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[sheltiechicago]

Real Alcázar de Sevilla - Seville, Spain by Alison Clarke Via Flickr: Please do not edit any photo in this album. Please do not crop out my watermark. Please do not share without linking back to this account, or to @cliqmo_ on Instagram or Twitter. thank you!

[ulkaralakbarova]

A thief makes a disturbing discovery in the house where he breaks in. Later, when he returns to the same house with his partner in crime, things are no longer how he expected. Credits: TheMovieDb. Film Cast: Cale Erendreich: David Tennant Sean Falco: Robert Sheehan Katie: Kerry Condon Derek Sandoval: Carlito Olivero Riley Seabrook: Jacqueline Byers FBI Agent Olivia Fuller: Tracey Heggins Don Falco: Rob Nagle Patti Falco: Lorraine Bahr Rowan Falco: Jacob Resnikoff Nino: David Meyers Detective Wayne Banyon: Tony Doupe Helen Leyton: Lisa Brenner Jocelyn: Sofia Hasmik Officer Aguilar: Delpaneaux Wills Sabine: Hannah Barefoot Mitchell: Danny Bruno Young Cale: Austin Leo FBI Agent: Jared Q. Miller FBI Agent Driver: Lydia Reim FBI Supervisor: Brandon Boyce Female Cop: Dana Millican Girlfriend #1: Emily Kimball Horse Trainer: Sam Bangs Newscaster: Brenda Braxton Uniform Cop: David S. Hogan Valet: Alex Donnolo FBI Agent: Tim Bennett Umbrella Ped: Chris Ihlenfeldt Film Crew: Producer: Dean Devlin Original Music Composer: Joseph LoDuca Sound Re-Recording Mixer: Greg P. Russell Second Unit Director: Carsten H.W. Lorenz Property Master: John Pearson-Denning Makeup Artist: Eva Lohse Director of Photography: David Connell Art Direction: Michelle Jones Screenplay: Brandon Boyce Editor: Brian Gonosey Production Design: Nate Jones Extras Casting: Susan Funk Producer: Marc Roskin Costume Design: Critter Pierce Gaffer: Neil Holcomb Steadicam Operator: Gary L. Camp Extras Casting: Bill Marinella Second Unit Director of Photography: Matthew Moriarty Foley Artist: Jörg Klinkenberg Makeup Department Head: Christina Kortum Stunt Double: Tim Bennett Construction Coordinator: Dean G. Roberts Scenic Artist: Ellen Lepinski First Assistant Director: Gregory J. Pawlik Jr. Sound Editor: James Gallivan Dialect Coach: Mary McDonald-Lewis Script Supervisor: Andy Spletzer Co-Producer: Mark Franco Special Effects Coordinator: William Boggs Assistant Editor: Lana Wolverton Focus Puller: Bob Webeck Stunt Double: Daniel Locicero Stunt Double: Kym Stys Still Photographer: James N. Clark Key Grip: Art Bartels Assistant Production Coordinator: Naomi Yospe Casting Associate: Marin Hope Makeup Artist: Stephanie June Johnson Unit Production Manager: Brandon Lambdin First Assistant “C” Camera: Ronnie Dennis Assistant Property Master: Sean Fong Producer: Rachel Olschan Set Decoration: Benjamin Hayden Stunt Coordinator: Kent W. Luttrell Assistant Editor: Rick Chapman Sound Designer: Mark Hailstone Dolly Grip: Todd England Nicodemus Location Manager: Robert Warberg Boom Operator: Heidi DuBose Stunt Driver: Michelle Damis Utility Stunts: Lex Damis First Assistant “A” Camera: Kyril Cvetkov Hair Department Head: Autumn Sanders Production Accountant: Colleen Emry Hairstylist: Dusti Leon Stunt Driver: Ken Clark Second Assistant Director: Devan Linforth Script Coordinator: Kerry Glover Stunt Double: Anthony Oh Makeup Artist: Tammy Brant Second Second Assistant Director: Jesse Bellis Second Second Assistant Director: James McCoy Leadman: Jason Beveridge Construction Foreman: Jarred Decker Greensman: Rick Lepinski Set Designer: Jason Raines Foley Mixer: Jean-Marie Gilles Stunt Driver: Tommy Goodwin Stunt Double: James A. Smith Second Assistant Camera: Michael Crockett Second Assistant Camera: Madison Rowley Best Boy Grip: Brian Shotzbarger Best Boy Electrician: Jeremiah Skender Costume Supervisor: Alison Carlos Set Medic: Michael Fine Set Medic: Taylor Saxon Producer: Tony Malzone Movie Reviews: offscreenbabble: I did not enjoy the movie. The trailer looked really interesting and I really like David Tennant.The movie had some strange editing choices. It’s unintentionally funny but not a movie thats so bad its fun. To give you a quick spoiler free review it’s about a valet who tries to rob David Tennant’s place. When he is about to leave he sees a woman tied up. The rest of the movie is him trying to notify the police but it becomes a “Cat and Mouse” game between the valet and David Tennant. But increasingly gets silly and overall the stuff that is s...

