#Michael Coombes

[movienized-com]

Derelict (2024)

Derelict (2024) #JonathanZaurin #SuzanneFulton #MichaelCoombes #PeteBird #DeanKilbey #DarrenJamesKing Mehr auf:

Jahr: 2024 (Februar) Genre: Drama / Thriller Regie: Jonathan Zaurin Hauptrollen: Suzanne Fulton, Michael Coombes, Pete Bird, Dean Kilbey, Darren James King, Nick Cornwall, Joe Nurse, Corinne Strickett, Stacey Coleman, Leigh Barwell, Ayvianna Snow, Ben Manning, Thomas Lee Rutter … Filmbeschreibung: Der Film folgt Abigail, einer jungen Frau, die von dem Mord an ihrem Vater verfolgt wird.…

[insidecroydon]

Auction has a twist in the sale over Coombe Road plot-boiler

BARRATT HOLMES, housing correspondent, on the latest non-developments in the saga of a scrap of town centre open space without planning permission ‘Withdrawn’: the Savills’ estate agents’ website with its blunt message Croydon Mayor Jason Perry might have another half-million-pound hole in his overspent, unbalanced council budget, after a property due to be auctioned was abruptly withdrawn from…

[milliondollarbaby87]

Baby Reindeer (TV-Mini Series) Review

Based on the true story of Richard Gadd’s own life and experiences with a female stalker and suffering horrendous abuse as he attempted to make it as a comedian and writer. ⭐️⭐️⭐️⭐️ Number of episodes: 7 *This review may contain spoilers and sensitive topics* Continue reading Baby Reindeer (TV-Mini Series) Review

[sagesolsticewrites]

Take A Break

Rosie runs into a childhood friend at the flak house.

Requested by anon, based on the prompts “I kissed you because I wanted to. Dumbass.” and “You’ve got stars in your eyes.”

Disclaimer: This is a work of fiction based off the portrayal by the actors in the Apple TV+ series. I hold nothing but respect for the real life individuals referenced within.

As you stood on the front steps of Coombe House, you found yourself nervous for the first time since you’d started there.

Lieutenant Robert Rosenthal was the name at the top of the list of the latest group of soldiers assigned to the house, and since you’d been given it, you couldn’t stop thinking about a childhood friend of yours from Brooklyn with the same name.

Don’t be ridiculous, you scold yourself, reminding the sentimental part of you that the odds of it actually being Robbie were astronomical and you shouldn’t get your hopes up.

Pasting on your best smile as the car filled with boisterous soldiers pulls up, you shove those thoughts away.

“Hello gentlemen!” you call, “I’m Y/N. Welcome to Coombe House.”

You lead them around the house, reciting your spiel about the various activities and amenities, and then passing them off to Michael.

A gentleman who had been hanging towards the back of the group during the tour stepped up, calling your name as the rest of the group was led to their rooms.

“Robert Rosenthal,” he said, introducing himself, “I was just wondering--”

“Robbie?” you gasp.

The brightness in them had dimmed the slightest bit, but you'd recognize those kind blue eyes anywhere.

His brow furrows, no doubt baffled at hearing his childhood nickname all the way over in England.

“I’m sorry, how did you— Wait,” he scans your face, recognizing… something, “Y/N… L/N?”

At your answering nod, you’re tackled in a hug, his joyous, disbelieving laugh filling your ears.

“What are you—? How—?”

“I wanted to help out, and I guess the Army figured this is where my skills would be best put to use,” you explain with a laugh, “When I saw your name on the list I wasn’t sure if it was really you, but…”

“Gosh, Y/N, I haven’t seen you in…”

“Nearly 10 years? I know, I tried to keep in touch after we moved…”

You catch up with your friend, responsibilities forgotten — “So… Rosie, huh?” “Hey, you’d be surprised how little control you have over nicknames in the Army!” — until the clock begins to chime and you realize you’ve spent nearly half an hour just standing here talking.

As Robert begins to excuse himself, not wanting to take up any more of your time, you recall the incident that led to this conversation.

“Er, you said you had a question?”

He hums in confusion before remembering “Oh! Yeah, I was just wondering how long I have to be here…?”

“Unfortunately that’s not really up to me,” you reply with an apologetic shrug, “It’s the decision of your CO to send you boys out here, but you’re welcome to chat to Dr. Huston about it.”

“Though while you’re here,” you say as he’s about to walk away, “I’d recommend taking advantage of the baths and hot water. Absolutely life-changing.” You add with a teasing grin.

He lets out a laugh, though not nearly as genuine as you’d hoped. With that, Rosie thanks you and departs with a two-fingered salute

Robert spends the first couple days at the house keeping his distance from his crewmates, his eyes continually on the sky rather than taking part in the sports and activities available to the soldiers. He doesn’t seem like the boy you remember, but… well, there is a war going on. It’s changed everyone it touches.

One night you find yourself wandering the halls, unable to sleep, when you hear music coming from one of the sitting rooms.

“Hello?” You call softly, following the sounds of Duke Ellington to find Robert standing next to the record player, staring out the window at the darkened English countryside, soft curls tinted slightly blue in the moonlight.

