#Screen Printing Adelaide

[sugrhigh]

BACKSTAGE - ( m.s )

REQUESTED**

summary- your best friend caught the eye of the bass player in a band local to boston, your hometown, so you’re invited to the second to last stop of their US tour. they can definitely put on a show, and all of them are very welcoming when you meet them backstage. then there’s the asshole grumpy drummer with the inflated ego, who can’t seem to stop staring.

warnings- cursing, smoking, drinking, ???

band au (triplets are in their mid 20s)

drummer!matt x fem!reader (this song ^^ inspired me and it’s good af so i’m including it)

a/n: this has been brewing for a while and i kinda forking love this concept, i hope i brought it to life well! hope u enjoy and as always my inbox is open for whateva #kisses ****part 2 to come

@fawnchives @55sturn @teapartyprincess4two @l9vesick @sturnlova @cupidsword @junnniiieee07 @mattnchrisworld @cherrypostsposts

“are you sure you want to do this?��� you ask her as you two linger by the bar at the back of the venue.

people are clearing out, all happily chattering after an incredible concert. you have to admit that it was a great performance, and the sold out crowd helped.

they’re a pretty talented band. and the bass player really wants your best friend.

all it took to get him interested was a single comment on one of his recent posts. adelaide is undeniably gorgeous, and she’s also built a decent following through her recent modeling jobs.

she stands out in any comment section and in crowds like these, so it makes sense that he hit her up. that’s why you’re here anyways.

mister bass player had invited you guys to the first of two sold out shows in this place. it’s the last stop on the band’s US leg, in their hometown, which happens to be where you and adelaide live.

“yes dude, for the hundredth time, im sure. and he’s waiting on us, so stop stalling. i know you have more balls than that.” adelaide gives you a pointed look.

you can’t help but roll your eyes. “i promise you i don’t care enough about what these guys think to be scared.”

“now that sounds more like you.” she teases as she pulls her phone out of her back pocket.

the light from the screen illuminates her face, and you watch as she taps something out quickly.

“chris said someone is gonna come get us.”

“can’t wait.” you smile sarcastically as you respond.

addy doesn’t even get the chance to yell at you about your attitude before a big buff guy dressed in all black approaches the two of you, dark hair slicked against his skull. SECURITY is printed across his jacket in bold yellow letters.

“you ladies enjoy the show?” his voice is deep, which matches his huge stature perfectly.

“oh, it was amazing! i’m assuming you’re jason?” adelaide beams at him, pushing her dark curls out of her face.

he nods once. “that’s me. you guys ready to head backstage?”

“yup, just lead the way.”

the two of you follow jason back down toward the front of the stage, around the protective barricade to a door that almost blends right in with the venue’s dark walls.

he knocks on it three times. another tall man opens it for him and ushers the two of you inside before people start to pay too much attention.

“dressing rooms this way.” the new guy leads you through the backstage area, down a narrow hallway until he stops in front of one of the doors. there’s a little placard with their band name on it, which is cute.

this time nobody thinks to knock, because it’s already pretty loud. once the door swings open the sound is even more overwhelming.

you count seven people, all sitting around on the couches and vanity seats in the dim lighting. three of them are nearly identical, which surprises you. you thought there were only two brothers in the band.

several bottles of champagne crowd the coffee table already, and they’ve only been off the stage for ten minutes.

all of them are watching the two of you now, and it makes you want to crawl out of your skin.

“look who it is.” one of the twins (or apparently triplets) that’s sitting on the couch sets his glass down and gets up to greet you.

his brown hair is long, longer than the others, hidden slightly by a black boston hat. he’s dressed in a celtics jersey and baggy jeans, clearly happy to be representing his city tonight.

“good to see you, chris.” adelaide smiles into his chest as he pulls her into a tight embrace that lasts for a few seconds too long.

“i promise it’s better to see you.” he smirks as he finally pulls away, not even trying to hide his gaze as he admires the way her outfit hugs her body.

then he turns to you, and you suddenly feel like a spotlight is shining directly in your face.

“it’s nice to meet you too, y/n. addy tells me you’re even cooler than she is.” chris says, wrapping his arm around your friends shoulder lazily.

“can’t argue with that.” you shrug with a grin, impressed that he remembered your name without having to ask.

he looks around and clears his throat, and the others stop chatting. “everyone, this is adelaide and y/n. introduce yourselves.”

one of the clones that was sitting beside chris speaks up now. “shouldn’t they know who we are?”

he looks directly at you with an uninterested gaze that’s somehow still so intense you almost lose your breath. he’s in all black, fluffy hair styled a bit shorter than chris’s.

his harley davidson muscle tee is cut off right above his black pants, revealing just the smallest sliver of his stomach as he leans back against the cushions casually. so many tattoos, so many rings.

it’s annoying that you notice this, even despite how pissed off you are at his stupid question.

“i hate to burst your bubble, but i wouldn’t be able to guess your name even if someone put a gun to my head.” you bite back without thinking, and laughter erupts around you.

“that’s exactly what you deserve for a dickhead comment like that, matt.” another currently-unnamed guy says.

he’s on the other sofa with the last of the carbon-copy brothers, arm around the waist of the beautiful girl that’s perched on his lap. the couple smile at you and adelaide.

“feel free to ignore him. i’m nathan, lead guitar.” he introduces himself.

“i’m his girlfriend jen.” the dark-haired woman chimes in, offering you a friendly wave.

“im nick,” the triplet sitting next to them finally reveals his name, “i’m not in the band, i’m just their tour photographer. my brothers got the musical talent.”

“kids a genius with a camera though.” chris adds, still sidled up against adelaide.

“names sam. i’m the singer.” a blonde boy with hair cropped close to his skull says with a nod.

he’s sitting on one of the vanity chairs that’ve been set up in a half circle, tipping the rest of his champagne back after he speaks.

“and i’m just his older sister gabby.” the girl beside him sticks her hand out, and you take a step forward to shake it.

“dont say just. and i love your necklace.” you compliment the barbed wire chain around her throat, and she waves her free hand at you, flushing slightly.

“you’re sweet.”

“it’s nice to meet you all. the show was fantastic, we had a blast.” adelaide addresses everyone with that award-winning grin you know and love.

chris leads her over to the couch and they sit down, pressed against each other like they’re attached at the hip. you have to admit it’s a little cute. you take the open chair next to gabby, opting to avoid sitting next to matt just to be near your friend.

“are you both from boston too?” sam asks, reaching to refill his drink.

jen gets up from nate’s lap to grab two more glasses from one of the cabinets, which is a kind gesture that you weren’t really expecting.

“yeah. we met in college and ended up staying in the city together.” you answer as he moves to pour your champagne next.

“that makes you what, 22? i am about to serve you alcohol.”

you can’t help but laugh, so adelaide answers instead. “we’re 25, but i’ll take that as a compliment.”

he puts his hands up in apology as you grab your glass. “so not recent graduates then, my bad.”

you can still feel matt staring at you, and when you meet his gaze over the rim of your drink he doesn’t shy away. your own eyes narrow slightly, because you dont understand why he won’t fucking quit it.

“what do you do for work?” nathan questions, and you finally break out of your trance to look over.

“i was in publishing for a bit, but i mainly model now.” addy responds first.

chris’s hand goes to grip her thigh endearingly as she sips her champagne. “can’t you tell?”

“stop it.” she nudges him slightly, though you can see a faint blush appear beneath her bronzed skin.

nate rolls his eyes before looking your way. “and you?”

“i’m a media manager for a few different brands.”

“really? like who?”

it’s matt speaking, you know even before you turn your head to meet his cold eyes once more. he’s challenging you, inked arms crossed over his chest defensively as he waits for an answer.

“well for one, those pants you’re wearing? i work with that company.” you reply bluntly.

you’d recognize those cargos anywhere, the faded star patches are a dead giveaway. matt’s face drops in surprise, and nick snorts, giving you a nod of approval that doesn’t go unnoticed.

“i can’t believe you work for vamped. we all get like, half of our wardrobe from there.” he admits.

“raiding her closet is a real treat, trust me.” adelaide makes it sound like a joke, but she actually does love to come over and steal all your favorite pieces.

it would be annoying if you didn’t love her so much.

jen smiles, cuddled back up on her boyfriend’s knee as she looks between the two of you. “i like you girls already.”

“yeah, and i respect anyone who can humble matt that quickly.” sam nods along in agreement, and you recognize that he’s talking about you in particular.

“oh, so i take it he’s like this all the time then?” your question is directed at sam, but you’re looking at the subject himself as you ask it.

“pretty much.” chris nudges matt with a silly grin, and he scowls in return, though he’s still watching you.

you can’t decipher what he’s feeling, what he’s thinking, and you don’t like it one bit. to be fair, you don’t know him at all yet, but you know the type.

you’ve met enough high profile people through vamped to understand that this kid thinks he’s some kind of god, probably because his friends tell him so.

but you’re not his friend, and you don’t owe him any politeness if he can’t bother to reciprocate it. you keep your eyes on him as sam redirects the conversation away from the two of you, another challenge of your own, and he finally looks away a moment later.

you take it as a win.

a few rounds of drinks later you can feel the heat creeping up your cheeks, blissfully tipsy as you continue to swap stories about anything and everything with the rest of the group.

chris and adelaide are in their own little world, whispering shit back and forth to each other like school girls.

matt hasn’t said a single word to you since you name-dropped your highest paying client just to embarrass him. he watches the rest of you interact, though that burning gaze of his always seems to meet yours anyways.

its driving you crazy, and you’re itching for a quick pause from the socialization, as nice as (almost) everyone has been.

“i’m gonna go for a smoke.” you address the group, mainly adelaide, and you’re met with a couple nods.

“same.” matt replies gruffly, and your heart falters.

of fucking course.

he pushes himself to a standing position before you can protest, or say anything really. his shirt is even more cropped now that he’s stretched to his full height, and you’re staring straight at his exposed happy trail and v-line. you’re pretty sure you see the top of a small tattoo by his hip.

your mouth goes dry, and you busy yourself grabbing your little purse from the floor.

“hurry back, i wanna hear more about this PR box fiasco.” gabby points a finger at you as you get up next, and you smile even though you know it’s a weak attempt.

“i’ll be quick.” you promise her.

adelaide gives you a little wave goodbye, which doesn’t quell your nerves as you turn to follow matt, who doesn’t wait for you to catch up.

he just throws the dressing room door open carelessly, letting it swing back so you have to stop it with your hand before it hits you. you glare at the back of his head, though you follow him in silence because you don’t know the way outside.

another security guard stands in the hall, and matt greets him with a quick nod as he heads outside, once again neglecting to hold it for you.

you mutter a quick hello to the man before stepping onto the little back patio. it’s the end of summer, edging toward fall now, so there’s just a slight chill in the air.

he’s already leaned up against the brick wall, situated on one of the steps down to the gated parking lot. for the first time tonight, he’s actually not looking at you, and it’s somewhat of a relief.

you dig around in your bag to retrieve your crinkled carton of cigarettes, flipping the lid open to pull one out and stick it between your lips. you’re about to put them away when matt clears his throat.

“can i bum one?” he asks softly.

it’s the least aggressive he’s been all night, and it throws you so off guard you can’t find anything to say back so him. so you just nod slowly, grabbing another cigarette for him and passing it over.

“thanks.”

