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444names · 4 months ago

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Names generated from Roman emperor forenames

Aela Aemian Aeminus Aemitus Aemius Alba Albasios Albinius Albius Alenes Alentius Aletian Alexan Alian Alius Alla Allibius Allice Alucius Alus Anas Anasius Ander Anderac Anderius Andrius Anian Anius Anne Annerius Antheo Anthera Antinian Antius Anus Aracarus Aracrius Arcartan Arcian Arcius Arcus Arianne Arinus Arius Arta Artilius Artinus Arus Audian Audidius Audios Audius Augus Augustan Auracius Aurajoan Aurakios Aurel Aurian Aurius Avian Avitel Avitian Avitinus...

Balene Balenus Baleodus Baler Baletian Balexios Balus Basdos Basian Basilius Basio Basios Basius Cadian Cadidios Cadios Cadius Cadrian Cadro Calbinus Calbius Caletros Calus Caratius Carcas Carcian Carcitus Carcius Carcus Carian Carice Casdos Casios Casius Claurian Cleo Clerius Comac Comarcus Cominus Comius Commodos Comula Comulius Comulus Conas Conasios Conian Conikos Coninus Conio Conius Cono Conos Cons Constios Constius Contian Continus Dian Didianus Didio Dios Diostan Dius Dorian Dorobus Dosius Elaugus Elian Eliberus Elisaac Elius Ellus Flonsta Flordius Florobus Floros Flos Gaba Gabas Galbas Galbinus Galbius Galene Galenus Galeo Galeodos Galeodus Galexan Galian Gallian Galus Getian Getillus Getius Getran Glybrian Glybrius Glyce Gora Goratius Gordius Goricius Gorius Goros Grac Grajoan Grakios Graklos Gratios Hadio Hadius Hadrius Hael Haela Haellian Haemius Heminus Hemitel Heodoman Heodos Heodus Heonius Heonos Heophos Hera Herajoan Herian Hericius Herinus Hocallus Hocarcus Honos Honstus Horan Irel Ireligus Irentius Irenus Iscus Joan Joanian Joano Joantius Jordian Jordius Jorian Jorinius Jorius Joronos Joros Jovitela Jovitius Jovitus Jula Julianus Julibius Julienus Juliscus Julucian Julucius Julus Leno Lenoro Lenos Lenus Lerakios Lerius Lertius Lervalus Lexan Lexans Leximian Leximius Lexios Lian Lianas Lianian Libero Lice Lienes Ligulus Lippikos Liscus Lius Lucian Luciusta Macinus Macius Macrian Macrius Magalus Majan Majantil Majanus Majohn Majorius Majoros Manthos Mantian Mantimil Mantons Manus Maraklos Marcine Marcitus Marcius Marianne Marus Maudian Maudius Maurela Maurenus Maxeno Maxens Maxentin Maxenus Maximice Maximil Maximius Maxio Maxios Mian Miliano Minus Mitus Mius Nerac Nerian Nerinius Nerinus Nerius Nerus Nian Niantian Nikos Ninios Ninus Nios Nius Nuela Olybrian Olyce Olycera Olyceran Othemius Otheo Otheodos Othonian Othono Perakios Peran Perian Pericius Perius Perus Petinus Petius Petro Petros Phil Philian Philiber Philicer Phillus Philos Phocla Phons Phonstan Phorian Phorius Phoro Promius Promulus Prontian Prostus Quin Quinian Quinus Robus Romius Rommodos Romulius Ronine Roninus Ronios Rons Sephil Sepho Septil Severian Severva Seves Sevespas Sevetrel Stacalus Staugus Stus Tabalian Tabas Tacartan Tanas Tanorius Tasian Tasilius Tasios Themitel Themitus Themius Theo Theodos Theodus Theons Theophil Thera Theriano Therice Therius Thero Therobus Thertian Thordios Thorius Tian Tianax Tiantian Tianus Tiligus Timitus Tinus Tios Titustus Tius Trac Tracius Traclius Tracrius Trajohn Trakios Tran Tratian Trebono Trebons Trel Treno Trenstus Trobus Tromius Trono Tros Valba Valbinus Valbius Valene Valeo Valeono Valerus Valexio Valexios Vallius Vallus Valucius Valus Verajoan Verus Vespas Vetibius Vetilius Vetine Vetro Vian Vitus Zenstian Zentian Zentios Zentius Zentonax Zenuel Zenus

#444 names #444names

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ulkaralakbarova · 4 months ago

