entre esses longas e a pornografia é que, embora possam ser considerados eróticos, a trama deles não é meramente pornográfica. A maioria deles foi lançada nos anos 1970 e 80, com predominância de dois diretores: o espanhol Jesús Franco e o italiano Joe D’Amato. Por repetidas vezes, também aparecem os nomes de cineastas consagrados atualmente, como Lars von Trier, Gaspar Noé e Yorgos Lanthimos.

1 — Gift (1966), Knud Leif Thomsen

2 — They Call Us Misfits (1968), Stefan Jarl

3 — F*uck (1969), Andy Warhol

4 — 99 Mulheres (1969), Stefen Thrower

5 — Double Face (1969), Riccardo Freda

6 — Quiet Days in Clichy (1970), Jens Jørgen Thorsen

7 — Groupie Girl (1970), Drek Ford

8 — The Deviates (1970), Eduardo Cemano

9 — Bacchanale (1970), John Amero

10 — Kama Sutra ’71 (1970), Raj Devi

11 — Cry Uncle! (1971), John G. Avildsen

12 — Slaughter Hotel (1971), Fernando Di Leo

13 — Uma Lagartixa num Corpo de Mulher (1971), Lucio Fulci

14 — Luminous Procuress (1971), Steven F. Arnold

15 — Secret Rites (1971), Drek Ford

16 —A Clockwork Blue (1972), Eric Jeffrey Haims

17 — Pink Flamingos (1972), John Waters

18 — Who Killed the Prosecutor and Why? (1972), Giuseppe Vari

19 — La Verità Secondo Satana (1972), Ronato Polselli

20 — So Sweet, So Dead (1972), Rose et Val

21 — The Red Headed Corpse (1972), Renzo Russo

22 — Commuter Husbands (1972), Derek Ford

23 — Delirium (1972), Renato Polselli

24 — Christina, the Devil Nun (1972), Sergio Bergonzelli

25 — Danish Pastries (1973), Finn Karlsson

26 — Ingrid the Streetwalker (1973), Brunello Rondi

27 — Thriller – Um Filme Cruel (1973), Bo Arne Vibenius

28 — Revelations of a Psychiatrist on the World of Sexual Perversion (1973), Renato Polselli