[jjsstars]

♡ Event Masterlist ♡ ━━━━━━━━━━━━━━━━━━━━━━━━

Teen Wolf

Scott Appreciation Week 23:

day 1 : you’re an omega, ficlet/moodboard - set sometime in s1-s2, angst, mentions of alison/scott

day 2 : scott & parental figures, ficlet/moodboard - bad parent rafael, angst, mentions of alcoholism, scott remembers what happend the night rafael left, mentions of isaac/alison, re-write of a few canon scenes from when rafael first appears, good parent melissa

day 3 : healing/processing, ficlet/moodboard - minor blood & injury, hurt comfort

day 4 : identify, ficlet/moodboard - ft. biromantic, asexual, genderqueer, he/she pronouns scott, scott buying a bra, that’s the whole thing, scria (nb kira but it’s not specifically stated just implied)

day 5 : canon divergence, scott/kira, ficlet/moodboard - set after season 4 finale, scott/kira, hurt/comfort(?)

day 6 : rage, ficlet/moodboard - set pre-series, bad parent rafael, mentions of bullies & alcoholism

day 7 : dealers choice, scott/allison, ficlet/moodboard - grief/mourning, mentions of past alison/scott & alison’s death, set between s5e8 & s5e9

Rarepair Week 23:

day 1 : pre-canon, stiles/allison, ficlet/moodboard - first meet, hurt/comfort, minor injuries, implied/referenced child abuse, spoiler alert that’s not what really happened but allison doesn’t know that yet

day 2 : season 1, lydia/scott, ficlet/moodboard - alternative universe, mechanic!scott, bartender!lydia, underage drinking/working at a bar, creepy guys, protective scott mccall, slight angst, confessions, first kiss, somehow set in the summer but also s1 idk

day 3 : soulmate au, lydia/scott/cora, ficlet/moodboard - soulmates au, bartender!lydia, mechanic!scott, set after canon

day 4 : only one bed, malia/theo, ficlet/moodboard - hurt/comfort, post canon, full shift malia, full shift theo

day 5 : season 4, kira & mason, ficlet/moodboard - hurt/comfort, identity issues

day 6 : season 3, malia & derek, ficlet/moodboard - hurt/comfort, malia getting overwhelmed, derek is malias brother (even if that’s not how family trees work)

day 7 : post-canon, kira/derek, ficlet/moodboard - marriage proposal, professor!kira (it’s just background)

day 8 : kira/allison fanart

Lydia Appreciation Week 23:

day 1 : lydia & power, ficlet/moodboard

day 2 : favorite relationships, ficlet/moodboard - lydia/scott, drinking, post canon, first kisses

day 3 : what-if-wednesday, ficlet/moodboard - lydia/theo/allison, smoking weed, swearing

day 4 : song lyrics/moodboard

day 5 : lydia & death, ficlet/moodboard - lydia/aiden

day 6 : lydia & enemies, ficlet/moodboard - lydia/theo, first kisses

day 7 : free day, photographer!allison x model!lydia moodboard/ficlet

Sciles Week 23:

day 1 : winter, ficlet/moodboard - post-canon, stiles/scott, they live in chicago, fluffy romance + hot chocolate, scott is hopelessly in love

day 2 : summer, ficlet/moodboard - trans fem!scott, established stiles/scott, background kira/malia, slight angst, talk of scott’s transition

day 3 : repercussions, ficlet/moodboard - hurt no comfort, set season 5, crying

day 4 : first meeting, ficlet/moodboard

day 5 : free day, moodboard/song lyrics

day 6 : game night, ficlet/moodboard

day 7 : halloween, ficlet/moodboard - background malia/theo

Rarepair Halloween Event:

angels & demons : hayden/theo, ficlet/moodboard - angel!hayden, demon!theo, Clark is missing, demons have fangs & glowing eyes bc I said so, same with angels being able to see peoples souls

stalker : allison/theo/hayden, ficlet/moodboard - stalker!allison, stalker!theo, unknowing hayden, overall dark themes

nightmare : cora/theo/liam, ficlet/moodboard - hurt/comfort, hurt theo, season 5&6 mentions, mention of liam & cora working at the hospital

vampire slayers : kira/theo, ficlet/moodboard - they’re rich & snobby <3

slasher flick : erica/theo/hayden, moodboard

scooby gang : hayden/theo/liam/mason/corey moodboards - they’re in a polycule but hayden is only dating theo & liam

knife : allison/theo/liam, moodboard/ficlet - nsfw, knife play, blood, dark themes