He starts, then relaxes once he sees you.

“Hey,” he says, turning down the volume, “Sorry, I didn’t mean to wake you-”

“I was up already,” you assure him, “Couldn’t sleep?”

“I guess I’m having a hard time with,” he gestures to the lavish country house with a shrug, “all this? I mean… all the croquet, badminton, riding with hounds— what even is that, by the way?”

Your lips twitch up into a smile as you move to stand beside him, “Foxhunting.”

“Foxhunting,” he sighs, shaking his head, “That’s exactly what I don’t need right now.”

He turns his gaze to the star-filled night sky, “What I need is to be back in that seat getting this job done.”

He continues, talking to himself almost as much as you, “Sittin’ here doing nothing, when people are bein’ persecuted and— I can’t— I had gotten into a rhythm, you know? Three days, three missions, easy. And now being yanked out of that, it’s like…”

He searches for an analogy, and you can’t help but smile at the one he lands on, recalling his fascination with music back when you were children.

“You don’t yank Gene Krupa out in the middle of a drum solo, and then expect him to pick right back up where he left off two weeks later, you know?”

You nod, understanding where he’s coming from. You recognized that while some jumped at the chance for a distraction, it was a more difficult adjustment for some soldiers to be thrust into this environment after so long in battle.

“Well, Gene Krupa’s not just responsible for his own rhythm, is he?” You say softly, following his analogy, “He’s responsible for the rhythm of the whole band. And if he’s off, then…”

Rosie nods, letting out a soft laugh, “Okay, I see where you’re going with that.”

“Seriously, Robbie,” you say, taking a chance and resting your hand on top of his on the windowsill, his gaze meeting yours at your touch, “If you don’t let yourself take a break, even just for a little while… it’s not gonna be good.”

He’s silent, and for a moment you worry you’ve overstepped.

Until he mumbles, in a voice so soft you’re not even sure you were meant to hear it, “You’ve got stars in your eyes.”

Maybe it’s the soft sounds of Duke Ellington still playing. Maybe it’s the moonlight, the calm silence filling the house.

Maybe it’s the way he’s looking at you like you’re the first good thing he’s seen in a long time.

You’re not quite sure what, but something possesses you to surge up onto your toes and press your lips to his.

His hand moves to your waist, pulling you closer, before he abruptly pulls away.

“I, ah…” He says, seemingly trying to gather his thoughts, “You didn’t just do that because you felt… sorry for me or somethin’, did you?”

Relief floods through you— he’s concerned with why you kissed him, not the mere fact that you did.

You cup his cheek, and Rosie’s eyes close, leaning into your touch as you say softly, “I kissed you because I wanted to.”

Then, after a moment’s consideration, you add with a smile, “Dumbass.”

His eyes shoot open as he barks out a laugh.

“Oh, that’s how it is, huh?”

Your giggles are swiftly silenced by his lips landing on yours once more, the tension finally leaving his shoulders for the first time in weeks.

The two of you end up on the couch, talking late into the night about what brought you to England, Rosie mostly telling you in hushed tones about the friends he’d made in the 100th— men that were no longer here, but lived on in his memory, and now yours. You fall asleep leaning against each other, still holding hands.

You shift, eyes fluttering open as the gray dawn light filters into the room. It takes you a moment to get your bearings, but you grin seeing Rosie asleep next to you, looking the most relaxed you’ve seen him since he arrived. With a single kiss to his forehead, you slip away to the women’s wing of the house until it’s an appropriate hour for you to stumble upon him in the sitting room.

Armed with a thick blanket and a coffee service, you creep in to see Rosie still sound asleep. Smiling, you gently lay the blanket over him, trying not to wake him. Unfortunately, he stirs the moment the blanket touches him.

He looks around, attempting to orient himself, and relaxes when he sees you.

“Good morning,” you grin, taking in his sleep-mussed curls shining golden in the morning light, “Coffee?”

“Please,” he replies in a voice rough with sleep, mustache twitching up into a smile as he sits up.

“Just don’t tell anyone, alright?” You say coyly as you prepare a cup, “I can’t be bringing all you boys breakfast in bed, now can I?”

“Well, I must be special,” he grins, taking the cup gratefully and adding with a wink, “I’ll take it to the grave.”

You’re glad to see him relax a tiny bit more over the group’s last few days at the house, and the two of you are able to find plenty of stolen moments together once everyone’s gone to bed.

When it’s time for them to return to base, he leaves you with a promise to write and a kiss. He captures your lips tenderly on the front steps, disregarding the whoops and cheers from his crew mates waiting in the Jeep, and you can’t help smiling despite yourself as they drive away, keeping your eyes on him for as long as you can.