29 — A Scream in the Streets (1973), Carl Monson

30 — The Devil In Miss Jones (1973), Gerard Damiano

31 — Fleshpot on 42nd Street (1973), Andy Milligan

32 — The Other Side of the Mirror (1973), Jess Franco

33 — Diary of a Nynphomaniac (1973), Jesús Franco

34 — A Virgem e os Mortos (1973), Jesús Franco

35 — O Reduto dos Monstros (1973), Vidal Raski

36 — The Devil’s Plaything (1973), Joseph W. Sarno

37 — Anita (1973), Torgny Wickman

38 — The Sex Thief (1973), Martin Campbell

39 — The Porn Brokers (1973), John Lindsay

40 — Emmanuelle (1974), Just Jaeckin

41 — The Eerie Midnight Horror Show (1974), Mario Gariazzo

42 — Zelda (1974), Alberto Cavallone

43 — I Tyrens Tegn (1974), Werner Hedman

44 — Score (1974), Radley Metzger

45 — Riot on a Women’s Prison (1974), Brunello Rondi

46 — The Girls of Kamare (1974), René Viénet

47 — La Bonzesse (1974), François Jouffa

48 — Sweet Movie (1974), Dušan Makavejev

49 — Fiossie (1974), Marie Forsa

50 — Contos Imorais (1974), Walerian Borowczyk

51 — Lorna: O Exorcista (1974), Jesús Franco

52 — Countess Perverse (1974), Jesús Franco

53 — Carnal Revenge (1974), Alfredo Rizzo

54 — Keep It Up, Jack! (1974), Derek Ford

55 — The Hot Girls (1974), John Lindsay

56 — Voodoo Sexy (1974), Osvaldo Civirani

57 — Nude for Satan (1974), Luigi Batzella

58 — In the Sign of the Gemini (1974), Werner Hadman

59 — Come To My Bedside (1975), John Hillbard

60 — The Image (1975), Radley Metzger

61 — Número Dois (1975), Jean-Luc Godard

62 — The Teenage Prostitution Racket (1975), Carlo Lizzani

63 — Emanuelle Nera (1975), Bitto Albertini

64 — Emanuelle’s Revenge (1975), Joe D’Amato

65 — Felicia (1975), Max Pécas

66 — But Who Raped Linda? (1975), Jesús Franco

67 — A Maldição da Vampira (1975), Jesús Franco

68 — Les Chatouilleuses (1975), Jesús Franco

69 — L’Éventreur de Notre-Dame (1975), Jesús Franco

70 — Justine e Juliette (1975), Mac Ahlberg

71 — The Bloodsucker Leads the Dance (1975), Alfredo Rizzo

72 — Lábios de Sangue (1975), Jean Rollin

73 — Rêves Pornos (1975), Max Pécas

74 — Wham! Bam! Thank You, Spaceman! (1975), William A. Levey

75 — Breaking Point (1975), Bo Arne Vibenius

76 — Rolls-Royce Baby (1975), Erwin C. Dietrich

77 — Girls Come First (1975), Joseph McGrath

78 — The Sexplorer (1975), Derek Ford

79 — Le Sexe qui Parle (1975), Claude Mulot

80 — Barbie Wire Dolls (1975), Jesús Franco

81 — Emanuelle em Bangkok (1975), Joe D’Amato

82 — Lust (1976), Max Pécas

83 — The Opening of Misty Beethoven (1976), Radley Metzger

84 — Alice in Wonderland: An X-Rated Musical Fantasy (1976), Bud Townsend

85 — Bedside Sailors (1976), John Hillbard

86 — In The Sign of the Lion (1976), Werner Hedman

87 — O Império dos Sentidos (1976), Nagisa Oshima

88 —Through the Looking Glasses (1976), Jonas Middleton

89 — A Real Young Girl (1976), Catherine Breillat

90 — Die Marquise von Sade (1976), Jesús Franco

91 — Girls in the Night Traffic (1976), Jesús Franco

92 — The French Governess (1976), Demofilo Fidani

93 — Inhibition (1976), Paolo Poetti

94 — Around the World in 80 Beds (1976), Jesús Franco

95 — Sex Express (1976), Derek Ford

96 — Keep It Up Downstairs (1976), Robert Young

97 — Secrets of a Superstud (1976), Morton L Lewis

98 — The Office Party (1976), David Grant

99 — The Angel and The Woman (1976), Gilles Carle

100 — Agent 69 in the Sign of Scorpio (1977), Werner Hedman

101 — Shining Sex (1977), Werner Hedman

102 — Fate la nanna coscine di pollo (1977), Amasi Damiani

103 — Blue Rita (1977), Jesús Franco

104 — Emanuelle na América (1977), Joe D’Amato

105 — Emanuelle Around the World (1977), Joe D’Amato

106 — Sister Emanuelle (1977), Giuseppe Vari

107 — Nazi Love Camp 27 (1977), Mario Caiano

108 — Under The Bed (1977), David Grant

109 — The Mark (1977), Ilias Mylonakos

110 — The Cerimony (1977), Omiros Efstratiadis

111 — Monsieur Sade (1977), Jacques Robin

112 — Caligula’s Hot Nights (1977), Roberto Bianchi