“you got a light? couldn’t bring mine in.” you mutter, though your words slur because of the cig that’s between your teeth.

matt nods, ruffling his hair with one hand as the other slips into his back pocket. he pulls out a red disposable lighter and ignites it in one swift motion.

he holds it up to your mouth, burning the end of the thin roll of tobacco. he’s staring at your lips, thinking about how soft they look wrapped around that filter paper.

matt doesn’t want to be wondering what it would be like to feel them against his own, because you embarrassed him. he hates being embarrassed, especially by someone who walked right into his dressing room like she owned it.

you’re unlike any girl he’s ever met, and he’s fucking entranced.

you inhale, glancing to meet his blue eyes as the smoke fill your lungs, completely unaware of his thoughts. it’s familiar, and it calms you down a little bit.

you pull it from your mouth to exhale, watching as he lights his own before slipping the plastic device back into his pocket. he slumps back up against the wall, kicking one leg up to steady himself.

it’s silent again for a moment while you both enjoy the brief hits of nicotine, letting the clouds swirl up into the night. you both go to ash at the same time, and he breaks the tension first.

“so, what did you think of the show, sweetheart? your friend spoke for you, but i’m sure you have your own opinion.” he says, one side of his mouth tilted up.

you weigh up his statement, rewinding to an hour ago. you guys were in the upper wing, right by the stage in the front row. the view was great, and the energy was definitely there.

you remember matt, sweaty and focused as he banged on those fucking drums like his life depended on it. your eyes were drawn to him for a lot of the performance, to the intensity he brought to the stage.

that was before you knew about his superiority complex, though you should have been expecting it. he is, after all, a rising rock star.

“it was good.” you reply bluntly, shrugging as you bring your cigarette back to your lips.

he fully smiles now, though it’s not a warm one. then he follows your lead and takes another drag as well, his tattoos shifting as his muscles flex and relax due to the movement.

“don’t fucking humor me.” matt finally says seriously, and you narrow your eyes.

“i wasn’t, but it doesn’t matter either way. you think you’re the shit regardless.” you snap back.

matt softens a bit at your tone, but he’s also backed into a corner. you confuse him, because you’re impossible to read. that’s never happened to him before, and it’s annoyingly enticing.

“you don’t know a damn thing about me.”

“i know your type.” you argue sourly, sucking in another mouthful of smoke.

he turns his full attention to you now, shifting so he can look you right in the eyes. you wish it didn’t intimidate you so much, but the way he’s been leering at you all night makes you sweat.

“and what type would that be, hm?” matt goads.

you nudge at the concrete with the toe of your sneaker, pausing briefly to compose your answer.

“you’re arrogant, which either comes from the fame or the praise, or most likely both. in fact, you’re so cocky that you probably can’t be around anyone without patronizing them. i bet they all tell you how talented and badass you are, but you wanna know what i think?” you ask him, taking a hit of your cigarette for dramatic effect.

and it works. matt is hanging onto every word, waiting for you to deliver the final punch as you take a step closer, blowing the vapor toward him.

“i think that the whole time, they’re just waiting for you to shut the fuck up.”

for a second the world is still, and neither of you move an inch. he’s just studying you, eyes skipping across your face like he’s trying to commit it to memory.

“you want to know what i think?” he questions you quietly, and you can’t help but watch his lips as they move.

so pretty and pink, and you know he would taste like tobacco and sweat. you want to give in, but you won’t. one thing about you is that you’re stubborn, and you refuse to make the first move for this asshole.

“i think you like it.” matt finishes, so close to your lips now that he’s practically whispering his words against them.

just as you think he’s about to kiss you, to give you the power you crave, he tosses his cigarette to the ground and snuffs it out before stepping around you.

the only reminder that the moment was real is the door slamming shut behind him.

[recorddoorsblog]

Why Sliding Doors Are the Smart Choice for Families with Pets

Being a pet parent means embracing a bit of chaos. Your furry friends are bursting with energy, and their playful antics can transform your home into a lively playground. But what if I told you that one home feature could simplify your life? Enter the Residential Sliding Doors in Adelaide! Both practical and stylish, Residential Sliding Doors in Adelaide aren't just a trend - they're a game-changer for families with pets. Here's why these doors are the perfect choice for a pet-friendly household

Easy Access for Your Furry Friends

Picture this: it's a sunny afternoon, and your dog eagerly wags its tail at the back door, ready to explore the outdoors. With traditional swinging doors, you often have to stop what you're doing to let your pet in and out. But with Residential Sliding Doors in Adelaide, your pets can enjoy the freedom they crave! These doors glide open effortlessly, allowing your pets to come and go as they please. You won't have to awkwardly maneuver around a swinging door while holding a laundry basket!

Enhanced Safety Features

Safety is a top priority for pet owners. Many Residential Sliding Doors have advanced locking mechanisms and safety features to keep your furry pals indoors. You can enjoy peace of mind knowing that your pets are safe while you're busy with daily tasks. Some sliding doors are also made with tempered glass, which is more robust and less likely to break. This means fewer worries about accidents or unexpected escapes!

A Seamless Connection to the Outdoors

Sliding doors create a beautiful flow between your indoor and outdoor spaces. They not only enhance the aesthetic appeal of your home but also let in natural light, making your living area feel warm and inviting. This seamless connection is especially beneficial for pets who love basking in the sun or enjoying fresh air. With Residential Sliding Doors in Adelaide, you can create a pet-friendly oasis where your furry friends can lounge and play to their hearts' content.

Space-Saving Design

Space is often at a premium in a home bustling with playful pets. Traditional doors can occupy valuable space, limiting furniture placement and decor options. Sliding doors, on the other hand, glide along a track and don't require extra clearance to swing open. This space-saving design maximises your floor area, allowing you to create a more functional and stylish living environment for you and your pets.

Easy to Clean and Maintain

Let's be honest: pets can be messy! Keeping your home clean can be never-ending, from muddy paw prints to the occasional fur tumbleweed. Fortunately, Residential Sliding Doors Adelaide is designed for easy maintenance. Most sliding doors feature smooth surfaces that are simple to wipe down, making clean-up a breeze. Many models also come with removable screens to keep bugs out while letting in fresh air - perfect for those warm summer days when your pets love to lounge outside.

Increased Property Value

Investing in Residential Sliding Doors isn't just a smart move for your family; it's also a savvy financial decision. Sliding doors are an attractive feature that can enhance your home's value. When it's time to sell, potential buyers will appreciate these doors' modern look and functionality, especially in pet-friendly households.

Conclusion

In conclusion, choosing highest quality sliding doors in Sydney is a decision you won't regret if you're a family with pets. From providing easy access for your furry friends to enhancing safety and convenience, these doors are the ultimate solution for creating a pet-friendly home. They offer practicality and add a touch of elegance to your living space. So, why not embrace the sliding door revolution? Your pets will thank you, and you'll enjoy the newfound ease in your daily routine!

[likepoolcleaningau]

How to clean your swimming pool (Step-by-Step)

If you are looking for a reliable pool cleaning adelaide, then look no further than Thomas Pool Services. Our company employs only the most experienced and skilled technicians who have been trained in all aspects of swimming pool maintenance and repair. We offer our customers superior quality products and equipment at affordable prices. To find out more about our services or to book an appointment with us contact us today!

Step 1: Adjust pH of your pool water

The pH level of your pool water is a measure of how acidic or basic the water is. The ideal range for pool water is between 7 and 7.6, but most pools are typically between 7.2 and 7.4. To find out the exact pH levels in your swimming pool, you can purchase a test kit from your local hardware store or online.

The following chart shows the appropriate pH levels for different types of water:

Step 2: Clean the pool’s filter

You may only have to do this once or twice a year.

Tools:

Pool skimmer net

Bucket

Pool brush

Step 3: Brush and vacuum your pool

Brush the pool floor to remove dirt and debris.

Vacuum the pool floor to remove dirt and debris.

Use a leaf rake to clean leaves from the pool.

Use a net to remove debris from the pool

Step 4: Inspect and clean the skimmer box and pump strainer basket.

Now that the water is clean, it's time to inspect and clean the skimmer box and pump strainer basket.

Clean the skimmer box: Remove any debris in your skimmer by hand or with a adelaide pool cleaning brush. Next, use a soft scrubbing brush to remove any algae growth on the walls of your skimmer basket. Finally, inspect both sides of your filter cartridge for clogging and replace if necessary.

Step 5: Clean tile line

The next step is to clean the tile line at the bottom of your pool. To do this, you’ll need:

A scrub brush with stiff bristles

A vacuum to remove dirt and debris from the tile line

Pool tile cleaner (if needed)

A pool skimmer basket or net

Step 6: Clean out pool drains

Use a pool vacuum to clean out the pool drains. This is essential for keeping your pool water clean and stain-free. It’s important to check the condition of your pool drain before doing this, as it may need to be cleared of debris first. Using a chemical drain cleaner on a swimming pool is not recommended, as it can be harmful to humans and pets who come into contact with it.

Step 7: Check chemical levels for proper balance

Now that you've thoroughly cleaned your pool and removed any debris, it's time to test the water to make sure everything is in balance. The first step is testing the chlorine levels. You should be able to find a test kit at your local hardware store; this will work for testing pH, alkalinity, and other chemicals as well. To use the kit:

First use a bucket or skimmer net to collect some pool water from various areas of your swimming pool—you don't need much at all!

Put some water into a clean container (make sure there are no contaminants like dirt or algae). If you're using a prepackaged test strip from your local hardware store, simply dip it into the container of water until wet enough for accurate results—do not submerge it completely or allow excess moisture on its surface! If using an electronic tester with strips or vials filled with reagents instead (like our [Pool Mate Pro 3000]), simply drop one end into solution while holding onto another end so that both sides get wet (again do not submerge completely).

Check instructions on how long until readings appear/are valid after dipping/dropping strip(s)/vial(s), then wait accordingly before reading results off scale printed on side of container (or display screen if using electronic tester).

At Thomas Pool services we are proud to offer our clients the most honest, reliable, and efficient pool cleaning service in Adelaide.

At Thomas Pool Services, we are proud to offer our clients the most honest, reliable, and efficient pool cleaning service in Adelaide. Our team of highly trained technicians will provide you with a variety of maintenance services at an affordable price.

We offer:

Pool cleaning services

Pool maintenance services

Pool maintenance packages

Conclusion

After cleaning your pool, you will notice the difference in the clarity of your water. In addition, after a thorough cleaning, it is important to make sure that all plumbing and equipment is working properly. This will help ensure that your pool stays clean and enjoyable all summer long!

[topwebdirectories-blog]

Rev it Threads provides best quality of emboidery in adelaide From Simplified designs to 3D caps. There is an almost unlimited amount of colours to select from and match to, always using the highest quality, 100% polyester thread that will not fade and stand the test of time.

[secretaryunpaid]

Thank you for the tag @phoenixrising308 !!!

Madeleine Amaranth… Vallenheim Ho! (TRR)

Regina never understood why she and Adelaide became distant. She had come to visit Madeleine after completing another milestone in her education. The three were supposed to take a family vacation in celebration, but Constantine absolutely refused to allow Adelaide to travel outside of Fydelia, unless coming to the Royal Palace for events. He forced Adelaide to introduce Regina to him over dinner at House Amaranth. It was from that day forward that he pursued her love, finally winning her over after a few months time, taking her as his Queen. 

