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anjaniedringhaus · 3 years

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Fatima Shbair wins the Anja Niedringhaus Courage in Photojournalism Award

Brazilian and Iranian-Canadian women photographers also recognized

[September 29, 2021 – WASHINGTON, DC] – Today, the International Women’s Media Foundation presented Palestinian freelance photojournalist Fatima Shbair with the seventh annual Anja Niedringhaus Courage in Photojournalism Award. Since 2015, the international award has honored women photojournalists who take risks to capture humanity in dire circumstances, illuminating underreported and sometimes silenced stories. The prestigious award was created in honor of German Associated Press photojournalist Anja Niedringhaus, who was killed in Afghanistan in 2014.

Shbair’s portfolio rose above more than 100 applications that represented women photojournalists from more than 40 countries. At 24 years old, Shbair is the youngest winner of the ‘Anja Award’ to-date and is a self-taught, freelance photojournalist. Her portfolio, “11 Days of the Israeli-Palestinian Conflict,” includes unique moments of tension, violence, devastation, and hope all captured from Gaza City in May 2021.

“Life here is different, and I had to find a way to [show] what was happening,” says Shbair from Gaza. “Despite successive wars and tragedies, people here dig deep in search of hope, and their lives matter – it’s my responsibility to convey their voices to the world.” Shbair continued: “Anja’s work gives us the determination to continue on the path despite the difficulties. I can’t find the words to describe how honored I feel to receive this award.”

The IWMF also recognized two other women photojournalists with honorable mentions in the competition: Brazilian photojournalist Adriana Zehbrauskas, currently working in Phoenix, Arizona, and Iranian-Canadian photographer Kiana Hayeri, who is based in Kabul, Afghanistan. Zehbrauskas’ portfolio included energetic yet sensitive portrayals of migration and the toll of COVID-19 in Latin America, while Hayeri’s work spotlighted the rising conflict and looming crisis in Afghanistan from an alternative perspective.

“Within the past two years so many communities worldwide have been pushed to the brink in order to survive,” says the IWMF’s Executive Director Elisa Lees Muñoz. “Anja’s focus on resilience, hope and the intimate struggles people face in times of crisis is a legacy we turn to now more than ever. The IWMF is thrilled to recognize this year’s winner, Fatima Shbair, as well as Kiana Hayeri and Adriana Zehbrauskas in Anja’s name.”

This year’s jury included Corinne Dufka, Jacqueline Larma, Robert Nickelsberg, Tara Pixley, and Bernadette Tuazon. Together, the committee issued the following statement on this year’s Anja Award selection: “The portfolios from this year’s winner and honorees draw in the viewer and continue to grow with impact and intimacy. Each photojournalist demonstrated remarkable tenacity and developed clear and close bonds with her subject, accessing what few photographers can convey. We congratulate Fatima, Adriana and Kiana on their remarkable work; Anja would be proud to recognize each of you.”

Anja Niedringhaus was a recipient of the IWMF Courage in Journalism Award in 2005. The winner’s $20,000 prize is made possible by the Howard G. Buffett Foundation. Honorees’ images and captions, biographies and headshots are available for media use with proper attribution; to inquire further, please contact Charlotte Fox ([email protected]).

Courage in Photojournalism Award Winner

This year’s winner, Fatima Shbair, is a Palestinian freelance photojournalist from Gaza City.

After studying business administration for three years at Al-Azhar University in Gaza, Shbair switched to study journalism and began concentrating on photojournalism in 2019 through independent study and working in the field.

In 2020, Shbair began to receive assignments from several international agencies, including Getty Images and The New York Times, to cover her hometown as tensions continued between Israel and Palestine. Her assignments increased in 2021 but came with the challenge of working during a global pandemic, which also strained and ravaged her own community. Shbair is currently a contributor to Everyday Middle East and continues her work with Getty Images. Her work has been exhibited in Palestine, the UAE, London, and Paris.

As a women photojournalist, Shbair’s gender and line of work are challenged daily, due to the conservative nature of society in Gaza, and the prevenance of male photojournalists in the industry.

Juror Dufka noted, “Fatima’s stunning photo essay is one of the strongest entries the jury had the pleasure of reviewing these past several years. Her work with light, angles, and composition is remarkable as she weaves through a forest of destruction in her own backyard.”

Juror Larma continued, “She clearly spent a great deal of time with her subjects and pursued what’s beyond obvious for most photojournalists. Within these 11 days, Fatima took the time to pursue intimate storytelling, showing us both the physical and emotional toll on her subjects while operating in extreme danger.”

From Gaza, Shbair further remarked: “Courage is not just about taking risks; being human first is the true courage of a photojournalist. It is a great honor to receive this award, especially in Anja’s image, as we are all still learning from her creativity, journey, and pursuit of the truth.”

Twitter: @FatimaMshbair, Instagram: @fatimashbair

Courage in Photojournalism Honorees

Honoree Kiana Hayeri was born and partially raised in Iran and was first introduced to photography in high school after her family moved to Canada. Hayeri left Toronto during her final year of university and traveled to Afghanistan on assignment in 2013, where she’s remained.

In 2021, Hayeri received the Robert Capa Gold Medal for her photographic series, “Where Prison is Kind of a Freedom,” documenting the lives of Afghan women in Herat Prison. In 2020, she received the Tim Hetherington Visionary award and was named as the 6th recipient of the James Foley Award for Conflict Reporting.

Hayeri was an IAAB fellow in 2011 and completed a CIS artist residency at MIT University in 2012. In 2014, she was named as one of the emerging photographers by PDN 30 Under 30. In 2016, she was selected for the IWMF’s cross-border reporting fellowship to work on her proposed story in Rwanda and DRC and was selected as the recipient of Chris Hondros Fund Award as an emerging photographer. In 2017, Hayeri received a grant from European Journalism Center to do a series of reporting on gender equality out of Afghanistan and received Stern Grant in 2018 to continue her work on the state of mental health among Afghan women.

Hayeri is a Senior TED fellow, and her work has appeared in The New York Times, Le Monde, Harper’s Magazine, Washington Post, NPR, Monocle Magazine, Wall Street Journal, Marie Clare, Glamour, The Globe and Mail, Al Jazeera America, and CBC, among others.

When reviewing Hayeri’s portfolio, Tuazon noted that, “These images can only be captured by a woman with her specific access and lens. Every single day in this portfolio demonstrates unbelievable courage as the women and children she illuminates convey a harrowing narrative.”

Twitter: @kianahayeri, Instagram: @kianahayeri

Adriana Zehbrauskas is a Brazilian documentary photographer based in Phoenix, Arizona. Her work is largely focused on issues related to migration, religion, human rights, underrepresented communities, and the violence resulting from the drug trade in Mexico, Central and South America.

Zehbrauskas contributes regularly to The New York Times, UNICEF and BuzzFeed News and her work has been widely published in outlets such as The New Yorker, The Washington Post, The Guardian, Stern, Le Monde and El País, among others.

She is the recipient of a 2021 Maria Moors Cabot Prize, a New York Press Club Award in Feature-Science Medicine and Technology in the Newspaper category for the article “Zika’s Legacy: Catastrophic Consequences of a Continuing Crisis (NY-2018) and a POY International (2019). She was a finalist for the Premio Gabo (2018) and received two Honorable Mentions at the Julia Margaret Cameron Award (2018).

Zehbrauskas is one of the three photographers profiled in the documentary “Beyond Assignment” (USA, 2011, produced by The Knight Center for International Media and the University of Miami. She’s a recipient of the first Getty Images Instagram Grant and was awarded Best Female Photojournalist -Troféu Mulher Imprensa (Brazil). Her mobile photography work was selected by Time Magazine for the “29 Instagrams That Defined the World in 2014″ and her project on Faith in Brazil and Mexico was awarded an Art & Worship World Prize by the Niavaran Artistic Creation Foundation.

She’s an instructor with the International Center of Photography (ICP- NY), the World Press Photo Foundation, Gabriel García Márquez’s Fundación Gabo, the Foundry Photojournalism Workshop and serves as a jury member to dozens of grants and awards worldwide.

Commenting on Zehbrauskas’ portfolio, juror Pixley said, “The strength of her images is indicative of a lengthy time occupying difficult spaces despite both health and safety concerns. Her consistency across countries, issues and movements reveals the same, unique human connection.”

Twitter: @AZehbrauskas, Instagram: @adrianazehbrauskas

#awardwinner #iwmf #anjascourage

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mma3youf · 3 years

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FA222 ,principles of graphic design:

Instructor: mr.munwar mukhtar

@uob-funoon @mnwrzmn

Project 1 : interviews

What is your given name, and user name on ZBrush Central?

My name is Khalid Abdulla Al-Muharraqi, my ZBrush Central user name is "Khalid72".

Tell us about your company, how did you start?

I set up Muharraqi-Studios to continue my family's history in the creative world and I am trying to continue to build on what my father started. The company was set up about two years ago after I left the commercial world of advertising with my partner Rashad who decided to leave a career in banking. We wanted to get together to make a place that allows us to be more creative. Since then we have been fortunate enough to work on some of the biggest projects in the middle east, and also continue working on our ideas and concepts, like our movie project. The most important thing for me is the work I do and that's what we are all about.

What is the size of your company?

The company is me and my partner, oh and our secretary... Keesha, a German Shepard! I am a hand's on guy and I do all the creative work myself. At first, I thought it was normal to carry that load because of the speed I work in, but later found out that I am actually very fast compared with bigger teams of artists in other studios. Finally I understood what people were telling me when they said I was 'unusual'. That’s why some of the CG magazines in Europe were amazed that a lot of our work is done by a one man team that puts all the 3D components together into a visualization. I work about 13 to 18 hours a day, I love 3D work, so my hobby and my work has joined into one, so … yes, very little time for a normal life.

What type of projects do you work on?

Well, I have been working on Architectural Visualizations since we started a couple of years ago, but I try to satisfy my urge to do what I really like, art!

You're located in Bahrain, somewhere most of us don't know about. Can you tell us how you learned your trade?

I love this question, Yes Bahrain is a small Island in the Persian gulf, we speak Arabic as our main language and English for the second, I will answer the second part in two parts, If you mean The art... I would say that I come from an artistic family, my father is one of the most well known artists in this part of the world, you can say that he is a household name in these parts. If you are asking were did I learn the 3D or CG art, I would say that I learned it by practicing for 8 hours a day after my official day of work, so I guess you can say I have been my own teacher in the industry.

Tell us a bit about your client base, mostly local, or do you have clients in Europe, Asia, America?

We serve clients from the Middle East, Europe and the Americas, I would say that I have been fortunate enough to have worked with some of the top people in the architectural industry, most of our clients are attracted to the type of work that we produce.

ow long have you been an artist?

Since I was six...I think! Well, the first painting I have sold when I was eleven. I was always painting and trying to find new techniques that will help create the concept in my mind.

Tell us about your background, your education, your mentors...

I studied art in Houston Texas for over seven years between interior decoration, photography, Visual communication, and digital enhancement or photo retouching, from there I have continued my working career in the commercial world. My first mentor would have to be my father, learned everything I know from him. He gave me the push start into the art world and made me feel it. There are also the books and artwork he has exposed me too with some of the top art in the world. A lot of names come to mind but I would say Frank Farazeta, Boris, The Creepy magazine and of course all the original Mad magazines and books that were very hot in the early 80's.

When you became an artist, did you first use traditional media?

For sure, I started with Pencil then got into crosshatching with ink, then I started painting with water colors and gouaches. I finally got into air brush art before I tried CG art.

What was your first CG package? What is your first 3D Package?

Nice question... first CG software was PSD, version 2, it was like magic... It felt strange especially that I was a traditional artist at the time. My first 3D package would be Alias Sketch for the Mac since I was a Mac user for a long time and did not have much 3D developers for Mac at the time. It was a new world for me and I think I still have a dusty copy of it today even after the software was canceled back in the early 90's, it just reminds me of my past.

How long have you been using ZBrush?

It has only been about six months, but I was up and running almost a few hours after I purchased it.

What made you try ZBrush?

I was watching some of the tutorial videos on how to paint details on the Gnomon training DVD's, and that's when I was shocked to see that it is art on the computer! I did not believe it at first, but It was one of the happiest moments when I first installed my first copy of ZBrush and started painting geometry for the first time, it reminded me with the days when I was pushing and pulling real clay to make a small creature of my imagination when I was a kid.

What's your favorite ZBrush feature?

The ability to paint geometry like it is physically in my hands.

How has ZBrush enabled you to express yourself in ways other packages couldn't?

Well you cant really compare it with any other software, it's simply too different! It changes how a CG artist works, it changes how he looks at things, has changed the industry to the next future leap, and who would want to go back to the past....? I would simply say that the concept of the software is very smart and impressive, my only wish to add on it is to have a bigger view port :)

Now onto "Floating Islands"Tell us about your creative process, how did this concept emerge?