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The eccentric new manager of a UHF television channel tries to save the station from financial ruin with an odd array of programming. Credits: TheMovieDb. Film Cast: George Newman: ‘Weird Al’ Yankovic R.J. Fletcher: Kevin McCarthy Stanley Spadowski: Michael Richards Bob: David Bowe Harvey Bilchik: Stanley Brock Philo: Anthony Geary Raul Hernandez: Trinidad Silva Kuni: Gedde Watanabe Noodles MacIntosh: Billy Barty Richard Fletcher: John Paragon Pamela Finklestein: Fran Drescher Esther Bilchik: Sue Ane Langdon Head Thug: David Proval Killer Thug: Grant James Teri: Victoria Jackson Joe Earley: Emo Philips Gandhi: Jay Levey Cameraman: Lou B. Washington Bum: Vance Colvig FCC Man: Nik Hagler Bartender: Robert K. Weiss Spatula Husband: Eldon G. Hallum Spatula Wife: Sherry Engstrom Spatula Neighbor: Sara Allen Sy Greenblum: Bob Hungerford Crazy Ernie: John Cadenhead Blind Man: Francis M. Carlson Earl Ramsey: Ivan Green Joel Miller: Adam Maras Billy: Travis Knight Little Weasel: Joseph Witt Teri’s Father: Tony Frank Teri’s Mother: Billie Lee Thrash Fletcher Cronie #1: Barry Friedman Fletcher Cronie #2: Kevin Roden Phyllis Weaver: Lisa R. Stefanic Big Edna: Nancy Johnson Betty: Debbie Mathieu Little Old Lady: Wilma Jeanne Cummins Animal Deliveyman: Cliff Stephens Band: Guitar: Jim West Band: Bass Guitar: Steve Jay Band: Drums: Jon Schwartz Band: Keyboards: Kim Bullard Whipped Cream Eater: Barry Hansen Thug #3: Bob Maras Thug #4: George Fisher Guide #1: Tony Salome Guide #2: Joe Restivo Yodeler: Charles Marsh Mud Wrestler: Belinda Bauer Satan: Patrick Thomas O’Brien Conan the Librarian: Roger Callard Timid Man: Robert Frank Boy with Books: Jeff Maynard Promo Announcer (voice): M.G. Kelly Promo Announcer (voice): Jay Gardner Promo Announcer (voice): John Harlan Promo Announcer (voice): Jim Rose Film Crew: Production Manager: Gray Frederickson Original Music Composer: John Du Prez Editor: Dennis M. O’Connor Producer: Gene Kirkwood Producer: John W. Hyde Writer: Jay Levey Director of Photography: David Lewis Production Design: Ward Preston Set Decoration: Robert L. Zilliox Costume Design: Tom McKinley Makeup Effects: Allan A. Apone Special Effects Makeup Artist: Douglas J. White Sound Recordist: Ara Ashjian Sound Editor: Christopher Assells Sound Editor: Charles R. Beith Jr. Sound Recordist: Gregory Cheever Sound Editor: Clayton Collins Sound Re-Recording Mixer: Andy D’Addario Sound Editor: Dino DiMuro Sound Editor: G. Michael Graham Sound Re-Recording Mixer: Jeffrey J. Haboush Sound Mixer: Bo Harwood Sound Editor: Dan Hegeman Sound Editor: A. David Marshall Sound Editor: Diane Marshall Supervising Sound Editor: Dave McMoyler Sound Recordist: Art Schiro Sound Editor: Scott A. Tinsley Visual Effects Producer: John Coats Visual Effects Supervisor: William Mesa Visual Effects Art Director: Richard Kilroy Visual Effects Art Director: Ron Yates Post Production Supervisor: Susan Zwerman Production Supervisor: Bill Carroll Stunt Coordinator: George Fisher Stunts: Bob Maras Stunts: Brent Stice Stunts: T. Alan Kelly Stunts: J. Granville Moulder Stunts: Michael Steven Howl Stunts: Richard Drown Executive In Charge Of Production: Kate Morris Associate Producer: Becki Cross Trujillo Associate Producer: Joe M. Aguilar First Assistant Director: John R. Woodward Second Assistant Director: Benita Allen Casting Assistant: Gregory Raich Casting Assistant: Sandi Black Local Casting: Barbara Brinkley Henry Local Casting: Laurey Lummus Key Hair Stylist: Lynne K. Eagan Makeup & Hair: Roseanne McIlvane Wardrobe Supervisor: Ainslee Colt de Wolf Wardrobe Assistant: Phil O’Nan Boom Operator: Joel Racheff First Assistant Camera: Ed Giovanni Second Assistant Camera: Tiffanie Winton Second Assistant Camera: Brett Reynolds Second Assistant Camera: Cindi Pusheck Production Coordinator: Bonnie Macker Script Supervisor: Carol Stewart Second Second Assistant Director: Lorene M. Duran Third Assistant Director: Pam Whorton Additional Editing: Steve Polivka Assistant Editor: Lewis Schoenbrun Supervising ADR Editor: Karla Caldwell Music Supervisor:...

#game show #loser #music spoof #music video #satire #Top Rated Movies

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raspodcast · 2 years ago

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RAS #589 - The Mathematical Murder Case

https://traffic.libsyn.com/ronsamazingstories/RAS589-Math-042723.mp3 On Ron’s Amazing Stories this week we have three ghost stories from you: A cast party is haunted, a child argues with a ghost, and smoking is bad for you. Our featured story today comes from the classic radio series Philo Vance. Vance comes up against a con man whose game is to trick his marks using a simple math trick. But…

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jazzgallerycenterforarts · 3 years ago

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Past Present

The exhibit can be viewed online (below) or in-person:

Saturday afternoons, 12 – 5 PM — paced, small groups, no appointment necessary

OR make an appointment for Mon – Fri at [email protected]

Please, review our COVID Policy before visiting, precautions in effect for all visitors.

Exhibition — January 1st, 2022 – February 12th, 2022

PAST PRESENT

From its earliest days, the Riverwest Artists Association was a major source of community arts programming greatly contributed to the neighborhood's current identity as an urban center of creativity. This exhibition features the work of former presidents, board members and volunteers who contributed to this long effort which eventually transformed the organization into a community art center, the jazz Gallery Center for the Arts. It is a tribute to those who made this all possible.