[cripbian]

as another way of talking about disability history, i wanted to talk about the risd museum’s exhibition variance. you can find stuff about the exhibit here (including most of the objects) & the publication (articles + scholarly work attached to the exhibit) here. im not sure how accessible the website is for screen readers, unfortunately.

variance dealt with historical portrayals of disability, including artwork that capitalizes on a disabled subject without their consent as well as modern & contemporary artists' artworks about their own disability.

some art pieces i found interesting + thought provoking:

Robert Andy Coombs Cuddle on Couch, from the series CripFag, 2019

[ID copied from alt text: Coombs, white man, lies on a blue couch, embraced by a black partner, Dani. Coombs stares at the camera. The urinary tube in Coombs’s belly and other protective devices on his legs are emphasized by his nudity, adding to the sensual nature of the image. Behind the couple, part of a wheelchair, a straw for drinking, and assistive equipment for photography can be seen. Blankets have been thrown over the end and sides of the couch, creating a cozy and lived-in atmosphere. End ID.]

(label copied from RISD museum website, hyperlink my own):

Here photographer Robert Andy Coombs captures himself in what appears to be a postcoital moment of intimacy with his collaborator, Dani. Coombs exposes his entire body while staring back at the viewer by way of the camera. His CripFag series—described by Coombs as “the sexual adventures of a gay quadriplegic photographer”—reclaims his sexual identity, making disability sexy. “Being disabled, I don’t get to see my body or explore it very often, so photographing helps me appreciate it for what it is,” Coombs explains. “It shows all the different aspects of what makes my body unique and beautiful by showcasing intimate areas like my floppy crippled wrists and the tan lines where my splints lay, my suprapubic catheter, scars from my G-tube and tracheotomy, and my beautiful tattoos.”

Michael Mazur The Occupant, 1965

[ID: Just visible behind a wall, a figure sits in a wheelchair, holding a cane. They turn towards the viewer, eyes black and haunting. Before them appears to be a bad, half out of frame. The lithograph is messy and sketchy, adding to the quiet horror of the figure's situation. End ID.]

(label copied from RISD museum website, hyperlink my own):

In these haunting lithographs, artist Michael Mazur uses the emotional capacity of gestural mark-making to invoke the plight of institutionalized individuals. Mazur began the series in the early 1960s, when he was volunteering at the state asylum in Cranston, Rhode Island. This institution was established by the Rhode Island legislature in 1869 as the State Asylum for the Insane and Poor. The series title, Images from a Locked Ward, is telling. Compared to Hogarth’s print, Mazur’s lithograph presents an entirely different emotional take, highlighting the inhumanity of institutionalization. At the same time, by working from memory, Mazur captures emotion without trafficking in the suffering of identifiable individuals.

Lanzavecchia + Wai Designers, Francesca Lanzavecchia Tattoo Back Brace, 2008

[ID copied from alt text: Two photos of a beige back brace that is a very light skin color and made of plastic. The first photo shows the back of the brace. On the right side, a orange-red koi fish jumps with a splash of water. The second photo shows the front, where the edges of the koi's fins can be seen on the left. The brace is fashioned via plastic clips down the front. End ID.]

(label copied from RISD museum website):

This plastic back brace, embellished with a red koi fish as if it were a tattoo, reimagines what assistive technology devices might look like. Medical devices are often perceived to be necessarily sterile and functional, leaving aside the possibility that they could reflect an individual’s aesthetics. (As a counterpoint, consider eyeglasses, which are also assistive technology devices, and the wide variety of styles available.) Lanzavecchia + Wai’s responds to this absence with a variety of devices including braces, canes, and crutches. “Here disability aids become a stage to discuss, understand, and cope with disability, illness, and human frailty. . . . [M]oulded and tailor-made around the body, [back braces] are a cumbersome second skin. They are reinterpreted with the aim of transforming them into objects of desire and representative skins.”

there were so many interesting art pieces in this exhibit; check it out online!

[byneddiedingo]

Dirty Mary, Crazy Larry (John Hough, 1974)

Cast: Peter Fonda, Susan George, Adam Roarke, Vic Morrow, Eugene Daniels, Kenneth Tobey, Roddy McDowall, Lynn Borden, Adrianne Herman, James W. Gavin. Screenplay: Lee Chapman, Antonio Santean, based on a novel by Richard Unekis. Cinematography Michael D. Margulies. Production design: Philip Leonard. Film editing: Christopher Holmes. Music: Jimmie Haskell. 

"Dirty Mary" is Mary Coombs (Susan George), a petty thief and groupie who gets involved with Larry Rayder (Peter Fonda), a would-be NASCAR star, when he pulls off a supermarket heist with the aid of Deke Sommers (Adam Roarke), an alcoholic auto mechanic, and goes on a run that develops into a widespread, high-speed car (and helicopter) chase, masterminded by state police captain Everett Franklin (Vic Morrow). And that's pretty much all you need to know about Dirty Mary, Crazy Larry, except that the title does a disservice to Deke, the third in the trio and the only close-to-interesting character in the film. Mary and Larry might as well be animated cartoons for all the humanity their characters generate, and George and Fonda play them accordingly. (George's manic performance, often lapsing into her native British accent, got on my nerves.) But Roarke makes some effort to provide some nuance to Deke, a loser whose fondness for the bottle makes him unemployable even though he's shown to be a master at making bashed-up automobiles run. He's also somewhat in love with Larry, his one chance at redemption. Otherwise, the real stars of the film are the cars, a 1966 Chevrolet Impala, a 1969 Dodge Charger, a bunch of Dodge Polara police cars, and that helicopter. You pretty much know how it's all going to end, and when it does it stops, having accomplished the inevitable with no need to point a moral or adorn a tale. 