The Return Home (TNA)

“Sam,” the whisper barely heard above his thoughts… “I’m so sorry that I didn’t come forward with all of this before… I just ran away… But it was the best thing for both of us… Then you showed up on the beach… I had longed for you so deeply even as I walked away that day… I came back, but I couldn’t face you… But you were seemingly trying to get your life together, and I knew then … any truths that I had to offer would only cause a setback… I refused to do that to the boys or to you…”

“I’m not following you Dahlia. How did I humiliate you? What could I possibly have done to deserve all of the hell that you unleashed in my life?” She began to silently cry all over again at the memory.

The Twins Meet Queen Mother … (TNA-TRR)

“We could design your money print, Queen Grand-, um, well it could look like this,” Mason says, turning his Ipad around for her to take a look... Having already sent a 3D print so that she could physically see it, since she was old and all... her glasses may not catch everything on the screen he thinks... although she has on the lowest reading glasses available. (Truthfully, she had the lenses removed, and plain set put in... she just couldn’t turn down the first gift from the twins she’d received... insisting that grandmas wore glasses. She’d do almost anything to make them feel at home and loved.)

[shewhoworshipscarlin]

Tim Moore

Tim Moore (December 9, 1887 – December 13, 1958) was an American vaudevillian and comic actor of the first half of the 20th century. He gained his greatest recognition in the starring role of George "Kingfish" Stevens in the CBS TV's The Amos 'n' Andy Show. He proudly stated, "I've made it a point never to tell a joke on stage that I couldn't tell in front of my mother."

Moore was born Harry Roscoe Moore in Rock Island, Illinois, one of 13 children of Harry and Cynthia Moore. His father was a night watchman at a brewery. Tim Moore dropped out of grammar school to work at odd jobs in town and even danced for pennies in the streets with his friend, Romeo Washburn.

In 1898, Moore and Washburn went into vaudeville in an act called "Cora Miskel and Her Gold Dust Twins." It was booked by agents and traveled through the United States and even Great Britain. As Moore and Washburn grew older, the act became less effective and Miss Miskel sent them back to their parents in Rock Island. Shortly after this, Moore joined the medicine show of "Doctor Mick" (Charles S. Mick), who sold a patented quack remedy called Pru-ri-ta. Doctor Mick travelled through the Midwestern states, with songs and dances provided by Moore and four Kickapoo Indians. The young man also worked in a carnival sideshow and gave guided tours as a "native" tour guide in Hawaii.

Moore left Doctor Mick, first to become a stable boy and later a jockey. He also tried his hand as a professional boxer under the name "Young Klondike" in 1905, and found it lucrative. He returned to performing in 1908, with a troupe of minstrels called "The Rabbit's Foot Company." By 1909, he was back in vaudeville and had met and married his first wife, Hester. They performed as a team, "The Moores - Tim & Hester", appearing in the United States and abroad.  In 1910, the couple was part of an act called the Four Moores.  By 1914, both Moores were co-stars of an act that was billed as Tim Moore and Tom Delaney & Co. The couple toured China, Japan, Australia, New Zealand, the Fiji Islands and Hawaii with a vaudeville troupe. The marriage ended in divorce in 1915, and in September, Moore married a vaudeville actress named Gertrude Brown. After more than a year on the road in vaudeville in the United States, the Hawaiian Islands, Australia and New Zealand, he returned to boxing once more as "Young Klondike", training in New Zealand. He fought there and in Australia, England, and Scotland. Before this, Moore fought as "Young Klondike" in the US, with Jack Johnson and Sam Langford as some of his opponents. Moore also made his way into films by 1915, playing the part of an egotistical musician in His Inspiration. 

 Moore became well known for his one-man presentation of Uncle Tom's Cabin, where he would play the role of both Simon Legree and Uncle Tom, applying white chalk to half his face, and burnt cork to the other. Moore literally took his one man act into the street of San Jose, California, for the sale of War Stamps in 1918.

n 1923, Moore and his wife co-starred with Sandy Burns, Fannetta Burns, Walter Long, and Bobby Smart in a silent film comedy, His Great Chance, directed by Ben Strasser (North State Film Corp.) The following year, the Moores toured vaudeville together in "Aces and Queens". Subsequently, he went on tour as one of the stars of producer Edward E. Daley's "black and white musical comedy sensation", Rarin' to Go, for three seasons on the Columbia Burlesque Wheel (1925, 1926 and 1927 editions).

In 1928, Moore took time off from his vaudeville bookings to try his luck once more on the Great White Way – Broadway. This time he met with enormous success as the star comedian of Lew Leslie's hit musical comedy revue, the Blackbirds of 1928. Moore's co-stars were singers Adelaide Hall and Aida Ward and renowned tap dancer Bill "Bojangles" Robinson. The hit musical scored high in Paris and London as well as on the road throughout the states. In 1931, Moore and his then vaudeville straight man at the Alhambra, Andrew Tribble,  performed one of their funniest routines in Oscar Micheaux's first talking picture, The Darktown Revue. 

 At the time the troupe was booked in 1936 in the United Kingdom, King Edward VIII had just abdicated the British throne for love of American Wallis Simpson. There was a wave of anti-Americanism, with women picketing performances of the Blackbirds, carrying signs disparaging American women. Yet the next season saw the return of the revue as Blackbirds of 1937, its last edition in England. Two years later, on Broadway, Lew Leslie presented the last edition  of the Blackbirds (1939); the principal singing star was Lena Horne. Moore's last Broadway show was Harlem Cavalcade (1942), produced by Ed Sullivan and Noble Sissle. During the late 1930s and early 1940s, Moore was one of the top comedians headlining at the Apollo Theater in Harlem. He also performed on radio as a dramatic actor.

In 1948, CBS hired Flournoy Miller as a casting advisor for the planned Amos 'n' Andy TV series. They had failed to locate Tim Moore for the role of George "Kingfish" Stevens, a role which was created and voiced on radio by white actor Freeman Gosden. It was Miller's job to trace the actor's whereabouts. Meanwhile, in January 1950, Moore went to New York to perform at the Apollo and appear as guest star on CBS-TV's Toast of the Town. After fulfilling these engagements, Moore returned to Rock Island. A few months later, Flournoy Miller called the manager of the Apollo and finally received Moore's address.  Moore did voice tests at CBS radio studios in Peoria and Chicago, and then was brought to CBS-TV in Hollywood for a screen test. He returned to Rock Island. Shortly after this, he was signed by Columbia Broadcasting System to star in a new television adaptation of Amos 'n' Andy.  As the radio series had developed in prior years, the scheming but henpecked Kingfish had become the central focus of most of the plots. In the television version, Moore played the character more broadly, with louder and more forceful delivery and a distinctive Georgia drawl, exaggerated for comic effect. Moore's Kingfish dominated the calmer and soft-spoken "Amos 'n' Andy" characters. Early in his career, Moore had developed a "con-man" routine he used for many years while in vaudeville; re-working some aspects of his old act produced the television character Kingfish.

Moore was very popular in the show and for the first time in his career became a national celebrity as well as the first African American to win stardom on television. When leaving a train in Albuquerque to buy some Native American pottery, the proprietor recognized him immediately, saying, "You, you Kingfish." This was the first time it happened in Moore's 52 years in show business. The show aired on prime-time TV from June 1951 to June 1953. Although quite popular, the series was eventually canceled due to complaints about ethnic stereotyping. Shortly after the television show left the air, there were plans to turn it into a vaudeville act in August 1953, with Moore, Williams, and Childress playing the same characters.  After the series was canceled, it was shown in syndication until 1966 when increasing condemnation and pressure from the NAACP persuaded the show's owners (CBS, which still owns the copyrights) to withdraw it from further exhibition.  It was resurrected in the early days of home videotape through public domain video dealers who had acquired episodes from collectors of used 16mm TV prints, although the copyright was never in the public domain. Illegally produced copies continue to be sold over the internet.  The series itself would not be seen on a regular basis again until independent network Rejoice TV began re-airing episodes in 2012.

Moore married his last wife Vivian Cravens (1912–1988) eight months after Benzonia's death; Moore fired a gunshot in his home because of his "mooching in-laws" (stepson, stepdaughter, and her husband) when he found that the last of the New Year's roast beef had been eaten by them. Moore related, "These free-loaders have eaten everything in the house. My wife protects them and every time we talk about it, we get into an argument. The argument got a little loud and the next thing I knew, the big boy (his stepson Hubbard) jumped out of his chair.  I ran upstairs and got out my old pistol.  I didn't want to hit anybody."

When the police arrived at the home, Moore, pistol still in his belt, told them, "I'm the old Kingfish, boys. I'm the one you want. I fired that shot. I didn't want to hit anyone, although I could have. Anyway, you should have seen the in-laws scatter when I fired that gun." The shot Moore fired hit the china cabinet; he was arrested and charged with assault with a deadly weapon, with police calling him the "funniest prisoner in police history." Moore was initially ordered held on $1,000 bond; the judge changed his mind and released Moore on his own recognizance. Tim and his wife reconciled, with Vivian's pleading for the charges to be dropped. Moore entered a not guilty plea before the case went to trial on March 24.  He received a $100 fine and a year's probation as his sentence.

Because of the "Roast Beef Scandal," Moore was once more in demand and even received a testimonial tribute dinner from the Friars Club of Beverly Hills, and appearing on The Tonight Show with Jack Paar. The publicity also won him an extended performance engagement at the legendary Mocambo nightclub.

Moore died at age 71 on December 13, 1958 of pulmonary tuberculosis in Los Angeles, four days after his birthday.  There was no money to pay for his hospital care or for his funeral, Moore having received his final $65.00 residual payment from Amos 'n' Andy in January 1958.  At one time, Moore had made $700 per week.

After a large funeral at Mt. Sinai Baptist Church, he was buried at Rosedale Cemetery. At the funeral service, 10,000 fans and mourners passed his open coffin; attendance was star-studded and included Groucho Marx, Frank Sinatra, Dean Martin, Louis Armstrong, Tony Curtis, Sidney Poitier, Charlie Barnet, Noble Sissle, Erskine Hawkins, Louis Prima, Freeman F. Gosden, Charles Correll, Spencer Williams, Jr., Alvin Childress, Ernestine Wade, Amanda Randolph, Johnny Lee, Lillian Randolph, Sammy Davis, Jr., Eddie "Rochester" Anderson, Andy Razaf, Clarence Muse, Roy Glenn, Mantan Moreland, Pigmeat Markham, Willie Bryant, Earl Grant. Sammy Davis, Jr. later related that Frank Sinatra organized the effort to pay Tim Moore's funeral expenses. Moore's grave remained unmarked from the time of his burial until 1983; fellow comedians Redd Foxx and George Kirby raised funds for a headstone. There is now one marking the graves of Moore and his wife, Vivian, who died in 1988.

In spite of his achievement as the first major African American television star, Moore is still not honored with a star on the Hollywood Walk of Fame.

https://en.wikipedia.org/wiki/Tim_Moore_(comedian)

[entertainmentadelaide01]

Tips For Creating An Amazing Photo Booth In Adelaide

Photo Booths are a source of entertainment. Photo booths at parties are additional fun. Whether you are backing away in time to sit in a time “two-seater” with someone you love or stand-up in the presence of a glowing background with various friends at a wedding reception, possibilities are you have enjoyed the printed outcomes- so much so that you have determined to make your individual photo booth for your approaching holiday party or your own wedding reception. If you are looking to hire Adelaide photo booths for great entertainment and long-lasting memories then you are at the right place. Whether you are working with an iPad and common lighting or a more detailed setup with a DSLR camera and lights, here are some of the few tips and concepts to make your photo booth a success, despite the size of your system.

