#Berlin Fall 2023
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therunwayarchive · 13 hours ago
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Odeeh, Berlin Fall 2023
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ajjordanphoto · 1 year ago
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PB performing at The (After) Life of the (After) Party Fall Out Boy Drag Show at Berlin, June 2023
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ty-loves · 4 months ago
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Briarwood Mortuary🕊️🪦
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The Briarwood Mortuary is owned & operated by the Briar Family of Brindleton Bay. This longstanding mortuary & cemetery is the resting place of many of Brindleton Bay's most coveted citizens. This lot can be used to lay your sims to rest peacefully, host a funeral service, or even have a wedding in the cemetery.  
Gallery ID: ty_loves415 (✅include custom content to find builds)
Information: 
30x30 lot
$319,543
 Functions as: Generic, Wedding Venue, or Museum lot
CC Used:
Asabinsims | Real Trees for build mode (1) 
Alf-si | Birch Trees (1),
Magnoliidae | Leafy Ground Cover plant recolor (1)
TheJim07 | Gravestone & Mortuary ts3 (1), Mater Dolorosa (1), Winged Victory of Samothrace (1)
Felixandre | Estate (2), (1), (3), Paris (2), (1), Chateau (2), (5), (6), Berlin (2), (1), London (1), Gothic Revival (2), (1), Grove (4), Fayun (2), (1), Florence (2), (1), Soho (1)
Pinkbox AnYe | Venice (1), Summer Garden (1), (2), Bayfront Powder room (1),  Miranda (1), Cozy Corner (1), Magnolia (1), Ashwood Dining (1)
SYB | Ratatouille Kitchen (1), Hotel (1), Piano (1)
Valia | Mediterranean columns (1)
Lilis Palace | Folklore Skanzen (5), Intarsia Enfilade (1)
Plush Pixels | Parisian Apartment (1), Summer in the Hamptons (2)
Max20 | Garden at Home (1)
Pierisim | Domaine du Clos (2), (1), Auntie Vera’s Bathroom Toilet (1), Winter Garden (1), Woodland Ranch Old Rug (1)
Harrie | Coastal (2), (8), Copenhagen (1), Brutalist Bathroom Tiles (1)
PsychicPeanutKitty | Ghost w/ a Lantern (1)
KHD | Noor Set (1), Ghibli (2), Liberty (1), Countess Desk & Chair (1)
Severinka | Halloween 2018 (1)
Sims4Luxury | Fall 2023 Pumpkins (1)
Myshunosun | Herbalist Clutter (1)
Natalia-Auditore | Baron Samedi Coffins (1)
CWB | Anapolis Wall Light (1), October 2022 (1)
HYDRA | Heart Vanity (1)
Sooky88 | Vertical Oil Paintings (1)
PandoraSimBox | Get to Church Stuff Pack Pulpit (1) LittleDica | Countryside Cabin Roof Trim (1)
*Packs Used: Lovestruck (benches), Cottage Living, City Living, Get Together, Jungle Adventure GP, Romantic Garden Stuff, Paranormal Stuff Extras & TOU: 
Please do not reupload or claim my build as your own
Please do feel free to tag me if you use this build <3
Always use bb.moveobjects when placing
Reshade by YoursTrulySims
Leave a comment here if you have any issues
Thank you all cc creators <3
All trees used in this build are CC, not defaults.  
@asabinsims @felixandresims @pinkbox-anye @alf-si @sooky88 @pierisim @lilis-palace @myshunosun @kerriganhouse @harrie-cc @sims4luxury @psychicpeanutkitty @valiasims @maxsus @littledica @hydrangeachainsaw @nataliaauditore-blog @syboubou @thejim07 @magnoliidae @plushpixelssims
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pochiperpe90 · 6 months ago
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[ENG] PARDO - Interview with Luca Marinelli
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“Luca Marinelli is a true phenomenon!” This is how Paolo Virzì, who directed him in Tutti i santi giorni in 2012, defined the actor a few years ago. He was absolutely right. Throwing himself body and soul into each of his roles, Luca Marinelli does not limit himself to playing a part, but manages to transform himself completely, creating intense, charismatic, unique characters. From the young introverted mathematician in La solitudine dei numeri primi (2010) by Saverio Costanzo, to Roberta in L’ultimo terrestre (2011) by Gipi; from the criminal in Non essere cattivo (2015) by Claudio Caligari to the cult character of the Zingaro in Lo chiamavano Jeeg Robot (2015) by Gabriele Mainetti; from the proletarian intellectual in Martin Eden (2019) by Pietro Marcello, to the King of Terror in Diabolik (2021) by Manetti Bros; from Nicky, the immortal warrior, in The Old Guard (2020) by Gina Prince-Bythewood, to Pietro, a fervent mountain enthusiast in Le otto montagne (2022) by Felix Van Groeningen and Charlotte Vandermeersch; Luca Marinelli has been able to give life, thanks to his prodigious versatility, to an extraordinary range of characters who all bear the unmistakable sign of his talent.