[magnoliaspringsrp]

MWM and MWF over 25 please?!

Males: A.J Saudin, Alex Landi, Avan Jogia, Charles Melton, Chase Stokes, Dacre Montgomery, Diego Boneta, Grant Gustin, Jacob Anderson, Jacob Artist, Jacob Elordi, Kieth Powers, Kiowa Gordon, Lucien Laviscount, Ncuti Gatwa, Rafael Silva, Ronen Rubinstein, Sean Teale, Aaron Tviet, Brant Daugherty, Ben Levin, Brian Michael Smith, Casey Diedrick, Chace Crawford, Charles Michael Davis, D.J Cotrona, Dan Levy, Daniel Sharman, David Castaneda, Jay Hayden, JD Pardo, Jesse Williams, Michael B Jordan, Michael Trevino, Nicholas Galitzine, Taylor Zakhar-Perez, Ryan Gosling, Theo James, Steven R. McQueen, Eric Dane, Joe Manganiello, Pedro Pascal, Sean Maguire, Torrance Coombs, Louis Tomlinson, Zayn Malik, Niall Horan.

Females: Adeline Rudolph, Amy Adams, Bianca Lawson, Carla Gugino, Charlize Theron, Danai Gurira, Katheryn Winnick, Lana Parrilla, Laverne Cox, Maggie Q, Alex Daddario, Amber Stevens-West, Brenda Song, Brianne Howey, Candice Patton, Cobie Smulders, Crystal Reed, Daniella Pineda, Nina Dobrev, Candice King, Kat Graham, Emily VanCamp, Hannah Simone, Julia Jones, Karla Souza, Lesley-Ann Brandt, Maiara Walsh, Meaghan Rath, Meagan Tandy, Natalie Morales, Nicola Coughlan, Parveen Kaur, Rose Leslie, Shay Mitchell, Tessa Thompson, Madelyn Cline, Amber Midthunder, Anya Taylor Joy, Taylor Swift, Selena Gomez, Florence Pugh, Cierra Ramirez.

[exhibit-of-the-century]

Masterlist: Lesson Recommended Readings

Masterlist

BUY ME A COFFEE

✨Lucy E. Thompson, 'Vermeer's Curtain: Privacy, Slut-Shaming and Surveillance in "A Girl Reading a Letter", Survelliance & Society 2017 ✨Gregor Weber, 'Paths to Inner Values,' in Gregor Weber, Pieter Roelofs, and Taco Dibbits, Vermeer, (NewYork: Thames & Hudson, 2023) ✨Bernard Berenson on Masaccio, panel in National Gallery, 1907 ✨Giorgio Vadari, Lives of the Most Eminent Painters, Sculptors and Architects (online translation published, 1912) ✨Marjorie Munsterberg, Writing about Art ✨Paul Binski, Westminster Abbey and the Plantagenets: Kingship and the Representation of Power, 1200-1400, 1955 ✨Toby Green, A Fistful of Shells: West Africa from the River of the Slave Trade to the Age of Revolution, 'Rivers of Cloth, Masks of Bronze: The Bights of Benin and Biafra', 2019

✨Pieter Roelofs, 'Girls with Pearls', extract from 'Vermeer's Tronies' in Gregor Weber, Pieter Roelofs, and Taco Dibbits, Vermeer, (NewYork: Thames and Hudson, 2023)

✨Frantz Fanon, Black Skin, White Masks (1986)

✨Frantz Fanon, The Wretched of the Earth (1963)

✨Decolonial/Postcolonial Voices

✨Honour, Hugh and Fleming, John.  A World History of Art. London: Laurence King Publishing. 7th ed, 2005

✨The Painter of Modern Life, Charles Baudlaire, 1863 Part 2, Part 3 Other Quality

✨The Photographers Eye, John Szarkowski, 1966

✨Elkins, James. Stories of Art. London: Routledge, 2002

✨Paragraphs on Conceptual Art, Sol Lewitt, 1967

✨Nikolaus Pevsner, The Buildings of England. London, volume 1, The Cities of London and Westminster, 1973

✨Annie E. Coombes, Reinventing Africa: Museums, Material Culture and Popular Imagination in Late Victorian and Edwardian England, 'Material Vulture at the Crossroads of Knowledge: The Case of the Benin "Bronzes", 1994

✨Hatt, Michael and Klonk, Charlotte, Art History: A Critical Introduction to its Methods, 2006

✨Meyer Schapiro, H. W. Janson and E. H. Gombrich, ‘Criteria of Periodization in the History of European Art’, New Literary History, 1970 ✨Thomas DaCosta Kaufmann, ‘Periodization and its Discontents’, Journal of Art Historiography, 2010

✨Kathryn Wysocki Gunsch, The Benin Plaques: A 16th Century Imperial Monument, 2018

✨D'Alleva, Anne. How to Write Art History. London: Lawrence King Publishing, 2010/2013/2015

✨Christopher Wilson, The Gothic Cathedral: the Architecture of the Great Church, 1130 - 1530, 1990