One evening when I was stuck in the studio waiting for clients approval on a project that I was preparing for the kingdom of Bahrain, I was trying to get free again and relax my mind from all boundaries, I started to sketch a concept that has bean in my mind since I was a kid, the island that was then discovered to be on the back of a whale, these were some of the old middle eastern stories about Sinbad's magical voyages.

Do ideas just come to you out of nowhere, or are there particular artists or work you are inspired by?

I am always inspired by everything that is beautiful, whether it is an artist or a design or just Gods creation, I would also say that I have always had my own style in my work and almost never try to follow a certain style that I have seen.

I love this piece, can you tell me about the process of creating it? Have you explored this style before? Or was this created for something specific?

The process was, a sketch or the map as I would call it, and that would be the basis of my creation, I almost never start without it, once I crack the direction then I would start thinking about the execution and the path to take. About the style, well I don't think of my work as style, I think it is more towards I do what I feel, it is only when I am finished with it that I say "Yes! That's what I was tying to do". I almost never tried to repeat a style that I have seen elsewhere on my work. I feel that It is like a code of respect between artists.

In your image "Floating Islands" where was ZBrush used?

ZBrush helped me sculpt the geometry and take it to the next level in a short time. Modeling, UVs, Painting and scenes setups was between Lightwave and Modo. With ZBrush I was able to put the final touches that would make it come to life. ZBrush helped me start painting the UV map textures and setting up the foundation of the look and feel. I also generated some of the whales textures by the amazing ZMapper ;)

Tell us about your pipeline.

I start with Modo, then go to ZBrush, then finally render with Lightwave. The thing with software today is that they work hand in hand to complete each other, for instance ZBrush is very specialized in what it does, it focuses on the need of the artist and helps the creator to complete his task sufficiently with a smooth flow, artists have never had it this good.

What projects are you working on now?

We have just completed the visualization for the Master Plan for the Kingdom of Bahrain with one of the leading Architectural firms in the world, we have helped restructure and rebuild old and new cities for the country. Now I will be working more onto the movie project that we have been trying to get the time to start, hopefully I will be able to focus more on creating more Characters and environments for the movie.

Any last comments for us?

I would like to say Thank you to Manuel at Pixologic and Pixologic for appreciating the work I do. I would also like to thank all the development team and staff at Pixologic for there dedication to work together to help create some of the best tools ever created for the CG industry, I always expect the ideas to be fresh and most importantly designed for the end user, the artist, allowing the artist to continue being an artist without the restrictions and boundaries of a computer.

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recentanimenews · 3 years

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86 EIGHTY-SIX - Crunchyroll Spring 2021 Spotlight

Based on the sci-fi light novel series written by Asato Asato and illustrated by Shirabi, 86 EIGHTY-SIX is one of the most exciting additions to the Crunchyroll Spring 2021 Lineup. For those just now jumping into the dramatic mech-piloting action, you can learn more about the series in our full spotlight below.

Official Website

Navigation

Launch Info

Official Trailers

Synopsis

Characters and Cast

Staff

Additional Info

Launch Info

Launch Time: April 10, new episodes every Saturday at 9:30am PT

Territories: North America, Central America, South America, Europe, Africa, Oceania, the Middle East, and CIS

Show Page

Official Trailers

youtube

Synopsis

Called “Juggernaut,” these are the unmanned combat drones developed by the Republic of San Magnolia in answer to the attacks by the autonomous unmanned drones of the neighboring Empire of Giad, the “Legion”. But they’re only unmanned in name. In reality, they are piloted by the Eighty-sixers—those considered to be less than human and treated as mere tools. Determined to achieve his own mysterious ends, Shin, the captain of Spearhead Squadron, which is comprised of Eighty-sixers, continues to fight a hopeless war on a battlefield where only death awaits him.

Characters and Cast

Vladilena Mirizé

VA: Ikumi Hasegawa (Minami Nanami in Karakai Jozu no Takagi-san)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！ヴラディレーナ・ミリーゼ（CV.長谷川育美）を紹介！ ▼キャラクターページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/HtTh5s415k

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 11, 2021

Shinei Nozen

VA: Shōya Chiba (Kotaro Azumi in Tsukigakirei)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！シンエイ・ノウゼン（CV.千葉翔也）を紹介！スピアヘッドの隊長。パーソナルネームは"葬儀屋"を意味する「アンダーテイカー」。 ▼キャラクターページhttps://t.co/KDU10m3vWi#エイティシックス pic.twitter.com/1v2Wx6cTeZ

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 8, 2021

Raiden Shuga

VA: Seiichirō Yamashita (Kakeru Naruse in Orange)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！ライデン・シュガ（CV.山下誠一郎）を紹介！パーソナルネームは＜ヴェアヴォルフ＞。 ▼キャラクターページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/HERATPmgo8

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 11, 2021

Theoto Rikka

VA: Natsumi Fujiwara (Kabane Kusaka in Kemono Jihen)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！セオト・リッカ（CV.藤原夏海）を紹介！パーソナルネームは＜ラフィングフォックス＞。 ▼キャラクター紹介ページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/ypXKS2umDq

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 12, 2021

Anju Emma

VA: Saori Hayami (Shirayuki in Snow White with the Red Hair)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！アンジュ・エマ（CV.早見沙織）を紹介！パーソナルネームは＜スノウウィッチ＞。 ▼キャラクター紹介ページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/a9UwTV35d5

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 13, 2021

Kurena Kukumila

VA: Sayumi Suzushiro (Uruka Takemoto in We Never Learn)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！クレナ・ククミラ（CV.鈴代紗弓）を紹介！パーソナルネームは＜ガンスリンガー＞。 ▼キャラクター紹介ページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/Jbd4pWMTAk

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 13, 2021

Kaie Tanya

VA: Haruka Shiraishi (Asirpa in Golden Kamuy)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！カイエ・タニヤ（CV. 白石晴香）を紹介！パーソナルネームは＜キルシュブリューテ＞。 ▼キャラクター紹介ページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/QsCCWyMs3m

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 17, 2021

Daiya Irma

VA: Haruki Ishiya (Saneyasu Adachi in Kono Oto Tomare!: Sounds of Life)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！ダイヤ・イルマ（CV.石谷春貴）を紹介！パーソナルネームは＜ブラックドッグ＞。 ▼キャラクター紹介ページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/CM4X1O5eA9

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 17, 2021

Hart Keets

VA: Daiki Yamashita (Izuku Midoriya in My Hero Academia)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！ハルト・キーツ（CV. 山下大輝）を紹介！パーソナルネームは＜ファルケ＞。 ▼キャラクター紹介ページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/bc9yvtZyPf

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 18, 2021

Niko Kujō

VA: Taishi Murata (Eiichirō Maruo in Baby Steps)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！クジョー・ニコ（CV. 村田太志）を紹介！パーソナルネームは＜シリウス＞。 ▼キャラクター紹介ページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/XnC8qzFZRI

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 18, 2021

Louis Kino

VA: Shinei Ueki (Don in The Promised Neverland)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！ルイ・キノ（CV.植木慎英）を紹介！パーソナルネームは＜ファーヴニル＞。 ▼キャラクター紹介ページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/WnzeIsBu8C

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 19, 2021

Thoma Sauvy

VA: Katsumi Fukuhara (Shark in Noblesse)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！トーマ・ソービ（CV. 福原かつみ）を紹介！パーソナルネームは＜ヘリアントゥス＞。 ▼キャラクター紹介ページhttps://t.co/KDU10lLV4K ▼第2弾PVhttps://t.co/ybkUC7j3BA#エイティシックス pic.twitter.com/HfUW8KlRTA

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 19, 2021

Chise Authen

VA: Masamu Ono (Koji Oki in World Trigger Season 2)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！チセ・オーセン（CV. 小野将夢）を紹介！パーソナルネームは＜グリフィン＞。 ▼キャラクター紹介ページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/Z23DgJv8cS

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 20, 2021

Maina Yatomika

VA: Mayuko Kazama

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！マイナ・ヤトミカ（CV. 風間万裕子）を紹介！パーソナルネームは＜マーチヘア＞。 ▼キャラクター紹介ページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/lqZpwM3bUK

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 20, 2021

Mikuri Kairō

VA: Yuka Nukui

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！ミクリ・カイロゥ（CV. 貫井柚佳）を紹介！パーソナルネームは＜レウコシア＞。 ▼キャラクター紹介ページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/lQK6ywUbl8

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 21, 2021

Tōzan Sasha

VA: Taito Ban (Nagahiro Sakiguchi in Pretty Boy Detective Club)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！トウザン・サシャ（CV. 坂泰斗）を紹介！パーソナルネームは＜ガンメタルスコーム＞。 ▼キャラクター紹介ページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/XV3vqzRyPl

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 21, 2021

Rekka Rin

VA: Shizuka Ishigami (Ikumi Mito in Food Wars!)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！レッカ・リン（CV. 石上静香）を紹介！パーソナルネームは＜バーントテイル＞。 ▼キャラクター紹介ページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/MgNPrIpYir

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 22, 2021

Lev Aldrecht

VA: Taiten Kusunoki (Genichiro Sanada in Prince of Tennis)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！レフ・アルドレヒト（CV. 楠大典）を紹介！ ▼キャラクター紹介ページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/TYfeybyb8Y

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 22, 2021

Henrietta Penrose

VA: Riho Sugiyama (Rosalie in I've Been Killing Slimes for 300 Years and Maxed Out My Level)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！アン��エッタ・ペンローズ（CV. 杉山里穂）を紹介！ ▼キャラクター紹介ページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/kQ52Hs6Mmg

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 23, 2021

Jerome Karlstahl

VA: Satoshi Mikami (Testa Lagusa in 91 Days)

【キャラクター紹介】 4月10日（土）24時より、TVアニメ「８６―エイティシックス―」放送開始！ジェローム・カールシュタール（CV. 三上哲）を紹介！ ▼キャラクター紹介ページhttps://t.co/KDU10m3vWi ▼第2弾PVhttps://t.co/ybkUC71sd0#エイティシックス pic.twitter.com/5IKOyXxiPd

— TVアニメ『86―エイティシックス―』【公式】 (@anime_eightysix) March 23, 2021

Staff

Original Creator

Asato Asato (Story)

Shirabi (Art)

Director

Toshimasa Ishii (Assistant Director for ERASED)

Series Composition

Toshiya Oono (THE PROMISED NEVERLAND, Shadows House)

Art director

Yumi Horikoshi

Masanobu Nomura (K, Kakegurui)

Mechanical design

I-IV (ALDNOAH.ZERO)

Character design

Tetsuya Kawakami (Sub-Character Design for Sword Art Online)

Color design

Nagisa Abe (Blue Exorcist - The Movie)

Music

Hiroyuki Sawano (Attack on Titan)

Kohta Yamamoto (Attack on Titan Final Season)

Sound director

Jin Aketagawa (Dr. STONE, JUJUTSU KAISEN)

Director of Photography

Masaharu Okazaki (Blue Exorcist)

Opening theme

"3-pun 29-byou" by hitorie

Ending theme

“Avid” by Hiroyuki Sawano

Animation production

A-1 Pictures

Additional Info

The TV anime 86 EIGHTY-SIX is based on the light novel series of the same name by author Asato Asato and illustrator Shirabi. In Japan, the Dengeki Bunko imprint from ASCII Media Works has already published nine volumes since 2017. Yen Press publishes the original light novels in North America.

-------

Joseph Luster is the Games and Web editor at Otaku USA Magazine. You can read his comics at subhumanzoids. Follow him on Twitter @Moldilox.

By: Joseph Luster

#Anime #News #Latest in Anime News by Crunchyroll!

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ozis-paradise · 4 years

Text

ØZI for Hypemagazine published: August 4th

Who is ØZI?

From the outside looking in, who is ØZI?

I am a Taiwanese-American singer-songwriter, music producer, and visual director that wants to bring something fresh to the table. I’m an artist who likes to push boundaries and experiment with every aspect of artistic expression, from visuals to music style to fashion. I am a trailblazer on a mission to introduce an unprecedented approach to the game in hopes to attract the worlds attention to my culture and put Chinese/Mandarin music on the the map.

What brought you to the entertainment industry, music specifically?

I don’t think there was a specific moment in my life that brought me to the entertainment industry, I’ve been in it all my life. My mother was a well-known pop artist and singer-songwriter in Taiwan, and my dad was the go-to photographer for all the fashion magazine covers and album artworks from the 80s to the mid 2000s, so I was very much raised in this environment. I began taking music classes since the age of 4, and formed my first rock band in the age of 7. If I were to really try to pin-point a specific time that made me want to pursue music as a career, it’d probably be in middle school when I fell in love with Eminem and Linkin Park. It was them that made me feel like music is the way I want to express myself as an individual. From then on, I’ve developed interests in music production and film making. I used to shoot music videos of myself performing in my dad’s photography studio, and asking my friends to hold my phone on a 3-axis gimbal and just do music videos on the streets of Taipei. This continued all the way throughout high school and until I decided to leave Boston after a semester in Berklee to really get into music for real.