1.   Customize your background to your event. For a flaky, good backdrop of your selection, savage provides rolls of seamless paper in a variation of colors. While white, grey, and black are more accustomed to photo booth backdrops, think about a color that matches your event. Tech green seamless paper can even be appropriate for green screen photography, permitting you to mix it up and examine variations of images and backdrops.

2.   On the other hand, you can add measurements to a wall in your home or event space with rows of balloons or something even more distinctive, such as decorated plates assembled in a row. Detachable wallpaper or sticker labels can also instantly modify your backdrop without the remainder. Metallic borderline designed for a front door, or party banners draped over a backdrop support system could offer a distinctive and fun look to your photo booth without hitting the jackpot.

3.   If your photo booth is not an accustomed “booth,” and it does not have anyone administrating image capture, distinctly mark out the area with duck tape and write down the guidance that even your junior guest can obey easily and walk away with a quick print. We are the most trusted and experienced event company, Book  Wedding MC Adelaide for your event. Adding a carpet to the area your photo booth fills can help set the mood and can offer something of a get away from your event.

4.   If you don’t previously have a photography assistance box, now is the ideal chance to put one together. Seize an old case or basket and fill it with outsized glasses, stick-on mustaches, cowboy hats, feather boas, whiteboard or chalkboard conversation bubbles, and many more. The more posts in your box, the more probably your guests will pose for numerous pictures, trying out with distinctive looks and distinctive groups of friends or family members.

5.   Alongside taping down any offensive cords, having a pair of sandbags on hand to balance your gear is a great idea. You can get sandbags in a variation of sizes and weight to control down tripods, c-stands, light stands, signage, and most crucially, to keep your insane aunt from unintentionally knocking the complete system over in her eagerness to take a sequence of pictures with every other member of your family.

6.   Nevertheless, of which setup you determine upon, don’t neglect to create an event hashtag. Check out our custom dance floor in the best and unique way for your event. In any case, you are offering prints instantly, it is probably that everyone is going to take their individual pictures with their phones and instantly upload those images to their social networking accounts. Ensure your hashtag is distinctly printed on a sign close to your photo booth set up to permit all of your guests to share and look for all of the pictures taken at the photo booth and event ourselves.

7.   A Vello FreeWave Plus Wireless Remote Shutter Release works with Canon, Nikon, and Sony cameras to offer a wireless shutter reveal, permitting friends to grasp the remote and go. For those depending on a tablet setup, apps such as Pocket booth, Simple Booth, and CamWow normally offer preliminary, as well as editing tools, effects, and easy association chances to accordant printers.

8.   For the similarity and quick lover alike, a Fujifilm INSTAX Mini Camera or two with packages or Film permits your guests to take turns posing for pictures and take off with a wallet-sized exceptional quick print. We play the best saxophone Adelaide which makes your event better. Assign a friend to allowance the number of quick prints available for use, placing some of a few packs out at a moment as the event goes on, so not all of the film is utilized within the first hour or two.

 A successful photo booth is all about offering an entertainment chance to capture your friends and family enjoying themselves at your event. While building up your photo booth should not be a worrying exertion, having your foundation protected with additional paper, film, and batteries (or power input) will help retain your booth up and regulating well into the after-hours of your party. Lie down, relax, and say cheese with various of your close friends prior to the night is over.

[silent-era-of-cinema]

Douglas Elton Fairbanks born Douglas Elton Thomas Ullman; May 23, 1883 – December 12, 1939) was an American actor, screenwriter, director, and producer. He was best known for his swashbuckling roles in silent films including The Thief of Bagdad, Robin Hood, and The Mark of Zorro, but spent the early part of his career making comedies.

Fairbanks was a founding member of United Artists. He was also a founding member of The Motion Picture Academy and hosted the 1st Academy Awards in 1929. With his marriage to actress and film producer Mary Pickford in 1920, the couple became 'Hollywood royalty', and Fairbanks was referred to as "The King of Hollywood", a nickname later passed on to actor Clark Gable.

Though widely considered as one of the biggest stars in Hollywood during the 1910s and 1920s, Fairbanks' career rapidly declined with the advent of the "talkies". His final film was The Private Life of Don Juan (1934).

Fairbanks was born Douglas Elton Thomas Ullman (spelled "Ulman" by Douglas Fairbanks Jr. in his memoirs) in Denver, Colorado, the son of Hezekiah Charles Ullman (September 15, 1833 – February 23, 1915) and Ella Adelaide (née Marsh; 1847–1915). He had two half-brothers, John Fairbanks, Jr. (born 1873) and Norris Wilcox (February 20, 1876 – October 21, 1946), and a full brother, Robert Payne Ullman (March 13, 1882 – February 22, 1948). His father was born in Berrysburg, Pennsylvania, and raised in Williamsport. He was the fourth child in a Jewish family consisting of six sons and four daughters. Charles' parents, Lazarus Ullman and Lydia Abrahams, had immigrated to the U.S. in 1830 from Baden, Germany.

When he was 17, Charles started a small publishing business in Philadelphia. Two years later, he left for New York to study law.

Charles met Ella Adelaide Marsh after she married his friend and client John Fairbanks, a wealthy New Orleans sugar mill and plantation owner. The couple had a son, John, and shortly thereafter John Senior died of tuberculosis. Ella, born into a wealthy southern Roman Catholic family, was overprotected and knew little of her husband's business. Consequently, she was swindled out of her fortune by her husband's partners. Even the efforts of Charles Ullman, acting on her behalf, failed to regain any of the family fortune for her.

Distraught and lonely, she met and married a courtly Georgian, Edward Wilcox, who turned out to be an alcoholic. After they had another son, Norris, she divorced Wilcox, with Charles acting as her own lawyer in the suit. She soon became romantically involved with Charles, and agreed to move to Denver with him to pursue mining investments. They arrived in Denver in 1881 with her son John. (Norris was left in Georgia with relatives and was never sent for by his mother.) They were married; in 1882 they had a son, Robert, and then a second son, Douglas, a year later. Charles purchased several mining interests in the Rocky Mountains, and re-established his law practice. After hearing of his wife's philandering, he abandoned the family when Douglas was five years old. Douglas and his older brother Robert were brought up by their mother, who gave them the family name Fairbanks, after her first husband.

Douglas Fairbanks began acting at an early age, in amateur theatre on the Denver stage, performing in summer stock at the Elitch Gardens Theatre, and other productions sponsored by Margaret Fealy, who ran an acting school for young people in Denver. He attended Denver East High School, and was expelled for cutting the wires on the school piano.

He left school in the spring of 1899, at the age of 15. He variously claimed to have attended Colorado School of Mines and Harvard University, but neither claim is true. He went with the acting troupe of Frederick Warde, beginning a cross country tour in September 1899. He toured with Warde for two seasons, functioning in dual roles, both as actor and as the assistant stage manager in his second year with the group.

After two years he moved to New York, where he found his first Broadway role in Her Lord and Master, which premiered in February 1902. He worked in a hardware store and as a clerk in a Wall Street office between acting jobs.[6] His Broadway appearances included the popular A Gentleman from Mississippi in 1908–09. On July 11, 1907, Fairbanks married Anna Beth Sully, the daughter of wealthy industrialist Daniel J. Sully, in Watch Hill, Rhode Island. They had one son, Douglas Fairbanks Jr., also a noted actor. The family moved to Los Angeles in 1915.

After moving to Los Angeles, Fairbanks signed a contract with Triangle Pictures in 1915 and began working under the supervision of D. W. Griffith. His first film was titled The Lamb, in which he debuted the athletic abilities that would gain him wide attention among theatre audiences. His athleticism was not appreciated by Griffith, however, and he was brought to the attention of Anita Loos and John Emerson, who wrote and directed many of his early romantic comedies.

In 1916, Fairbanks established his own company, the Douglas Fairbanks Film Corporation, and would soon get a job at Paramount.

Fairbanks met actress Mary Pickford at a party in 1916, and the couple soon began an affair. In 1917, they joined Fairbanks' friend Charlie Chaplin selling war bonds by train across the United States and delivering pro-war speechs as Four Minute Men. Pickford and Chaplin were the two highest paid film stars in Hollywood at that time. To curtail these stars' astronomical salaries, the large studios attempted to monopolize distributors and exhibitors. By 1918, Fairbanks was Hollywood's most popular actor, and within three years of his arrival, Fairbanks' popularity and business acumen raised him to the third-highest paid.

In 1917, Fairbanks capitalized on his rising popularity by publishing a self-help book, Laugh and Live which extolled the power of positive thinking and self-confidence in raising one's health, business and social prospects.

To avoid being controlled by the studios and to protect their independence, Fairbanks, Pickford, Chaplin, and D. W. Griffith formed United Artists in 1919, which created their own distributorships and gave them complete artistic control over their films and the profits generated.

Sully was granted a divorce from Fairbanks in late 1918, the judgment being finalized early the following year. After the divorce, the actor was determined to have Pickford become his wife, but she was still married to actor Owen Moore. Fairbanks finally gave her an ultimatum. She then obtained a rapid divorce in the small Nevada town of Minden on March 2, 1920. Fairbanks leased the Beverly Hills mansion Grayhall and was rumored to have used it during his courtship of Pickford. The couple married on March 28, 1920. Pickford's divorce from Moore was contested by Nevada legislators, however, and the dispute was not settled until 1922. Even though the lawmakers objected to the marriage, the public widely supported the idea of "Everybody's Hero" marrying "America's Sweetheart". That enthusiasm, in fact, extended far beyond the borders of the United States. Later, while honeymooning in Europe, Fairbanks and Pickford were warmly greeted by large crowds in London and Paris. Both internationally and at home, the celebrated couple were regarded as "Hollywood Royalty" and became famous for entertaining at "Pickfair", their Beverly Hills estate.

By 1920, Fairbanks had completed twenty-nine films (twenty-eight features and one two-reel short), which showcased his ebullient screen persona and athletic ability. By 1920, he had the inspiration of staging a new type of adventure-costume picture, a genre that was then out of favor with the public; Fairbanks had been a comic in his previous films. In The Mark of Zorro, Fairbanks combined his appealing screen persona with the new adventurous costume element. It was a smash success, and parlayed the actor into the rank of superstar. For the remainder of his career in silent films he continued to produce and star in ever more elaborate, impressive costume films, such as The Three Musketeers (1921), Douglas Fairbanks in Robin Hood (1922), The Thief of Bagdad (1924), The Black Pirate (1926), and The Gaucho (1927). Fairbanks spared no expense and effort in these films, which established the standard for all future swashbuckling films.

In 1921, he, Pickford, Chaplin, and others, helped to organize the Motion Picture Fund to assist those in the industry who could not work, or were unable to meet their bills.

During the first ceremony of its type, on April 30, 1927, Fairbanks and Pickford placed their hand and foot prints in wet cement at the newly opened Grauman's Chinese Theatre in Hollywood. (In the classic comedy Blazing Saddles, Harvey Korman's villain character sees Fairbanks' prints at Grauman's and exclaims, "How did he do such fantastic stunts...with such little feet?")

Fairbanks was elected first President of the Motion Picture Academy of Arts and Sciences that same year, and he presented the first Academy Awards at the Roosevelt Hotel. Today, Fairbanks also has a star on the Hollywood Walk of Fame at 7020 Hollywood Boulevard.