The Sphinx of Bel Air

Mark Lawson, President/Treasurer

Mixed Media

8x10”

NFS

The Grains of Luxor

Mark Lawson, President/Treasurer

Mixed Media

8x10”

NFS

Owl Sketch with Black, 2021

Maureen Kane, Board Member/Designer

Acrylic on Sketchbook paper

8x10”

$110

North East (Escape)

Josie Osborne, Volunteer/Gallery

Mixed Media assemblage box

12x5x5”

NFS

She Will

Fidel Verdin, President

Acrylic paint & markers on canvas

18x24”

$900

Mamma

Fidel Verdin, President

Acrylic paint & markers on canvas

18x24”

$900

Wonder Time

Fidel Verdin, President

Upcycled mixed media on wood

16x30”

$900

Heavy Connect

Fidel Verdin, President

Upcycled mixed media on wood

16x16”

$900

Take a Walk (53204)

Jill Sebastian, Volunteer

Paper, photographic prints, stencils

Boxed set: 4.5x4.3x2.75”

$750

Blue Heron

Susan Simensky Bietila, Board Member

Cardboard, paper mache

36”

NFS

Sturgeon Hat

Susan Simensky Bietila, Board Member

Cardboard, paper mache

36”

NFS

Honoring: Bell, Gloria, and Lucy

Melissa Dorn, President

Acrylic on industrial felt

8x10”

$750 (or $250 each)

Chair - “Alley Culture”

Stonie Rivera, Board Member/Gallery

B&W Photography, metallic paper

16x20”

$150

Pandemic Waiting

Stonie Rivera, Board Member/Gallery

B&W Photography, metallic paper

16x20”

$150

Forget Me Not (Tarp Series #1)

Sue Pezanoski Brown, Board Member

Used canvas tarp, embroidery floss

24x24”

NFS

Untitled #3

Rick Ollman, Board Member/Music

Watercolor

5x6.25”

NFS

Untitled #0

Rick Ollman, Board Member/Music

Watercolor

4x6.25”

NFS

Music of the Stars

Erico Ortiz, Board Member/Communications

Painted violin

18x8x3”

$300

High Desert Iguana

Darlene Hagopian, Treasurer/Membership/VP

Linoleum print, tinted

11x13”

NFS

California Condor

Darlene Hagopian, Treasurer/Membership/VP

Linoleum print, tinted

11x13”

NFS

Weedoo

Amy Schmutte, Board Member/Gallery

Assemblage with Photography

19x25”

$600

Electric

Phillip “Philo” Kassner, President

Photography

36x25”

$900, framed (or affordable prints available)

Untitled

Vedale Hill, Board Member

Painting

36x36”

NFS

Untitled

Vedale Hill, Board Member

Painting

36x36”

NFS

Water Protectors

Susan Simensky Bietila, Board Member

Scratchboard - pen&ink, copy graphic nonfiction

8’

NFS

Study of Ordinary Men

Ron Bitticks, President/Founder

Encaustic on Rives paper

22x30”

$2500

Armed Urn

Norman Stephens, Board Member

Fiber basket sculpture

4’

$1500

Basket Variety 1

Norman Stephens, Board Member

Fiber basket sculpture

16”

$150

Basket Variety 2

Norman Stephens, Board Member

Fiber basket sculpture

16”

$150

Basket Variety 3

Norman Stephens, Board Member

Fiber basket sculpture

16”

$150

Basket Variety 4

Norman Stephens, Board Member

Fiber basket sculpture

16”

$150

Basket Variety 5

Norman Stephens, Board Member

Fiber basket sculpture

16”

$150

#Art #Exhibit

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ao3feed-snape · 4 years ago

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El manzano

read it on AO3 at https://ift.tt/2Zm8whM

by Nienna0410

Harry regresa a Hogwarts en su séptimo año dispuesto a cambiar el estado de la escuela. Una historia de romance, traición, iniciativa y proezas. Traducción autorizada de Philo. SNARRY

Words: 6829, Chapters: 1/44, Language: Español

Fandoms: Harry Potter - J. K. Rowling

Rating: Mature

Warnings: Creator Chose Not To Use Archive Warnings

Categories: M/M

Characters: Harry Potter, Severus Snape, Neville Longbottom, Hermione Granger, Ron Weasley, Draco Malfoy, Albus Dumbledore, Lucius Malfoy

Relationships: Harry Potter/Severus Snape, Hermione Granger/Neville Longbottom/Draco Malfoy, Vincent Crabbe/Gregory Goyle, Hermione Granger/Ron Weasley

Additional Tags: Angst, Drama, Romance, Humor, AU, Medical Trauma, Health Issues, Magelore

read it on the AO3 at https://ift.tt/2Zm8whM

#IFTTT #ao3feed #fanfic #Severus Snape #Snape #Professor Snape #SS

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blaze8403 · 4 years ago

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Fleetwood or North face or Cafe - Northfleet or South Fleet - not Fleet street Lee ?

Written message casted from and by Dai Gensui Generalissimo Admiralissimo Philo Professu Tsu Teri Madosier Terry Lee (Kauffman) Hawkins Regnal Teremiah Hawkinos the 1st

Fleet or Feet - Gas it L letter 12 One foot two feet

Nor or Ron - Noon afternoon - no or on

NASCAR or street

NASA

- Green it - Male and Female Ration on the track

No she Has A Name mean spell Nor or North - Not Fist of The North Star Theory and Fact - or lesson based plan

NASCAR Mission facebook communication facebooknotes secured name url address and serial numbers

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e-vo-lu-ti-on · 5 years ago

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Part 2

In the recent sequels, the semi-feudal futurism of Star Wars has been updated for an audience perhaps even less credulous of monarchies than it was in 1977, with Princess Leia converted into a general of a more or less republican anti-imperialist resistance. Black Panther is monarchist without apology. Its semi-feudal futurism is combined with the cultural nationalism historically associated not with the nominally connected Black Panther Party, but its adversary Ron Karenga’s US Organization – with which the Panthers had a violent shootout at UCLA leading to the deaths of Los Angeles Panther Captain Bunchy Carter and Deputy Minister John Huggins.