What do you want people to get from your music?

It’s hard to say what I want people to get from my music because each song I make represents a different piece of my artistic expression. I am constantly inspired and stimulated by different styles of music and therefore I find a hard time categorizing my music into one genre. The only common denominator of my music would be me, and what I as an artist want to express at the time of my life. Being a third-cultured kid is most certainly a big factor of this identity crisis, but I learned later to utilize it as my own way to bridge the gap between not only the east and the west, but between different cultures in it.

Tell us about your current project

I am currently finishing up my second full-length project since my first album in 2018, and will be the first project to be mainly in English. The project will include several collaborations with oversea artists and will showcase a side of me that is unheard of from ever before.

For new listeners, what song of yours would you pick as an introduction to you as an artist?

I think my new song “LAVA!” is a good introduction of me as an artist. You get to hear a bit of me both as an R&B singer, rapper, and director too. “Missionary” or “Diamond” would be good follow-up songs to listen after.

Tell us a bit about your work and passions OUTSIDE of music…

I play a lot of games during my leisure time. I'm a huge fan of the Dark Souls series by Miyazaki, and a heavy Super Smash Bros player on the Nintendo Switch. Other times I play ice hockey for sport; I’ve been playing it since the 5th grade. Recently, I’ve also been tapping into the world of culinary arts and bartending. To a certain extent, the pandemic is allowing me to explore and unlock next skill sets in life.

Last but not least, HYPE wants to know…What’s your CRAZIEST WTF?! moment…

My craziest WTF moment to date is me getting nominated for 6 awards and receiving the “Best New Artist” last year at the GMAs in front of 10 thousand people, including some of the most iconic artists in the music industry. Right after receiving the award I had to stay on the stage to perform my song in front of these legends since my childhood. That whole entire experience to me was so nerve-racking and surreal.

#øzi #ozi #hype magazine #interview #200804

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themostexpensiveboningknife · 4 years

Text

2020

Failed party, money in drawer, communicate, move house, move boxes, drive in van, walk to shops, buy noodles, think it’s the end, see whole bus of soldiers in Beijing, new area, walk in darkness, think about leaving, leave, think its temporary, in taxi, post stupid photos, check and check again phone, think people with goggles on my plane are over reacting, take off my mask to eat, keep taking off to loosen, arrive back in London. Tube. Cold. Pub. Party at WeWork. Exhibition at Dulwich Gallery. Farringdon. Drugs and drinks. Brockley, South east London. DJ. Ethiopian food. Morley’s Peckham. Walking on the River. Photographer friend’s house. Canal cycle. National Gallery. Car crash, Dalston. Omar Souleyman. Corsica Studios. Meet girl, back to my friends, back to hers, sex. Morning up to mum’s best friends birthday, Covent Garden restaurant. In a van, Sunday roast. Chisenhale Gallery. arebyte Gallery. Getting worse in China, seems nice and easy and calm in England. Camberwell beers and more. Second-hand book shops, Charing Cross Road. Courtauld. Leafed through a book about a man who lived his entire 86.5 years in East London. Still talking to the same girl back in China. Both believe I’ll be back soon. Chicken wings. West London, meal. South London pub. DJing somewhere inside. Kent, see grandma. Rave, Bermondsey. Friends from Israel and Germany arrive. More drinks, more drugs. Mixing friends. Gay bar in Bethnal Green for old friend’s birthday. Acid, confused and hilarious. Tate Britain. Serpentine. Cranes on the bridge. Liverpool Street film screening. Feels shallow, but good. Begin regular E Pellici sojourns. Primrose Hill with Dad. Beer festival with Keaton and co. Peckham, school friend’s house, bad vibe. More drinks, more drugs. Working on first music compilation with Slowcook and Fafa. Begin watching all of the Studio Ghibli movies. Watching Breaking Bad. At some point have huge argument with my brother, it went like this: He came home from work and I was sitting watching Breaking Bad, he asks, “Have you been like that all day?” I either took it in the wrong way or picked up on a sly dig. It was probably me, but at this point I was pretty self-conscious and worried about going back to China and whether or not I would have a job back there. Was getting surprisingly pissed off with my brother mentioning his work, felt like an affront to me. Weird. He goes crazy (he has a short fuse), punching a wall, ready to fight me. My mum is pretty upset. A few days later I go into his room and try to patch things up. Turns into a deeper chat. He feels like I haven’t been a good brother to him, he gives the example of not looking out for him on his first days of school. I say I’m sorry, it’s because I’m a bit scared and insecure. In retrospect I regret a little laying so much weakness on the table, seems his interactions/ways of acting around me have changed a bit. Still not sure how I feel about it all. Considered getting a gold tooth with Matthew. Play with cats, enjoying them more and more. Rave in Dalston, good music from Asia and beyond. Looking at magazines. Not doing much work at all. Being out and about instead. Go to Norfolk. It’s beautiful, but get way too drunk on first night, sick everywhere, wake up naked in sick. Massive fucking shitshow. Majority of people there have no choice but to act weirdly around me now, which is understandable. Still some nice aspects. One girl there surely hates me a lot. Tate Modern. Art stuff by self is good. Corsica Studios, semi-art, semi-music event. Mr. Bao for first time of many. Radio in Tottenham. Take drugs. Pubs. Drive to Asda with brother to stock up on food. It’s March and the reality of the pandemic is hitting. More canal cycling. First and only group chat on Zoom. BH Funk. Probably have taken cocaine and messaged one of three or four girls numerous times by now. If there’s one, in the cold light of day, horrible and disgusting thing I’ve done too much this year it’s this. Incessant messaging of poor girls that I know will react (although increasingly they don’t, I manage to alienate even close friends in this way). Southbank and The Mall with Nick. Reading about Wuhan. List of good texts. Continuing to do some writing. Making WeChat posts for guī WeChat, including mix series and miniessays. Greenwich park with Matthew. Grime quiz online. Delivering food regularly for my mum’s school. Hackney Marshes with Luan. Epping Forest with Mum and Dad. By this point probably have woken up feeling sorry for myself in Ludo’s flat, after untold amounts of alcohol and cocaine. Online rave. Beijing artists only mix. Go to Switzerland, pass through Italy on the way. Its breath taking, the mountains, the expanse of scenery, not used to it. Climbing up mountains with no one around. Rolo and Patrick and Rita smoke too much weed. I really, really, really still hate smoking it. Feel a bit annoyed how long we spend sitting around while they smoke, but this is way outbalanced by the uniqueness of where we are and the beauty all around. Producing more and more, actually getting somewhere. Cooking more and more food. Reading more and more, like: Black and British, The Corrections, Real Fast Food, Bass, Mids, Tops, Zadie Smith, Olivia Lang, Graham Greene, JG Ballard, Monica Ali, Mo Yan, Jenny Zhang, John le Carre, Naked Lunch, Nabokov, Bukowski, Zora Neale Hurston, Wiley, Bitcoin, Murakami, Judith E. Butler, The Painter of Modern Life, Maupassant, Chekov, Video Art, Gravity’s Rainbow (couldn’t finish), Anaïs Nin, The Net Delusion (couldn’t finish), The Establishment and how they got away with it (couldn’t finish), Roddy Doyle, The Secret of Scent, General Intellects, Women In Love, The Intelligent Investor, Lyndon Johnson. Victoria Park more often than I can remember. To Chrissy’s house. Mile End Park. Very regularly sitting on the river in Wapping. Bring the chessboard and play Ludo sometimes, people smile and look at you differently when you’re playing chess and drinking beers versus just sitting and drinking beer. I May Destroy You. Industry. The beautiful wide expanse of Hackney Marshes. My incessant quest to reach 1000 followers in Instagram. More cycling, and I hate to say it but it really was: Here there and everywhere. Margate with my Dad to see my grandma in hospital and saw the Turner Prize exhibition. Light blue like scrubs, the sky and sun felt eternal. Swimming in dirty water. Make a DJ mix of old 2000s Road Rap. Eat cheese in Peckham. Cycle along the canal north, keep going and going through Tottenham, past Enfield keep going, it’s mad how quickly it becomes quiet fields on all sides, arrive to some kind of lake, swim and then back to the centre of town. Outside a Hawksmoor church in Shadwell ate chicken with Karim and Ludo. DJing. From my bedroom window saw a big crane in the middle of the night sitting on the canal. Begin developing the second DCCY compilation this time with BULLY magazine. Go to a house in an old school in Camberwell. Discover new secret riverside spots in East London. Finally give up my apartment in Beijing. Mile End park. Cycle further and further East to a pedestrian bridge I didn’t know existed. Get onto the beach and into the Thames water. Interview Akito. Begin writing more, after few months of wiling away the summertime. My friend Emmy gets married in Rwanda, I give him some money as a wedding gift which he tells me he used to buy his wife’s dress. Protests in HK always on TV. Get more into finances, crypto and trading, and just saving in general. Had sex with an old friend. Now meeting a girl I first knew years ago in Beijing. More secret river spots. Keaton has his baby, Noah. More times on Hackney Marshes. Barbican conservatory. Watching more films, try to watch all the films of some directors including: Jia Zhangke, Bong Joon-ho, Edward Yang, Wong Kar-wai, Apichatpong Weerasethakul. Decide to watch all of the infamous lauded series, go through Breaking Bad, The Wire and The Sopranos. Go to the seaside for a few days, camping also. Henry Wu album launch in a car park in Bermondsey. Go to visit Keaton’s baby for the first time. Good photography exhibition at Photographer’s Gallery. Go to Wallace Collection again. August. Go to Berlin. Swimming in Berlin lakes until I get an ear infection. It makes me drowsy and lethargic, but still seems to spend all my time cycling around the city. On one night cycle for hours to a rave on the outskirts of the city. Like a lot the abandoned airport in Berlin. Oh yeah, vaping. Found a dead bumble bee. Speak with Nevin about projects. Write a piece about the future of the art world for a magazine being started by Nevin’s friend in Canada. Go to Lithuania. Walk around Vilnius, get too drunk by myself. Get to the Curonian Spit and Nida, beaches and new friends. For the Nightlife Residency project. For a short while life is like on a desert island of new food, new people, new locations, quiet and new meaning. Go to the Russian border on the beach. Cycle to the road boarder and get stopped by the police. Go nude on the beach for the first time. Sauna, sand dunes and forests. DJ out for the first time in ages, this time with Nono. To Kaunus and try nice and stodgy Georgian food for the first time. Hackney Wick back for party. Meet a ginger girl online and go on a date. Wallace Collection again. Free beer and pizza. White Cube. National Gallery, Titian. On BBC Radio London with my Dad. Riverside beers. Saw a lost swan near my front door. Meet Keaton near his work, one of many times. Making more and more music, getting better. Decide I need more organisation and clarity, put everything I’ve done on a blog. More or less long since given up on my job at M Woods. But don’t really begin looking for anything new because it’s still sunny. At some point I start getting benefits money. Go to see La Haine in the cinema. Someone blocks me on WeChat because of me. Some pub somewhere. Sunday walks and breakfast with my parents. Go to an exhibition in Woolworth Road with Muzi. Realise how nice it is to run to Victoria Park along the canal. Vicky Park in general. Dinners at friends’ houses. Museum of London. Walking with Michael in some countryside near London, surprising how quickly things turn green. Break onto a pier in Wapping with Jack. Battersea Park. Tate, Bruce Nauman. Old Street Weatherspoon’s with Keaton, drugs. Central London cemetery. Chinese in Camberwell. Chinese in Aldgate. Italian in Camberwell. More and more exercise, running, weights and yoga with my brother. Sadie Coles. Nick, Central London. Gucci Mane. Hampstead Heath more because Ludo and his flatmates are nearby. Ludo’s now house more for days and nights of you guessed it. Borough Market more, with Emma. Alexandra Palace walk and famous sandwiches after. Tate Britian new lights. More time at Muzi’s. Signing up for cycle courier. LYL Radio show. Shave head. Take acid and it hurts my stomach. Camden Arts Centre with Muzi. Christmas party with friends. Birthday. Cake with Muzi, presents and Indian takeaway from family, walk in Vicky Park with Ludo and Karim plus battered sausage and chips. Christmas at home nice and warming meal. Evening to Ludo’s place with more friends. Boxing day with Matthew, pints and then more at his house in Peckham all night long. Next day is tough! Giant turkey sandwiches, turkey soup, turkey curry. Buy first NFTs. New Year’s Eve stay in at Muzi’s, one drink and a cake.

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abundanceofsoph · 4 years

Text

SkyFire 3: Chapter 5

Aurora in Vogue & saying goodbye to Robin: May-June 2017

Word count: 3.2k

SkyFire 3 MASTERLIST

>Instagram posts - vogue + robin

Stepping into the elevator of Avengers tower, Aurora felt all the stress of the past month leave her body. LA was always fun to visit, but it never felt like home the way NYC or London did and knowing she would be with her parents shortly, added to the feeling of comfort. After weeks of anxiety over the album being released, the pressure of performing again and the constant looming threat of Robins health, the thought of getting a hug from Steve was enough to bring tears to her eyes. The moment she stepped out into the penthouse, Steve and Tony were waiting for her and she gladly fell into Steve’s arms, immediately feeling Tony step behind her, his chest pressed against her back and sandwiching her in the middle of a family cuddle. She was grateful to be spending a week back home in the tower and excited for the photo shoot for Vogue in a few days’ time, however she couldn’t seem to avoid the anxious feeling in her gut whenever she thought of Harry.