Maria Giovanna Vagenas: In your current career as an actor there are two important works coming out soon: the television series M. Son of the Century by Joe Wright and The Old Guard 2, by Victoria Mahoney. While waiting to be able to see them, I would like to start by addressing a perhaps less well-known but equally essential side of your work: your debut as a theater director in 2023 with Kafka's Una relazione per un’accademia, for the Festival dei Due Mondi of Spoleto. How did this project, on which you collaborated with the German actor Fabian Jung, come about?
Luca Marinelli: The first idea for this project dates back to ten years ago when I saw Fabian at his graduation performance at the Ernst Busch Academy of Dramatic Art in Berlin. I found it extraordinary, and on that occasion I had already told him: "In my opinion you should recite this text!" Then there was a ten year gap. Towards the end of the pandemic, I proposed to him that we work together on Una relazione per un’accademia. At the beginning we had to be both on stage a bit, later I understood that it would have been more sensible to mount this piece with just one actor and I asked him if he would like to be directed by me.
MGV: What was your approach as a director? 
LM: At the beginning of this project I was more of a kind of acting coach - Fabian acts in Italian, even though he doesn't speak it - then I began to understand what it meant to be a director, to take responsibility for everything the public will come to see, to make many decisions and to take care of an entire team. In this context, the exchange of ideas with Fabiana Piccioli, who deals with the light design of the show, was essential: the theatrical piece is in fact a kind of dialogue between the actor and the light, the space and the audience. Being a theater director is also a question of trust. In the cinema the director is very present until the end of the production process, but in the theater you get up to a certain point and then that's it, because the real work, evening after evening, falls to the actors and technicians, that is, to those who are in the scene and around it. The director is no longer part of the performance, he’s almost the first spectator of his own work. It was a very beautiful experience for me, because being "outside", that is, not being on the scene but in front of it, is truly something completely different! In February-March 2025, we will take this show on tour around Italy.
MGV: Do you plan to continue along this path in the future? Is it an experience that has opened up new perspectives for you?
LM: It's a road I'd like to explore, that of theater. I would like to return to the stage as an actor-director, a bit like a master, let's say. I feel that theater is much more accessible to me, while I know very little about the technical side of cinema and for which I have great respect, so for now I don't feel like it.
MGV: You come from a family close to the world of entertainment. It seems that as a kid you watched a lot of movies with your grandmother. I would be curious to know how your desire to become an actor was born in this context. 
LM: My father is first and foremost an actor who is also dedicated to dubbing and my grandmother, as you said - a great cinephile. I owe a lot to every member of my family, whether they work in the arts or not. However, I cannot tell you where this desire comes from, each of us has a drive within us, and is attracted by something. Indeed, I grew up watching many films and, thanks to my father, I happened to know this work in various forms. But when you are very young it is difficult to say: I want to do this! I felt very attracted by the world of theater and cinema, by the idea of ​​expressing myself in a way that went beyond words, which approached images, sounds, the body. I wasn't fully aware of it from the beginning, but now I feel that it's exactly this: I love observing an interpreter's body, listening to their voice. I love seeing a group working together and I love teamwork. The profession of actor contained within itself a bit of everything that nourished my curiosity. This desire has been growing more and more. My family has always been very supportive and has never hindered me in anything. Rather, I was the one who hindered myself, until, at a certain moment, I gave myself permission to approach this profession and entered the Silvio D'Amico National Academy of Dramatic Art. They were three wonderful years during which I gave free rein to all my curiosity and desire for expression. The relationship with my class was fundamental and magical. From there, little by little, I moved forward. Almost immediately, cinema arrived with Saverio Costanzo who hired me for La solitudine dei numeri primi together with Alba Rohrwacher. I auditioned while I was still at the Academy and was acting in the final recital Dream of a Summer Night directed by Carlo Cecchi. I finished the Academy and immediately went on set for the first time.