✨Anne D'Alleva, Methods and Theories of Art History, 2005/2012

✨Jonathan Alexander and Paul Binski (eds.), Age of Chivalry: Art in Plantagenet England, 1200-1400, 1987 ✨Paul Binski, Ann Massing, and Marie Louise Sauerberg (eds.), The Westminster Retable: History, Technique, Conservation, 2009

✨Christa Gardner von Teuffel, ‘Masaccio and the Pisa Altarpiece: A New Approach’, Jahrbuch der Berliner Museen, 1977 Part 2

✨John Shearman, ‘Masaccio’s Pisa Altar-Piece: An Alternative Reconstruction’, The Burlington Magazine, 1966

✨Kathryn Wysocki Gunsch, ‘Art and/or Ethnographica?: The Reception of Benin Works from1897–1935’, African Arts, 2013

✨Eliot Wooldridge Rowlands, Masaccio: Saint Andrew and the Pisa altarpiece, 2003

✨Svetlana Alpers, The Art of Describing: Dutch Art in the Seventeenth Century, 1983

✨Clementine Deliss, Metabolic Museum 2020 ✨Laura Sangha, ‘On Periodisation: Or what’s the best way to chop history into bits’, The Many Headed Monster, 2016 ✨A Gangatharan, ‘The Problem of Periodization in History’, Proceedings of the Indian History Congress, 2008

✨McHam, Sarah Blake, "Donatello's Bronze David and Judith as Metaphors of Medici Rule in Florence," Art Bulletin, 2001

✨Eve Borsook, ‘A Note on Masaccio in Pisa’, The Burlington Magazine, 1961

✨Gombrich, E.H. The Story of Art, London: Phaidon Press Ltd, numerous editions

✨Paul Binski, 'The Cosmati at Westminster and the English Court Style', The Art Bulletin 72, 1990

✨Lindy Grant and Richard Mortimer (eds.), Westminster Abbey: The Cosmati Pavements, 2002

✨Peter Draper, The Formation of English Gothic: Architecture and Identity, 2006

✨Paul Crossley, ‘English Gothic Architecture’, in Jonathan Alexander and Paul Binski (eds.), Age of Chivalry: Art in Plantagenet England, 1200-1400, 1987

✨James H. Beck, Masaccio: The Documents, 1978 ✨R. A. Donkin, Beyond Price: Pearls and Pearl-Fishing: Origins to the Age of Discoveries, 1998

✨Nanette Salomon, ‘From Sexuality to Civility: Vermeer’s Women’, National Gallery of Art, Studies in the History of Art, 1998

✨Irene Cieraad, ‘Rocking the Cradle of Dutch Domesticity: A Radical Reinterpretation of Seventeenth-Century “Homescapes” 1’, Home Cultures, 2019

✨Walter D. Mignolo, ‘Delinking: The rhetoric of modernity, the logic of colonility and the grammar of de-coloniality’ in culture studies (2000)

✨H. Perry Chapman, ‘Women in Vermeer’s home: Mimesis and ideation’, Nederlands Kunsthistorisch Jaarboek,2000

✨Christopher Wilson, ‘The English Response to French Gothic Architecture, c. 1200-1350’, in Jonathan Alexander and Paul Binski (eds.), Age of Chivalry: Art in Plantagenet England, 1200-1400, 1987

✨Johann Joachim Wicklemann (1717 - 1768) from Reflections on the Imitation of Greek Works in Painting and Sculpture

✨Antonie Cotpel (1661-1722) on the grand manner, from 'On the Aesthetic of the Painter'

✨Andre Felibien (1619-1695) Preface to Seven Conferences

✨Charles Le Burn (1619-1690) 'First Confrence'

✨Various Authors (Reviews) on Manet's Olympia

✨Zionism and its Religious Critics in fin-de-siecle Vienna, Robert S. Wistrich, 1996

✨Sex, Lies and Decoation: Adolf Loos and Gustav Klimt, Beatriz Colomina, 2010

✨Women Writers and Artists in Fin-de-Siecle Vienna, Helga H. Harriman, 1993

✨Fashion and Feminism in "Fin de Siecle" Vienna, Mary L. Wagner, 1989-1990

✨5 Eros and Thanatos in Fin-de-Siecle Vienna, Sigmund Freud, Otto Weininger, Arthur Schitzler, 2016

✨Recent Scholarship on Vienna's "Golden Age", Gustav Klimt, and Egon Schiele, Reinhold Heller, 1977

✨Maternity and Sexulaity in the 1890s, Wendy Slatkin, 1980

✨Andre Breton (1896 - 1957) and Leon Trotsky (1879 - 1940) 'Towards a Free Revolutionary Art'

✨Sergei Tretyakov (1892 - 1939) 'We Are Searching' and 'We Raise the Alarm'

✨George Grosz (1893 - 1959) and Weiland Herzfeld (1896 - 1988) 'Art is in Danger'

✨Paul Gaugin (1848 - 1903) from three letters written before leaving for Polynesia

✨Siegfried Kracauer (1889 - 1966) from 'The Mass Ornament'

✨Victor Fournel (1829 - 1894) 'The Art of Flanerie'

✨Various Author's (Reviews) on Mante's Olympia

✨Rosalind Krauss (b. 1940) 'A View of Modernism'

✨Clement Greenberg (1909 - 1994) 'Modernist Painting'

✨Clive Bell (1881 - 1964) 'The Aesthetic Hypothesis'

✨Catherine Grant and Dorothy Price, 'Decolonizing Art History', Art History 43:1 (2020), pp.8-66.