Kira Appreciation Week 23:

day 1 : kitsune attributes, ficlet/moodboard - kira’s able to full shift to fox form but can also halfway shift like the werewolves do, pet names, kira & theo, the puppy pack, scott

day 2 : lyrics + album, moodboard

day 3 : colors [warm tones], moodboard

day 4 : childhood, kira/allison, ficlet/moodboard - canon divergence, they’re both 14, childhood crushes, love confessions & first kisses

day 5 : what if wednesday, moodboard

day 6 : nerd!kira, ficlet/moodboard

day 7 : it’s alright to cry, moodboard

Thiam Appreciation Week 23:

day 1 : liam’s parents, ficlet - theo meeting liam’s parents for the first time, background mason/corey, liam’s step dad knows about the supernatural but I can’t remember if that’s canon or not — this is lowkey a crack fic —

day 2 : nightmares, ficlet/moodboard - post canon, talk of arguments, mentions of canon events, swearing, angst

day 3 : moment of realization, ficlet - love confessions, swearing, post canon, mentions of canon events

day 4 : angst, ficlet/moodboard - hurt no comfort, post-canon, mentions of canon events

day 5 : the pack, ficlet - lowkey stiles bashing but it’s more him just being a dick yk, references to liam’s parents not being supportive of him being bi (nothing graphic)

day 6 : a song that describes them, moodboard

day 7 : dealers choice, fem thiam, moodboard

Rarepair Character of the Month 2024 Event:

scott & erica : ficlet/moodboard - trans fem scott, trans fem erica, he/him pronouns for scott, coming out, conversations about being trans/scott figuring herself out, erica’s deadname is mentioned but she’s the one saying it

scott/hayden : ficlet - nsfw, scott gave hayden the bite, alive hayden, set sometime after season 5, she calls him alpha. yeah i finally wrote that trope. Mmmm idk how to feel

scott & hayden : ficlet/moodboard - grunge sleaze foster sibling au, background scott/theo & hayden/kira, scott isn’t biologically melissas

stiles/theo/cora : moodboard

melissa & theo, scott/theo: ficlet - pack mom melissa, theo is part of the pack, theo needs a hug, pre-slash, post canon

Scott Appreciation Week 2024:

day 1 : emotions, ficlet - cora & scott, swearing, talk of missions, talk of the hale family being dysfunctional, they talk about their feelings yall

day 2 : lyrics, moodboard

day 3 : find your anchor, ficlet/moodboard - scott/liam/theo, post canon, domestic fluff

day 4 : this isn’t just about the game, ficlet/moodboard - scott/cora, hurt/comfort

day 5 : good dreams, or bad, ficlet - scott/liam, scott & melissa, post canon, angst, guilt, insecurities, sick fic, mental health issues, hurt scott mccall

day 6 : the person you should trust, moodboard - kira/scott

day 7 : dealers choice, album + lyrics, moodboard

Lydia Appreciation Week 2024:

day 1 : lydia & the pack, moodboard

day 2 : lydia & seasons, moodboard

day 3 : what if wednesday [werewolf au], moodboard

day 4 & 5 : song lyrics/rarepair friday, moodboard - theo/lydia, s6 au where lydia is the one to break theo out of hell trying to save stiles but quickly falls into a messy relationship with theo that complicates her feelings with stiles (song is two-headed mother by ethel cain)

day 6 & 7 : lydia & mentors/colors, moodboard

Stranger Things

Stancy Week 24:

day 3 : badass couple, ficlet/moodboard - post-canon, college students Steve & Nancy, drinking, swearing

day 4 : moment you knew they were your otp, moodboard

day 5 : tender & sweet, moodboard

day 6 : au’s, ficlet/moodboard - college au! + engaged au!

[kidzbopdeathmetal]

Sabaton at the Forum, London - 12th January 2015 by cliqmo_

[iosluck393]

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[kaitintr2001]

The nude stripped bareThe history of the body DAVID RIMANELLI

‘To be naked is to be deprived of our clothes, and the word implies some of the embarrassment most of us feel in that condition. The word nude, on the other hand, carries, in educated usage, no uncomfortable overtone.’ So wrote Kenneth Clark in A Study in Ideal Form. David Rimanelli argues that some artists have blurred this distinction. From Félix Vallotton to John Currin.