In Black Panther, we are presented with a mythology that makes anti-imperialist resistance unnecessary. In the Marvel myth of the African nation of Wakanda, initially created by Stan Lee and Jack Kirby and brought to the big screen by Disney, Third World poverty is not a result of the ravages of colonialism and the uneven exploitation of global capitalism. Rather, this poverty simply does not exist – it is an illusion intended to hide the wealth cultivated and protected by an African monarchy from time immemorial. Development exceeding that of advanced capitalism has already been achieved within a semi-feudal mode of production protected in the boundaries of a nation-state.

Our hero is the monarch T’Challa, whose drug-induced physical strength allows him to function as an isolationist superhero, keeping Wakanda’s wealth hidden from the outside world. In this mission he relies equally on a dizzying array of advanced technological gadgetry, reminiscent of imperialist agent James Bond.

But the Wakandan monarchy has a dirty secret. T’Challa’s father T’Chaka murdered his brother N’Jobu, who while undercover in Oakland – the city where Huey P. Newton and Bobby Seale founded the Black Panther Party in 1966 – had come to the conclusion that Wakanda’s advanced technology should be used to liberate black people around the world from poverty and oppression. Because this posed a threat to Wakanda’s national sovereignty, N’Jobu was eliminated and his son abandoned to grow up without his father.

N’Jobu’s son, Erik “Killmonger” Stevens, rises up with the goal not only of avenging his father’s murder, but also of claiming the Wakandan monarchy and using it to realize his father’s dream of international revolution. “Two billion people all over the world who look like us whose lives are much harder, and Wakanda has the tools to liberate them all,” he says to a skeptical Wakandan nobility. “Where was Wakanda?” These two political visions – of a global insurrection against oppression and the defense of the nation-state – are played out in the contest for the throne between the African monarch T’Challa and the urban African-American Killmonger, who the Wakandan nobility scorn as an “outsider.” As Christopher Lebron writes in Boston Review:

Rather than the enlightened radical, [Killmonger] comes across as the black thug from Oakland hell bent on killing for killing’s sake—indeed, his body is marked with a scar for every kill he has made. The abundant evidence of his efficacy does not establish Killmonger as a hero or villain so much as a receptacle for tropes of inner-city gangsterism.

T’Challa’s eventual victory against Killmonger is not achieved by African initiative alone, as the core figure of critical race theory Kimberlé Crenshaw has written. The visual spectacle of the film, Crenshaw reflects, “sucked me in like a narcotic and had me accepting things that made my heart ache upon reflection.” Its exuberant celebration of a purportedly timeless African essence represses its complicity with the history of racist violence. In Crenshaw’s words:

A civil war between Black families was unfolding over aiding other Black people, and… the CIA’s shooting down of vessels carrying technology into the fight against an anti-black world order was hailed as a heroic moment… I kept wondering how I’d come to dance on the table for the CIA? The ones that helped destroy the dream of African liberation, that had a hand in the assassination of Lumumba, staged a coup against Nkrumah, tipped off the arrest that imprisoned Mandela, installed the vicious, nation-destroying Mobutu? Why not throw in the FBI and COINTELPRO as kindly white characters? Was this meant to be ironic? What meaning do we assign the fact that the possibility of a real life Wakanda in the resource-rich Congo and Ghana, and the promise of a Pan African quest for collective self-determination were precisely the threats that the CIA worked to suppress?

After Killmonger is murdered by T’Challa, he says, “Bury me in the ocean with my ancestors that jumped from the ships, ‘cause they knew death was better than bondage.” But it is the lie told by Disney’s Black Panther that this is a binary choice. Killmonger’s last words are the closest the film gets to the actual historical contribution of Afrofuturism, in the negative form of a disavowal. The Afrofuturist Detroit techno group Drexciya proposed, in the liner notes to its 1997 The Quest:

During the greatest Holocaust the world has ever known, pregnant America-bound African slaves were thrown overboard by the thousands during labour for being sick and disruptive cargo. Is it possible that they could have given birth at sea to babies that never needed air? Are Drexciyans water-breathing aquatically mutated descendants of those unfortunate victims of human greed? Recent experiments have shown a premature human infant saved from certain death by breathing liquid oxygen through its underdeveloped lungs.

Drexciya’s Afrofuturist utopia builds on a concept introduced in Parliament’s follow-up to Funkentelechy Vs. The Placebo Syndrome, 1978’s Motor Booty Affair. On that album, George Clinton’s mythos moved from outer space to underwater, turning the myth of Atlantis into an alternative trajectory that begins with the North Atlantic slave trade. “We need to raise Atlantis from the bottom of the sea,” says the concluding track, “Deep.”

Achille Mbembe speaks of Black Panther as a futuristic fable, a “techno-narrative” whose power derives from its “reversal of the African sign,” recalling the diasporic “reflection on the possibility of a new world, of a black community which would be neither debased nor stamped with the seal of defilement.” The Afrofuturism of Black Panther, for Mbembe, is the overcoming of Western humanism from the vantage point of those who Western modernity assigned the space of the non-human. The future beyond Western humanism is prefigured by the coupling of the human body and the “quasi-infinite plasticity” of technology, and the concomitant transformation of the violated Earth of Africa into “astral material.”