✨Terry Smith (b. 1944) from 'What Is Contemporary Art?'

✨Geeta Kapur (b. 1943) 'Contemporary Cultural Practice: Some Polemical Categories'

✨Chin-Tao Wu 'Biennials Without Borders?'

✨Edouard Glissant (1928 - 2011) 'Creolisation and the Americas'

✨Rasheed Araeen (b. 1935) 'Why Third Text?'

[tournevole]

Colourist: Chinney Yeap. Hair Cut and Style: Michael Beel. Salon: Buoy Salon and Spa, Wellington, New Zealand. Photographer: Guy Coombes. Stylist: Sopheak Seng. Make-Up Artist: Hil Cook

[newmusickarl]

Top 50 Albums of 2023: Honourable Mentions

I’ve spent most of this year thinking to myself that 2023 hasn’t been a hallmark one for music – I think I was wrong.

With 2022 serving up some of my favourite records in recent years and most of my favourite artists releasing new music that delivered on high expectations, I sort of had in mind that 2023 just wasn’t as strong by comparison. But in the process of compiling my annual Top 50 Albums of the Year, revisiting songs and thinking back on the live performances I’ve seen, I’ve been reminded of the sheer depth of quality music we’ve been gifted over the last 12 months.

In 2022 I listened to more new music than any other year I can remember and it seems I pretty much matched this personal best again in 2023. My Apple Music Replay tells me I’ve listened to 733 albums from 884 different artists, 4,835 different songs and a whopping 39,935 minutes of music. Whittling this mass of great music down hasn’t been easy, which is why this year I’m taking a slightly different approach to my year-end countdown. Instead of focussing on just the albums with the daily Top 50 in the build-up to the new year, I’m going to celebrate all the mediums of music I’ve enjoyed instead.

From my own tally that I keep every year, I’ve consumed over 240 newly released Albums & EPs from 2023, listened to around 2,500 songs and witnessed 115 live performances (and counting!) over the last 12 months as well. This has given me the impossible task of choosing my year-end champions in terms of albums, EPs, songs and live shows of the year. The songs will come in playlist form later in the month along with a roundup of my favourite EPs and live shows of the year, but for now I’m beginning with the best albums that the year had to offer.

As ever, these albums come from a multitude of genres (pop, rock, indie, hip-hop, R&B, electronica, shoegaze, punk and post-punk - it’s all here!) so although there is a good chance you won’t enjoy everything on this list, hopefully there is at least something for everyone to enjoy. Of course, the variety also makes it very difficult to rank one above the other, so don’t get too hung up on the placements. Generally, I’ve favoured the albums that:

Had the biggest impact on me and the wider music world in the last 12 months

Had ambition or something unique to offer

I played the most during the year

Ultimately produced my favourite front-to-back listening experience

Before the countdown officially starts tomorrow with the albums that finished 50-41, I wanted to just shout out the albums that I thoroughly enjoyed this year but ultimately just missed out on the Top 50 spots. Essentially these albums would’ve made up the 100-51 placings if I had the time spare to do an even bigger countdown. However as I don’t, here they are as my 50 Honourable Mentions for 2023 in alphabetical order:

Alex Lahey - The Answer Is Always Yes

Arborist - An Endless Sequence of Dead Zeros

Baby Queen - Quarter Life Crisis

BC Camplight - The Last Rotation of Earth

Bdrmm - I Don’t Know

Black Pumas - Chronicles of A Diamond

Boygenius - The Record

Circles Around The Sun - Language

The Coral - Sea of Mirrors

Danny Brown - Quaranta

Declan Welsh & The Decadent West - 2

Depeche Mode - Memento Mori

Empty Country - Empty Country II

Fenne Lily - Big Picture

Fiddlehead - Death Is Nothing To Us

FIZZ - The Secret To Life

Foo Fighters - But Here We Are

Gabriels - Angels & Queens

Gaz Coombes - Turn The Car Around

Gorillaz - Cracker Island

The Hives - The Death of Randy Fitzsimmons

Holding Absence - The Noble Art of Self Destruction

Hot Mulligan - Why Would I Watch

Jadu Heart - Derealised

James - Be Opened By The Wonderful

Janelle Monae - The Age of Pleasure

Jayda G - Guy

Kevin Abstract - Blanket

Killer Mike - MICHAEL

Lanterns on the Lake - Versions of Us

M83 - Fantasy

Metallica - 72 Seasons

Nile Marr - Lonely Hearts Killers

Noname - Sundial

nothing, nowhere - VOID ETERNAL

Paws - PAWS

RAYE - My 21st Century Blues

Sampha - Lahai

Shame - Food For Worms

Sigur Ros - ATTA

Sleaford Mods - UK Grim

The Slow Readers Club - Knowledge Freedom Power

Somebody's Child - Somebody's Child

Squid - O Monolith

Sundara Karma - Better Luck Next Time

We Are Scientists - Lobes

Wild Nothing - Hold

The Xcerts - Learning How To Live And Let Go

Yo La Tengo - This Stupid World

Zivi - Lost In Love

So that’s what didn’t quite make it - see you back here tomorrow to find out the first ones that did!