She knew how deeply affected he was by his stepfather's continued deterioration and she wished that she had just cancelled the photo shoot and gone straight to Manchester with him to offer her support. Not only did she want to be there for her husband, but she also wanted to make the most of the short time she herself had left with Robin. She was desperately searching for a silver lining or really anything positive to hold on to and so far, all she had come up with was that she was grateful that they all had the opportunity to say goodbye to Robin. Her own mother’s passing had been so sudden and tragic, so she hoped that the time they had to spend with him and say farewell would help them process their grief just a little bit easier when the time finally came.

xXx

After spending a few days with her fathers, Aurora met with the photographer, designers and the rest of the team behind her photo shoot for her article in Vogue magazine. She wasn’t going to be on the cover of the magazine, instead only featuring in an article a few pages in and as such the photo shoot was not the grand spectacle you would assume it would be when Vogue was involved. Some of the photos were taken out on the quiet street outside the Queens photography studio, while the rest of the shoot took place inside. Aurora had plenty of fun, changing outfits and having her hair and makeup perfected and she chose to wear her prosthetic hand for some of the outfits, while leaving it off for others. By the end of the day, she was glad to be back in her own clothes and chatted away to Happy about the day as he drove her back across the East River.

Steve had prepared a nice meal for the evening, and both he and Tony were waiting in the penthouse when she returned.

“It’s been so good to have you home this week kiddo,” Tony said while they ate. “We’ve missed you.”

“Missed you both too,” Aurora replied. “It’s been nice to just stop for a moment and hang out with you both. Everything is so hectic lately and it feels like Harry and I are always rushing to or from something. Get’s a bit much sometimes.”

“You know we’re always here when you need a break,” Steve promised, reaching out to squeeze her shoulder slightly.

“I know,” she smiled. “Means everything to know I can always come here, and it’ll feel like nothing’s changed.”

“Well some things might be a changing a bit,” Tony replied. “Steve and I have started looking into adoption or surrogacy.”

“You’re going to have a baby?” Aurora squealed, her face lighting up in delighted excitement. “Oh, that’s wonderful!”

“It won’t happen for a while,” Tony continued. “It’s not a simple process and there’s a lot of paperwork and the tower would need to be approved by a social worker and either Pops or I will need to take a lot of time off work, so nothing will happen any time soon. We just want you to be involved.”

“And I really want to be involved,” Rori replied. “This is going to be the luckiest kid in the world to have you two for parents.”

“You don’t think it’ll be weird to have a baby sibling when you’re old enough to be having your own kids?” Steve asked.

“Not at all,” she promised. “Besides you’re technically only 34 Pops. That’s not exactly too old to be having a baby you know.”

Tony stood from his seat and quickly pulled his daughter to her feet, wrapping her in a tight hug. “Gonna be such a lucky kid to have the best big sister in the world,” he mumbled in her ear and she simply squeezed him tighter before they were both enveloped by Steve’s arms.

xXx

The day after Steve and Tony informed their daughter of their plans to expand their family, she packed her things and after a quick farewell, boarded a flight for Manchester. She was anxious the entire flight, pressing her thumb into the palm of her hand repeatedly or tapping her fingers on the tray table in front of her. Harry met her at the airport, his usual happy smile missing in action as he gave her a quick hug and then herded her back towards his car.

Aurora tried to enjoy her week in Holmes Chapel, she really did. She attempted to find the usual peace and comfort she usually felt when helping Anne in the kitchen, or when arguing with Harry over a game of scrabble about whether he was making up words, but all she felt, underlying every moment was looming dread. With every interaction between herself and anyone in the house she was painfully aware of the ticking clock hanging above their heads. Every time Robin coughed a little too hard or winced when he tried to stand up from the recliner in the living room, she was faced with the reality that she and Harry were there to say goodbye. She tried to hide it behind strained smiles and forced laughter, holding her tears off until everyone was asleep, and she could sneak outside to the back garden and let her sobs break free.

Despite knowing that it was very likely the last time she would see him, Aurora was grateful when it was finally time for her and Harry to return to London. She felt as though she hadn’t taken a deep breathe since the moment she arrived, so as heartbreaking as it was to say goodbye for what she knew was very likely the last time, she was relieved to be also leaving behind the tense and terrifying atmosphere of the house. They both hugged Robin and Anne goodbye, holding on a few moments longer than usual and neither commented on the others tears as they pulled out of the driveway and merged onto the motorway headed south. There was nothing to say as the radio softly played, breaking what would have otherwise been tormenting silence as Harry drove.

xXx

After only a few weeks back in London and another tv performance, Harry received the call from his mother that they had been dreading for months on end. Robin had finally lost his battle against the disease that had been ravishing his body for near on a year. The moment Anne gasped out the terrible words, Harry’s world stopped turning. His breath caught in his chest, his ears rang in the silence that wrapped around him, and his knees buckled beneath him. Aurora was by his side the moment he fell to the floor, taking the phone from his loose grip and quietly taking over the conversation with Anne. They didn’t speak for long and after hanging up, Rori remained on the floor beside her husband, her arms wrapped tightly around him as he shook silently.

“Rori I can’t breathe,” Harry gasped after many long minutes of silence between the pair.

Aurora felt her heart breaking as she held him tightly against her, his face buried in the crook of her neck as he shuddered. “I know, H,” she soothed. “I know, I’ve got you.”

“It hurts,” Harry continued to sob. “I know he wasn’t my dad but…”

“No,” Rori interrupted. “Don’t you try that shit Harry, not with me.” She pulled him away from where his face was buried against her, each of her hands cupping his cheekbones, forcing him to look her in the eyes. “Don’t you dare try to tell me that Robin wasn’t your father. Because if that’s true then Steve isn’t mine and I know losing him would hurt just as much as losing Mum did. He wasn’t your blood, but he was your dad and you’re allowed to feel this. Do you hear me Harry? You get to feel this. All of it. It hurts this much because he mattered, and he loved you. I know that you know that.”

“I can’t. I can’t do this Rors.”

“You can and you will,” Aurora promised. “Tonight, it’s just me here. You can cry or scream or whatever you need and then in the morning you’re going to pull yourself together and we are both going to be there for Anne.”

“Don’t leave me,” he mumbled.

“Wouldn’t dream of it, my love.”

Given the late hour of Anne’s call and the way that Harry had immediately crumbled, Aurora had decided that they would wait until the morning to drive north to Holmes Chapel, a decision that Anne had agreed with. After what seemed like the longest time, Rori finally coaxed Harry to his feet and helped him down the hall and into bed, only letting go of him long enough to strip out of their clothes before she returned to wrapping herself around his broad shoulders. They stayed awake until well after midnight and Aurora ran a soothing hand along Harry’s back as he clung to her. She pushed her own grief to the side, knowing that her husband needed to be able to lean on her without worrying about being a burden. She knew only too well the pain of losing a parent and she wanted nothing more than to shield her husband from that kind of pain, even though she knew that wasn’t possible.

xXx

Both Harry and Aurora were exhausted as they got ready to leave the following morning. They packed enough clothes for a week, knowing that they could just do laundry if they ended up staying longer and Harry carried their cases, and the garment bags holding their funeral outfits, downstairs to the car. Aurora followed behind him a few moments later, her hands full with travel mugs of coffee to keep them awake for the three hour drive up to Anne’s house. One stern look was all it took for Harry to give up arguing that he should drive and instead, he handed the keys to his wife and climbed into the passenger seat, gratefully sipping on the coffee she traded him for the keys. Aurora frowned as she watched him settle into his seat, before turning her attention back to pulling out of the garage and merging into the early morning traffic making its way out of the city. He looked terrible, his hair a mess, his eyes glassy and puffy, and his trademark smile was non-existent. She knew she probably didn’t look much better after staying up worrying about him all night and trying not to slip into her own feelings of grief she felt welling inside her. She would have time to grieve later, for now her entire focus was on her husband, as well as Anne and Gemma. Once she knew they were pulling themselves back together and supporting each other, then she would allow herself to cry and mourn Robin. Just as she had for Louis when his mother passed, now she put those around her first, taking on the caregiver role that she so naturally adopted in times like these. Even the mere thought of putting herself first made her feel sick to her stomach.

The drive was long, and Aurora was thankful when Harry finally fell asleep an hour into the drive as they passed Stokenchurch. She turned down the radio, driving silently for the next hour, following the motorway until she reached Strafford, taking the exit to stop for a coffee break. Harry continued to sleep, clearly exhausted from the lack of sleep the previous night, not even stirring when Aurora returned to the car and started the engine. She merged back onto the M6 and continued north until she finally arrived in Holmes Chapel. She reached out to gently shake Harry’s shoulder as they turned onto Anne’s street. He woke groggily, knuckling his eyes as Rori parked the car behind Gemma’s out the front of house. She laced her fingers through her husbands as they made their way up the path, the front door swinging open as the stepped onto the porch. Gemma didn’t say a word as she pulled her baby brother into a tight hug and then led them both inside to where Anne was sitting in the living room.

In any crisis, Aurora immediately stepped into a care giver role without really thinking about it and Robin’s death was one of the biggest crises she had ever encountered. For the first two days in Anne’s home, she cooked, cleaned and made sure that everyone always had a fresh cup of tea on hand. Between Anne, Gemma and Harry there was always at least one person in tears, but Anne tried her hardest not to let anyone wallow too much and instead insisted that they share their favourite memories of Robin. They had all sat around in the living room, laughing and sharing stories from years passed and while they were all deeply unhappy, this reminiscing did help lift the mood of the house. Rori spent many hours cuddled up on the sofa with Harry carding her fingers through his hair while he grieved or lying in bed next to each other talking late into the night while sleep alluded them both. Aurora manage to hold herself together and be the rock for everyone else in the house until their third night in Holmes Chapel.

It was late. Really late. Harry had finally fallen asleep, and with the rest of the house silent, Rori snuck downstairs and slipped out into the back garden. It was a clear spring night, a chill breeze blowing through the yard causing her to draw her cardigan tightly around herself. She took a deep breath, letting it out slowly until it turned into a deep sob, the kind that felt like it would break a rib. She gasped for breath as she cried in the darkness, finally allowing herself to miss her father in law. Finally allowing herself to feel the loss without worrying about adding to Harry or Anne or Gemma’s grief. Her cries were loud enough that she didn’t hear the door open behind her, or the footsteps across the patio. She jumped a little when a pair of arms wrapped around her shoulders and pulled her into a hug. Gemma gripped her tightly as she shook.

“Was wondering when you were finally going to let it all out,” she whispered as Auroras sobs began to soften.

“I’m sorry,” Rori said, pulling back from Gemma’s hold and wiping at the tears running down her cheeks. “I’m ok. How are you?”

“Stop,” Gemma replied. “Stop acting like you’re not allowed to miss him too. It’s not a competition. I get that you’re trying to be strong for H and Mum and me, but you’re not helping anyone by holding it all in and then coming out here in the middle of the night to let it all out.”

“I just,” Aurora muttered, “I just don’t want Harry worrying about me right now. I can hold it together so that he can rely on me while he falls apart.”

“You know he’d be furious if he found out you were hurting and not letting him in,” Gemma said. “We can all lean on each other. That’s the whole point of the four of us staying here together.”

Aurora nodded in understanding, not knowing what to say since her sister in law was clearly hell bent on winning this disagreement. “Let’s go inside and make some tea.”

Both women trudged inside, settling on the kitchen stools as they waited for the kettle to boil. “It just isn’t fair,” Aurora murmured when Gemma handed a mug to her and re-joined her at the counter. “He deserved more time.”

“Can’t argue with that,” Gemma said. “I don’t even know what to say to Mum. After so many crap guys, she finally found her soulmate just to have him taken away. Makes me so angry.”

“Makes me angry too,” Aurora agreed. “Feels like we just keep losing parents. First my mum, then Jay, now Robin.”

“Makes me afraid of who’s next,” Gemma replied, gnawing at her bottom lip.

“What are you both doing up so late?” Harry mumbled from the doorway, startling both women. “It’s nearly 4am.”

“Did we wake you?” Rori asked. “Sorry baby.”

Harry shuffled further into the kitchen, immediately noticing that his wife had been crying as soon as he neared her. He didn’t say anything, instead stepping up to her side and pulling her tightly against his chest. Her arms wrapped around his bare torso, as she buried her face against one of the swallows nestled beneath his collarbones. “Please don’t pull away from me,” he whispered.

“Didn’t want to burden you,” Rori whispered back in reply.

Harry loosened the hug, pulling away enough to look her in the eyes. “You’re never a burden to me,” he promised, his voice serious. “We deal with this the same way we do everything, we do it together.”