Kenneth Clark begins his classic treatise The Nude: A Study in Ideal Form by making a distinction between the naked and the nude: “The English language, with its elaborate generosity, distinguishes between the naked and the nude. To be naked is to be deprived of our clothes, and the word implies some of the embarrassment most of us feel in that condition. The word ‘nude’, on the other hand, carries, in educated usage, no uncomfortable overtone. The vague image it projects into the mind is not of a huddled and defenseless body, but of a balanced, prosperous and confident body: the body re-formed.” It has often been asserted that Modernism begins with Manet, in particular with those paintings wherein the vexations of the unclothed female body burst forth with a power of disquietude that appalled the public: Le Déjeuner sur l’herbe 1863 and Olympia 1863. The former picture had been exhibited at the Salon des Refusés, “to that extent, officially beyond the pale of art”, as another Clark – T.J. Clark – remarks in his essay Olympia’s Choice, whereas Olympia was the shocker of the official Salon of 1865. Both paintings display an uncertainty about the status of the nude female figure, an uncertainty that points perhaps towards Kenneth Clark’s distinction between the naked and the nude. These women fail to sustain the idealisation of the nude, slipping decisively into the embarrassing (for some) terrain of the naked. In other words, Manet deprives his models of the acceptable academic veneer of classical nudity, forcing them into the modern age, a naked age, disturbingly and yet ambiguously contemporary.

T.J. Clark continues his analysis by examining the silence of the contemporary Parisian critics concerning the obvious source of Olympia (Titian’s great nude, The Venus of Urbino, 1538), compared with their open acknowledgement of the source for Le Dèjeuner sur l’herbe (a work of Titian that was commonly attributed to Giorgione in the nineteenth century and known as the Fête champêtre, c.1510–11): “Critics certainly came to laugh at its mistakes and incoherences, and yet the best way to do so was to point out what Manet’s picture derived from - and how incompetently… But in 1865 none of this took place. If the revisions of the Venuscould be seen at all, they could not be said.” He goes on to say:”The past was travestied in Olympia: it was subject to a kind of degenerate simian imitation, in which the nude was stripped of its last feminine qualities, its fleshiness, its very humanity, and left as ‘une forme quelconque’ – a rubber-covered gorilla flexing its hand above its crotch.”

The complexity of Clark’s analysis of the reception of Olympia does not bear treatment in a short essay. Suffice to note that a crisis in the depiction of the nude was already, in his view, well underway in the academic nudes of the Salons - the vacuous, silly, trashy Venuses and nymphs of Cabanel, Bouguereau and Gèrôme, to cite only three relatively more distinguished examples – and that the scandal of Olympia was indeed her modernity, a prostitute plainly and unapologetically, rather than a fille de la rue gussied up as Phrynè or Danaë.

Kenneth Clark’s remarks on Olympia are much more modest, but still adumbrate the radical break that Manet’s painting constitutes:”The Olympia is a portrait of an individual, whose interesting but sharply characteristic body is placed exactly where one would expect to find it. Amateurs were thus suddenly reminded of the circumstances under which actual nudity was familiar to them, and their embarrassment is understandable.” Those amateurs would be understandably embarrassed to see nakedness in such familiar circumstances: in a brothel, where they are paying clients.

If the naked and the nude as archetypes stand at the outset of Modernism, then both became thoroughly discredited and disposed of by Modernism’s end. And yet the unclothed figure persisted in certain forms. Félix Vallotton had been a member of the avant-garde Nabis group in the last decade of the nineteenth century, and in such paintings as Femme nue assise dans un fauteuil 1897 and Femmes nues aux chat c.1898 he subjected the nude to the flattening and the unnaturalistic colourations that were also typical of his compeers Bonnard, Denis Sèrusier and Vuillard. But by the first decade of the twentieth century, his nudes begin to change. From the vantage of Modernist criticism and art history, they degenerate, becoming, on the whole, more academic. Yet with hindsight we can discern in Vallotton’s later nudes – and there are many of them – characteristics that render them very contemporary. Nu assis 1910 is stunningly prescient with respect to John Currin’s nudes of the 1990s. This woman looks very much like a stout bourgeoise, and her no-nonsense hairdo attests to her conventional background: no glowing, flowing tresses here, no savage, Baudelairean chevelure . Her face is ordinary, her expression smiling and bland; at best she’s jolie laide. But Vallotton does play oddly with the colouration of her flesh, a hint perhaps of his Nabis past. The flesh tones of the body are those of the morgue, grey and purple; the face, however, looks flushed, reddened, desirous, horny. The Nu assis is a sexed-up corpse, a banal succubus. Were the trappings of the exotic or supernatural more in evidence – as they are, for instance, in the nudes of Gustave Moreau or Fernand Khnopff – Vallotton’s odalisque would appear more acceptable and less disconcerting, because she would belong to a readily identifiable fin-de-siècle feminine typology.