However, from the vantage point of post-humanist Detroit, where the plasticity of technology subjected the diasporic black population to the tyranny of the automobile factory, Drexciya proposes an entirely different politics of Afrofuturism. Drexciyans do not belong to a counterfactual history insulated from the slave trade which lies at the foundation of capitalist modernity. Rather, they passed through it, and survived it, animating what Paul Gilroy called the “Black Atlantic.” Kodwo Eshun has described this diasporic continuüm, in a powerful review of The Quest, as “the ‘webbed network’ between the US and Africa, Latin America and Europe, the UK and the Caribbean along which information, people, records, and enforced dematerialisation systems have been routing, rerouting and criss-crossing since slavery.”

The Drexciyan Afrofuturist myth is a myth not of the nation-state, but of liberation. As Eshun puts it: “By inventing another outcome for the Middle Passage, this sonic fiction opens a bifurcation in time which alters the present by feeding back through its audience – you, the landlocked mutant descendent of the Slave Trade.” It is a myth which, as Nettrice R. Gaskins writes, “draws on modern African cultural ethos, technology, and artistic actuation by creating self-determined, representational worlds. In discourse of dissent, this is a place where the oppressed plot their liberation, where stolen or abandoned migrants survive adverse conditions.”

The film is aware of the greater power of the myth of this revolutionary Black Atlantis – and it recognizes that Killmonger, for so many viewers, will be its most sympathetic character. Thus T’Challa must somehow absorb Killmonger’s spirit of resistance and justice to bring the film to a palatable conclusion. He does so by reproducing the political placebo syndrome that came about in the late 20th century. Under his rule, Wakanda begins practicing the black capitalism that came to displace black power as the revolutionary movements of the 1960s and 1970s were crushed by the state and ran up against their own strategic and organizational deadlocks. He buys the condemned building where his uncle was murdered and establishes a center for STEM education – an investment of the Wakandan monarchy in urban development.

The character of the Black Panther was introduced in the Fantastic Four comic series three months before the founding of the Black Panther Party, but the name-recognition and credibility of the film in a political landscape marked by Black Lives Matter surely draws on the history of black liberation for which the BPP is such a powerful synecdoche. In her review of the film at The Baffler, Kaila Philo has noted precedents to its appropriations of BPP history and aesthetics, by cultural icons like Jay-Z and Beyoncé:

Black artists revere the Black Panthers because they have given us our most indelible images of Black radicalism and, more importantly, power; the Party’s staunch socialist and anti-imperialist ideology often falls to the wayside, however, because the power they seek is economic and not merely a function of the white capitalist credo, which leaves the poor behind. It’s this credo that quietly informs our best and brightest Black entertainers to this day.

In a 1970 letter to the National Liberation Front of Vietnam, founder of the Black Panther Party Huey P. Newton wrote, “we are interested in the people of any territory where the crack of the oppressor’s whip may be heard. We have the historical obligation to take the concept of internationalism to its final conclusion – the destruction of statehood itself.” With this revolutionary agenda suppressed and dismissed by today’s multicultural liberalism, Killmonger’s mission can only be, as Adam Serwer writes disingenuously in The Atlantic, the production of a new historical trauma, on the model of X-Men’s Magneto:

Killmonger’s plan for “black liberation,” arming insurgencies all over the world, is an American policy that has backfired and led to unforeseen disasters perhaps every single time it has been deployed; it is somewhat bizarre to see people endorse a comic-book version of George W. Bush’s foreign policy and sign up for the Project for the New Wakandan Century as long as the words “black liberation” are used instead of “democracy promotion.”

Arming insurgencies all over the world, however, was a project of internationalist revolutionaries long before George W. Bush, as Newton’s letter attests, and it is diametrically opposed to the violent entrenchment of nation-states in the existing imperial hierarchy represented by American neoconservatism. Revolutionary internationalism presents an alternative to the placebo syndrome of capitalist philanthropy, to which the liberal multicultural élite claims there is no alternative. Disney asks us which figure is worthy of the title of Black Panther: is it the poor African-American child from Oakland who dreams of international revolution, or the monarch who aims at defending the glory of his nation? History has already given us the answer.

#Mood

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imaginefan · 7 years ago

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Hello Can I have a ship for HP pls?? I would like a man ship. I am a libra, enfp and ravenclaw. i love poetry and philo. Im a good student but not a know it all and i spend most of my time procrastinating on my bed haha. I love laughing and hanging out even if i am a bit lazy. I am small thin, long brown hair and very pale skin. I forgive basically everything and and people say im too nice for my own good. But I can be a bit egoistical and critical/judgmental. I love debate tks

I ship you with… Ron!

You spent a lot of your time procrastinating in the Gryffindor common room, which was where you met Ron since he pretty much did the same thing, you loved to laugh and hang out with him and his friends.

Ron was worried because you were constantly forgiving people for what they did and sometimes he thought that people shouldn’t have been together, he liked to try and keep you out of the way of people would manipulate you but that wasn’t always easy considering you want to always help people out.