While Fairbanks had flourished in the silent genre, the restrictions of early sound films dulled his enthusiasm for film-making. His athletic abilities and general health also began to decline at this time, in part due to his years of chain-smoking. On March 29, 1928, at Pickford's bungalow, United Artists brought together Pickford, Fairbanks, Charlie Chaplin, Norma Talmadge, Gloria Swanson, John Barrymore, D.W. Griffith and Dolores del Río to speak on the radio show The Dodge Brothers Hour to prove Fairbanks could meet the challenge of talking movies.

Fairbanks' last silent film was the lavish The Iron Mask (1929), a sequel to the 1921 release The Three Musketeers. The Iron Mask included an introductory prologue spoken by Fairbanks. He and Pickford chose to make their first talkie as a joint venture, playing Petruchio and Kate in Shakespeare's The Taming of the Shrew (1929). This film, and his subsequent sound films, were poorly received by Depression-era audiences. The last film in which he acted was the British production The Private Life of Don Juan (1934), after which he retired from acting.[citation needed]

Fairbanks and Pickford separated in 1933, after he began an affair with Sylvia, Lady Ashley. Pickford had also been seen in the company of a high-profile industrialist. They divorced in 1936, with Pickford keeping the Pickfair estate.[13] Fairbanks and Ashley were married in Paris in March 1936.

He continued to be marginally involved in the film industry and United Artists, but his later years lacked the intense focus of his film years. His health continued to decline. During his final years he lived at 705 Ocean Front (now Pacific Coast Highway) in Santa Monica, California, although much of his time was spent traveling abroad with his third wife, Lady Ashley.

On December 12, 1939, Fairbanks suffered a heart attack. He died later that day at his home in Santa Monica at the age of 56. His last words were reportedly, "I've never felt better." His funeral service was held at the Wee Kirk o' the Heather Church in Glendale's Forest Lawn Memorial Park Cemetery where he was placed in a crypt in the Great Mausoleum.

Two years following his death, he was removed from Forest Lawn by his widow, Sylvia, who commissioned an elaborate marble monument for him featuring a long rectangular reflecting pool, raised tomb, and classic Greek architecture in Hollywood Forever Cemetery in Los Angeles. The monument was dedicated in a ceremony held in October 1941, with Fairbanks's close friend Charlie Chaplin reading a remembrance. The remains of his son, Douglas Fairbanks Jr., were also interred there upon his death in May 2000.

In 1992 Douglas Fairbanks was portrayed by actor Kevin Kline in the film Chaplin.

In 1998, a group of Fairbanks fans started the Douglas Fairbanks Museum in Austin, Texas. The museum building was temporarily closed for mold remediation and repairs in February 2010.

In 2002, AMPAS opened the "Fairbanks Center for Motion Picture Study" located at 333 S. La Cienega Boulevard in Beverly Hills. The building houses the Margaret Herrick Library.

On November 6, 2008, the Academy of Motion Picture Arts and Sciences celebrated the publication of their "Academy Imprints" book Douglas Fairbanks, authored by film historian Jeffrey Vance, with the screening of a new restoration print of The Gaucho with Vance introducing the film.

The following year, opening on January 24, 2009, AMPAS mounted a major Douglas Fairbanks exhibition at its Fourth Floor Gallery, titled "Douglas Fairbanks: The First King of Hollywood". The exhibit featured costumes, props, pictures, and documents from his career and personal life. In addition to the exhibit, AMPAS screened The Thief of Bagdad and The Iron Mask in March 2009. Concurrently with the Academy's efforts, the Museum of Modern of Art held their first Fairbanks film retrospective in over six decades, titled "Laugh and Live: The Films of Douglas Fairbanks" which ran from December 17, 2008, to January 12, 2009. Jeffrey Vance opened the retrospective with a lecture and screening of the restoration print of The Gaucho.

Recently, due to his involvement with the USC Fencing Club, a bronze statue of Fairbanks was erected in the Academy of Motion Picture Arts & Sciences Courtyard of the new School of Cinematic Arts building on the University of Southern California campus. Fairbanks was a key figure in the film school's founding in 1929, and in its curriculum development.[24][citation needed]

The 2011 film The Artist was loosely based on Fairbanks, with the film's lead portraying Zorro in a silent movie featuring a scene from the Fairbanks version.[citation needed] While thanking the audience in 2012 for a Golden Globe award as Best Actor for his performance in the film, actor Jean Dujardin added, "As Douglas Fairbanks would say," then moved his lips silently as a comedic homage. When Dujardin accepted the 2011 Academy Award for Best Actor in a Leading Role, Fairbanks was cited at length as the main inspiration for Dujardin's performance in The Artist.

An important accolade given to the Douglas Fairbanks legacy was a special screening of his masterpiece, The Thief of Bagdad, at the 2012 edition of the Turner Classic Movies Film Festival. On April 15, 2012, the festival concluded with a sold-out screening of the Fairbanks film held at the historic Egyptian Theatre in Hollywood. The evening was introduced by TCM host Ben Mankiewicz and Fairbanks biographer Jeffrey Vance.

The nickname for the sports teams of the University of California-Santa Barbara is The Gauchos in honor of Fairbanks' acting in the eponymous film.

[markwatnae]

US SPOILERS BELOW THE CUT

First of all, holy shit. It’s like every terrifying horror trope in one movie.

Home invasion? Check.

Government conspiracies? Check.

Weird unnatural human-like creatures? Check.

That last one might be specifically scary to me but it really gets me.

I took some really shitty notes on a tiny notepad during the movie and here are my thoughts:

Amongst all the various mentions of 11:11, one that I didn’t hear talked about was the news weather forecast and the fact that the screen said “11 at 11” but the woman talking said “7 at 11”.

The fact that when Adelaide walked into the “vision quest” it immediately started pouring rain? Suspicious and interesting.

The song at the opening credits was intriguing to me.

I noticed a TON of clothes and linens patterned in plaid, gingham, checks, and stripes

Beside the TV in the beginning, a VHS is Nightmare on Elm Street was on the shelf and when Adelaid was making her way down to the tunnels she passed through a room that looked very reminiscent of the boiler room in Nightmare.

The red hand prints on the wall in the classroom were interesting. Were they put there with blood?

The CINEMATOGRAPHY of the school room scene was INCREDIBLE. Red’s face being super close and Adelaide toward the back. Oooh it was awesome.

The final fight and when Adelaide found Red sitting on a bench just outside the darkness on the edge of the light.

This isn’t important but the fact that Jason brought a bunny with them made me feel all kinds of things.

Thoughts on the Tethered themselves:

Zora’s tethered Umbrae was always smiling while Zora was always very serious and even brought up the end of the world. Zora wanting to quit track and field and then running became her challenge.

No shame but watching the kids watch Abraham drag Gabe out of the house was painful. Like I can’t imagine that level of fear.

Kitty’s tethered never made any noise in comparison to Kitty constantly talking.

The twin girls? Their screeching? Weird as fuck. There’s probably some symbolism there and I just didn’t catch it.

WHAT REALLY BOTHERS ME??? What happens AFTER this tethered uprising??? How does life continue after that? The tethered aren’t trained for the jobs their counterparts had. Do they continue killing other people after they’ve killed their above ground selves? How many people managed to survive and kill their tethered? What about people who were out of the country at the time?

I HAVE SO MANY QUESTIONS ABOUT WHAT HAPPENS NEXT

[fulcrumqueenrebelfriend]

Adelaide Blake: Chapter 6

Chapter 1 >>

Inside the new taskforce headquarters, Addie flicked the screen to show the ID. "Sang Min. Arrived here from China eight years ago, and according to our man Kamekona, he runs a human import/export business. So Hesse could've used him to get on or off the island."

"So let's say this guy's for real. Still got no reason to tell us where Hesse is." Danny added.

"Well, we find some leverage, twist his arm." Steve replied gestured to the screen.

"Define leverage."

"Simple bait and trap. Wire up an undercover, send him in." Steve explained.

"Only one problem, malihini. that might work well on the mainland, but we're on an island with less than a million people. Which means the bad guys know the good guys. So we need to look for our bait outside the box." Chin told everyone.

"I take it you have the perfect guy in mind?" Steve asked him.

"Oh, yeah."

Joining Chin on the beach, one of Adelaide's favourites to surf. The beginnings of the Governors task force is coming together. With just one more person to recruit they stand on the beach watching a young lady surf.

"That's your cousin?" Danny asked as they watched Kono surf.

"Choose your next words carefully, both of you guys." Chin told them, his overprotectiveness showing.

"Well, she's very talented," Danny muttered.

"Oh, she's off the charts. Spent three years on the pro circuit before she blew out her knee. The kid was devastated. Graduates from the police academy in a week. Unfortunately, she's family, which means HPD will never take her seriously." Chin explained proudly as some guy cut across her wave.

"You sure she's ready for this? She's got no street experience." Steve asked, just as Kono punched the guy, for dropping in on her wave.

A smiled grew on her face when she looked up at them. "Cousin!"

"Oh, you had it water woman!" Chin pulled her into a hug.

Pulling away Kono spotted Adelaide, "Addie! It's been so long. where you been?"

In the hug her face fell, "oh you know." She made a vague gesture.

Kono knew exactly what she was talking about.

"I'm sorry Addie."

Pulling away a sad look plastered Adelaide's face, it quickly disappeared as she replaced it with a smile. Only Steve saw the quick transaction. "Not your fault."

"Do you know everyone on this island?" Steve asked, a baffled look on his face.

Addie laughed.

"Kono, meet Commander Steve McGarrett and Detective Danny Williams."

"Nice right cross," Steve exclaimed, brining his attention to her and shaking her hand.

"So your cousin tells us you're graduating from the police academy next week. How'd you like to earn a little extra credit before you do?"

"I'm listening."

After discussing the plan with Kono, Danny and Adelaide go to pick up some equipment from the new HQ, while Chin prepped Kono, and Steve stopped by at his family home. Danny and Addie meet him there.

"Just spoke with Chin, he's setting up the meet with Sang Min. We got that surveillance equipment you asked for." Danny called out to Steve.

"Do you recognise this guy?" Steve asked not looking up from the computer.

"No who is that?"

"Jovan Etienne. File says he worked for the Russians as a computer programmer in SVR. He was here when my father was murdered. I found his palm prints in the study, partial boot prints in here." Steve explained.

"Wait a minute, how do you know the boot print didn't belong to Hesse?" Danny asked.

"Hesse wears a size 11, like me, except double E. The prints I found were smaller, and Hesse gets his footwear custom-made. Direct-injected polyurethane mid-sole with a nitrile rubber outsole." Steve replied with out blinking an eye.

"Your, uh, brain must be a miserable place. I need a beer." Danny pointed out as he walked into the kitchen.

"So you ever going to tell me what Danno means?" Steve asked curiously as he takes a seat on one the chairs a few feet away from the sand.

"Yeah, when you tell me what's in the box," Danny replied.

"Truth is I don't know yet. All I know is that my father wanted me to find it. Right now it's just a puzzle."

"You know, me and Grace, we like puzzle."

"You're a good father." Steve pointed out.

"Yeah, maybe, I don't know. You know? There's three ways of looking at it. One, I could get myself killed chasing some meth-head scumbag, and then what kind of father would I be?"

"I always looked up to my folks for that." Addie mentioned a little bit sadder then she meant to.

"I'm sure Grace would feel the same way."