Aurora didn’t know what to say so she remained silent and instead buried her face back into his chest and clung tightly to him, as if he would disappear the moment she let go. She never noticed Gemma slipping out of the room, but by the time she pulled herself together enough to lift her head away from Harry, the young couple were alone in the kitchen. Harry silently led her back to their room, pulling the covers over them and hugging her tightly against him, neither able to fall back asleep before the dawn light began peeking through the curtains a few hours later.

NEXT CHAPTER

OR CONTINUE READING ON AO3

#skyfire fic #Husband Harry Styles #harry styles fanfiction #dad!tony #ptsd #domestic fluff #iron dad #step dad steve rogers #aurora stark #Harry Styles #tony stark #death of robin twist

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creepingsharia · 5 years

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Illinois: Grandson of honor-killing, terror-linked ‘Palestinian’ Muslim running for Congress

Rashad “Rush” Darwish’s platform: support for sanctuary cities, amnesty for illegals, and taking guns from law-abiding Americans.

via Ballotpedia:

Rush Darwish (Democratic Party) is running for election to the U.S. House to represent Illinois' 3rd Congressional District. He is on the ballot in the Democratic primary on March 17, 2020.

via Chicago-Sun Times: Chicago-area congressional candidate’s remarks about Jews, Israel spark questions

Rashad “Rush” Darwish, 42, runs a television and photography production business in Pilsen. He said in the interview he adopted the less ethnic-sounding name of Rush in 2001 — before the 9-11 attacks — when he was hired for an on-air TV news job in Tyler, Texas. He later switched careers and returned to the Chicago area.

His parents, now Lemont residents, were born in the West Bank village of Beitin. At age 6, his family moved from Stone Park back to Beitin for two years to live with his maternal grandmother. At that kickoff event this summer, Darwish said, “The very foundation of who I am, the values I learned growing up in Palestine, is embedded in me.”

Darwish is on the executive board of AMVOTE, the American Middle East Voters Alliance PAC, a state-level political action committee.

As he seeks to make history, Darwish’s newfound political muscle is bringing attention to comments he made this summer and years ago.

At a campaign kickoff event in June, Darwish in a speech incorrectly said Lipinski got $15,000 from the American Israel Public Affairs Committee, a pro-Israel influential lobbying group. However, AIPAC is not a political action committee, does not endorse and does not donate to campaigns. AIPAC members and allies, like anyone, can contribute as individuals and use their personal networks to raise money for candidates.

Darwish provided no details to back up his $15,000 assertion when the Sun-Times asked him about it, saying “what I can do at this stage” is “take a closer look. … So if I technically said it wrong, then, I would have to look into that.”

Back in 2015, as a provocative radio talk show host, Darwish excoriated a guest, Ray Hanania — who, among other things, comments on and writes about the Israeli-Palestinian conflict. Darwish told Hanania he sounded “like you are praising the Israeli people and the Jewish civilization as if they are great people.”

Darwish told the Sun-Times, “I’ll be honest with you. I may have misspoke if I said the word Jews. That was a mistake on my part. Usually I think I’m pretty good at knowing on the show not to use the word Jews because Jews are not, that’s not the problem.” His problem, he said is with a “pro-Israeli government agenda.”

--------------------------------

A quick look at Darwish’s webpage and he is open about not only his platform in support of illegal aliens but his ongoing personal support to illegal aliens. Excerpts from his platform below:

In my personal time, I have been connecting undocumented families I know with pro-bono immigration attorneys to assist them in gaining legal status...what we need as a country is comprehensive and fair immigration reform to put these families on a path to citizenship...

As your Congressman I would:

Support sanctuary cities and asylum seekers...

Support comprehensive and fair immigration reform to make our immigration system simpler, more accessible, particularly for non-native english speakers

Expand my work personally to create and market a large network of pro-bono immigration attorneys to assist undocumented families in gaining legal status.

Darwish is also anti-Second Amendment and an open gun grabber. Again from his platform site:

Taking assault rifles, high capacity magazine clips, and other weapons of war completely off our streets...

Rush believes Congress should immediately pass a national ban on the importation and sale of all assault rifles and high capacity magazine clips. These weapons should only be utilized by our Armed forces and at certain times by local law enforcement.

--------------------------------

Darwish focuses on preventing some law-abiding Americans from even purchasing guns, specifically, what he refers to as “white nationalist” and Trump supporters. There is no mention of his co-religionists and their jihad.

But Darwish is not only an open border, sanctuary city supporting, amnesty for illegals, gun grabbing socialist, Darwish is the grandson of one of the first known Muslim honor killers in the United States.

Twitter user @kristintweeted engaged Rashad, aka Rush, about this on her Facebook page. Shortly thereafter he blocked her. Screen shots here.

Darwish’s father is Amir Darwish, President of “The Coalition of Palestinian-American Organizations.”

In this 1991 St. Louis Post Dispatch article on the 1991 honor killing of Tina Issa, Rush Darwish’s father defended his father in law who was convicted in the Islamic honor killing of his own daughter. via Parents guilty in murder of daughter:

A St. Louis Circuit Court jury deliberated less than four hours Friday before finding Zein Isa and his wife, Maria, guilty of first-degree murder in the stabbing of their youngest daughter.

The prosecutor, Assistant Circuit Attorney Dee Joyce-Hayes, said she was pleased but added she had been concerned that jurors might have found Maria Isa guilty of the less serious crime of second-degree murder.

Her lawyer, Charles M. Shaw, had contended that Maria sided with Tina in a growing family rift. The mother tried to protect Tina when Zein Isa plunged a knife into the girl's chest on Nov. 6, 1989, at the family's South Side apartment, Shaw said.

Amir Darwish of Chicago, a son-in-law of Zein Isa, said he was distressed by the convictions.

''I think all the facts were not on the table for the jury in this case, '' he said.

The prosecution's most important evidence was a secretly made tape- recording of the murder. Seven minutes of it was filled with Tina's shrieks as she was being stabbed. Some jurors cried when the tape was played for them on Wednesday.

But they asked to hear the tape Friday for a second time, and sat grim-faced and alone in the locked courtroom, listening to the tape over headphones.

In her final argument to the jury, Joyce-Hayes said, ''I can't think of any other way to describe this incident other than as a blood sacrifice.''

She said the Isas believed the only way to ''cleanse'' the family was through Tina's blood. ''They assassinated her,'' the prosecutor said.

The prosecutor could not bring herself to call the heinous crime what it really was. An honor killing. And she even went so far as to claim it had nothing to do with Islam.

A 1993 Chicago Tribune article, A FAMILY TRAGEDY OR TERRORISTS' SCHEME?, uncovered the terrorist ties in the honor killing.

Again, this is the family of Rush Darwish - now running for a seat in the Unitied States Congress.

"Quiet, little one! Die quickly, my daughter, die!" Zein Isa said in Arabic. He stabbed her six times while his wife, Maria, held her by the hair.

"Mother! Please, help me!" Tina pleaded.

"What help?" Maria Isa replied.

As Tina lay dying, her father put his foot on her mouth to muffle the cries.

Jurors heard it all. An FBI bug picked up the parents' words and the daughter's screams. Zein Isa, the bureau explained, was suspected of working for the Palestine Liberation Organization, which at that time had not publicly disavowed terrorism.

Jurors were told that he, his wife and Tina's older sisters believed she had dishonored the family, going against Muslim tradition by having a boyfriend.

She dishonored the family. Her penalty was to be honor killed. But the FBI suggested she knew too much about her father’s involvement in an Islamic terror group for which he was later indicted.

The organization, a violent and nihilistic 1974 offshoot of the PLO, was labeled by the State Department in 1989 as the world's most dangerous terrorist group. It is responsible for more than 90 terrorist attacks in 20 countries, according to the department's annual assessment of terrorism.

A federal grand jury in April indicted Zein Isa, 61, already on Death Row for his daughter's murder; Saif Nijmeh, 33, of St. Louis; Luie Nijmeh, 29, of Miamisburg, Ohio; and Tawfiq Musa, 43, of Racine, Wis. All are in Missouri prisons awaiting trial.

The four are accused of a variety of acts under federal RICO (Racketeer Influenced and Corrupt Organizations) statutes: obtaining illegal weapons, such as a rocket-propelled grenade launcher; procuring and using bogus passports; illegally transferring money overseas; and conspiring to murder Tina Isa.

...

But reviews of tape-recorded conversations between Zein Isa and his daughters and their husbands also show that killing her to preserve the family honor was being discussed as early as August 1989.

-------------------------------

While Rashad “Rush” Darwish was not involved in the honor killing of his aunt, he doesn’t stray far from his ‘Palestinian’ roots. He is adamantly anti-Israel, pro BDS, and he has the support of Hamas-linked CAIR.

Darwish has also campaigned with another name-changing ‘Palestinian’ grandson of an Islamic terrorist whom we posted on two days ago: Ammar Campa-Najjar.

When “Rush” still went by the name Rashad, he was a member of the notorious Hamas-funding Bridgeview Mosque.

The mosque hosted al-Qaeda’s spiritual leader and it’s terror ties were so well known that a bank shut the mosque’s account and refused to do business with them. The mosque was also linked to the largest terror-financing conviction in U.S. history.

What other skeletons are in Rush Darwish’s closet? The media won’t investigate.

Do Illinois voters really want to find out the hard way? Was the lesson of Barrack Hussein “Barry Soetero” Obama not enough?

In less than ten days we’ll find out.

--------------------------------------------------

Update 1: Rashad Darwish lost, and Lost Big

#Legal #Elections #Islam #Muslim #Sharia #Jihad #Politics #News #Media #Immigration #Chicago #Illinois

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texastheband · 4 years

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Super Shar

Interview by Simon Gage, Photography by Wayne Maser Taken from Marie Claire UK - December 2001

She's one of the most successful women in British music, but Sharleen Spiteri refuses to let fame go to her head. And she doesn't mince her words about people who do. Here, the Texas singer gives Simon Gage the lowdown on babies, relationships and having Madonna and Guy round for tea. Photographs by Wayne Maser.

'And you need white wine vinegar, which is weird, but it's the secret ingredient,' says Sharleen Spiteri as she jams another slice of toast into her mouth and peers through the steam from a mug of tea big enough to soak your feet in. She's sitting in the television room of the huge house near London's Regent's Park she shares with her boyfriend, Ashley Heath, editorial director of The Face, explaining a pavlova recipe. (She doesn't mention she is making it for Tom Ford, designer for Gucci and Yves Saint Laurent.) The dustbins outside are full of carrier bags from Alexander McQueen - an old mate of hers from way back - and the kitchen is big enough to drive a Jeep around, but it's a homely home, not a stupidly luxurious swank pad. Although goodness knows, it could be. The house is fairly new to Sharleen - bought with the cash she's earned since Texas's resurrection with the White On Blonde album in 1997 made her a multi-millionaire - but it already looks lived in, with books and candles everywhere, a huge Aga and comfy settees. Her mum and dad are down from Glasgow to help her redecorate. Obviously, she could afford to employ a team of painters - she is one of the wealthiest women in the UK, with recent rich lists placing her higher than Posh but she sees this as a nice way of spending more time with her parents. 'And I get a lot of satisfaction from it.' she adds. 'We've been taking thousands of books off the shelves so we can paint. It's one of those jobs where you end up going, "Why the fuck did I start this?", but they're all back now and it looks fantastic.' Sharleen, 33, may be one of the most successful women in British music -the Greatest Hits album is six times platinum and counting but she is not going to let that stop her getting on with painting her shelves and sloping into cafes for junk food. She may have no time for the Mariah Careys of this world - they fell out last year - but to the women in the second-hand clothes shop we stop off at in Camden on our way to Marks & Spencer for bread, Sharleen's probably the nicest customer they'll have all day. The thing with Sharleen is she doesn't do the superstar thing and has a great talent for not being spotted. It's not like she's in disguise or anything - her hair is tied in a makeshift knot, she's wearing 'great label, but low-impact' clothes and she keeps her head up, talking non-stop in her recognisable Glasgow drawl. She even gives me a body-popping run-through of a Missy Elliott video in the middle of a road without anyone batting an eyelid, then goes on to say how shocked she was when a paparazzo tried to take a picture of her nipping out for milk. Shocked not in a 'How dare you?' way, but in a 'Why would you?' way. But that's Shar all over. She still doesn't quite get what all the fuss is about.