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mademoisellesarcasme · 7 years ago

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Prime numbers, please

1. If you didn't have to sleep, what would you do with the extra time?ALL THE THINGS. Seriously.2. What is your favorite piece of clothing you own / owned?Probably my shiny blue circle skirt with the crinoline under it; every time I wear it, I feel pretty. It’s twirly and flouncy all at once.3. What hobby would you pick up if time & money weren't an issue?SO MANY HOBBIES. But for reals I think I’d dive head-first into the SCA for a while, and also dabble way more into costuming and corsetry. I really really like to sew. I just have neither time nor money for it.5. How often do you play sports?Almost never, unless you count fencing, in which case about once a week.7. What job would you be terrible at?Um, anything where I have to repeatedly be empathetic for long periods of time. Or where I’d have to help other people actually acknowledge their own feelings. Also anything where I repeatedly have to tell people “no” and be firm about it.11. What job do you think you'd be really good at?Science fiction worldbuilding consultation!! Seriously.17. What songs do you have completely memorized?....a lot. Like, a lot a lot. I’ve got a good memory.19. What do you consider to be your best find?I mean yesterday I found a whole dollar coin on the ground that was a pretty great find23. What takes up too much of your time?this blue hellsite. my awful job.29. What TV shows do you like?Ummmm lots? Always go with Avatar: the Last Airbender, and I also love Brooklyn Nine-Nine and Parks and Rec and Phineas and Ferb... I dunno. I do own the complete Monty Python’s Flying Circus and that often cheers me up.31. Who has impressed you most with what they've accomplished?Lots and lots of people, but I think I’m frequently most impressed by people who struggle with things like school and muscle through them anyway because they’re following their dreams and aspirations. Because dang, that stuff is hard for a normal person, and if you already struggle with it and you’ve decided it won’t win -- I bow to you.37. What is something you enjoy doing the old-fashioned way?Keeping time (I love wind-up watches). Complicated seams, when I have the time. Embroidery (mostly cause I have no idea how to do it on a machine).41. What's the best day of the year?Weirdly, I’m really fond of New Year’s Eve/New Year’s Day. It’s almost always got nice memories for me, and feels like a fresh start.43. How do you relax after a long day of work?here on this blue hellsite. sadly. or I just go to bed.47. What is the most annoying question people ask you?"Can I get a caramel frappuccino, extra caramel, extra whip? No, wait, make that two. No, wait, three. Yes, all venti.”[note: we just make a lot of these, and frapps are like 8 steps per drink.]53. What's worth spending more on to get the best?Shoes. Tools. Nice headphones if that’s your thing. Anything you want to make last a while. Make sure you’re not just spending more for the sake of spending more and instead spending more for the quality of construction.59. What piece of entertainment do you wish you could erase from your mind, only to experience it for the first time again?Honestly, I have no idea how to answer this question.61. What amazing thing have you done that no one was around to see?Lots and lots of clever things, but my current favourite is that I tossed a whipped-cream charger into the trash can from its little charger-cap in my hand, and it landed inside an empty bottle in the trash can. Like, straight into the small neck of this empty container. It made me so proud of myself.67. What kind of art do you enjoy most?To make? Watercolour, I guess, or textile work (though I consider that more a craft since it has a purpose/goal in and of itself). To look at? Anything, honestly, I love art museums.71. Why did you decide to do the work you are doing now?Desperation. I’d rather be doing the work I went to school for.73. If you suddenly became a master at woodworking, what would you make?ALL OF THE THINGS. Seriously, so many things. Probably start with a bed frame for me and @and-back-to-normal-life for whatever new house we get, then desks and chairs and ... yeah.79. What website do you visit most often?~ t h i s b l u e h e l l s i t e ~83. What's special about the place you grew up?Mm, I dunno. I feel like I grew up in a few places.89. What question would you most like to know the answer to?Where will I live next month?97. In what situation or place would you feel most out of place in?The vast majority of events that @coruscanttojerusalem and @catefrankie are happy at. If there’s large amounts of philo-theo happening, I’m just gonna Ron Swanson the heck outta there and go build something.101. How do you hope you'll change as a person in the future?I would like to be holier!103. What's the most surprising self-realization you've had?That I’m actually good at loving my friends.107. What is your biggest regret?I try not to do things that I’ll regret, but I’ll mention that most of my regrets are in the context of a previous relationship.109. What bridges do you not regret burning?That one really bad date.113. What are you most likely very wrong about?What my own future looks like.127. What are you really good at but embarrassed to be good at?... I’m not sure. I’m pretty self-aware.131. What's the title of the current chapter in your life?”Went the wrong way out the metro.” (or train.)137. What do you doubt?That I’ll ever be out of food service.139. What do you want to be remembered for?Love.149. What's the last adventure you went on?Answered that here!

#thanks~!#answering asks #girlfrommarial

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ao3feed-dramione · 8 years ago

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Eros, Philos, and Agape

read it on the AO3 at http://ift.tt/2pEk0g1

by summersaults16

"Wouldn't it be the perfect crime?" Draco purred seductively at the shell of her ear. "Crime?" Hermione forced the words out of her trembling lips. "If I stole your heart and you stole mine?" Draco's voice was smooth and enticingly delicious. "I-I" Hermione sputtered. "Ran out of pickup lines, Granger?" the blond bastard smiled "I win… again". EWE (love/sex/pickuplines)

Words: 2040, Chapters: 2/?, Language: English

Fandoms: Harry Potter - J. K. Rowling

Rating: Mature

Warnings: Creator Chose Not To Use Archive Warnings

Categories: F/M

Characters: Hermione Granger, Draco Malfoy, Harry Potter, Ron Weasley, Ginny Weasley, Blaise Zabini, Theodore Nott, Daphne Greengrass, Pansy Parkinson, Narcissa Black Malfoy, Lucius Malfoy, Mr Granger (Harry Potter), Mrs Granger (Harry Potter)

Relationships: Hermione Granger/Draco Malfoy

Additional Tags: Drama & Romance, Alternate Universe - Canon Divergence

read it on the AO3 at http://ift.tt/2pEk0g1

#IFTTT #ao3feed #fanfic #dramione #draco x hermione #dramione fanfic

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superprofesseur · 7 years ago

Link

I. Notions et repères

La culture

La liberté

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http://www.superprofesseur.com/145.html

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Préparer et réussir les 'épreuves du BAC 2017 en profitant des supports de cours et conseils sur le site www.SuperProfesseur.com.et l’application mobile de Super Professeur http://www.mobile.superprofesseur.com

Bonne préparation et réussite !