113 — Agent 69 Jensen in the Sign of Sagittarius (1978), Werner Hedman

114 — Behind Convent Walls (1978), Walerian Borowczyk

115 — Blue Movie (1978), Alberto Cavallone

116 — Sister of Ursula (1978), Enzo Milloni

117 — The Coming of Sin (1978), José Ramón Larraz

118 — Pleasure Shop on the Avenue (1978), Joe D’Amato

119 — You’re Driving Me Crazy (1978), David Grant

120 — Immoral Women (1979), Walerian Borowczyk

121 — Caligula (1979), Bob Guccione

122 — Images In a Convent (1979), Joe D’Amato

123 — Play Model (1979), Mario Gariazzo

124 — Giallo a Venezia (1979), Mario Landi

125 — Malabimba (1979), Andrea Bianchi

126 — A Prisão (1980), Oswaldo de Oliveira

127 — Beast in Space (1980), Alfonso Brescia

128 — Blow Job (1980), Alberto Cavallone

129 — La Gemella Erotica (1980), Alberto Cavallone

130 — Erotic Nights of the Living Dead (1980), Joe D’Amato

131 — Orgasmo Nero (1980), Joe D’Amato

132 — Flying Sex (1980), Joe D’Amato

133 — Libidomania (1980), Bruno Mattei

134 — When love is obscenity (1980), Roberto Polselli

135 — Hard Sensation (1980), Joe D’Amato

136 — Hotel Paradise (1980), Edoardo Mulargia

137 — Sex and Black Magic (1980), Joe D’Amato

138 — Porno Esotic Love (1980), Joe D’Amato

139 — The Porno Killers (1980), Roberto Mauri

140 — Sem Controle (1980), Paul Verhoeven

141 — Táxi para o Banheiro (1980), Frank Ripploh

142 — Os Frutos da Paixão (1981), Shuji Terayama

143 — Emmanuelle in Soho (1981), David Hughes

144 — Porno Holocaust (1981), Joe D’Amato

145 — Calígula: A História que Não Foi Contada (1982), Joe D’Amato

146 — Scandale (1982), George Mihalka

147 — Apocalipsis Sexual (1982), Carlos Aured

148 — Aphrodite (1982), Robert Fuest

149 — Il Nano Erotico (1982), Alberto Cavallone

150 — My Nights With Messalina (1982), Jaime J. Puig

151 — The Virgin for Caligula (1982), Jaime J. Puig

152 — Luz del Fuego (1982), David Neves

153 — Perdida em Sodoma (1982), Nilton Nascimento

154 — Killing of the Flesh (1983), Cesari Canevari

155 — Satan’s Baby Doll (1983), Mario Bianchi

156 — Taking Tiger Mountain (1983), Tom Huckabee

157 — Emmanuelle 4 (1984), Francis Leroi

158 — Lilian, The Perverted Virgin (1984), Jesús Franco

159 — Alcova (1985), Joe D’Amato

160 — James Joyce’s Women (1985), Michael Pearce

161 — Diabo no Corpo (1986), Marco Bellocchio

162 — Emmanuelle 5 (1987), Walerian Borowczyk

163 — Emmanuelle 6 (1988), Bruno Zincone

164 — Hotel St. Pauli (1988), Svend Wan

165 — Kindergarten (1989), Jorge Polaco

166 — Kinski Paganini (1989), Klaus Kinski

167 — Tokyo Decadence (1992), Ryu Murakami

168 — The Soft Kill (1994), Eli Cohen

169 — A Vida de Jesus (1997), Bruno Dumont

170 — Os Idiotas (1998), Lars von Trier

171 — O Tédio (1998), Cédric Kahn

172 — Fiona (1998), Amos Kollek

173 — Jesus is a Palestinian (1999), Lodewijk Crijns

174 — Romance (1999), Catherine Breillat

175 — Pola X (1999), Leos Carax

176 — The Man-Eater (1999), Aurelio Grimaldi

177 — Olhe por Mim (1999), Davide Ferrario

178 — Vampire Strangler (1999), William Hellfire

179 — Baise-moi (2000), Virginie Despentes

180 — Scrapbook (2000), Eric Stanze

181 — Intimacy (2001), Patrice Chéreau

182 — O Pornógrafo (2001), Bertrand Bonello

183 — Lucia e o Sexo (2001), Julio Medem

184 — Dias de Cão (2001), Ulrich Seidl

185 — O Centro do Mundo (2001), Wayne Wang

186 — La Novia de Lázaro (2002), Fernando Merinero

187 — Le loup de la côte Ouest (2002), Hugo Santiago

188 — Eternamente Sua (2002), Apichatpong Weerasethakul

189 — Coisas Secretas (2002), Jean-Claude Brisseau

190 — Ken Park (2002), Larry Clark

191 — Brown Bunny (2003), Vincent Gallo

192 — Faça Isto (2003), Tinto Brass

193 — Rossa Venezia (2003), Andreas Bethmann

194 — The Principles of Lust (2003), Penny Woolcock

195 — Anatomia do Inferno (2004), Catherine Breillat

196 — 9 Canções (2004), Michael Winterbottom

197 — Story of The Eye (2004), Georges Bataille

198 — Kärlekens språk (2004), Anders Lennberg

199 — Garotinho Bobo (2004), Lionel Baier