MGV: You found Carlo Cecchi again as an actor on the set of Martin Eden (2019) by Pietro Marcello many years later. 
LM: Of course, and it was wonderful to meet again! I consider Carlo my teacher, he is the first who truly made me understand the importance and urgency of this profession. 2012 was the last time I was on the boards of a stage and was with him. Carlo Cecchi had become very fond of us all and with this graduation essay he managed to take us on tour. Basically we did two theater seasons from 2010 until February 2012.
MGV: Are there other directors, among all those you have collaborated with, that you consider to be your teachers?
LM: I met some great directors during my journey, each had their own vision of art, so it's as if I had many different teachers along a single professional journey. I would practically name them all, but I would also name the actors I simply observed in films.
MGV: Between the actors who inspired and influenced you, who would you quote?
LM: For the sake of equality, I only mention the actors of the past. There are many who have struck me but I always evoke Anna Magnani, Silvana Mangano, Marlon Brando and Massimo Troisi. These are the first huge names that come to mind. When I 'met' them on the screen I immediately realized I was faced with something unique and great. I like to mention these four names also because they belong to a moment in my life in which I still didn't know what I would do, but I was drawn towards them.
MGV: Non essere cattivo (2015) was Claudio Caligari's last, poignant and wonderful film, released posthumously. What are your memories of him?
LM: Claudio Caligari was a gigantic meeting for me, from him I learned how important expression and communication, sharing and respect are. I understood how much this profession is life and how much life can be put into it. I witnessed enormous courage and a great knowledge of filmmaking. I also learned the dedication and immense respect that one must have for the public, for what is proposed, for how one interacts with those who come to see a film, without ever putting oneself on a pedestal but being all together. Caligari taught me to never judge myself, nor others, nor the stories one tells nor the characters one plays but that one must stay with them, inhabit them. These are the few things, fundamental for me, that come to mind. Beyond this, every single memory is a source of inspiration and guidance for me. And then the certainty that love and passion are the only things that really keep us here and now, alive.
MGV: In 2019 you played the complex character of Martin Eden in the film of the same name directed by Pietro Marcello, and you won the Volpi Cup at the Venice Film Festival. What did this role mean to you? And what was it like working with Pietro Marcello? 
LM: The collaboration with Pietro arose from a secular prayer which has been fulfilled over the years. I was a great observer of his work and his art and finally being able to work together was a great gift, a true exchange based on trust. We all found ourselves in a moment of grace, in a state that allowed us to work with great concentration and dedication together. As for the role, I think Martin Eden is one of the most beautiful male characters of the last century, in one of the most powerful novels ever written. I owe a lot to this character, not only a very prestigious award, but also important artistic and personal growth.
MGV: You have played an extremely wide range of roles, spanning from one film genre to another. Beyond your exuberant talent and the extreme versatility of your performances, what is striking about your acting is the generosity with which you embrace each character, offering your all. How do you prepare your roles? 
LM: It's like a kind of love at first sight; I fall in love with the story, with the character and from that moment on I begin to see everything in that direction. It is an almost routine behavior that I have never schematised. If someone were to ask me, "How do you approach a character?" I would answer that I have no idea, but every time I do it more or less in the same way. There is certainly a certain affinity with the director and an involvement in the script and the character. Little by little I'm starting to eat all the information I can find. I am often offered films to watch, and then I discuss them with the director. I love working with imagination and thinking about every element of the character. I like being with the costume designer, working on the costume and then creating the look of my character with makeup and hair. I'm very happy when I can have my say too. As I said before, I fall in love with the character and I begin to see everything in that light. My wife always tells me: "You've already started!" I don't notice but she does! "You've already started!" it means that everything has started to take on that colour, but I don't do it on purpose, I believe that there is a more intelligent, unconscious part inside me that organizes my work. It's a bit like this!
MGV: A few years ago Paolo Virzì, who directed you in Tutti i santi giorni, said of you: "Luca is a phenomenon, he's intelligent, witty, but at the same time he's crazy, he becomes what he's doing. All the great actors have a kind of lack, a defect, they know who they are and therefore they are enthusiastic about becoming the one who proposes to them!" What do you think? 
LM: I agree with him, all this is said with deep love and therefore I accept everything he says about me. I love Paolo so much and I think he understood me more than I understood myself. In fact I think none of us really have a clear focus on who we are and what we can be. Of course this is an interview from a few years ago, perhaps now I know slightly more - but only slightly [laughs] - who I am because I am closing, so to speak, the first act of my life, given that this year I will be turning 40!