John Curin Bea Arthur Naked 1991 Private collection, courtesy Gagosian Gallery

Vallotton’s Nu assis wreaks havoc on the idealised nude, but she doesn’t quite adhere to Clark’s description of the naked. Instead, wavering between academicism and almost gross realism, she comes off as a sly parody. She appears comfortable and confident in the amplitude of her dead flesh.The Nu allongè au tapis rouge1909 likewise plays fast and loose with the conventions of the nude. Writing of Boucher, Kenneth Clark notes: “The Venus of the dix-huitième extends the range of the nude in one memorable way: far more frequently than any of her sisters, she shows us her back. Looked at simply as form, as relationship of plane and protuberance, it might be argued that the back view of the female body is more satisfactory than the front. That the beauty of this aspect was appreciated in antiquity we know from such a figure as the Venus of Syracuse. But the Hermaphrodite and the Callipygian Venus suggest that it was also symbolic of lust.” In the Nu allongè, Vallotton explicitly alludes to the hermaphroditic figure and the many nudes that borrow its pose; for example,Velásquez’s Rokeby Venus and Boucher’s Miss O’Murphy.���Freshness of desire has seldom been more delicately expressed than by Miss O’Murphy’s round young limbs,” comments Clark with the barest hint of prurience, “as they sprawl with undisguised satisfaction on the cushions of her sofa.” Vallotton’s nude is less fresh, more prurient. As with the Nu assis of the following year, his Nu allongè displays a visual incoherence in the handling of the flesh tones. In this instance, the torso and swelling buttocks are of a mostly chalky white hue, while the face and the hands are curiously flushed. The face and hairstyle again do not suggest the comfortable distance of antique references, but are very much of a contemporary moment.

This is the Venus of a weekday afternoon tryst, a Céleste or Marie of the Parisian banlieues, having just refreshed her maquillage and awaiting her paramour. The face itself is weird, deliquescent; one eye looks like it’s about to slip with slatternly languor from its very socket. Her feet are very heavily shadowed, but the effect is simply that they are dirty.

Vallotton’s loyalty to the nude as subject remains constant until his death in 1925. It comes as no surprise that these paintings have been largely ignored, compared with the works of his Nabis period. Sometimes they are just bad, as with the Vènus marine 1913, a clumsy, ludicrous blond on the half shell, her expression wavering between vacancy and, perhaps, bitchiness. She’s a spoiled mondaine who travesties the goddess she purportedly embodies. But paintings such as this presage the later works of the Modernist agent provocateur Francis Picabia. Indeed, while Vallotton’s later nudes have remained obscure, recently it seems that Picabia’s “bad” figurative paintings of the 1930s and 1940s have achieved a prominence virtually eclipsing his acceptable Dadaist travesties of the teens and 1920s.’Dear Painter, paint me…’, an exhibition mounted at the Centre Pompidou in 2002, bore the subtitle ‘Painting the Figure since late Picabia’. Alison Gingeras, one of the curators, wrote:”Beginning with Francis Picabia’s late nudes from the early 1940s, the question of painting as a filter of mass media’s impact on both individual and collective sense of identity has emerged as a key preoccupation of the artists in the exhibition.” Among them were Sigmar Polke, Martin Kippenberger, Neo Rauch, John Currin, Luc Tuymans and Elizabeth Peyton.”These notorious paintings - shunned for their ‘regression’ into realism and their embrace of kitsch - drew their pictorial source from tawdry black and white photographs culled from soft-core pornography magazines.”Picabia’s Portrait de Suzy Solidor (1933) is an early example of this kitsch revanchism. Anatomically bizarre, his Suzy Solidor, with her heavy blue mascara and smiling, parted red lips, also suspires an unmistakable prurience; the crude, dirty shadows outlining her legs and arms betoken a dirtiness of another sort. Suzy Solidor may yet be recuperated as a Dadaist travesty. The somewhat more competent albeit trashy technique of Femmes au Bulldog, Deux amies and La brune et la blonde (all 1941–2) if anything renders these pictures more scandalous: rude, crude and dangerous to know. Picabia’s lewd nudes may lend a certain contrarian Modernist lineage to the work of John Currin, but one wonders if Currin, so conversant in the art of the Old Masters, is at all familiar with Félix Vallotton? I’ve already mentioned the Nu assis as an extraordinary precursor for Currin’s own “bad” nudes, and I could easily add Le Printemps 1908, an especially ugly and stupid-looking evocation of Primavera. But the most astonishing comparison is between Vallotton’s Etude de fesses c.1884 and Currin’s Bottom 1991. The corporeality of the Vallotton buttocks is almost repulsive as he expends all his resources of painterly technique on the depiction of stretch marks and cellulite. Currin’s painting, on the other hand, seems relatively restrained, evincing an almost Cycladic elegance and symmetry. Scarcely the sort of conclusion one would expect? Even in the case of one of Currin’s most deservedly famous, or notorious, early paintings, Bea Arthur Naked 1991, the sitcom star preserves a certain restraint, dignity even, that militates against the overtly camp/kitsch (or possibly anti-feminist) readings of the picture that so readily come to mind. Perhaps the Arthur portrait is going rather against the grain of the Currin mode, even as it was only coalescing in the early 1990s – the exception that, maybe, proves the rule of perversion. This cannot be said for Vallotton’s nudes – distorted, freakish, moribund and whorish in multifarious variations.