So we hear you're about to take two years off. SS: So people keep telling me. I'm not rushing to do the next record. I think people need a little break and so do I. Johnny [McElhone] and I are still writing [songs], but sometimes it's difficult to know where you want to go musically so we had to take a break. Two years is ample time to have a baby. I knew you were going to say that. Even my friends are phoning up and saying, 'Do you want to come to this party?' and if I go no, they ask, 'Are you pregnant?' and I'm like, 'Piss off!' If it happens, it happens. Hell, I ain't getting any younger. You're doing alright, aren't you? Is there anything you still want and can't have? No. I don't think having something you want has got anything to do with being a millionaire [laughs], but you can say that when you're loaded. I've never been happier. I can come and go, see my mates, have them round to the house and just have a laugh. Did you always dream of being a popstar? I never dreamed of being a popstar What defines a popstar? Someone who sings for a living and everyone screams at them. What defines a musician? Someone who does that but no one screams. So, what am I? You're a popstar. Yeah, but am I the same as people like Hear'say? I don't have a group of producers and writers who are writing songs for me and getting records ready so I can walk in and do my vocal. I don't sell newspapers, I sell records. Those popstars who sell newspapers don't sell albums.

Now you've made it, do things still impress you? Like when Alan Rickman phones to say he wants to be in your video? It's funny because [since the In Demand video], women come up to me and go,'Oh, what is Alan Rickman like?' He's lovely, we're mates. There's no bullshit to him. When we were doing the video, he told me he was up for a part in Harry Potter and I was like, 'Oh, my God! I love Harry Potter' When he got it, he phoned and said, 'Do you want to come down to the set?' I was like, 'You're damn right I do.' I took my niece and two nephews. It was so cool. You were supposed to be in Moulin Rouge, weren't you? What part? The Nicole Kidman part, but it would have meant spending a year filming in Australia. Now it's released, don't you think, 'That could have been me'? No. When I say no, it's no. I didn't ever see me doing that part. I was doing The Hush [Texas's fifth album] and that was more important than doing a movie.

What about when Madonna phones to ask you to dinner, does that impress you? My first meeting was at her house, so it's different from being in a popstar environment. It's pretty funny walking in the door and she's like, 'Hi, I'm Madonna.' You're a bit like, 'Yeah, I know that.' But isn't she just like all those popstars with the producers and the writers standing by? I honestly think she takes the music thing very seriously. We played with her and that wasn't a show where you just walk on and go, 'Let's see what happens.' It was very slick. Were you scared of her? Absolutely not. She's very bright - you don't get that amount of success without being bright. And what is Guy Ritchie like? Guy's nice. He's very real. But he gets criticised for being fake. Everyone reinvents themselves. It's bullshit when people go, 'That's not your background and you can't act like that.' I couldn't care less where Guy comes from. You're either nice or you're not. I don't need your family history to be in your company. Have they been to your house yet? No. It's just a case of getting it together. How would you be able to relax? Why wouldn't you? I don't understand. 'Oh my God, Madonna's coming round, I'll have to get the house repainted.' For fuck's sake. The night we went over, it was me, Stella [McCartney], Ash [Ashley Heath], Guy, Madonna, Guy's dad and his wife, and it was dead relaxed, like any dinner.

‘I don’t do cleavage, Cleavage is overrated’ - Sharleen

Did you see Madonna in concert? No. I was really busy. Was she upset? I'm sure she couldn't have given a flying fuck. So if you're not worried about meeting Madonna, what do you worry about? I'm really worried about my niece, because she's being bullied at school. I get angry more than I worry. I'm really bad at biting my tongue. I've seen people's jaws drop in a 'I can't believe she just said that' way. So you don't dream of having a body like Geri? Everyone would like it, but I wouldn't want to do the work. I couldn't bear having to think about it every time I want to eat. That's not living. I think she looks like a very ill girl. I'm just like, 'Get over it.' Would you ever do the bikini thing for a magazine? I don't need to. Some people might find the need to have a photo of them retouched, but I can't think of anything worse than going home after your boyfriend sees you on a magazine cover with your arse up to here and tits ping, ping, and then you go in and it's reality, gravity. Don't get me wrong, I really care that it's a nice picture. If I go into a studio and there's a stylist going, 'We really think...', I'm like, 'No, this is what I'm wearing because this is the way I look.' You have a big female following, don't you? A woman liking me is the biggest compliment you can pay me. After the Elvis video, so many women said, 'Well done, you're so brave.' Why brave? Because it wasn't you in a sexy little dress. I'm so bored with tits and arse. Did you know you were above Kylie and Madonna as the act most requested at Gay Pride this year? I couldn't believe it. I was like, 'Bring it on, the queen has got her crown back.' You've got a big lesbian following. Have you ever been tempted? No. I love women, but I don't fancy them. I look at women and think, 'Man, she's gorgeous.' I'd like to look like Angelina Jolie. I think she's so sexy. I love her big lips and her kooky character, and I find her madness appealing. I don't think she acts it. How does your boyfriend cope with you being a superstar? A lot of men would find that hard. Ashley's not that type. He's a very confident person, always has been. That's what attracted me to him.

When I walk into the East London photo studio about a week later, the first voice I hear is Sharleen's. She's in the middle of telling the team of internationally celebrated photographers, stylists and make-up artists some off-colour stories. The photographer reckons he doesn't know Texas's music, so someone puts on the Greatest Hits, to which Sharleen lip-syncs like a drag queen, throwing in some comedy Mariah Carey moves. As she changes from her white T-shirt into a variety of top-drawer designer togs, most of which she's brought along herself, the only thing that stays the same is her attitude. Halfway through doing a glamorous shot laid out on the floor, she asks if we can see her balls up her skirt, then she comes out in a top with a plunging neckline, pulling the sides together because, 'I don't do cleavage. Cleavage is over-rated.' Are you still big mates with Chris Evans? SS: I haven't spoken to him since he got married, but I really believe that he and Billie are in love. I met her at a funeral with Chris. Everyone is going on about Billie and Chris and you think, 'OK, so Chris has fallen in love again,' because Chris does that. When I met him with Billie, I thought, 'Oh, this is different.' I don't know her, but she was very relaxed in his company, and he was in hers, and I don't see Chris like that very much. I thought she was a really nice girl. I was quite taken aback. But you forget how young she is. What age is she? Nineteen. I never knew she was that Young. Age makes no difference to me. At that age, I was writing I Don't Want A Lover. I still stand by the lyric. Did you go to Madonna's wedding? No. There were only 60 people invited. If Madonna had invited me to her wedding, I would have wondered why. She's only known me a year. Are you going to invite her to your wedding? Who says I'm getting married? [Laughing] That was the cheesiest way of asking me I've ever heard. So ... ? Probably... I don't know how you decide. I always find it horrible when people talk about it. You're big on monogamy, aren't you? I'm a romantic. I think I'm a realist, to be honest with you. Is monogamy a big deal to me? Fuck, yes. If it lasts a week or lasts the rest of your life. So you won't put up with any running around? No. That's like [split sound] material. It's not good. Would you end it even for a minor indiscretion? Yeah. Why would you have a boyfriend? You might as well just be shagging people. Don't you ever fancy a meaningless shag? No. A shag is the ultimate closeness you can get to me, mentally and physically. When I'm having sex, that's completely me. It has to be really special. That's the way I am. You don't think there are different sorts of sex? You're talking like a man; 'I shagged her and it didn't mean anything.' How do you know it didn't to the other person? I think there are lots of girls who kid on that they don't care, but I don't believe women are like that. But I'm not interested in other people's sex lives. I love having a laugh and a great conversation, but you've seen me with my girlfriends and we're like, 'You dirty devil' and laugh like other women. We talk about sex, but not our sex lives. It's an urban myth that women talk about what they do in bed. So what are your thoughts on Posh? Every time I've met Victoria, she's been a sweetheart. Everyone goes on about her, but you still pick up the paper to see what she's up to. She seems pretty normal. Well, not in the sense that I'm normal, but I think she's actually quite normal in her heart.

See the photoshoot: here Read the scans: here Text originally posted on texasindemand.com

#article #greatesthits #marie claire #marieclaire #Wayne Maser #WayneMaser #sharleenspiteri #sharleen spiteri

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eretzyisrael · 5 years

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Exactly 180 years ago, in the summer of 1839, Jerusalem became the first site in the Land of Israel to be documented with a camera. It was only a few months after practical photography was invented in Paris. In the coming years, there was a steady increase in the number of photographers who came to Jerusalem from Europe with various types of cameras. Biblical landscapes, the cradle of Jesus’ birth and especially the city itself assumed a real and concrete shape for the first time.

Through the lens of the camera, a small, neglected and poor town at the remote edge of the Ottoman Empire became a magical city where time stood still, full of shadows and secrets. Everyone who came to the Middle East visited Jerusalem. In fact, Jerusalem was photographed more than any other place in the region during that period.

There are thousands of negatives and prints of Jerusalem from those years, made using various techniques, in Jerusalem’s National Library of Israel. Some were created by professional photographers who offered their wares to Christian pilgrims and tourists, most of whom did not have a camera.

These works reflect the “Orient” and the spirit of the Bible. They are often empty, spacious landscapes, perhaps due to the difficulty of photographing passersby with the long exposures necessary for the glass plates that were coated with a light-sensitive emulsion. Occasionally, when the composition demanded it, one can actually see the Jerusalemites of those distant days, extras within a glorious setting. Here are the works of two legendary photographers: Felix Bonfils and Luigi Fiorillo.

Photos courtesy of the National Library of Israel.

#jerusalem #photography #history #israel #ottoman empire

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souramagazine · 6 years

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"Winter in Yakistan" is a photo series by #AlbertLaw #SouraMagazine: www.souramagazine.com

#soura magazine #art #photography #Black and White #black and white photography #albert law #the only photography magazine in the middle east

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howardschatzphotography · 6 years

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On Seeing, A Journal. #278 Andrew Moore, "Dirt Meridian,” a book review.

Sun Through Rain. ©Andrew Moore

Schoolhouse, China Pasture. ©Andrew Moore

I receive, daily, the internationally informative photography news site

The Eye of Photography from the former editor-in-chief of French Photo Magazine and now editor-in-chief of The Eye of Photography, Jean-Jacques Naudet. This daily posting is phenomenally valuable, covering all sorts of photography events, portfolios of photographers throughout the world, gallery shows, museum exhibitions, etc.

The site is free, though as an aside they can use financial help for their service. Apart from having contributed features from time to time, I have no affiliation with them, I’m only interested in seeing the on-going success of something that publishes so much information and imagery every day.

Other important sources include AtEdge and Graphis.

Each of these open up to a wide world of brilliant photographers, designers, and other creatives.

A recent post contained an article about the The Yancy Richardson Gallery in New York City. The images of Andrew Moore who is represented by the gallery particularly caught my eye. I went to his site ((http://www.andrewlmoore.com)) and was so moved by his body of work that I bought his recent book, "Dirt Meridian.”

I do that, buy and collect photography books. Along with the internet, books are my major source of self-education. I am well aware that if I am to grow in this visual art, it’s imperative that I study, continually, tenaciously. It’s essential to gain, maintain and expand a vast visual data bank if one desires to create unique, original and exciting work. For photography, one needs to look, study, and look even more, reviewing and surveying everything available in galleries, web sites, periodicals, museums, presentations and, yes, books. Our brains are such that images drop out; constant replenishment is needed for any sort of positive development, success, and even survival in this challenging art. It’s essential to recognize what’s been done before in order to avoid repetition. Knowing what hasn’t been done, or done well enough, comes when one has seen – and keeps seeing -- a vast range of imagery.

When “Dirt Meridian” arrived, I opened it and couldn’t put it down, studying every image. And, as I always do with a new book of photographs, I left it out, opened, on a counter I pass daily, so that I could look at it again and again and imprint the images in my memory.

This is not the kind of photography I endeavor to create in the controlled environment of a studio (or a pool, my particular kind of studio). Moore’s work is done outdoors, in this case in the vast, almost empty space of the great plains of middle America. What he shows us are sand hills and sky and weather and cattle. And the Badlands and old abandoned barns and buffalo and meadows and creeks, windmills and wildlife. He also shows the determined struggle of the human spirit against the toughest elements, and the effect of those on deserted homesteads.

America, its 100th meridian.

Moore’s epic visions of the vast treeless space in the 100th meridian, cutting through North and South Dakota, Nebraska, Kansas, Oklahoma, and Texas, are all about space -- empty sprawling and seemingly infinite space. The images are intoxicating, filled with magnificent beauty in the loneliness that is the trackless expanse of seemingly endless land. From his Acknowledgement: “…the land’s beauty lies in its vast and sublime emptiness."

I wrote to Moore and learned, happily, that his NYC studio/office is located only a few blocks from mine. So, I invited him for lunch and an in-person review of his magnificent photographs.

Working on this book project, he spent weeks at a time on many trips from the East, met many individuals and recorded their stories, histories, lives. Each photograph is accompanied by text containing fascinating information which provides a rich understanding of the work.

Moore made many of the photographs from a Cessna 180 single-engine plane flown by Doug Dean. They attached his medium format digital camera to one of the plane’s wing struts, using a screen and remote control from the passenger seat.

They flew low, yielding a unique perspective. This technique is one important reason why the images look so different from photographs of this area I’ve seen before. He spoke of the emptiness as a spiritual reservoir, a spiritual landscape. He wrote in the Acknowledgements, “the intimate seemed conjoined to the infinite."