MGV: Being an actor is a collective profession. Over the course of your career, a very significant bond has been created between you and Alessandro Borghi, with whom you collaborated for the first time in Non essere cattivo and who you met again on the set of Le otto montagne of Felix Van Groeningen and Charlotte Vandermeersch, Jury Prize at Cannes. Could you tell me about your working relationship and your friendship?
LM: I'll start from the beginning of what you said; for me this isn’t a job we do by ourselves. This art doesn’t exist without the other. Even a monologue is not done alone but with the audience. Acting is always a way of expressing oneself and communicating. I adore, as I said before, teamwork, over the years I have happened to work with many wonderful colleagues who have become important friends and then there was this magnificent meeting with Alessandro during Non essere cattivo, a film that carries within itself something sacred due to how it was approached, and due to the strength of the great Claudio Caligari who created it. The two of us found ourselves actors in this extraordinary work which united us so much, creating a deep bond between us which at that moment was needed, let's say, for the film but which the film then gave us for life. Since then this friendship has continued and gone forward, without interruption. After Non essere cattivo for six years we were no longer able to work together, then suddenly another wonderful film arrived, full of love: Le otto montagne and thanks to two fantastic directors, Felix and Charlotte, we managed to make this friendship coincide again on the screen too. Alessandro and I are good together. At work, to put it in a football metaphor, for me it's like I always know where the other guy is so I can make a cross almost with my eyes closed because I know he gets the ball, stops it and shoots it towards goal! We have great chemistry and on set, we don't need to worry too much. I hope we can work together again soon. I happened to see an interview where we said that we promised ourselves not to wait another seven years to do it, but now it's been almost three years already so we have to hurry!
MGV: For a few years now you have also started an important international career by participating in important productions such as The Old Guard by Gina Prince-Bythewood with Charlize Theron which was a huge success on Netflix, the series Trust (2018) by Danny Boyle, written by Simon Beaufoy and starring, among others, Donald Sutherland, and a production for German television: Die Pfeiler der Macht (A Dangerous Fortune, 2016), by Christian Schwochow. How did you experience dealing with all these new production realities?
LM: In every latitude there is a slightly different type of approach but essentially the work is always the same. The thing that always excites me is that, ultimately, we all find ourselves in the common language of acting, of art. I was lucky enough to work with some wonderful international casts, not only every single actor but also the technical departments and directors were wonderful people. Ultimately, the place changes geographically, but the work remains the same.
MGV: As a member of the Jury of the International Competition, what will your evaluation criteria be?
LM: I was just looking at the list of films in competition and judging by the images that accompany them I already like them all, so maybe I'm off to a bad start! [laughs] I don't actually have any specific parameters. I certainly won't judge only the performers, but I will look at the film as a whole. However, for me it is essential to start from the assumption of great respect for the film itself, because every film is a work that requires great efforts from many people and for this reason must be evaluated with consideration. Having said that, I would like to have a good dialogue with the film, an intelligent dialogue on an intellectual and emotional level. In short, I hope that a film leaves me with a thought, a sensation, an emotion.
As usual, sorry for any mistake and my English
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wub-fur-radio · 2 months ago
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Psychedelic Daze ☮︎ Spirit of 1967 vs Reality 2024
A 21st Century Neo-Psychedelic Music Mix
I coulda said it was in my way – D. Crosby
Wub-Fur Internet Radio is back with another of our patent pending streaming mixes of contemporary psych rock from around the world and across the universe. Fourteen tunes that traffic in more than a bit of musical and lyrical nostalgia without completely losing touch with the reality of the present day. Featuring contributions from Helicon, Rancho Relaxo, Robyn Hitchcock, Tess Parks, Jeffrey Alexander + The Heavy Lidders, Bananagun, Deviant Amps, Sons of Zokü, and a half dozen more bands of partially unreconstructed hippies that are up to the task of dragging the spirit of the 1960s kicking and screaming into the third decade of the 21st century.
Cover art based on a photo by Leslie Bryce of David Crosby visiting The Beatles in the studio during the Sgt. Pepper recording sessions in 1967. Apologies to them all and to legendary Swedish psych rockers Gold, whose tune Psychedelic Days kicks off our mix, inspired its title, and serves as something of a mission statement for its unapologetically nostalgic freak-flag-flying spirit.