200 — All About Anna (2005), Jessica Nilsson

201 — 8mm 2 (2005), J. S. Cardone

202 — Beijando na Boca (2005), Joe Swanberg

203 — O Sabor da Melancia (2005), Tsai Ming-Liang

204 — Princesas (2005), Fernando Léon de Aranoa

205 — Deite Comigo (2005), Clement Virgo

206 — Destricted (2006), Gaspar Noé e outros

207 — Shortbus (2006), John Cameron Mitchell

208 — Taxidermia (2006), Gyorgy Pálfi

209 — Os Anjos Exterminadores (2006), Jean-Claude Brisseau

210 — Amour Fou (2007), Felicitas Korn

211 — Ex Drummer (2007), Koen Mortier

212 — Its Fine. Everything is Fine! (2007), David Brothers

213 — The Story of Richard O (2007), Damien Odoul

214 — Import Export (2007), Ulrich Seidl

215 — Serviço (2008), Brillante Mendoza

216 — Tropical Manila (2008), Sang-woo Lee

217 — Otto, ou Viva Gente Morta (2008), Bruce LaBruce

218 — À l’aventure (2008), Jean-Claude Brisseau

219 — Amateur Porn Star Killer 2 (2008), Shane Ryan

220 — Gutterballs (2008), Ryan Nicholson

221 — House of Flesh Mannequins (2009), Domiziano Cristopharo

222 — Anticristo (2009), Lars von Trier

223 — Viagem Alucinante (2009), Gaspar Noé

224 — The Band (2009), Anna Brownfield

225 — Canino (2009), Yorgos Lanthimos

226 — Angels With Dirty Wings (2009), Roland Reber

227 — Now & Later (2009), Philippe Diaz

228 — Bedways (2010), Rolf Peter Kahl

229 — Rio Sex Comedy (2010), Jonathan Nossiter

230 — The Bunny Game (2010), Adam Rehmeier

231 — Ano Bissexto (2010), Michael Rowe

232 — Gandu (2010), Qaushiq Mukherjee

233 — LelleBelle (2011), Mischa Kamp

234 — Desire (2011), Laurent Bouhnik

235 — O Amor é um Saco! (2011), Scud

236 — Caged (2011), Stephan Brenninkmeijer

237 — Léa (2011), Bruno Rolland

238 — The Wrong Ferrari (2011), Adam Green

239 — Clip (2011), Maja Milos

240 — Uma Estranha Amizade (2012), Sean S. Baker

241 — Paradise: Faith (2012), Ulrich Seidl

242 —And They Call It Summer (2012), Paolo Franchi

243 — I Want Your Love (2012), Travis Mathews

244 — Crônicas Sexuais de Uma Família Francesa (2012), Pascal Arnold

245 — Azul é a Cor Mais Quente (2013), Abdellatif Kechiche

246 — Ninfomaníaca (2013), Lars von Trier

247 — Pornopung (2013), Johan Kaos

248 — O Desconhecido do Lago (2013), Alain Guiraudie

249 — Zonas Úmidas (2013), David Wnendt

250 — Pasolini (2014), Abel Ferrara

251 — Diet of Sex (2014), Borja Brun

252 — Angry Painter (2015), Kyu-hwan Jeon

253 — Love (2015), Gaspar Noé

254 — Muito Amadas (2015), Nabil Ayouch

255 —Theo e Hugo (2016), Olivier Ducastel

256 — Tenemos la Carne (2016), Emiliano Rocha Minter

257 — Needle Boy (2016), Alexander Bak Sagmo

258 — Love Machine (2016), Pavel Ruminov

259 — A Noite (2016), Edgardo Castro

260 — A Thought of Ecstasy (2017), Rolf Peter Kahl

261 — Ana, Meu Amor (2017), Calin Peter Netzer

262 — Picture of Beauty (2017), Maxim Ford

263 — Marfa Girl 2 (2018), Larry Clark

264 — Mektoub, My Love: Intermezzo (2018), Abdellatif Kechiche

Todos os filmes em que as cenas de sexo foram para valer Publicado primeiro em https://www.revistabula.com

[khalilhumam]

The Mexican indigenous artists who are defying labels and stereotypes

New Post has been published on http://khalilhumam.com/the-mexican-indigenous-artists-who-are-defying-labels-and-stereotypes/

The Mexican indigenous artists who are defying labels and stereotypes

We are sharing our visual libraries to inspire future generations of illustrators

The people from Malacateticpac, 2015, by the author, Isela Xospa.

My name is Isela Xospa and I am a freelance illustrator and editor. The graphic design project that I am developing is the result of a personal journey to find ways of asserting my indigenous identity in a contemporary and transnational context. Discovering and embracing my indigenous identity has given me the tools to build new ways of sharing an inner world that is heavily influenced by the culture of the indigenous people living south of Mexico City.

Night of the paper balloons, 2019, by the author, Isela Xospa.