L’équipe de www.SuperProfesseur.com

Ronald Tintin, Fondateur de SuperProfesseur

Super Professeur est un site spécialisé dans le soutien scolaire, le coaching, les cours particuliers sur mesure et de la formation professionnelle en ligne.

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classicfilmfreak · 8 years ago

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New Post has been published on http://www.classicfilmfreak.com/2017/02/02/bulldog-drummond-1929-starring-ronald-colman-and-joan-bennett/

Bulldog Drummond (1929) starring Ronald Colman and Joan Bennett

“I’ve been bored too long. I can’t stand it any more. I’m too rich to work, too intelligent to play—much. I tell you, if something doesn’t happen within the next few days, I’ll explode.” — Bulldog Drummond

The movie private detective Bulldog Drummond has a long history, equal to most of the other sleuths who were more or less his contemporaries in the 1930s and ’40s—Charlie Chan, the Crime Doctor, Philo Vance, the Thin Man and a host of others. They owe a considerable debt to nineteenth-century writers who originated the fictional detective—Edgar Allan Poe (The Gold Bug and Murders in the Rue Morgue), even Charles Dickens (the uncompleted Mystery of Edwin Drood) and, of course, the most recent of these, Sir Arthur Conan Doyle whose Sherlock Holmes adventures began in 1886 with A Study in Scarlet.

As suggested, British writers, many of them women, seemed to have had an edge on the detective genre, soon known as the masters of the drawing room mystery, where mental deductions and armchair sleuthing were the rule over physical action. The best known writers include Agatha Christie, Dorothy Sayers, G. K. Chesterton and, most recently, the late P. D. James. And Herman C. (“Sapper”) McNeile, a World War I veteran born in Cornwall, England, created the first of ten Bulldog Drummond novels in 1920.

The screen Drummond, like some of the other series, had a variety of actors playing the detective. Both the British and Americans had a go, including Ralph Richardson, Ray Milland, John Barrymore, Tom Conway (though better known for the Falcon series) and John Howard, as well as Australian Ron Randell and Canadian Walter Pidgeon.

The obvious Bulldog Drummond actor missing from this list is Ronald Colman, who made the first sound version of a Drummond mystery, Bulldog Drummond, in 1929. It was also his first sound picture. While the film has a largely British cast, except for two Americans, heroine Joan Bennett and baddie Lilyan Tashman, it is stoutly American in its production. It was the last film for director F. Richard Jones, who, like Tashman, died in his mid-thirties. Sidney Howard (Gone With the Wind, 1939) wrote the screenplay, which, in the opening credits, is quaintly “adapted for the talking screen.” The dual cinematographers are George Barnes (Rebecca, 1940) and Gregg Toland (Citizen Kane, 1941). Set decoration is by none other than William Cameron Menzies, best remembered for Wind and, as director, for Things to Come (1936). (In 1934, Colman would star in a sequel, Bulldog Drummond Strikes Back, with Loretta Young.)

Despite those previous decades of silent films, Bulldog Drummond avoids most of the trappings and techniques of that era—it is, in fact, one of the best of the early talkies. But, with sound still in its infancy, and with many improvements yet to be made, the film cannot entirely divest itself of the past.

For one thing, it is basically set-bound, although one of the best camera shots—chiaroscuro and all (Toland, Barnes or both?)—is the night “exterior” (probably a set) of a tall, castle-like nursing home. Tashman’s general delivery and mannerisms, with eyes cast melodramatically here and there, are leftovers from the previous style of acting when stars had to exaggerate expressions to compensate for the lack of a voice.

Movie-goers are now so accustomed to a musical soundtrack that the absence of one leaves an obvious vacant space waiting to be filled. Colman and Bennett’s romance, however, is so tepid and undeveloped that any romantic music is hardly missed. There is main title music and a few seconds of “The End” music. The not-bad Viennese waltz used in both was possibly composed by the music director, Hugo Riesenfeld. It’s conceivable: he was born in Vienna and had quite an impressive music résumé prior to his appointment, in 1928, as director of all music productions for United Artists.

The Drummond story is so quick-paced and Ronald Colman so active—one wonders whether he adapts to the tempo or sets it—that much of the time the music is unmissed. Joan Bennett, by contrast, is a little low-key and underplays her role, though she was perhaps never lovelier, only nineteen at the time.

After some stock footage of London landmarks, the camera enters a men’s club where silence, with an exclamation, is an imperative. In a long tracking shot, an attendant conveys a serving tray through a lobby of elderly men reading newspapers and books in their isolated nooks. He drops a spoon, prompting an outcry from a patron.

At a corner table are two men. One (Claud Allister) wears a monocle and tilts his head back, giving the impression of looking down his nose, a semblance to aristocratic pomposity he will maintain throughout the film. “That’s the third spoon I’ve heard drop this month,” he says with a la-di-da inflection to his British accent.