▶︎ Listen on Mixcloud
Running Time: 1 hour
Tracklist
Psychedelic Days (3:10) — Gold | Sweden
Magma Rising (4:30) — Cosmic Fall | Berlin, Germany
She Taste of LSD (3:05) — Deviant Amps | England, UK
Flesh Failures (Let the Sun Shine In) (3:33) — Mushroom | San Francisco, CA
Burning of the Midnight Lamp (3:59) — Robyn Hitchcock | London, UK
Higher (3:46) — Helicon | Glasgow, UK
Echoes of the Unknown (4:33) — Rancho Relaxo | Norway
You Know [Live Session] (4:38) — Stoner Bud’s | Bordeaux, France
Children of the Man (5:06) — Bananagun | Melbourne, Australia
Lemon Poppy (3:18) — Tess Parks | Toronto, Canada
Glade Runner (2:52) — Pretty Lightning | Saarbrücken, Germany
Earth Chant [Acoustic] (3:37) — Sons of Zöku | Adelaide, Australia
Light the Incense (3:01) — Black Snake Moan | Italy
Almost Cut My Hair (10:35) — Jeffrey Alexander + The Heavy Lidders | Philadelphia, PA
• Outro: Getting the Beatles High (0:20) — The Croz
All tracks released in 2024, except She Taste of LSD by Deviant Amps, which was released in 2023, and Glade Runner by Pretty Lightning, which will be released in 2025.
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lamaisongaga · 12 days ago
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FASHION CREDITS: "ABRACADABRA" M/V
Last night, during the Grammys, Lady Gaga made the monsters go wild again, by debuting her next "Mayhem" single titled "Abracadabra", alongside an incredibly crafted music video which was directed by herself in collaboration with photographer Bethany Vargas and new choreographer Parris Goebel, and is described as "a dance battle between the light and dark sides of Gaga."
The styling was done by HARDSTYLE. Hair by Frederic Aspiras and makeup by Sarah Tanno-Stewart. Photography by Robin Harper.
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We're starting off totally strong! My absolute favorite piece from the video is this brutalist-inspired crimson latex cape with real nails holding it together, and black latex bodysuit underneath, both custom-made by NYC-based latex artisan Renee Masoomian.
"We reinforced the latex with a double layer before punching little holes and threading the nails through. The nails were treated with a special glue on the backside and backed with thin twine that was rubberized, and then we layered another latex reinforcement strip over the top of everything to seal and secure each nail in place."
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The "Lady in Red" is also wearing a custom lace hood by Stephen Jones (more about that later) and a custom red version of the hand-sculpted spiked wide-brim leather hat (€1,350) from Berlin-based emerging designer Maximilian Gedra’s "Stalactite" Fall/Winter 2024 collection!
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Her insane black latex fetish gloves with attached stiletto nails are from Balenciaga's Spring/Summer 2023 runway.
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The main piece of the "Abracadabra" music video took a small village to make.
In the promotional photo, Gaga wears a custom Samuel Lewis x Suman Gurung x ILONA cape which is based on the closing number from the Givenchy Fall/Winter 1998 "Endogenous, Russian, Amazonian" Haute Couture collection, which was designed by Alexander McQueen—a baroque-inspired extraavagant white lace jacket with oversized dramatic Elizabethan collar and tiered stiffened long train.
Gaga revealed to Elle that they created this cape by upcycling old wedding dresses with the help of GALEDI!
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For the dance sequence, she wears a custom Olivier Theyskens white pleather catsuit with strong shoulders, lace panels, distinctive hook-and-eye embellishments in cross formation and incorporated gloves, based on his Spring/Summer 1999 collection. Costume designer Seth Pratt created this piece with the help of GALEDI! The suit originally came with built-in boots but were cut off due to movement reasons.
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Stylists Hunter Clem and Genesis Webb dressed all of the dancers in looks from Gaga's personal archive, including deadstock fabrics with the help of costume designer. Gaga said "we also used deadstock fabric for the dancer’s clothes. That's fabric that's been in warehouses for long periods of time. And we also use pieces from my archive; so old costumes are reinterpreted."
Some of the looks were created by Orchid Sattelite and E.I.N.III by Efrain Nava with accessories and clothing by emerging designer Soma Faitanin including the batwing shirt, opera gloves and short gloves from his Fall/Winter 2023 "Chagrin Canon" collection. Some of the white strappy leather accessories are custom Zana Bayne.
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One of my all-time favorite dance scene looks has to be this crooked man-inspired one!