[gumstudios]

“No Time to Die,” the 25th James Bond sequel (and the last of Daniel Craig), will now open in the US on October 8 *finally!* The franchise has been among the most notable victims of the pandemic’s insane calendar shuffle: It was initially slated to open worldwide in April 2020, then pushed to two different November 2020 dates, and most recently set to hit theaters on April 2, 2021. Well, the wait is ovah! GUM had the honor to host Entertainment Weekly ‘feature interview + still shots at our 43,000 sq. ft Sunset Park Complex back in 2019. We can’t wait to check this one out! Bond Stills | Northern Spy Productions Photographer: Greg Williams Lighting Director: Steve Jackson Photo Assistant: Willy Lukaitis Set Designer: Angela Howard 💎 Entertainment Weekly Photographer: Pari Dukovic Writer | Interviewer: Clark Collis Senior Producer: Kristen Harding Video Producer: Tara Reid DP: Kyle Harrigan Digital Director: Shana Krochmal Photo Editor: Alison Wild (Photo Editor) Editor: Clarissa Cruz (Editor) Video | Motion Daniel Vignal Set + Props: Andrea Huelse 💎 Talent: Daniel Craig Rami Malek Lashana Lynch Lea Seydoux #entertainmentweekly #jamesbond #notimetodie #danielcraig #ramimalek #lashanalynch #leaseydoux #cyclorama #soundstage #gripandelectric #filmstage #soundproof #filmset #filmstudio #filmmaking #blackandwhitefilm #gumstudios #gumstudiosbrooklyn #brooklyn #newyork #newyorkcity #setlife #setdesign (at Sunset Park, Brooklyn, N.Y) https://www.instagram.com/p/CUaUiHUlQw5/?utm_medium=tumblr

[mycrazystrangeworld]

It has been a long hiatus, though to me it didn’t seem to be one. Time flies. June and July have flied by so fast, and I can’t keep up, shit things happening one after the other, and I’m still coping… But it’s a process. I’m functioning now enough to write and interact on this blog.

As I promised, this first post is a list of June releases (from June 3rd) and the reviews I found about them until now. You’re all welcome to let me know if you have a review that I forgot to add.

Since July is also over, I’m also sharing this month’s books and reviews.

As always, updating is constantly happening, if you know about a book or have a review, just let me know! 😉

Welcome back on Swift Coffee, everyone!

For the newbies (welcome 😘): if you don’t yet know what this is all about: I’m posting a list every Monday of the books that get released during the current week. I also include other people’s reviews about them! I try to do a blog hop from time to time and spread the word about this feature, but I obviously can’t find every review that’s related, so a sign that you have one would be very much appreciated! Every review is eligible that is written about a book published on the week in question, even if it was written before said week!

So… one question remains:

Would you like to join the ride?

It’s very easy!

These are the rules:

To be featured, you don’t have to do anything else, but to leave a comment below this post, or contact me by any other way, and let me know you have a review. A link to it makes it easier, but if you only say your review comes out on x day of the week, that’s okay as well, I’ll watch out for it! Following me is not a must, but I appreciate it very much, if you do! 🙂

I continuously update this post according to your infos/comments, and I share it again every time I’ve made an update.

The book you reviewed don’t have to be from the list here, if it’s not listed, but published this week, I’ll add the book, too!