"Yeah, maybe. Either that, or she may think I'm just a selfish son of a bitch. You know, the truth is, this is all I got, I need this. I want to do what I'm good at. I want to be reminded I'm good at what I do. If that means having to put up with your twisted belief that you are never wrong and your irritating calmness in every situation, so be it." Danny ranted gesturing to Addie for the latter.

"What's the third?"

"Well, even if I tell myself this isn't permanent, it's Gracie's home now. It's my job to keep it safe." When Danny finished they lapsed into a peaceful silence.

Until Steve's phone rang, answering it, he talked for a while.

Hanging up, Danny asked, "What have you got?"

"That was Chin. Sang Min bought the pitch and meets Kono tomorrow morning." 

"Alright, still no guarantee he's gonna tell us where Hesse is," Danny replied.

"He has to. This is the only chance I have of finding the man who killed my father." Steve persisted.

Danny got up to use the bathroom. Turning to her, Steve thanked her, "Adelaide, thanks for saving me back there."

Surprised, she pondered what she should say, instead of going with something sarcastic she simply choose. "Please call me Addie," she grinned.

She lent against the post, pulling out her phone that suddenly vibrated in her pocket. "Blake..." her face tightened slightly, "yeah, thank you, I'll be right there." Stowing her phone she turned to Steve, "look I've got to go, so I'll see you tomorrow."

Concern shadowed his face, "is everything alright?"

"Yep," she got the word out before he even finished her sentence, forcing a smile on her face.

Chapter 7 >>

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Importance Of Cantilever Umbrellas In Adelaide

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We offer supreme quality cantilever umbrellas in Perth that can be used as cafe wind barriers, which means they’re perfect for any outdoor space. They come in two different sizes- 1m and 2m- so there’s one that fits perfectly into every space. And we offer screen printing as well as digital printing on the screen, which means there are endless possibilities when it comes to promoting your brand. Plus, our umbrellas are made from high-quality materials, so they won’t break down easily or fade over time.

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Indoor Shutters VS Outdoor Blinds- Which One To Choose?

Anything that you buy for yourself requires planning. You should weigh various choices prior to picking the right one and think about the reason for buying it. The same goes for Best Roller Shutters Adelaide. A typical situation that we frequently face while settling on buying the right window blinds is settling on open-air or indoor blinds. Both accompany their own arrangement of benefits and hindrances. In this segment, we will think about the possibilities of picking the right kind of blinds, and under what conditions must they be bought.

Inside Blinds

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Most blinds are mounted inside the window outline, so this is a recognizable look. That doesn't imply that it can't be an eye-getting one, however. How much consideration it draws in relies upon your decision of visually impaired, shading, etc. Truth be told, inside mountings are a magnificent decision for rooms like incredible rooms, lounges, lounge areas, and kitchens where appearance is significant.

The Exterior Mount

Outside Shades, likewise called outside screens, outside roller conceals or Habitat Screens,  are a decent decision when you are hoping to improve the energy productivity of your structure. One of the fundamental advantages of outside concealing items over inside ones is that they block the warmth and UV beams before they hit the window. Outside shades can diminish inside temperatures by about 10°C. Outdoor Cafe Blinds Adelaide is an extraordinary choice for the people who live in warm or sweltering environments and help to lessen cooling costs during these warm months.

Outside screens are regularly mounted with a rail framework that encompasses your window outwardly guaranteeing total window inclusion giving you the most extreme assurance. Since outside mounts permit less light to show around the edges, they are a preferred decision over an inside mount in rooms, for example, media rooms, nurseries, and rooms were diminishing the measure of light is significant.

Deciding on Roller Shutters Adelaide is an extremely urgent choice as these blinds keep going for quite a long time to come and turn into an inherent piece of your home. The two of them can be in like manner altered by your window sizes and measurements of within or outside mounts of the window, and by your selections of tones, prints, and fabrics. When introducing outside conceals, remember that to change them you should go outside or reach through the window, which can be a burden. Take a stab at going for mechanization so you can handle your outside conceals from the solace of your home.

Related Blog: Choose The Right External Blinds For Your Home Style

Source: Indoor Blinds VS Outdoor Blinds- Know more about this!

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Free Online Classified Ads Vs Offline Classifieds - Which is Better?

The internet is undoubtedly the fastest growing industry in the world today. Everyday, a lot of people are browsing the internet, checking their mails, searching for information, looking for jobs, wanting to buy and sell products, promoting their goods and services or just plain relaxing and killing the time. Surveys show that one of the most visited sites on the internet are those that provide free online classified ads.

There are so many clients and job hunters who prefer to involve themselves with free online classified ads than ads placed offline. In the advertisement sites alone, thousands offer free online advertising. The internet offers a larger market amounting to millions of probable clients each day around the world whereas offline advertising has limited clients and coverage.

When advertisers place their ads online, the expected feedback from possible clients regarding the products marketed is immediate. All the client does is just to click his URL address on free online classified ads site and more information appear on his screen. It's definitely a much convenient way of searching as compared to offline ads where you have to either call or email and still wait for the advertisers' response.

Free online classified ads is really perfect for your budget because it does not entail any cash out while in offline advertising, you always spend money to be able to buy space on these printed materials before you can get your ads published. Also, there may be free offline ads but this is not advisable to as these have a very limited clientele on the products and services in the market.

When placing ads online, one can always change, update or correct the ad's contents whereas in offline ads, you cannot. It is already a fixed package. What is already printed cannot be reformatted. Online advertisers can also repost their ads regularly while in offline advertising a reposting would mean another expense paid for the ad space.

While it is true that posting advertisements on free online classified ads sites are mostly beneficial, it also has its own share of disadvantages to note. To search for a particular product or service, using free online ads can entail a lot of time. There are also a lot of free online classified sites that are spammy so consumers tend to avoid them a lot or not trust them at all. Other classified sites just don't reach your target audience. These are just a few of the minor shortfalls.

On the upside, there are already plenty of great and smart software available that can completely do automatic submissions to free online ad websites. Finding the right sites and the right software can completely automate your business and make a whole lot of difference on your bottomline.

If you choose to place your advertisements online for free, don't just stop there. In order for your ads to generate success, you must always target your market every time you sell your products or services online. Make your ads attractive yet simple and the description of your products short and concise but can pique the interest of site visitors. Don't take free classified online ads for granted just because it's free. In fact, you need to exert extra efforts to let it look great and do well because whether you like it or not, your business depends mostly on its advertising medium.

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[jeremystrele]

15 Excellent Indigenous Art Centres To Support And Celebrate!

15 Excellent Indigenous Art Centres To Support And Celebrate!

Indigenous Art

by Sally Tabart

Peter Mungkuri and Alec Baker with their collaborative painting ‘Nganampa Ngura (Our Country)’ (2020) Photo – Meg Hansen, Courtesy of Iwantja Arts.

It’s important to know that Aboriginal artists and art centres are not all one homogenous group – each have their own style, stories, methods, materials and traditions that are unique to their Country and culture, that often cannot be practiced elsewhere. Through the artwork produced in community art centres there is so much to be learned about the spirit, culture and history of our country’s First Nations people.

There are a few things to keep in mind when purchasing artwork by Indigenous artists. Supporting art centres that are Aboriginal owned, operated and governed means that economic autonomy remains within the community. I asked Shilo McNamee, Darwin Aboriginal Art Fair Foundation’s (DAAF Foundation) artistic director, why this is important.

‘Art Centres are the beating heart of Indigenous communities. Supporting art centres ensures that Australia’s Indigenous art sector continues to flourish and excel’, she says. ‘The economic independence of communities helps ensure that people can continue to live on their homelands, resulting in the preservation of traditional practices, ceremonies, language, art and spirituality.’

Another important thing to look out for is that the art centre (or anywhere you are purchasing Aboriginal artwork from!) is a signatory of the Indigenous Art Code (IartC). This is a code of conduct (the Code) that art dealers, art centres and galleries can join to demonstrate their commitment to fair and ethical dealings when working with Indigenous artists. When art centres become signatories of the IartC, they are considered Dealer Members. ‘These businesses are committed to the fair and ethical trade with Aboriginal and Torres Strait Islander artists, and transparency in the promotion or sale of artwork’, says Gabrielle Sullivan, CEO of the Indigenous Art Code. ‘Dealer Memberships signifies a commitment to act fairly, honestly, professionally and in good conscience in all direct or indirect dealings with artists.’ Members of the IartC will generally display a logo on their website. You can read more about the IartC’s recommendations for buying ethically here.

As far as what percentage of an artwork purchase goes directly back to the artists, DAAF’s Executive Director Claire Summers notes an industry standard as guideline. ‘Art centres have systems in place to ensure artists are paid ethically. It is an industry standard for artists to receive 60 per cent of the sale price, with 40 per cent returning to the Art Centres, to continue their important work in the community’, she says.

You should also expect to receive a Certificate of Authenticity (CoA) with artwork purchases over $250.

Now you’re equipped with the information to make an ethical purchase from an art centre – WHERE TO START? Many art centres have great websites and Instagram pages where you can learn more about the artists, their Country and their practice, and shop their artwork online. The Darwin Aboriginal Art Fair – who return 100% of all sales directly to the participating artists and art centres �� has recently announced they will be going online this year from August 6th – 11th (check out their list of all 75 participating art centres and register for early access here), and the annual Tarnanthi Festival in South Australia has a great online portal for navigating their Art Fair’s participating art centres here.

To get you going, we’ve put together a list of 15 art centres that are Aboriginal owned and operated, signatories of the Indigenous Art Code, and showcase a diverse range of the incredible work being produced by artists of the world’s oldest living culture.

Please note this is by no means an exhaustive list – according to the IartC, there are over 60 Aboriginal and/or Torres Strait Islander-owned art centres who are members of the IartC! This is a place to start – we encourage you to keep looking, learning, supporting and celebrating!

Left: Betty Muffler with her painting ‘Ngangkari Ngura’ (2020). Right: Eric Barney with his painting ‘Ngura (Country)’ (2020). Photo – Meg Hansen, Courtesy of Iwantja Arts.

Tiger Yaltangki with his painting ‘Self Portrait’ (2020). Photo – Meg Hansen, Courtesy of Iwantja Arts.

Iwantja Arts

Iwantja Arts is located in the rocky, desert country of Indulkana Community on the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in the remote north-west of South Australia. Founded in the 1980s by respected Anangu artists and community leaders Alec Baker and Sadie Singer, Iwantja Arts now supports the artistic careers of over 40 predominantly Yankunytjatjara artist members, providing access to artistic and professional development.

Many renowned artists have been nurtured and supported at Iwantja Arts, including Sulman Prize-winning Kaylene Whiskey and Vincent Namatjira, who became the first Aboriginal artist to win the Archibald Prize in 2020.

Artist Vicki Cullinan says, ‘The Iwantja art centre is the most important place in our community. It’s a place where everyone comes together, young and old. It’s really special. Families are working together. A lot of times people are singing inma (cultural songs) while they work. Iwantja Arts is a place where people can work to make money for their families. Everyone needs a job and working as artists means that we are also keeping our culture strong and passing on important knowledge to the next generations.’

Visit the Iwantja Arts online store here and follow them on Instagram here. 

Left: ‘Iwantja Tjukitji (Iwantja Soakage)’ by Julie Yatjitja of Iwantja Arts. Right: Leah Brady, at the APY Studio in Adelaide.

Left: Nyunmiti Burton in front of her painting at APY Gallery Adelaide. Right: ‘Kapi Tjukula’ by Yaritji Heffernan.