The red lacing bodysuit with padded hips, lacing sleeves, and destroyed moiré silk bustle skirt, was custom-made for the video by Samuel Lewis and Seth Pratt!
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I promised you that we'd talk about her headpiece. The red floral lace hood and matching boater hat with overlapping cut brim is a bespoke Stephen Jones design for our girl!
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Matching red lace gloves were custom-made by Wing & Weft Gloves.
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Another custom design are her Sugar Jones red patent leather boots with silver-tone hardware embellishment by Chrome Hearts (pictured in white).
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The black dancers, also called the "Mistresses", are all wearing custom E.I.N.III black jackets,skirts and lace hoods with custom Zana Bayne leather lace-up bodysuits underneath, and tilted headpieces by Manny Robertson.
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For the final dance scene, Gaga changed into a white frayed bandage-inspired corset dress adorned with faux chiffon and crinoline moths embellished with feather antennaes and rabbit fur puffs, designed by Samuel Lewis and custom-made for her by Iggy Soliven in collaboration with Oberon Alexander. The moths were made and hand-painted by Ariel Brickman!
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The epic silver cross necklace which is made of little Gaga heads depicting her Oscars 2019 look was custom-made by DOSIS G6C for her.
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mkllpz · 2 months ago
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DECEMBER 2024
I've written quite long year-in-reviews for the past two years (2022, 2023), but this year's y-i-r will be much shorter since I've mostly focused on one project.
The Hermes
That one project is The Hermes, my adventure book with the amazing Tim Fischer. I posted some early concept art for it at the very end of last year's y-i-r, and I recently posted some more concept art of some supporting characters. We're at the halfway point now, and the preliminary relased date for the French edition (published by Kinaye) is set for fall of 2025 (the English-language publisher still to be determined). Really looking forward to everyone finally getting to read this next year!
● The Hermes
▼ A panel from The Hermes by Tim Fischer ▼
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▼ An unlettered page from The Hermes by Tim Fischer ▼
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▼ A color test for The Hermes by Tim Fischer ▼
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Book of Fuligin
Book of Fuligin, the Book of the New Sun anthology which includes my horror story "A Column of Ashes" (a collaboration with H. Berlin), was crowdfunded early last year, and it was finally printed and sent to backers this year. A few copies are available in the Strangers shop.
● "A Column of Ashes"
▼ The cover to Book of Fuligin by Artyom Trakhanov ▼
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▼ A page from "A Column of Ashes" by H. Berlin ▼
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The Cult of Dreams
Oscar Westberg/@gudgurkan ran a crowdfunding campaign for his illustrated "fantasy journal" The Cult of Dreams which I had the privilege of editing. The campaign raised 800% of its initial goal and is available to buy here. Highly recommended!
▼ The cover of The Cult of Dreams by Oscar Westberg ▼
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▼ The first page of The Cult of Dreams by Oscar Westberg ▼
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Peow2
Peow "came back from heaven to do overtime" as Peow2 earlier this year, releasing four new books and reprinting a handful of titles, three of which I was involved with as assistant editor: Soft: Director's Cut, Dreaming in Color, and Ex.Mag V: Bloodsucker. I've (assistant) edited 13 books for Peow so far, and I hope to get to add more to that list in the future.
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Conventions
I went to 12 conventions/markets this year, including my first convention outside of Sweden, Oslo Comics Expo (Norway), which was held in a tent in front of a library. I sold out everything I brought with me to Oslo – Norwegians really love comics. Next year I'll try to go to Copenhagen Comics (Denmark) and Helsinki Comics Festival (Finland) as well, completing my tour of the four big Nordic conventions.
I'd hoped to announce my next book and collaborator at the end of this year, but I can't do that quite yet. Hopefully very soon!
