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Aria Aber, from Hard Damage; “Operation Cyclone”

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Michael Whelan

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American fast food chain 5 Guys announces surprise rebrand to 5 Holy Warriors, in order to, quote, "stand against the darkness"

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by Gustav Kampmann

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he was so right when he said this

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hey quick question btw. what the fuck is going on

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GK247 Limited Edition Swatch, 1997

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Now if we're talkin' body

Release: September 24, 2014

Lyrics:

Hey

Hey

Bed, stay in bed

The feeling of your skin locked in my head

Smoke, smoke me broke

I don't care, I'm down for what you want

Day drunk into the night

Wanna keep you here

'Cause you dry my tears

Yeah

Summer lovin' and fights

How it is for us

And it's all because

Now if we're talking body (Hey)

You got a perfect one

So put it on me (Hey)

Swear it won't take you long

If you love me right

We fuck for life

On and on and on

Now if we're talking body (Hey)

You got a perfect one

So put it on me (Hey)

Swear it won't take you long

If you love me right

We fuck for life

On and on and on

Love, give me love

Anything you want I'll give it up

Lips, lips I kiss

Bite me while I taste your fingertips

Day drunk into the night

Wanna keep you here

'Cause you dry my tears

Yeah

Summer lovin' and fights

How it is for us

And it's all because

Now if we're talking body (Hey)

You got a perfect one

So put it on me (Hey)

Swear it won't take you long

If you love me right

We fuck for life

On and on and on

Oh, oh (Hey)

Oh, now if we're talking body (Hey)

You got a perfect one

So put it on me (Hey)

Swear it won't take you long

If you love me right

We fuck for life

On and on and on (On and on and on)

Bodies

Our baby making bodies we just use for fun

Bodies

Let's use them up 'til every little piece is gone

(Let's go)

On and on and on

(Let's go)

On and on

(Let's go)

Oh, now if we're talking body (Hey)

You got a perfect one

So put it on me (Hey)

Swear it won't take you long

If you love me right

We fuck for life

On and on and on

Ooh, now if we're talking body (Hey)

You got a perfect one

So put it on me (Hey)

Swear it won't take you long

If you love me right

We fuck for life

On and on and on (On and on and on)

Now if we're talking body (Hey)

Put it on me (Hey)

If you love me right

We fuck for life

On and on and on

Songwriter:

Now if we're talking body (Hey)

You got a perfect one

So put it on me (Hey)

Swear it won't take you long

If you love me right

We fuck for life

On and on and on (Hey)

Lo Tove / Jakob Bo Jerlstroem / Ludvig Karl Dagsson Soederberg

SongFacts:

📖👉

Homepage:

Tove Lo

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dearrrrr reddit. how was your day? Mine wasnt very good. I just cant stop killing and killing and killing and killing. every man who beheld my terrible form was struck dead with fear. am I the asshole?

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Can you explain the "breyer horses are stylised" thing you said a while back? Not because I don't believe you but because I don't know enough about horses to see it (besides the mane and tail)

All artistic representations of a horse will be somewhat stylized. Humans can't help it, they imagine details, even when referencing photos or live animals. A swayed back gets exaggerated, sickle hocks are overlooked, the face becomes more expressive, because to a human who loves a horse, and who expresses their own emotions with their face, the horse's face just feels more expressive.

Take a look at this horse from Peter Paul Rubens' "Wolf and Fox Hunt" (1616) and how it compares to a photo of a horse

The artist was clearly familiar with horses, and most likely referenced off a live horse. And yet its face is much more expressive than a real horse's face - it's neotenous and borderline anthropomorphic, with its huge sorrowful eyes, and the short muzzle that puts the mouth in closer proximity to its eyes (making its expression more readable).

I think a lot of people see what they want to see when they look at a horse, and they reflect that in their art. Is the horse an independent agent or a tool of its rider? Is the horse an unthinking animal or a soulful creature like yourself? Does the artist admire animals, in spite of painting them in terrible war-like scenarios? Does the artist paint animals in these scenarios because he admires them? Is the horse meant to elevate the status of its rider, by being depicted as a soulful creature that nonetheless submits to its rider? (You can probably guess my own opinion from these questions)

Earlier art saw horses almost an afterthought, depicted from memory while their rider was drawn reverently. All those art pieces of emperors and kings on horseback, where the horse looks like a cartoonish oaf, use the horse as a symbol of power, with no regard for the animal itself. Even when the horse is beautifully rendered, it's nothing more than a vehicle to carry its rider. The artist has depicted the horse as expressionless, beastly, and soulless.

Even when you get into portraits of horses in the 17-/1800s, they are still stylized, though now you're just as likely to see a lithe and graceful companion, as you are a muscled working horse or a faithful old friend. Horse breeding really took off around this time, as did theories of animal minds, so adoration of horses-as-individuals became more widespread. Examples are "Lustre" (1762) by George Stubbs, "Mare and Foal in a Stable" (1854) by John Frederick Herring Senior, and "A Grey Horse in a Field" (1873) by Rosa Bonheur.

All this is to say that horses will always be stylized in art. Humans can't not twist the horse the suit their own tastes, and that's fine. I actually think it's kinda beautiful. The way horses are stylized can give you insight into the artist's opinion of horses. An artist with a neotenic, expressive stylization probably has more respect for horses-as-individuals than an artist who depicts them as inexpressive, powerful, willing beasts of burden.

Breyer horses have an airy painterly quality to them. Even the draft horses seem almost weightless. Compare Breyer's "George" with the self-released resin horse "Gustav," both sculpted by Brigitte Eberl.

George has much longer hooves and smoother curves in his legs - you could draw a near perfect curve from his hind knee to his toe -, giving him a flowing appearance with very little weight behind it. Gustav, on the other hand, has sharp edges and corners. He feels heavy. I'm a big fan of wrinkles and muscle on model horses, but the muscles on George seem like he's been through a rock tumbler. They're smooth and soft-looking, except for the extremely deep crevices between them, which are probably there to better catch paint and enhance the shading (an effect that's especially noticeable on George's thigh). Gustav, on the other hand, has very subtle muscling and virtually no wrinkles (he deserves neck wrinkles, give my boy neck wrinkles!!). He looks like a working horse with a solid layer of fat over his muscles. George's stylization is, for lack of a better word, smooth. Flawless. A bit too perfect for my liking. George is like the platonic ideal of a visually appealing draft horse. A horse like him can't exist.

I think resin horses by master craftsmen are the closest we'll get to depicting horses exactly as they are in life. The stylistic choices are extremely subtle, and seem more like a consequence of the medium than a deliberate goal on the artist's part (e.g., you can't make a realistic mane out of resin, so you have to compromise).

I love both the stylistic trappings that humans fall into when depicting horses and the endless quest for the perfect artistic representation of the horse. Both are beautiful. All horse art is beautiful.

(Obligatory disclaimer that I'm not an art historian or anthropologist, I literally studied bugs at university, so if you think I'm talking out of my ass you are MORE than welcome to add to this post!)

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Ayo Edebiri / W Magazine [February 2025] / Photo Luca Guadagnino

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