‘Wanampi Tjukurpa’ by Kukika Adamson.

Artwork by Sharon Adamson of Tjala Arts.

APY Gallery

The Anangu Pitjantjatjara Yankunytjatjar (APY) Centre Collective is a group of 11 Indigenous owned and governed enterprises. The APY Galleries in Adelaide and Sydney are run by APY Art Centre Collective, creating a platform to exhibit and celebrate the work of young and emerging APY Artists.

The Anangu Pitjantjatjara Yankunytjatjara Lands (APY Lands) are located in remote Central Australia. The galleries represents the work  of seven art centres – Mimili Maku Arts, Tjungu Palya, Ninuku Arts, Tjala Arts, Iwantja Arts, Kaltjiti Arts, and the Tjanpi Desert Weavers – facilitating sales and marketing the work of over 500 Indigenous artists. APY Art Centres are powerful places, and vital to the community.

The APY Galleries showcases artists working across a wide range of mediums from painting, traditional punu (wood) carving, weaving, textiles, new media and digital photography. These emerging young artists have watched, listened and learned from their grandparents, the senior men and women of the APY Lands.

Visit the APY Gallery online store here and follow them on Instagram here. 

Epic woven hat by Doreen Djorlom of Marrawuddi Art Centre. Photo – courtesy of Marrawuddi Art Centre.

Weaving by Melba Gunjarrwanga of Marrawuddi Art Centre. Photo – Marrawuddi Art Centre.

Amy Namarnyilk and her partner Rodney, with Amy’s incredible weavings! All hand woven with pandanus, which have been collected and dyed with natural dyes. Photo – courtesy of Marrawuddi Art Centre.

Patsy Kelly and her sensational Marebu! Photo – courtesy of Marrawuddi Art Centre.

Painting by Robert Namarnyilk of Marrawuddi Art Centre.

Marrawuddi Arts Centre

Marrawuddi Arts & Culture is located in the heart of the Kakadu National Park and works with over 400 artists from the Kakadu and West Arnhem region. Marrawuddi is a vibrant community hub providing working space for artists, stunning artworks for tourists to view and purchase and excellent coffee for everyone. Recently relocated to a stunningly renovated space right in the town of Jabiru, Marrawuddi is the first business to secure a lease under the post-mining plans for of Jabiru. The town was handed back to the Mirarr traditional owners in June 2021 as part of the long-awaited transition away from imposed uranium mining.

Artists at Marrawuddi practice painting methods that draw on traditions used for thousands of years. Using manyilk (sedge grass) and ochre, artists create patterns called rarrk, commonly known as cross hatching. Contemporary art methods such as screen printing and fine art painting are also practiced here, and the daluk (women) of Kakadu and West Arnhem also create incredible pandanus fibre art. Alycia Marrday of Marrawuddi Arts & Culture is a finalist in the Handcrafted category of the 2021 TDF Design Awards!

Marrawuddi is owned and controlled by the Mirarr clan through their representative organisation the Gundjeihmi Aboriginal Corporation (GAC).

Mirrar Traditional Owner Simon Mudjandi said at the opening of Marrawuddi’s bright new location in 2020, ‘Today is the start of a new and exciting chapter for Jabiru and Kakadu. With the opening of the new Marrawuddi Arts Centre, Jabiru’s transition from mining town to an Aboriginal owned community centre and tourism hub really begins.’

Visit the Marrawuddi online store here and follow them on Instagram here. 

Artwork by Gwenneth Blitner of Ngukurr Arts. Image – courtesy of Ngurkurr Arts.

Gwenneth Blitner at work! Photo – courtesy of Ngukurr Arts.

‘Crayfish’ by Wally Wilfred Ḏakawa of Ngukurr Arts. Image – courtesy of Ngurkurr Arts.

‘Station Life’ by Jill Daniels of Ngukurr Arts. Image – courtesy of Ngurkurr Arts.

Ngukurr Arts

Ngukurr Art Centre is positioned by the banks of Roper River, at the south-eastern most cusp of Arnhem Land. The Art Centre, much like Ngukurr (which means ‘place of many stories’), is abundant with diverse histories, traditions and stories – bringing together many different clans and language groups. The community is home to Ngalakgan, Alawa, Mangarrayi, Ngandi, Marra, Warndarrang, Nunggubuyu, Ritharrngu-Wägilak and Rembarrnga, known collectively as Yugul Mangi (meaning ‘all of us together’). Here, the artists draw from personal history, cultural memory, Ancestral knowledge, ceremonial responsibilities and varied artistic influences, experimenting with colour, form and representation.

‘Melabat plenti langgus mob bat melabat bin migim wan pipurl. Dismob ting migim melabat strongbala,’ says senior culture man 78-year-old Walter Kolbong Rogers. Translating from Roper Kriol he says: ‘We are many language groups, but we came together and now we are one people. This art makes us strong.’

Visit the Ngukurr Arts online store here and follow them on Instagram here. 

‘Wantili’ by Cyril Whyoulter of Martumili Artists. Image – courtesy of Martumili Artists.

‘Parnngurr Community’ by Bugai Whyoulter of Martumili Artists. Image – courtesy of Martumili Artists.

Martumili artists Elizabeth Toby and Lorna Linmurra. Photo – Kate Shanasy.

Left: Martumili artists painting at the art centre. Right: Artist Judith Anya Samson. Photo – Kate Shanasy.

From Left to right: ‘Untitled’ by Ivy Bidu, Untitled by Bugai Whyoulter, Nyurnma by Muuki Taylor of Martumili Artists. Images – courtesy of Martumili Artists.

Martumili Artists

Martumili Artists was established by Martu people living in the communities of Parnpajinya (Newman), Jigalong, Parnngurr, Punmu, Kunawarritji, Irrungadji and Warralong. The artists and their families are the traditional custodians of vast stretches of the Great Sandy, Little Sandy and Gibson Deserts as well as the Karlamilyi (Rudall River) area.

Bright, bold and expressive art making represents the exuberant personalities of the Martu people.

Younger Martu artists typically begin painting with their parents, grandparents and extended family, fostering an organic process of learning – not only about painting techniques, but also specific locations, family histories, traditional ways of life, bush tucker and Jukurrpa (Dreaming).

In this year’s Vivid festival in Sydney (postponed to September this year), eight Martumili artists will have their work light up the sails of the Sydney Opera House, bringing to life their 2013 collaborative artwork ‘Yarrkalpa (Hunting Ground), Parnngurr Area’!

Artist Corban Clause Williams of Martumili talks of the transfer of cultural knowledge from senior Martu artists to the younger generation: ‘The old people, they sit down and paint and tell stories of the old days, and we listen and learn.’

Visit the Martumili online store here and follow them on Instagram here. 

Pirrnpirrnga – Desert Bore by Ann Lane Nee Dixon of Ikuntji Artists. Photo – courtesy of Ikuntji Artists.

Artist Eunice Napanangka Jack working on a painting for a show. Photo – courtesy of Inkuntji Artists.

An Ikuntji artist working. Photo – courtesy of Inkuntji Artists.

Sheraldeen Marshall modelling pieces from the beautiful Inkuntji Artists x Publisher Textile collection! Photo – Christian Koch

Ikuntji Artists

Founded in 1992, Ikuntji Artists was the first art centre established by women in the Western Desert Art Movement.

Situated in the community of Haasts Bluff (Ikuntji) in Central Australia, which has a population of around 150 people, Inkuntji Artists has a board of seven Indigenous directors all of whom live and work locally.

Known also for their textile designs, recently Inkuntji have collaborated with Publisher Textiles on a clothing collection featuring the bold textile designs by artists Keturah Zimran, Mavis Nampitjinpa Marks, Eunice Napanangka Jack, Lisa Multa and Leonie Kamutu the collection shortlisted in the Textile Design category for the TDF Design Awards!

Artist and textile designer Keturah Zimran says, ‘I feel really proud of myself and my kids, seeing the paintings on the clothes. My dream is to keep doing the paintings, to keep going..… so I can teach my grandkids.’

Visit the Inkuntji Artists online store here and follow them on Instagram here. 

Left: Ngiya Murrakupupuni by Dino Wilson of Jilamara Arts. Right: Timothy Cook with his painting Kulama and his Country Mananowmi in the distance, 2021. Photo – Will Heatcote for Jilamara Arts

Left: Ngiya Murrakupupuni by Michelle Woody Minnapinni of Jilamara Arts. Right: Pedro Wonaeamirri with his Tutini for NIRIN BoS, 2020. Photo – Will Heathcote for Jilamara Arts

Jilamara Arts + Crafts Association

Located in the community of Milikapiti on the north coast of Melville Island (off the coast of the Northern Territory), Jilamara Arts + Crafts Assoication represents Tiwi art from up to 60 local artists. Established in 1989, they are highly respected for work based on jilamara (body paint design), Tiwi creation stories and unique island ceremonies such as Kulama and Pukumani.

The Tiwi Islands have been separated from mainland Australia for at least 3000 years, leading to the development of regionally distinct creative practices.

Jilamara Arts and Crafts is fully owned and governed by Tiwi artists from the Milikapiti community, led by an Executive Committee of nine elected Tiwi directors.

‘We live on a remote community. It is time for us to be seen and heard. We want people to recognise how strong our culture is. Glimpse how beautiful and complex our culture is, our families, our counties, our history, our future. We adapt, we evolve, we change, we create as we write into the future’, says artist Colin Heenan-Puruntatameri.

Visit the Jilamara online store here and follow them on Instagram here. 

Left: Weaving by Evonne Munuyngu of Bula’bula Arts. Right: Banda (Long Neck) by Roy Burnyila of Bula’bula Arts

Left to right: Collecting for weaving, Weavings by Janice Djupuduwuy and Julie Djulibing Malibirr of Bula’bula Arts.

Bula’bula Arts

Based in the Yolgnu community of Ramingining in central Arnhem land, Bula’bula is an arts centre supporting 150 artists from the town and surrounding art stations. The centre’s online store sells bark and canvas paintings depicting stories of Yolgnu culture in ochre, white clay and charcoal; as well as weavings and fibre art woven from locally harvested materials such as pandanus, sand palm and kurrajong bark stained with natural dyes made from fruits, roots and leaves.

Visit the Bula’Bula Arts online store here and follow them on Instagram here. 

Artwork by Johnny Warrkatja Gapuwiyak Culture and Arts. Image – courtesy of Gapuwiyak Culture and Arts.

Artwork by Johnny Warrkatja of Gapuwiyak Culture and Arts. Image – courtesy of Gapuwiyak Culture and Arts.

Gapuwiyak Culture And Arts

Gapuwiyak Culture and Arts is a remote Art Centre in east Arnhemland. There are eighteen clans in this region, each with their own interconnected clan estates, songs, patterns and designs.

The Art Centre is owned by Yolŋu members, have a Yolŋu Board, and employ a manager and arts workers, and supports over 100 artists from Gapuwiyak and surrounding homelands.

Artist Jason Marrkula is a Traditional Owner for the Gapuwiyak tribe and says ‘I like to share my culture with people through my art or by taking them to my land. I share my dreams, my stories with my mind and with my heart so people can learn about the land, the birds, the nature and our culture. This is really important for me.’

Visit the Gapuwiyak online store here and follow them on Instagram here. 

‘Untitled’ by Mulyatingki Marney and Nancy Nyanjilpayi of Spinifex Hill Artists.