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28mindgames · 1 year ago
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Tank Tops: Cuyahoga Falls - Columbus - Chicago - Seattle - Los Angeles - Phoenix - Austin - Woodlands - Charlotte - Boston N1 - Philadelphia - New York - AFHF 2023 - Hamburg - Lodz - Vienna - Ljubljana - Budapest - Sofia - Bilbao - Turin - Bologna - Antwerp - Amsterdam - Berlin - Dublin - Sheffield - Manchester - London - Jakarta - Brisbane Graphic Tees: Gilford - Sterling Heights - Kansas City - Vancouver - Berkeley - Las Vegas - Irving - Atlanta - Raleigh - Boston N2 - Asbury Park - Lisbon - Barcelona - Prague - Glasgow - Birmingham Collared Tops: Uncasville - Laval - Cincinnati - Saint Louis - Milwaukee - Council Bluffs - Hollywood - Nashville - Oslo - Helsinki - Madrid - Paris - Cologne - Munich - Brighton - Cardiff Brand Logos: St. Augustine - Tampa - Copenhagen - Stockholm - Tallinn - Riga - Athens - Luxembourg - Zurich - Melbourne - Sydney Blokecore: Toronto - Minneapolis - Sioux Falls - Troutdale - Columbia - Kaunas Jackets: Chicago - Los Angeles - Woodlands - Antwerp - Manchester Other: Indianapolis - Krakow - Bucharest
source: @fashionlouist
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iama-doubleagent · 6 months ago
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Der Pass (2018-2023)
Babylon Berlin (2017-2025)
I've been watching these 2 German-speaking series in a row and I'm obsessed with the lead characters and their chemistry and these series are so underrated, especially Pagan Peak (Der Pass). Somebody pls watch it, I need someone to ramble about how I love my cutie little pies and how I fall for them before they fall for each other
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Ellie Stocker x Gedeon Winter
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Charlotte Ritter x Gereon Rath
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the similarities between the scenes
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theroyalsandi · 1 year ago
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Norwegian Royal Family - Crown Prince Haakon and Crown Princess Mette-Marit place roses in the Wall at the central commemoration ceremony for the 34th anniversary of the fall of the Berlin Wall in Berlin, Germany | November 09, 2023
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therunwayarchive · 13 hours ago
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Odeeh, Berlin Fall 2023
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transgenderer · 2 months ago
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On 20 December 2024, an SUV was driven into a crowd at the Magdeburg Christmas market in Magdeburg, Germany, resulting in the deaths of 5 people and injuries to at least 205 others
A suspect who was allegedly driving the vehicle was arrested. According to information from the Minister-President of Saxony-Anhalt, Reiner Haseloff (CDU), the Saxony-Anhalt Interior Minister Tamara Zieschang [de] (CDU), as well as Die Welt and Der Spiegel, the suspected perpetrator is Taleb Al-Abdulmohsen, a 50-year-old atheist and Islamophobic doctor from Saudi Arabia who lives in Bernburg and who worked as a psychologist and psychiatrist in a correctional facility in a clinic in Bernburg. The suspected perpetrator immigrated to Germany in March 2006, was recognized as a refugee in July 2016 and has a settlement permit and thus a residence permit.
In a 45-minute video interview that appeared on an anti-Islam United States blog of the RAIR Foundation eight days before the attack, Abdulmohsen spread theories that the German state is conducting a "covert secret operation" to "hunt and destroy the lives" of Saudi ex-Muslims around the world, but at the same time Syrian jihadists are receiving asylum in Germany. In the same interview, he describes himself as leftist. On X, Abdulmohsen posted a machine gun with a US-flag as a profile picture and conspiracy theories such as "Germany wants to Islamize Europe." Abdulmohsen also shared similar right-wing ideological content, including content from German politician Alice Weidel (AfD), Alex Jones and Elon Musk.
According to information from several public broadcasters and private media in Germany, people reported Abdulmohsen to the police several times because of threats of violence. According to public broadcaster ARD, Abdulmohsen was sentenced in 2013 by the Rostock District Court to 90 daily rates of ten euros each for threatening criminal offenses. The Federal Intelligence Service (BND) received a report from Saudi Arabia that Abdulmohsen had announced something big in Germany as early as 2023. The responsible state authorities are said to have followed up on this tip. In the fall of 2023, a woman who had been in contact with Abdulmohsen via the Internet attempted to warn the police in Berlin that Abdulmohsen wanted to kill 20 Germans; however, she sent her email to the police in Berlin, New Jersey.
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ajjordanphoto · 1 year ago
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Kenzie Coulee
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ohsalome · 1 year ago
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On that radiant Saturday in July last year, my mom and I were at a small restaurant in Warsaw. He walked up to our table, said hello, and asked if we were enjoying everything. I thanked him and asked if he remembered me. Yes, he did. I used to visit often in the summer of 2022 with my sister. It had been a year since then, and I was about to head back to Kyiv in a few hours. ‘Why?’ he asked. I told him I didn’t want to miss the victory celebration. He then told me he felt the same for six long years in Syria. We were quiet for a moment, looking at each other, when my mom started to cry, and I got goosebumps. He shook my hand, mentioned he had a brother in Berlin, and said it was a great city with good food and lots of refugees. He suggested I should visit. Not right now. We said goodbye with a hug, and I asked for his name. Samir. He used to own an antique shop in Damascus and now ran a vegan restaurant with the best falafel I had ever tasted. There was even a documentary made about him. I promised to come back to Warsaw again soon.