For the International Day of the World’s Indigenous Peoples on August 9, I decided to share the work of young illustrators of indigenous origin and I am sharing them again in this article. I wanted to do this because there are not many illustrators out there who identify as indigenous. The other reason was that, far from trying to stereotype, I believe it is important to publish their work as a provocation that seeks to challenge the imagery and labels assigned to indigenous people and their representations. We must not waste these opportunities to question the formats and styles that are used to represent indigenous groups in the world of illustration. These should be treated as windows of opportunity to rebel against the imposition of the non-indigenous, to make our political stances known and to put forward suggestions, outcomes and ideas to encourage the creation of new narratives and readings, made by and for the indigenous population. For us, the International Day of the World's Indigenous Peoples is not a celebration of labels, customs or exoticisms. Instead, it must acknowledge the systematic attempts to erase us and to integrate us into a nation-state project, which has led to the loss of languages, territories, clothing, knowledge, health and opportunities of indigenous peoples. From the small place that inspired our creativity, some of us with our political views and others with the prevailing need to express ourselves vividly and visually, we will continue to create narratives for children, young people and adults from native populations. We hope that our stories will touch, transform and impact future generations of graphic storytellers who return to, use and embrace their culture. From our creative spaces, we share with you our visual libraries.

Social media: Xospatronik XospatronikNYC @EXospatronik

Mitzy Juárez

Mitzy Juárez is an illustrator and graphic designer from the Chocholteco Ngiba indigenous tribe in Oaxaca, southern Mexico. She was born and raised in a small, remote town on the plains of the Mixteca region of Oaxaca, home to the area’s most beautiful natural springs. The inspiration for Mitzy's drawings comes from the people, the language and the traditions with which she grew up. Through drawing, she has found a way of preserving the knowledge that she inherited from her community—the knowledge that she carries with her wherever she goes.

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¡De la Milpa a la ciudad vino el elotito en el viento, cruzando mares y ríos, llanos, veredas y cerros! (Gabriel del Río) ¡Tchíxa! ¡El elotito! #inktober #chocholteco #ngiba #lenguasoriginarias #ilustración #winsorandnewton #pentel #ilustradoramexicana #elote #maiz #corn #illustration #nativelanguages

A post shared by Mitzy Juárez (@mitzyjuarez.jpg) on Oct 18, 2019 at 12:40pm PDT

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The little corn was carried by the wind from the Milpa farms to the city, crossing seas and rivers, plains, roads and mountains! (Gabriel del Río) It's Tchíxa, the little corn!

Social media: Mitzy Juárez Mitzy Juárez

David Canul, el pájaro Toj (the ‘Toj’ bird)

David Canul is originally from the Mayan territory of Campeche on the Gulf of Mexico. His hybrid work as a professional illustrator ranges from research books, poetry, content for children and even ceramics. He is also involved in organising, managing and promoting children’s and young adult literature festivals in the Yucatán Peninsula.

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Fantasías en bicicleta Técnica: scratch y color digital #scratch #pajarotojilustrador #drawing #illustration #illustratoroninstagram #illustragram #ilustracióninfantil #lij #illustrationartists #illustrationartist #illustrated #librosparaniños #illustracion #moreillustrations #illustrationnow #theillustrationroom #illustrator #illustratrice #illustrationoftheday #illustratorsoninstagram #instaart #instaartist #instartists #xolo #childrensbooks #creativeart #art_spotlight #artwork #artistoninstagram #art

A post shared by PájaroToj Ilustrador (@pajarotoj.ilustrador) on Mar 5, 2020 at 3:36pm PST

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Bicycle Fantasies Technique: scratch and digital colour

Social media: Pájaro Toj Ilustrador  El Pájaro Toj

Griss Romero

An element that stands out in Griss Romero's work is the jaguar, also known as “tekuani” or “tiger” and is one of the most important identity symbols in the state of Guerrero. Griss finds inspiration in the ancestral roots and culture of the Nahua community in Acatlán. She uses her art as a tool to raise awareness of the indigenous peoples in the state of Guerrero in southwestern Mexico, and to showcase their agricultural beliefs and rituals. Griss currently has a piece featured in the Poetics of Colour virtual art exhibition and will soon feature in the virtual exhibition “FROM MY WINDOW — Longing of an Artist in Quarantine”.