During the project he moved from north to south, contrasting open spaces with cluttered, claustrophobic interiors, rich with poor, immigrants and native born, industrial scenes with mythic landscapes, all of which he explained was a metaphor for the sense of possibility, of hope that tomorrow will be a better day.

In the book his pilot wrote, “I hope you take pause, if only for a moment, to consider the story of this land, where second chances are few, and how the decisions we make today will impact the generations to follow."

Moore allowed me to choose images I personally wished to use for this review.

Storm Blow. ©Andrew Moore

From the book: “Sheridan County, Nebraska. These dry, fallow lands and terraces lie to the southeast of Clinton. The wind coming out of the north was blowing at over 70 mph. When choosing the angle approach to a subject, Doug Dean piloted us, if possible, into a headwind, since that slowed the plane down and allowed a bit more time for picture making. On this day we had little choice but to let a powerful tailwind take us on a Nantucket sleigh ride if we wanted to catch this billowing cloud of white dirt."

Pronghorn Antelope. ©Andrew Moore

From the book: “A herd of the wild antelope, which in wintertime can number into the hundreds, roams the high plains that stretch toward the Big Horn Mountains in the background. Early pioneer cattlemen noticed that the native grass animals roaming this area tasted particularly good, and to this day Niobrara County grass has become famous among livestock buyers for the finish it gives cattle.”

Riding Fence. ©Andrew Moore

From the book: “Sheridan County, Nebraska, 2013. Heidi and Brock Terrell and their son Royal (led by their red heeler) ride fence along their land in Sheridan County. They not only raise both cattle and sheep but they also farm soybeans and sugar beets. Heidi is a sixth generation descendant of Jules Sandoz, among the earliest homesteaders in the area. Better known as ‘Old Jules,’ legendary for his cussedness and his justly famous tenacity, he was immortalized in the biography of the same name written in 1935 by daughter Mari Sandoz.”

First Light. ©Andrew Moore

From the book: "Cherry County, Nebraska, 2013. Cattle and heron share a drink at the tank in the residual morning fog. Much of the success of cattle ranching in the Sandhills is due to the shallow reach down to the Ogallala Aquifer. In some places it's only six feet to water, so one can easily and cheaply put down a windmill in order to water livestock anywhere in the vastness of this terrain. (There are many sub-irrigated meadows that provide hay at the driest times.) The hilly landscape provides the herd with protection from the wind and snow. However, the quality of the grass is not as good as on hard soil land, so it can still take 20 to 30 acres to support just one cow/calf pair."

Round Up Number 2. ©Andrew Moore

From the book: “McKenzie County, North Dakota, 2005. Branding day at the Hepper Ranch outside the town of Keene. In the shadows of the Blue Buttes, amidst lush May grass, family, friends, and neighbors (and several dogs) help round up this herd of 300 cow/calf pairs. The large crew included five heelers, six sets of floppers, branders, vaccinators, and iron tenders. The older more experienced cowboys do the actual branding while the younger folks who wrestle the calves are known as floppers.”

In the book’s introduction, Kent Haruf wrote, “These are wonderful photographs, clear, and evocative, unsentimental, they seem to understand the sacredness of the country. They suggest its holiness."

Howard Schatz, November, 2018.

#andrewmoore howardschatz dirtmeridian photography nature landscape country Photographer

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maksymilianmikolajczak · 5 years

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Exhibition Review

Linda Louise McCartney.

Born in Scarsdale, New York, on 24th September 1941. She graduated from Scarsdale High School in Westchester County, New York in 1960 and went on to study Art History at the University of Arizona.

She has only attended photography night classes and after being told she has “a good eye for the pictures” she decided that’s all she needs and moved on to photography. Without much knowledge of any of the techniques and experience with a camera, she had managed to do a photo shoot with Rolling Stones on Hudson River as she used an unwanted invitation for Rolling Stones promotional party. She was chosen from hundreds of photographers and she was hoping for the best. After the photoshoot, Linda got her first big break as her work got published in an Editorial feature- her first of many magazine commissions.

Linda became a professional photographer in the mid-sixties. Her photography focused on the music revolution of the decade. While working at the Fillmore East in New York City she photographed lots of famous musicians including; The Rolling Stones, Frank Zappa, The Kinks and many more. Later on, she has also begun shooting self-portraits and family shoots with her husband Paul McCartney and their four kids, Heather, Mary, Stella, and James.

Heather and Javelina - Arizona 1997 Colour C-type print.

Above print has been taken in 1997 in Arizona. I personally think Linda has shot this in medium format. Even though Linda shoots more in film she has effectively managed to shoot in colour too. She has taken the picture either during a sunset or a sunrise and she has taken advantage of the lighting she had available. Because of the lighting she had, there’s a lot of warm tones within the picture and set up a positive mood. The picture also doesn't look like it was planned however Linda was known for having a good eye for framing make this image even more successful. Linda also decided to take this picture of Heather as it would be one of many memories she would have of her child and also she’s her first daughter from the first marriage which would suggest she means a lot to Linda. While Heather is sitting in the bottom left corner the Javelina in the middle makes eye contact with Heather also creating some tension in the image as we don't exactly know what is the Javelina gonna do next. Javelina in the middle also brings our attention to Heather sitting in the corner because she’s directly staring at her. Immediately the viewer wants to know what the animal is looking at. This picture is a Colour C-type print which is quite common for Linda. Above picture has also been taken a year before Linda’s death which shows she didn't waste a minute spending time with her loved ones doing what she love’s the most.

Francesca Stern Woodman

Born on April 3, 1958, was an American photographer born in Denver, Colorado to artists George Woodman and Betty Woodman. She has started her journey with photography at a young age of thirteen and she continued with it until she died at a young age of 22. In 1972 She has attended a private Massachusetts boarding school where she has been further developing her photographic skills. Francesca is best known for her black and white pictures featuring either herself or female models often nude in empty interiors which show a lot of intimacy and can be seen as quite controversial and abstract. Within her pictures, she’s often hidden behind object’s and furniture which convey an underlying sense of human fragility. Many of her photographs show women, naked or clothed, blurred due to movement and long exposure times, merging with their surroundings, or whose faces are obscured.

Untitled, from Eel Series, Venice, Italy 1978 gelatin silver print on paper

The image above is a self-portrait of Francesca Woodman taken in Italy 1978 from her Eel Series. Just slightly off-centre there’s a white bowl lying on the textured background floor. This immediately creates contrast and separation between the floor and the bowl. To the right, we can see Woodman with her face down, naked, in a vulnerable state curving around the bowl similar to the Eel in the bowl. Using her arm she has effectively framed the bowl in the centre of the image making it the focal point. Her outstretched arm is blurred as though in movement, and, like her legs, is largely in shadow, where on the other hand her naked back catches soft light that falls on her. Within her picture’s Francesca has great use of natural lighting which she can manipulate effectively to suit her style. This photograph was created during the time that Woodman spent studying abroad with the Rhode Island School of Design. Her roommate and close friend Sloan Rankin wrote: “I remember carrying bags of live eels with Woodman across Rome from Piazza Vittoria in preparation for what would become Woodman’s Eel Series”. While studying in Rome she has come into contact with the “Symbolist work of Max Klinger,” whose influence can be seen in this series. This picture has also been taken one year before Francesca’s death. She has killed herself at the age of 22. Within her picture’s you can see how lost she was and how depression has also affected her work.

This image was processed on a gelatin silver print on paper which was and still is a popular photographic process available for the black and white film. Although Woodman used different cameras and film formats during her career, most of her photographs were taken with medium format cameras producing 2-1/4 by 2-1/4 inch (6x6 cm) square negatives.

Personally, I prefer Francesca Woodman’s work as I feel like I can connect more with it and it’s a style that I find intriguing, however, both photographer’s have amazing style’s and also use amazing techniques within their picture’s

Bibliography.

https://www.tate.org.uk/art/artists/francesca-woodman-10512/finding-francesca

http://www.artnet.com/artists/francesca-woodman/biography

https://www.tate.org.uk/art/artworks/woodman-untitled-from-eel-series-venice-italy-ar00348

https://en.wikipedia.org/wiki/Francesca_Woodman

https://www.glasgowlife.org.uk/news/retrospective-exhibition-of-linda-mccartneys-photography-to-be-shown-at-kelvingrove-art-gallery-museum

https://www.lindamccartney.com/tag/colour/

https://www.paulmccartney.com/news-blogs/news/linda-mccartney-retrospective-1965-1997

https://en.wikipedia.org/wiki/Gelatin_silver_process

#exhibition

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recentanimenews · 4 years

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So I'm a Spider, So What? - Crunchyroll Winter 2021 Spotlight

The latest series to launch as part of Crunchyroll's Winter 2021 lineup is a doozy of an isekai adventure. Today marks the premiere of the anime adaptation of So I'm a Spider, So What?, and whether you've already watched the first episode or not, we have all the details you need below.

Official website

Twitter

Navigation

Launch Info

Official Trailers

Synopsis

Characters and Cast

Staff

Additional Info

Launch Info

Launch Time: January 8 (Live NOW!)

Territories: North America, Central America, South America, Europe, Africa, Oceania, the Middle East, and CIS

Show Page

Official Trailers

youtube

Synopsis

I, the protagonist, was just an ordinary high school girl, but suddenly I was reincarnated as a spider monster in a fantasy world. Not only that, but I awakened in a dungeon filled with vicious monsters. Armed with only my human knowledge and my overwhelming positivity, I'm forced to use spiderwebs and traps to defeat far stronger monsters just to stay alive... So begins the labyrinth survival story of a girl with incredible mental strength living as one of the lowest-ranked beasts!

Characters and Cast

Kumoko

VA: Aoi Yuki (Tsuyu Asui in My Hero Academia)

A high school girl of self-professed low standing who has reincarnated as a spider. In her former life, she lived as a shut-in and immersed herself in video games, but now she uses her remarkable mental strength to fight for survival. She uses battle tactics that make up for her low stats with her mastery of agility, spider thread, and poison fangs.

Schlain Zagan Analeit (Shun)

VA: Shun Horie (Enta Jinnouchi in Sarazanmai)

The fourth prince of the Kingdom of Analeit. His name in his previous life was Yamada Shunsuke. He was a textbook example of the average high school student and retains that quality after reincarnating. However, he has a deep admiration for his older brother Julius, the hero, and spends every day working hard to catch up to him.

Karnatia Seri Anabald (Katia)

VA: Nao Toyama (Yui Yuigahama in My Teen Romantic Comedy SNAFU)

The daughter of Duke Anabald. In her previous life, she was a boy named Ooshima Kanata, but she reincarnated as a beautiful girl. She’s a prodigy on a par with Shun, and has been his best friend since their former life. Her speech is normally elegant and refined, but when talking with others who have reincarnated, she talks like a boy.

Feirune

VA: Eri Kitamura (Cana Alberona in Fairy Tail)

Shun’s pet Earth Wyrm. In her previous life, she was a girl named Shinohara Mirei, but she reincarnated as a monster instead of a human. As a monster, her stats grow at a very fast rate, and she has excellent situational judgment. She has a cheerful, open personality, but she was a bully in her former life, and this shows in her behavior.

Filimøs Harrifenas

VA: Kaya Okuno (Kaya Kikuma in Wake Up, Girls!)

In her previous life, she was Okazaki Kanami, homeroom teacher to the kids who were reincarnated, and they affectionately called her “Oka-chan.” After reincarnating, she began attending school with Shun and the others as their classmate. Since she reincarnated as an elf, she looks younger than she actually is. She’s a caring teacher who continues to follow her students after their reincarnation, but she has many secrets.

Suresia

VA: Yui Ogura (Kyoka in Princess Connect! Re:Dive)

The second princess of the Kingdom of Analeit. As Shun’s half-sister, born to a different mother not long after his birth, her talents rival his. Her obsession with her brother Shun is extreme enough to put others off, and she’s noticeably hostile toward all girls who get friendly with him.

Hugo Baint Renxandt

VA: Kaito Ishikawa (Tobio Kageyama in Haikyu!!)

The crown prince of the Renxandt Empire. In his previous life, he was Natsume Kengo, and he was regarded as the leader of the class. His skills are the real deal, but his habit of exaggerating his own abilities detracts from the magnitude of his power. He’s as belligerent as he was in his former life, viewing Shun as his rival.

Yurin Ullen

VA: Aimi Tanaka (Ryuzu Birma in Re:ZERO)

A Saint candidate in the Holy Kingdom of Alleius. Her name in her previous life was Hasebe Yuika. She’s very serious and well-mannered, but often loses sight of what’s going on around her. After reincarnating, she inherited the life of a girl who was abandoned by her parents and raised by the church, and she is now a fanatical believer in the Word of God religion, which follows the creed of “We improve our skills so that we may hear the voice of God.”

Julius Zagan Analeit

VA: Junya Enoki (Takeru Takaishi in Digimon Adventure tri.)

The second prince of the Kingdom of Analeit. Julius is Shun’s older brother and the strongest hero among all humankind. Despite his mastery of both swordsmanship and magic and his achievements in combat, he remains virtuous and not at all proud. He is a true hero, devoting himself to fighting for world peace.