[insidecroydon]

Controversial Brick by Brick site to be auctioned for £550k

BARRATT HOLMES, housing correspondent, reports on the latest planning mystery at the cash-strapped council Planning permission: how the Coombe Road site is being marketed by Saviles The scrap of open space at the junction of Edridge Road and Coombe Road, next to heritage-listed building Ruskin House, is set to be auctioned off next week with a guide price of £550,000. It is one of the…

[my-chaos-radio]

Release: July 3, 1995

Lyrics:

We are young, we run green

Keep our teeth nice and clean

See our friends, see the sights

Feel alright

We wake up, we go out

Smoke a fag, put it out

See our friends, see the sights

Feel alright

Are we like you?

I can't be sure

Of the scene, as she turns

We are strange, in our worlds

But we are young, we get by

Can't go mad, ain't got time

Sleep around if we like

But we're alright

Got some cash, bought some wheels

Took it out 'cross the fields

Lost control, hit a wall

But we're alright

Are we like you?

I can't be sure

Of the scene, as she turns

We are strange, in our worlds

But we are young, we run green

Keep our teeth nice and clean

See our friends, see the sights

Feel alright

Are we like you?

I can't be sure

Of the scene, as she turns

We are strange, in our worlds

Songwriter:

But we are young, we run green

Keep our teeth nice and clean

See our friends, see the sights

Feel alright

Daniel Goffey / David N Yazbek / Gareth Coombes / Michael Quinn

SongFacts:

"Alright" is a song by British alternative rock band Supergrass. It was released with "Time" as a double A-side single from their debut album, 'I Should Coco' (1995), on 3 July 1995. It was concurrently released on the soundtrack of the 1995 movie Clueless, which helped it become a big hit for the band. It peaked at number two on the UK Singles Chart, number six in Iceland, number eight in Ireland, number 30 in France and number 96 in Australia.

"Alright" received a great deal of airplay in the United Kingdom. The "bona fide teen anthem", with its upbeat lyrics and cheerful piano tune, seemed to epitomise British youth culture at the time, when Britpop was at its height. The band's youthful appearance (lead singer Gaz Coombes had only just turned 19 when it was released) added weight to the lyrics.

However, Coombes himself argued in an interview around October 1995, "it wasn't written as an anthem. It isn't supposed to be a rally cry for our generation. The stuff about 'We are young/We run green…' isn't about being 19, but really 13 or 14. and just discovering girls and drinking."

"It's meant to be light hearted and a bit of a laugh, not at all a rebellious call to arms." with Danny Goffey also saying: "It certainly wasn't written in a very summery vibe. It was written in a cottage where the heating had packed up, and we were trying to build fires to keep warm."

[finlaure13]

‘Mr. Dressup: The Magic Of Make-Believe’: A Canadian Children’s Entertainment Icon Takes Centre Stage In Documentary Trailer

By COREY ATAD. Published: 7 Sep 2023 2:54 PM

“Keep your crayons sharp.”

On Thursday, Prime Video debuted the trailer for the new Canadian Amazon Original documentary, “Mr. Dressup: The Magic of Make-Believe”.

The film looks back on the story and legacy of Ernie Coombs, the iconic children’s entertainer best known to Canadians as Mr. Dressup.

Featuring interviews with Michael J. Fox, Eric McCormack, Graham Greene, the Barenaked Ladies, Jonathan Torrens, Paul Sun-Hyung Lee, Andrew Phung, Bruce McCulloch, Scott Thompson, Bif Naked, Peter Mansbridge and Yannick Bisson, the doc explores the impact “Mr. Dressup” had on generations of Canadians.

As seen in the trailer, the film also looks back on Coombs’ beginnings in children’s television with fellow icon Fred Rogers, and their strong friendship.

“Ernie never forgot a child within him, and that informs everything that he does with children,” Rogers says in a clip from an archival interview.

Born in the U.S., it was Rogers who convinced Coombs to come up to Canada to work with him, producing TV shows for kids.

Coombs would launch “Mr. Dressup” in 1967. The show was immediately successful, though there was a scare soon after, when “Sesame Street” premiered and some wondered wether the Canadian show would be able to stay afloat amid the American competition.

But Coombs persevered, and the show continued airing until its final episode in 1996.

Coombs became a Canadian citizen in 1994, and in he was named a Member of the Order of Canada.

“Mr. Dressup: The Magic of Make-Believe” premieres Oct. 10 on Prime Video.