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A post shared by Griss Romero (@grisssromero) on Aug 11, 2020 at 7:10am PDT

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Social media: Griss Romero   Griss Romero

Cuauhtémoc Wetzka

Cuauhtémoc Wetzka is a graphic designer and illustrator who has exhibited works in Argentina, Colombia, Spain, France, Estonia, Poland, China, Canada and the United States. Cuauhtémoc is from the Nahua community of the Sierra de Zongolica located in the central region of the state of Veracruz, which lies along Mexico's Atlantic coast. In 2015, he was awarded first place in the Mexican National Council for Culture and Arts’ 25th Catalogue of Illustrators for Children's and Young Adult Publications. In the same year, he was also a finalist in the Art Contest and Exhibition for Children by Hispanic Artists in Las Vegas, Nevada. He has also spoken at various international conferences and has been recognised for his work on printed posters.

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A post shared by Cuauhtemoc Wetzka (@cuauhtemocwetzka) on Jun 25, 2019 at 2:41pm PDT

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Social media: Behance: Cuauhtémoc Wetzka  Cuauhtémoc Wetzka  Wetzka Temo

Gil Kupyum (Gilberto Delgado)

Gilberto Kupyum is from Tlahuitoltepec Mixe, an indigenous community located in Oaxaca's northwest region, an area of fog and forest. In his work, he uses themes such as nature, oral tradition and music, which he captures in various media, for example, painting, screen printing, engraving, lithography and ceramics. His real name is Gilberto Delgado but is called Gil Kupyum or Mish Kupyum by his friends, which means “woodpecker boy” in the Ayuujk language. He identifies with this bird because wood carvings are used in graphic design. Gilberto Kupyum also works with women and young people from his community. Together they make bags, shirts, notebooks, prints and other products to create a source of community employment.

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#rompecabezas

A post shared by Gil Kupyum (@kupyum) on Jun 7, 2020 at 2:47pm PDT

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Social media:  Gil Kupyum Gilberto Kupyum

Valentín Peralta

Valentín Peralta Betanzos belongs to the Mazatec indigenous group and is originally from the town of Eloxochitlán de Flores Magón, one of the 45 municipalities that make up the Cañada region of Oaxaca. Valentín admits that he is attracted to the contemporary world and incorporates new concepts and materials into his current works while focusing on variety since he believes that art is a language and an expression of all the senses.

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MARIA SABINA Un homenaje a maria sabina ,mujer mazateca ….. conocida como la "sacerdotisa de los hongos sagrados" . Algo que me gusto mucho hacer , cuando te acuerdas de aquellas montañas tan llenas de vida…. a la gente que te rodea ,los rostros y las miradas …. modelado en plastilina. #arteoaxaca #modelingclay #plastilina #art #plasticine #hechoamano

A post shared by Valentin peralta (@plastivaleando) on Jun 23, 2019 at 5:21pm PDT

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MARIA SABINA A homage to Maria Sabina, a Mazatec woman known as the “priestess of the sacred mushrooms.” This is something I really enjoy doing…when you remember those mountains that are so full of life, the people that surround you, the faces and the gazes…modelled in plasticine.

Social media:  Valentín Peralta  Valentín Peralta

Vics Gaspar

Victoria Gaspar Teodocio is a Zapotec woman descended from the San Melchor Betaza community in Oaxaca. She is an illustrator who studied Graphic Design at the National Autonomous University of Mexico. Vics uses her illustrations on handmade notebooks and silkscreen prints in different media, and also enjoys working on documentary and portrait photography. The protagonists in Vic's art are women expressing their freedom, passion and love. Her illustrations are a tribute to her mother, grandmothers, and all the women who have had an influence on her life. Vic is part of the mountain group called Dill Yel Nbán, which focuses on promoting the Zapotec language.

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Mujeres músicas de la Sierra Norte de Oaxaca, de San Melchor Betaza y Villa Hidalgo Yalálag. La música serrana es identidad, herencia, canto, luz, fortaleza, alegría, sabiduría, memoria, danza, es historia bordada en huipil, en refajo que no dejará de florecer en comunidad. .

. #ilustracional #illustration #ilustración #ilustradoresmexicanos #ilustradoresmexico #artistasmexicanas #artistasmexicanos

A post shared by Vics Gaspar

(@vics_gate) on Sep 16, 2020 at 3:22pm PDT

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Female musicians from the towns of San Melchor Betaza and Villa Hidalgo Yalálag in the Sierra Norte de Oaxaca region. Music from the mountains is identity, inheritance, song, light, strength, happiness, wisdom, memory, dance, it is history embroidered in a huipil, in a skirt that will not cease to flourish in the community.

Social media: Vics Gaspar Vics Gaspar

Written by Isela Xospa Translated by Emma Dewick · View original post [es]