[...]
In the last year, Russians have targeted Kyiv with over 300 various types of cruise missiles, 14 ballistic missiles, and nearly 400 ‘Shahed’ type attack UAVs. In 2023, Kyiv had 302 air raid alerts, with the total time of these alerts adding up to 16 days. You can find all these statistics on a website called Alerts Wrapped, which starkly highlights our new reality. My friends, family, and colleagues face this every day. Those working for international companies often have to keep quiet about these attacks to keep their jobs. They are feeling downhearted, worn out, and uncertain about what the future holds.
It seems like the war won’t end soon. On January 2, 2024, Ukraine faced another widespread attack. We urgently need more weapons to defend our skies and fight on the ground. My friends and I are continuously raising funds for the Ukrainian Armed Forces, knowing this is a marathon, not a sprint. Today, I’m reaching out for your support. Please follow Ukrainian news on social media, share these stories with your followers using #russiaisaterroriststate, and urge your governments to assist Ukraine. United we stand, divided we fall.
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quietlyimplode · 1 year ago
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Whumptober Masterlist 2023
Masterlist of fic
(Warnings at the start of every chapter, please be kind to yourself. Gif not mine; I do not possess that kind of power. This will be updated with links as we go and when placed on ao3 will be updated with the link. A lot of these can be read as one shots (I’ll try and mark the ones that can be read as such with a *) but together make a whole story; the story of how Clint and Natasha got married.)
the language of flowers and silent things.
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2011 - Kashmir (how many fingers am I holding up) *
1984 - Russia (I’ll call out your name but you won’t call back) *
1984 - Iowa (make it stop) *
2012 - New York (shock)
2012 - New York (it’s broken)
1999 - Iowa (made to watch)*
2013 - New York / Wichita Falls (radio silence)
2013 - New York (it’s all for nothing)
1994 - Ohio (Polaroid) *
2014 - Budapest (you said you’d never leave)
2014 - Singapore (Captivity)
2014 - Singapore / Malaysia (Red) <now with amazing art by @oceanspirit9 >
2009 - New York (I don’t feel so good) *
2010 - Okinawa (just hold on)*
2010 - Okinawa (I’m fine) *
2014 - Rome (don’t go where I can’t follow)
2007 - Russia/France (leave me alone)*
2014 - New York (I tend to deflect when…)
2011 - Iowa (floral bouquet)*
2013 - New York (found family)*
2014 - New York (vows)
2012 - New York (watch out)*
2014 - New York (Shadows)
2014 - New York (I thought they were with you)
2014 - New York (buried alive)
2014 - New York (you look awful)
2014 - New York (scars)
2014 - Berlin (aftermath of failure)
2014 - New York (what happened to me)
2014 - New York (borrowed clothing)
2014 - New York (take it easy)
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Elevation - Charles Baudelaire
Above the lakes, above the vales,
The mountains and the woods, the clouds, the seas,
Beyond the sun, beyond the ether,
Beyond the confines of the starry spheres,
My soul, you move with ease,
And like a strong swimmer in rapture in the wave
You wing your way blithely through boundless space
With virile joy unspeakable.
Fly far, far away from this baneful miasma
And purify yourself in the celestial air,
Drink the ethereal fire of those limpid regions
As you would the purest of heavenly nectars.
Beyond the vast sorrows and all the vexations
That weigh upon our lives and obscure our vision,
Happy is he who can with his vigorous wing
Soar up towards those fields luminous and serene.
He whose thoughts, like skylarks,
Toward the morning sky take flight
- Who hovers over life and understands with ease
The language of flowers and silent things
Translated by - William Aggeler
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hel-looks · 2 years ago
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Martta, 27
“I’m wearing my Diva Bratz jacket from Fida flea market, trifted boots which later fall apart while marching at Pride in full rain, strappy bra from my favourite Berlin store Co-Exist and a pink ’baby angel’ shirt which my friends gave me when I broke up from a previous relationship. I truly feel connected with the word femme. I like to play with the symbols and stereotypes that are often being associated with femininity.”
1 July 2023, Helsinki Pride
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