‘Untitled’ by Nyangulya Katie Nalgood of Spinifex Hill Studio.

‘Wantili’ by Country Ngamaru Ngamaru Bidu of Spinifex Hill Studio.

‘Jarntinti’ by Nyanglpayi Nancy Chapman of Spinifex Hill Studio.

Left: ‘Untitled’ by Doreen Chapman of Spinifex Hill Studio. Right: ‘Untitled’ by Selena Brown of Spinifex Hill Studio.

Spinifex Hill

Spinifex Hill Studio stands on Kariyarra Country in the Pilbara region of Western Australia. It is home to one of the youngest Aboriginal art collectives in the north-west of Australia, Spinifex Hill Artists.

Over 100 emerging, mid-career and established artists make regular use of the Studio facilities, with a primary focus on contemporary acrylic painting in bright, confident colours. These are artists from many different language groups, including Kariyarra, Banyjima, Mangala, Manyjiljarra, Martu, Noongar, Nyangumarta, Nyamal, Nyiyarparli, Walmajarri, Warnman, Yamatji, Yindjibarndi.

Spinifex Hill differs from others in this list in that it is managed by FORM, a Western Australian non-profit cultural organisation. The Studio, the Spinifex Hill Artists, and FORM’s Pilbara-programming is supported through a long-term partnership between FORM and BHP.

After 8 months in construction, Spinifex Hill has just celebrated the opening of a brand new, beautiful Project Space with a new group exhibition, Where We Go to Paint (you can view the catalogue here).

Spinifex Hill Artist Maggie Green (stay tuned for our TDF Collect exhibition with Maggie later this year!) says, ‘We do painting good here. Everyone coming here for painting.’

Visit the Spinifex Hill online store here and follow them on Instagram here. 

A woven piece by Numbulwar Numburindi artists. Photo – courtesy of Numbulwar Numburindi.

A woven piece by Numbulwar Numburindi artists. Photo – courtesy of Numbulwar Numburindi.

Photo – courtesy of Numbulwar Numburindi artists.

Ladies with pandanus. Photo – courtesy of Numbulwar Numburindi artists.

Woven pieces by Numbulwar Numburindi artists. Photo – courtesy of Numbulwar Numburindi.

Numbulwar Numburindi Arts

Numbulwar Numburindi Arts (NNA) was established in 2019, and is Numbulwar’s first art centre. It is Located on the Rose River on the western coast of the Gulf of Carpentaria (Northern Territory).

Here, artists combine naturally-dyed and locally-harvested pandanus with bright and bold ghost nets, abandoned fishing nets retrieved from Numbulwar’s shorelines. By harvesting ghost nets, the artists perform a modern act of caring for Country, and use the found materials to create intricate wulbung (baskets) and yir (dilly bags).

NNA IS 100% owned and and controlled by the Numburindi people, and employs Numburindi arts workers in the daily running of the Centre

Artist Lillian Joshua explains a little more of the collection of the nets used in NNA works: ‘My son is a sea ranger. He picks the ghost nets up and brings them to the old ladies to use with their weaving, saving marine life, as they are dangerous for animals like turtles and seals.’

Visit the Numbulwar Numburindi Arts online store here and follow them on Instagram here. 

Left: Cynthia Burke on Country, Right: Artwork by Cynthia Burke of Maruku Arts.

Artwork by Niningka Lewis of Maruku Arts.

Maruku Arts

For 35 years Maruku has operated as a not-for-profit art and craft corporation across 22 communities in the NPY Lands, serving more than 500 artists. They are 100% owned by Anangu (Aboriginal people of the Pitjantjatjara, Yankunytjatjara and Ngaanyatjara language groups). Maruku Arts is the only organisation concentrating on punu (wood carving) in the Central and Western Desert area.

Maruku, literally means “belonging to black”, today is one of the largest and most successful indigenous owned and operated organisations.

Located at the Mutitjulu Community within the Uluru – Kata Tjuta National Park, it services all the APY Lands communities, the Pitjantjara NT communities, and the Ngaanyatjara communities in Western Australia.

Maruku’s purpose is to keep culture strong and alive for future generations and to make culture accessible in an authentic and enduring way.

Currently, Maruku comprises of a warehouse based in Mutitjulu community and a retail gallery at Uluru-Kata Tjuta National Park Cultural Centre. Additional to the retail arm, Maruku offers tours, workshops, demonstrations, traditional ceremonies and exhibitions.

Visit the Maruku online store here and follow them on Instagram here. 

Nora Abbott  in the studio. Photo – courtesy of Tangentyere Artists.

‘Tempe Down, That Country and the Animal that Belong’ by Marjorie ‘Nunga’ Williams, 2020. Image – courtesy of the artist and Tangentyere Artists.

‘When I was Young One’ by Grace Robinya, 2021. Image – courtesy of the artist and Tangentyere Artists.

‘Waterhole inside Palm Valley’ by Joanne Napangardi Wheeler, 2021. Image – courtesy of the artist and Tangentyere Artists

‘Big Puta Puta After Rain’ by Nora Abbott, 2021. Image – courtesy of the artist and Tangentyere Artists

Tangentyere Art Centre

Established in 2005, Tangentyere Artists is an Aboriginal owned and run not-for-profit Art Centre in Mparntwe (Alice Springs). Tangentyere is an Arrernte word that means coming together, working together – which is exactly what they do.

Town Camp Artists communicate stories about their families, identity and lives in their artworks, and their practice aims to highlight the everyday experience of Aboriginal people in Central Australia. They are a hub for art activities across the 18 Town Camps of Mparntwe (Alice Springs), supporting emerging and established Town Camp artists through their studio, outreach program, gallery and online store

Artist April Spencer Napaltjarri says, ‘I love painting, telling stories with friends and family. I love coming here to Tangentyere Art Centre for a day of this, tea, people, canvas. Lots of people say hello! Hello! Happy people!’

Visit the Tangentyere Artists online store here and follow them on Instagram here. 

Left to right: Tjulpus (birds) by Rochelle Ferguson, Tjilkamarta (echidna) by Lisa Armstrong, Papa (dog) by Katrina Tjitayi of Tjanpi Desert Weavers.

Left: Cynthia Burke from Warakurna (WA), 2019. Image by Jade Brockley Courtesy of Tjanpi Desert Weavers. Right: Umutja Toyota Come on Toyota! by Nellie Patterson of Tjanpi Desert Weavers.

Tjanpi Desert Weavers

Tjanpi Desert Weavers (Tjanpi meaning ‘wild grass’) is an award-winning, Indigenous governed and directed social enterprise of the Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara Women’s Council (NPYWC). They empower over 400 Anangu minyma (Aboriginal women) to earn an income and remain in their communities on Country.

Building upon a long history of using natural fibres to make objects for ceremonial and daily use, Tjanpi artists create vibrant sculptures and baskets using native grasses, wool and raffia. In 2020, Tjanpi senior artist Tjunkaya Tapaya OAM won the Handcrafted Category of the TDF Design Awards!

Fibre artist Nyurpaya Kaika-Burton says, ‘Nowadays there are many different ways in which we transmit those ancient stories because we really hold these stories strong… this sculptural way is a whole new other way… we go out into the country to the actual place where these stories take place, where these dreaming tracks move through the country. We go there and we find materials. These sculptural pieces here are filled up with the story from the land.’

Visit the Tjanpi online store here and follow them on Instagram here. 

Left: Nyapanyapa Yunupingu with her family. Right: Artist Nyapanyapa Yunupingu celebrates finishing her huge work Djulpan-Seven Sisters. Photo – courtesy of Buku-Larrŋgay Mulka Centre.

From left to right: Nyapanyapa Yunupingu working on a piece. Wanapa Munuŋgurr with his bark painting depicting his homeland community Wandawuy. Dhambit Munuŋgurr with part of her installation for the NGV Trienniel,

Buku-Larrnggay Mulka

Buku-Larrŋgay Mulka Centre is the Indigenous community controlled art centre of Northeast Arnhem Land. It is located in Yirrkala, a small Aboriginal community on the northeastern tip of the Top End of the Northern Territory, approximately 700km east of Darwin. The art centre has around 20 staff who are primarily Yolŋu, servicing Yirrkala and the approximately twenty-five homeland centres in a 200km radius.

The origins of the Buku-Larrŋgay Mulka Centre can be traced back to the 1960s with renowned artist Narritjin Maymuru, who is counted among the art centre’s main inspirations and founders. Buku-Larrŋgay Mulka Centre consists of two divisions; the Yirrkala Art Centre which represents Yolŋu artists exhibiting and selling contemporary art, and The Mulka Project which acts as a digital production studio and archiving centre incorporating the museum.

Buku-Larrŋgay means,  ‘the feeling on your face as it is struck by the first rays of the sun’, and Mulka means, ‘a sacred but public ceremony.’

Visit the Buku-Larrnggay Mulka Centre online store here and follow them on Instagram here. 

[graphicdesign-sydney]

Types of Graphic Designs

Graphic design uses visual composition when there is a need to solve problems while communicating ideas through typography, imagery, colors, and form. There is no specific way to do that due to which there are enormous types of graphic designs, and each one has its own advantages and area of specialization. Though they often overlap, graphic designs need specific skills and design techniques, but most designers either specialize in a single type, while the other focuses on the set of related or similar types. However, today, the industry is constantly developing, so the designers need to be flexible and ultimate learners so that they can revolutionize or add specializations according to the needs throughout their careers.

Whether you are an experienced designer or looking for the Adelaide graphic design agency that provides graphic design services, it is essential to recognize the different types of graphic designs available that can help you find the right talent for the job.

Visual identity graphic design

A brand shows the relationship between the business or an organization as well as its audiences, so the brand is a way through which you can display the personality of your organization. Visual identity graphic design is almost the same – the fundamentals of the brand that can be seen visually act as the face of a brand, and it communicate the intangible qualities through the images, figures, and colors.

Marketing and advertising graphic design

When graphic designer in Gold Coast consider graphic design, they think it of the designs that are created for marketing and advertising, but most companies depend on the successful marketing efforts to tap into the final decisions their audiences are making. A well-organized marketing engages people depending on their requirements, desires, attentiveness, and satisfaction they have about the products, services, or brand. Since people always prefer to use visual content to enhance people's engagement, the graphic design still helps organizations promote and communicate more effectively.

User interface graphic design

A user interface is how a user is networking with a device or an application as it is the process of crafting interfaces to make them much easier to use while providing a user-friendly understanding. A UI includes all the things a user cooperate with - including the screen, keyboard, and mouse - but in the graphic design context, UI design focus only on the users' knowledge and the design of on-screen graphic elements.

Publication graphic design

Publications are that pieces available in a longer form that provides information to the audiences through public distribution, and traditionally they were used as a print medium. Publication designs are the classic types of designs that include books, newspapers, catalogs, or magazines.

Packaging graphic design

Most products need packaging that can protect the products while storing, distributing, and selling them, but packaging designs also communicate directly with the customers. It makes the packaging an extremely valuable marketing tool that creates concepts, develops mockups, and creates print-ready files for the products. It needs expert knowledge of the print process and understanding of the industrial designs and manufacturing, so it is not common for the designers to find themselves creating the other assets of a product.

Graphic design is developing rapidly, and it is an ever-growing platform, so the demand for dedicated and capable designers is still on the rise due to the vast evolution. However, when you are looking for a graphic design agency in Melbourne, you need to be aware of the different types of graphic design available to find the right specialist for the job.