[hallmark-movie-fanatics]

See exclusive photos from 27 Hallmark Christmas movies (Entertainment Weekly) - Part 4, Hallmark+

Unwrapping Christmas: Tina's Miracle

Premieres: Nov. 7, Hallmark+

Cast: Natalie Hall, Alec Santos

Official description: "Tina Mitchell (Hall), a successful business owner, meets a charming guy, Michael (Santos), just as her holiday season heats up with the town’s Christmas Gala and her busy store, All Wrapped Up. When the gala is threatened by a scrooge-like estate owner planning to sell the venue, rumors begin to threaten Tina and Michael’s newfound connection. As Tina works to keep venue’s doors open for the gala, she just might unwrap a new chapter in her life, filled with love and holiday cheer."

Unwrapping Christmas: Mia's Prince

Premieres: Nov. 14, Hallmark+

Cast: Kathryn Davis, Nathan Witte

Official description: "Mia (Davis), an accountant at All Wrapped Up, is stunned when local celebrity Beau Cavannagh (Witte), who looks just like her favorite romance novel hero, enters her life. Despite her doubts, Beau, an heir to a wealthy family, proves his feelings for her are real, even as his family disapproves. Mia soon finds herself swept up in a fairytale romance that’s straight out of her dreams."

Unwrapping Christmas: Lily's Destiny

Premieres: Nov. 21, Hallmark+

Cast: Ashley Newbrough, Torrance Coombs

Official description: "Lily (Newbrough), the marketing guru of All Wrapped Up, believes the universe guides us to our destiny and it appears that it’s guiding her toward a celebrity realtor. However, when she feels an unexpected spark with journalist Sean Whitlock (Coombs) during an interview, her heart starts to question everything. As her chemistry with Sean grows, Lily begins to wonder if he's the true match she’s been waiting for all along."

Unwrapping Christmas: Olivia's Reunion

Premieres: Nov. 28, Hallmark+

Cast: Cindy Busby, Jake Epstein

Official description: "Olivia (Busby), the gift-wrapping expert at All Wrapped Up, makes a delivery to a remote cabin only to find her ex-boyfriend Benjamin (Epstein) on the other side of the door. After the pair have a minor spat, an unexpected storm traps them together. Neither of them is happy to be forced to spend time together. However, as talk turns to shared memories, old feelings and warmth begins to resurface and they are left wondering if it’s possible to get it right a second time."

Season’s Greetings from Cherry Lane

Premieres: Dec. 5, Hallmark+

Cast: Jonathan Bennett, Annabelle Bourke, Corey Cott, Sarah Dugdale, Shannon Kook, and Vincent Rodriguez III

Official description: "In 1951, a doctor (Cott) wants to make the holiday special for his worried wife (Bourke) before he is shipped out to serve in Korea, but when she suffers a minor fracture to her arm his carefully planned out Christmas Eve plans are upended. In 2003, a newly married couple (Dugdale, Kook) who are always in agreement about everything hosts two sets of in-laws for Christmas Eve for the first time and find that they may not have had as much in common as they thought they did. And in 2024, a couple (Bennett, Rodriguez III) tries to arrange special Christmas surprises for each other but keeping them a secret may be harder than they thought."

Happy Holidays from Cherry Lane

Premieres: Dec. 12, Hallmark+

Cast: Benjamin Ayres, Catherine Bell, James Denton, Erica Durance, Julie Gonzalo, and Ryan Rottman

Official description: "In 1960, Eli (Ayres) and Penny (Durance) take in Eli’s curmudgeonly father, Walter (Serge Houde, Chesapeake Shores), and are forced to navigate some tricky family waters to get through the holidays while also working on a Christmas themed time capsule for son Alex’s school project. In 1998, we see Regina (Bell) and Nelson’s (Denton) first meeting: stuck together when a blizzard strands Nelson in Regina’s home on Christmas Eve. In 2015, Jessie (Gonazlo) faces a big challenge while planning her sister’s last-minute Christmas Eve wedding - the officiant is Tim (Rottman), her high school sweetheart, whom she hasn’t seen in almost 20 years."

Deck the Halls on Cherry Lane

Premieres: Dec. 19, Hallmark+

Cast: John Brotherton, Erin Cahill, Brooke D'Orsay, Matt Dusk, Chelsea Hobbs, Benjamin Hollingsworth, and Sam Page

Official description: "In 1966, single guy David’s (Hollingsworth) plans for a simple Christmas are dashed when his neighbor Stephanie (Hobbs) arrives with news that she won a contest to have Tommy Saunders’ (Dusk) Christmas Eve TV special broadcast live from her house – but used his address. In 1981, John (Brotherton) and Lizzie (Cahill) learn that this will be their last Christmas on Cherry Lane after John receives a job offer in Michigan and Lizzie finds out she’s pregnant. In 2000, best friends Matt (Page) and Rebecca (D’Orsay) find unexpected feelings developing as they try to find out who is behind a series of Christmas-themed random acts of kindness."

[uniqueeval]

Drugmakers say Ozempic, Wegovy and similar drugs are widely available. Patients disagree : Shots

Surging demand for new medicines to treat obesity and diabetes make it hard for many patients to get them. Michael Siluk/Getty Images hide caption toggle caption Michael Siluk/Getty Images Bill Coombs, who lives in Boston’s South End, has lost 28 pounds since he started using the obesity drug Wegovy. But when he went to refill his prescription in late August, things didn’t go as planned. “I…