The second man, wealthy Captain Hugh Drummond (Colman), a veteran of World War I, disagrees with his best friend, Algy Longworth. “I wish somebody would throw a bomb and wake the place up.” Followed by Algy, he walks out of the room whistling, to the shock of the old men. In a later film, Top Hat(1935), Fred Astaire does a brief tap-dance in another snobby Englishman’s club.

A drink at the club’s bar, Drummond says, hasn’t made him feel better, that he’s bored. When Algy suggests he advertise for excitement, he puts an ad in the newspaper. One reply offers possibilities, and he sets out for the Green Bay Inn where a young woman, Phyllis Benton (Bennett), fearing she’s in danger, has reserved a room for him. Algy follows in a second car, accompanied by Drummond’s valet, Danny (Wilson Benge).

Phyllis tells Drummond that something is amiss at a hospital where her wealthy uncle, John Travers (Charles Sellon), is being treated by Dr. Lakington (Lawrence Grant).

Later, she mistakes the silhouette of Algy and Drummond for the people she believes are following her and runs away, only to be caught my Dr. Lakington, Irma (Tashman) and Carl Peterson (Montagu Love), and taken to the doctor’s nursing home.

Drummond follows, knocks on the door and conducts a rather civil conversation with the culprits, but he sees how Travers is being treated for what the doctor vaguely identifies as a psychological illness. Drummond affably says good-bye, as if his suspicions aren’t aroused.

He drives off, stops a short distance down the road and sneaks back to the nursing home to rescue Phyllis, sending her off with Algy and Danny. He then eavesdrops on the resident trio who try to force Travers to sign over to them his jewels and securities.

After now rescuing Travers, Drummond returns to the inn, but the criminals have followed him. He quickly disguises himself as Travers, and the unsuspecting crooks take him to the nursing home. When they do realize it’s Drummond, they tie him up and threaten to torture Phyllis to learn Travers’ hiding place. Drummond says Travers is at the inn, and while Irma and Peterson go to check, Phyllis frees Drummond. In a struggle, Drummond strangles the doctor.

After all this running around—many scenes of cars racing back and forth in the night—Peterson now returns. Drummond disarms him and calls the police, but the policemen who come are Peterson’s gang in disguise. While calling the real police, Phyllis persuades Drummond to let Peterson go, confessing in a soft, meek (unconvincing?) voice that she loves him.

“Why haven’t you ever said that before?!” he asks, as he puts down the receiver to embrace her.

#Joan Bennett #Ronald Colman

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hedwigsbestfriend · 8 years ago

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Things to Investigate (Privately posted):

This post has been marked as private. It is only visible to the account holder.

Now that I've gotten into Ron's (and Harry’s, I suppose) account, I might as well use it for something...useful.

A compilation of the strange happenings around school + commentary, to sort out what we already know. I don't want to leave a hard copy of this lying about-can you imagine what would happen if Professor Snape found it?

The forbidden corridor on the third floor. Inside was a large, three-headed dog, standing on top of a trapdoor. Obviously, it's guarding something. We've found out from Hagrid that it's his dog, and its name is Fluffy. Why on earth would Hagrid be raising a three-headed dog? And why leave it in Hogwarts, for that matter? What’s underneath the trapdoor?

Harry said that he saw Snape talking about the Fluffy, saying how difficult it was to get past its three heads. He brought this up when we were talking to Hagrid, but Hagrid insisted that it couldn't be Snape. He looked quite shifty about it, though. Not to mention, we saw Snape jinxing Harry’s broom during his first Quidditch match, trying to throw Harry off his broom...he has to be up to something. What's Hagrid hiding from us?

Nicholas Flamel. Who is this person? I don't recall reading anything about him in any of my books - and I've read nearly everything outside of the restricted zone! But why would his name be in the restricted zone? What does he have to do with whatever's under that trapdoor?

Snape’s been threatening Quirrel! Most likely for the stone, but how could he be stopped? Is he in contact with You-Know-Who?

So many questions....Maybe I'll add back onto this if we find any answers.

[UPDATES:]

We’ve now found out (from a Chocolate Frog card, of all places!) that Flamel was an alchemist who worked with Dumbledore. Flamel’s most notable achievement was the making of the Philosoph-oops, sorry, Sorcerer’s Stone. The Stone can make the Elixir of Life that enables those who drink it to live forever, and also turns things into gold! We think that this must be what Hagrid took out of the vault in Gringotts. The Philos-sorry, don’t know why I keep calling it that, Sorcerer’s Stone must be under that trapdoor that’s being guarded by Fluffy.

Snape’s been threatening Quirrel! Most likely for the stone, but how could he be stopped? Is he in contact with You-Know-Who?

A mysterious figure was seen in the forest drinking unicorn blood. Harry talked to one of the centaurs, who explained that unicorn blood can be used to keep you alive, for a short while, but it leaves you cursed. There was also something about Mars and fate but, I don't entirely trust that. Harry said that You-Know-Who is the one after the unicorn blood, and if he gets the Elixir of Life, well, what kind of curse is going to help with that? Who was it out there? I don’t think going back into the Forbidden Forest is worth it, but this definitely warrants some investigation. I just hope we have enough time.

#hermione granger #private post #wow i dont know why i keep calling it the philosophers stone instead of the sorcerers stone #the name just seems more right #sorcerers stone just sounds like it was dumbed down and i resent that

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saleggdbdiscount-blog · 6 years ago

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