Staff

Original Story

Okina Baba

Original Character Designer

Tsukasa Kiryu

Director

Shin Itagaki (Berserk, Teekyu)

Assistant Director

Shinichiro Ueda

Series Composition

Okina Baba

Yuichiro Momose (Africa Salaryman, Infinite Dendogram)

Anime Character Design

Kii Tanaka

Monster Design

Hiromi Kimura

Masahiko Suzuki

Ryo Hirata

Art Director

Shinji Nagaoka

Director of Photography

Hideki Imaizumi

Chief Animator

Tomohiro Yoshida

Color Designer

Chieko Hibi

Producer

Jotaro Ishigami

Music

Shuji Katayama

Opening Theme Performer

Riko Azuna

Ending Theme Performer

Aoi Yuki

Animation Production

Millepensee

Additional Info

The So I'm a Spider, So What? light novel series (known as Kumo desuga, nanika? in the original Japanese) are published in Japan by Kadokawa Shoten under their Kadokawa Books imprint, and English language versions of both the light novels and the manga adaptation are published by Yen Press.

If you're dying for more info on Spider, be sure to check out our interviews!

INTERVIEW: So I’m a Spider, So What? Voice Actors Shun Horie and Kaito Ishikawa

INTERVIEW: So I’m a Spider, So What? Lead Voice Actor Aoi Yuuki

-------

Joseph Luster is the Games and Web editor at Otaku USA Magazine. You can read his brand new comic, MONSTER FLIGHT, at subhumanzoids. Follow him on Twitter @Moldilox.

By: Joseph Luster

#Anime #News #Latest in Anime News by Crunchyroll!

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chrismalcolmhnd1d · 5 years

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Exhibition Reviews

Linda McCartney Retrospective Exhibition

Kelvingrove Art Gallery & Museum

Visit - 3rd September 2019

Project: Exhibition Review. #Exhibition

I attended the Linda McCartney Retrospective exhibition in Kelvingrove earlier this month. The exhibition, which is curated by Paul, Mary and Stella McCartney, features iconic names and moments in music from the 1960s along with more intimate later work by Linda.

The retrospective also includes one of Linda McCartney’s diaries from the 1960s displayed in public for the first time along with experimental cyanotype (or sun print) photographs where she used natural sunlight to develop the pictures.

Cameras and accessories used by Linda and are displayed in the exhibition along with Polaroids and contact sheets showing her creativity and use of different techniques.

I was pleasantly surprised at the variety and quality of her work as I didn’t realise she was the creator of so many icon images of fledgling music stars such as Jim Morrison, Jimmy Hendrix, Janice Joplin and of course, The Beatles in the late 1960’s and early ‘70’s.

Many of her photographs broke all the “rules” I had been taught previously about composition, framing, focus and yet, the shots worked, sometimes in quite an abstract way and others in a playful way. “Themes including The Sixties, Family Life, Self Portraits, Observations – Animals and Nature, and Scotland, featuring pictures taken at the family home in Argyll and of people from local communities in Campbeltown, shape this significant retrospective. Linda McCartney became a professional photographer in the mid-1960s, known for her portraits of Jimi Hendrix, The Rolling Stones and The Beatles, among many others. In 1968 she was the first female photographer whose work was featured as the cover of Rolling Stone magazine, with a portrait of Eric Clapton. In 1974, when Linda and Paul appeared on Rolling Stone’s cover, she became the first person to have been photographed and taken a photo for the cover of the magazine: a neat reflection of Linda’s life both in Front of and behind the lens. Following her marriage to Paul McCartney in 1969, Linda’s photographs became more intimate and emotional, exploring the natural world, family life and social commentary. Linda McCartney continued to work prolifically as a photographer until her death from breast cancer in 1998. Her work has been exhibited by institutions including the International Center of Photography in New York, the Victoria & Albert Museum and the National Portrait Gallery in London.”

Source: http://www.whatsonglasgow.co.uk/event/069450-linda-mccartney-retrospective/

Lucky Spot in Daisy Field (Sussex, 1985)

“Linda's ability to capture natural light is evident in Lucky Spot in Daisy Field (Sussex, 1985). Here the horse is presented in a mystical manner; there are no clear tracks of its journey to them middle of the daisies; it is standing of its own apparent accord, as if she stumbled upon this horse who appears to be deep in thought.”

Source: https://www.glasgowlife.org.uk/museums/blog/linda-mccartney-restrospective

Theory

The lighting:

The lighting is natural daylight with bright sunlight coming from above suggested by the shadows on the horse and light on the daisies, probably around the middle of the day when the sun is at it’s highest position.

The capture:

I think the image was captured on 35mm film as the colours are “warm” and slightly saturated.

Aesthetic

The content & approach:

The composition of the shot is interesting as at first, I thought there was too much foreground of the meadow showing the daisies and would probably have cropped in tighter on the horse as the main subject. However, on reflection, the amount of space given to the daisies makes the viewer wonder how the horse got there as there isn’t an immediately noticeable track it has made flattening the daisies on it’s journey, which adds to the “mystique” of the image, almost giving the horse magical powers. The image shows an extended depth of field.

The equipment: For her early black and white portraits as unofficial in-house photographer in the late ‘60′s and ‘70′s, Linda used a Leica M3. She also used Pentax however, her camera of choice for most of her intimate family shots was her Nikon.

James- Used on the cover of 'Sun Prints' 1988

Cyanotype or 'sun print' is a photographic printing technique which produces a cyan-blue coloured print. It’s one of the most simple and low-cost printing techniques, originally used by engineers for their “blueprints”, but nowadays more common among artists and photographers. The prints are stunning with their clear blue shade and strong contrast of colours.

Theory

The lighting:

The lighting in this shot is very high contrast, with the highlights being blown out and the shadows very dark. It is shot in natural sunlight with the subject partially in shade, possibly in the back of a car or vehicle.

The capture:

The image is shot in portrait format and follows the rule of thirds, with the boy’s eye drawing you into the image in the upper third.

The print:

The image is printed using the Cyanotype or Sun Print process.

The border created around the image during processing, gives the finished print a rough and unprecise look which compliments the graininess of the image and adds to the casual and “real” feel of the finished product.

“Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ferric ammonium citrate and potassium ferricyanide.”

Source: https://en.wikipedia.org/wiki/Cyanotype

Content and Enterprise

I think Linda was perhaps influenced by American documentary photographer and photojournalist Dorothea Lange, as many of her black and white portraits have a similar feel and composition to Dorothea’s work.

Linda’s late 60’s and early 70’s candid and natural but also powerful, high contrast black and white portraits have subsequently influenced many contemporary music photographers.

Linda’s early work was commissioned as she was the in-house photographer at Bill Graham's Fillmore East concert hall, however, her later work was personal and created for herself as her art.

Exhibition Review 2 – Edinburgh 25th September 2019 #exhibition

On Wednesday 25th September, we were taken through to Edinburgh to see a photographic exhibition in the National Portrait Gallery and a small exhibition of Cindy Sherman’s early work in a gallery called Stills.

ARTIST ROOMS Self Evidence | Photographs by Woodman, Arbus and Mapplethorpe

This exhibition covered the work of 3 of the 20th century’s most influential American photographers, Francesca Woodman, Diane Arbus and Robert Mapplethorpe.

Francesca Stern Woodman

“Francesca Stern Woodman (April 3, 1958 – January 19, 1981) was an American photographer best known for her black and white pictures featuring either herself or female models.

Many of her photographs show women, naked or clothed, blurred (due to movement and long exposure times), merging with their surroundings, or whose faces are obscured.

Her work continues to be the subject of much positive critical attention, years after she died by suicide at the age of 22, in 1981”

Source: Wikipedia https://en.wikipedia.org/wiki/Francesca_Woodman

Self-portrait, c. 1977

I found Woodman’s work both intriguing and disturbing and while she has a great ability to frame her images and set dramatic scenes using interesting light, texture and shadow, her long exposures on her self portraits really have a sense of an uneasy mind in turmoil, evidenced by her suicide at the age of 22.

Most of Woodman’s shots were taken with a medium format camera, producing 2 ¼ x 2 ¼ inch square negatives. Most of her prints are 10” x 8” which “works to produce an intimate experience between the viewer and photographer”.

She was only recognised as a talented photographer after her death in 1981.

My favourite images from the exhibition.

Eel Series, Venice, Italy, 1978

Gelatine silver print

This image has great composition and shows the photographer’s pose mirroring the coil of the eels on the bowl, creating a frame, within a frame, within a frame. The use of black and white adds drama and a mysterious element to the image, while the eel puts me in mind of Cleopatra’s asp. The harsh lighting from overhead (probably natural sunlight) creates very dramatic shadows in many parts of the frame.

House #3, Providence, Rhode Island, 1976

This is another really interesting image and shows great composition and demonstrates her use of a long exposure to show a potentially distressed character with your eye drawn to the upper left third, where her face is. There are many leading lines used to also draw your eye in around the foreground debris, using the floorboards to great effect. Again, black and white are used to great effect adding drama and a timeless quality to the image, with the viewer trying to understand why the model is here and what her connection is to the ruined building.

The lighting looks as if it’s only natural day light and Woodman has done a great job balancing the light coming in the windows in her exposure.

Diane Arbus

“Diane Arbus (March 14, 1923 – July 26, 1971) was an American photographer. Arbus famously worked to normalize marginalized groups and highlight the importance of proper representation of all people. She worked with a wide range of subjects including members of the LGBTQ+ community, strippers, carnival performers, nudists, dwarves, children, mothers, couples, elderly people, and middle-class families. She photographed her subjects in familiar settings: their homes, on the street, in the workplace, in the park—celebrating imagery that seem to reflect our deepest fears and most private wish.”

Source: Wikipedia https://en.wikipedia.org/wiki/Diane_Arbus

Arbus by Allan Arbus

(a film test), c. 1949

I really liked Arbus’s work and thought the messages she conveyed in her images were brilliant. Her use of posing her models to tell a story depicting the opposite of what was the “norm” back when they were taken is very clever.

Like Woodman, Arbus also took her own life in 1972 and really became much more recognised for her talent posthumously, having only ever had minor success when she was alive.

She only ever took photographs for herself and wasn’t usually commissioned for her work.

A family on their lawn one Sunday in Westchester, N.Y. 1968

Gelatine silver print

This is a very powerful image and portrays a wealthy family on their lawn, “relaxing” It challenges the stereotype of male dominance in a family relationship as the husband appears stressed and unhappy while his glamorous wife relaxes in the sun, unbothered by either he husband or interacting in any way with her young son in the background. The images really makes a statement about wealth and the real power in relationships. This also looks like it was taken on a medium format camera using only natural sunlight. The rich dark texture of the grass further separates the couple on their loungers from their environment as they seem to almost float above the lawn due to the amount of light on them. The horizon falls pleasingly in the upper third and draws your eye in initially, then out to the young boy before finally settling you on the main subject of the couple in the foreground.

A young Brooklyn family going for a Sunday outing, NYC, 1966

Gelatine silver print

This photograph is a brilliant contrast to the previous one and really demonstrates the other side of the coin with this working-class family in the Bronx.

Robert Mapplethorpe

“Robert Mapplethorpe (November 4, 1946 – March 9, 1989) was an American photographer, known for his sensitive yet blunt treatment of controversial subject-matter in the black and white medium of photography. His work featured an array of subjects, including celebrity portraits, male and female nudes, self-portraits and still-life images of flowers. His most controversial work is that of the BDSM subculture in the late 1960s and early 1970s of New York City. The homoeroticism of this work fuelled a national debate over the public funding of controversial artwork.”

Source: Wikipedia https://en.wikipedia.org/wiki/Robert_Mapplethorpe

Self-portrait, 1980

I think this photographer was the one who’s work I liked least as his work was very literal and didn’t leave much work for the viewer to do in terms of decoding it’s messages, however, his work is well composed and lit and his use of high contrast black and white very effective.

Stills Gallery – Cindy Sherman

“Cynthia Morris Sherman (born January 19, 1954) is an American artist whose work consists exclusively of photographic self-portraits, depicting herself in many different contexts and as various imagined characters.

Her breakthrough work is often considered to be "Complete Untitled Film Stills," a series of 70 black-and-white photographs of herself in many of the roles of women in performance media (especially arthouse films and popular B-movies). In the 1980s, Sherman used color film and large prints, and focused more on costume, lighting and facial expression.

In 1995, Sherman was the recipient of a MacArthur Fellowship. In 2013 she received an honorary doctorate degree from the Royal College of Art, London.”

Source: Wikipedia https://en.wikipedia.org/wiki/Cindy_Sherman

Still from an untitled film, 1978

Gelatine silver print

This exhibition was mainly covering her early self-portraits where she high-lighted the inequalities of the sexes by dressing up as them for the portraits and thereby “owning” them and taking back control. I prefer her later work which to me, is much more dynamic, when she moved into shooting in colour.

#exhibition

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