You can also send me a review for next week, because these posts are scheduled! 😉

Books Published in June:

‘After the End��� by Clare Mackintosh mystery/thriller

‘All the Missing Girls’ by Megan Miranda mystery

‘A Merciful Promise’ by Kendra Elliot mystery/romantic suspense

‘A Nearly Normal Family’ by M.T. Edvardsson, Rachel Willson-Broyles (Translation) mystery/thriller

‘Ayesha at Last’ by Uzma Jalaluddin romance

‘Beyond Āsanas: The Myths and Legends behind Yogic Postures’ by Pragya Bhatt, Joel Koechlin (Photographer)

‘Bound to the Battle God’ by Ruby Dixon fantasy/romance

‘Briar and Rose and Jack’ by Katherine Coville middle grade

‘Bunny’ by Mona Awad horror

‘City of Girls’ by Elizabeth Gilbert historical fiction

‘Close to Home’ by Cate Ashwood M M romance

‘Dear Wife’ by Kimberly Belle mystery/thriller

‘Dissenter on the Bench: Ruth Bader Ginsburg’s Life and Work’ by Victoria Ortiz non-fiction/middle grade

‘Fleishman Is in Trouble’ by Taffy Brodesser-Akner contemporary

‘Five Midnights’ by Ann Dávila Cardinal horror

‘Fix Her Up’ by Tessa Bailey romance

‘Fixing the Fates: A Memoir’ by Diane Dewey non-fiction

‘Ghosts of the Shadow Market’ YA fantasy

‘Gun Island’ by Amitav Ghosh cultural/India/historical fiction

‘If Only’ by Melanie Murphy

‘Just One Bite’ by Jack Heath mystery/thriller

‘Like a Love Story’ by Abdi Nazemian YA/LGBT

‘Magic for Liars’ by Sarah Gailey fantasy/mystery

‘More Than Enough: Claiming Space for Who You Are (No Matter What They Say)’ by Elaine Welteroth non-fiction

‘Mrs. Everything’ by Jennifer Weiner historical fiction

‘Mostly Dead Things’ by Kristen Arnett contemporary/LGBT

‘Natalie Tan’s Book of Luck and Fortune’ by Roselle Lim contemporary/romance

‘On Earth We’re Briefly Gorgeous’ by Ocean Vuong poetry

‘Rapture’ by Lauren Kate YA fantasy

‘Recursion’ by Blake Crouch science fiction

‘Searching for Sylvie Lee’ by Jean Kwok mystery

‘Somewhere Close to Happy’ by Lia Louis romance

‘Sorcery of Thorns’ by Margaret Rogerson fantasy

‘Storm and Fury’ by Jennifer L. Armentrout fantasy

‘Summer of ’69’ by Elin Hilderbrand historical fiction

‘Sweet Tea and Secrets’ by Joy Avon cozy mystery

‘Teeth in the Mist’ by Dawn Kurtagich horror

‘The Accidental Girlfriend’ by Emma Hart romance

‘The Bookshop on the Shore’ by Jenny Colgan contemporary/women’s fiction

‘The First Mistake’ by Sandie Jones thriller

‘The Friends We Keep’ by Jane Green women’s fiction

‘The Friend Zone’ by Abby Jimenez contemporary/romance

‘The Girl in Red’ by Christina Henry fantasy/horror

‘The Haunted’ by Danielle Vega horror

‘The Holiday’ by T.M. Logan

‘The July Girls’ by Phoebe Locke mystery/thriller

‘The Last House Guest’ by Megan Miranda mystery/thriller

‘The Most Fun We Ever Had’ by Claire Lombardo contemporary/literary fiction

‘The New Achilles’ by Christian Cameron historical fiction

‘The Red Labyrinth’ by Meredith Tate fantasy

‘The Resurrectionists’ by Michael Patrick Hicks horror

‘The Rest of the Story’ by Sarah Dessen YA contemporary/romance

‘Ollie Oxley and the Ghost: The Search for Lost Gold’ by Lisa Schmid middle grade

‘The Space Between Time’ by Charlie Laidlaw

‘The Stationery Shop’ by Marjan Kamali historical fiction

‘The Summer Country’ by Lauren Willig historical fiction

‘They Called Me Wyatt’ by Natasha Tynes mystery

‘This Might Hurt a Bit’ by Doogie Horner YA

‘Time After Time’ by Lisa Grunwald historical/science fiction

‘Waiting for Tom Hanks’ by Kerry Winfrey contemporary/romance

‘We Have Always Been Here: A Queer Muslim Memoir’ by Samra Habib non-fiction

‘We Were Killers Once’ by Becky Masterman mystery/thriller

‘Where The Story Starts’ by Imogen Clark women’s fiction

‘Wicked Fox’ by Kat Cho YA fantasy

‘Wild and Crooked’ by Leah Thomas YA contemporary/LGBT

‘Wolf Rain’ by Nalini Singh paranormal romance

Reviews:

‘Sorcery of Thorns’ by Stephanie at Between Folded Pages

‘The Rapture’ at Book Bound

‘The Resurrectionists’ by Jen at Shit Reviews of Books

‘The Haunted’ by Kris at Boston Book Reader

‘The Friends We Keep’ by Vicky at Women in Trouble Book Blog

‘This Might Hurt a Bit’ by Amanda at Between the Shelves

‘Wild and Crooked’ by Amanda at Between the Shelves

‘The Haunted’ by Mandy at Book Princess Reviews

‘We Were Killers Once’ by Vicky at Women in Trouble Book Blog

‘Five Midnights’ by Sian at Sci-fi & Scary

‘Wolf Rain’ by Corina at Book Twins Reviews

‘Just One Bite’ by Berit at Audio Killed the Bookmark

‘Where the Story Starts’ by Anjana at Superfluous Reading

‘The Red Labyrinth’ by Anjana at Superfluous Reading

‘Fixing the Fates’ by Anjana at Superfluous Reading

‘Gun Island’ by Anjana at Superfluous Reading

‘If Only’ by Anjana at Superfluous Reading

‘Sweet Tea and Secrets’ by Rekha at The Book Decoder

‘Storm and Fury’ by Claire at bookscoffeeandrepeat

‘The New Achilles’ by Zoé at Zooloo’s Book Diary

‘Time After Time’ by Ashley at Ashes Books and Bobs

‘Recursion’ by Lilyn G at Sci-fi & Scary

‘The Space Between Time’ by Rekha at The Book Decoder

‘The Rumor’ by Vicky at Women in Trouble Book Blog

‘The Search for the Lost Gold’ by Lilyn G at Sci-fi & Scary

‘They Call Me Wyatt’ by Jen at Shit Reviews of Books

‘After the End’ by Linda at Linda’s Book Bag

‘Beyond Asanas’ by Shashank at Wonder’s Book Blog

‘The July Girls’ by Nicola at Short Book and Scribes

‘We Have Always Been Here’ by Kristin at Kristin Kraves Books

‘Close to Home’ by T. J. Fox

‘Dissenter on the Bench’ by Taylor at Tays Infinite Thoughts

‘Bound to the Battle God’ by Corina at Book Twins Reviews

‘Briar and Rose and Jack’ by Briana at Pages Unbound

‘Teeth in the Mist’ at Lori’s Bookshelf Reads

‘All the Missing Girls’ by Celine at Celinelingg

‘The Holiday’ by Zoe at Zooloo’s Book Diary

‘The July Girls’ by Joanna at Over the Rainbow Book Blog

‘More Than Enough’ by Jessica at Jess Just Reads

‘Somewhere Close to Happy’ at Jess Just Reads

‘The Accidental Girlfriend’ by Tijuana at Book Twins Reviews

Photo by Pixabay on Pexels.com

Books Published in July:

‘Along the Broken Bay’ by Flora J. Solomon historical fiction

‘A Stranger on the Beach’ by Michele Campbell mystery/thriller

‘A Whisker In The Dark’ by Leighann Dobbs cozy mystery

‘Dark Age’ by Pierce Brown science fiction

‘Depraved’ by Trilina Pucci romance/erotica

‘Deserve to Die’ by Miranda Rijks thriller

‘Drummer Girl’ by Ginger Scott YA romance

‘False Step’ by Victoria Helen Stone mystery/thriller

‘Girls Like Us’ by Cristina Alger mystery/thriller

‘Gods of Jade and Shadow’ by Silvia Moreno-Garcia fantasy/historical fiction

‘Good Guy’ by Kate Meader romance

‘Gore in the Garden’ by Colleen J. Shogan cozy mystery

‘How to Hack a Heartbreak’ by Kristin Rockaway romance

‘Last Summer’ by Kerry Lonsdale contemporary

‘Life Ruins’ by Danuta Kot audiobook/mystery

‘Lock Every Door’ by Riley Sager mystery/thriller

‘Maybe This Time’ by Kasie West contemporary

‘Never Have I Ever’ by Joshilyn Jackson mystery/thriller

‘Never Look Back’ by Alison Gaylin mystery/thriller

‘Nightingale Point’ by Luan Goldie

‘Reclaimed by Her Rebel Knight’ by Jenni Fletcher historical romance

‘Resist’ by K. Bromberg romance

‘Salvation Day’ by Kali Wallace science fiction

‘Season of the Witch’ by Sarah Rees Brennan YA fantasy

‘Sisters of Willow House’ by Susanne O’Leary

‘Spin the Dawn’ by Elizabeth Lim fantasy

‘That Long Lost Summer’ by Minna Howard

‘The Betrayed Wife’ by Kevin O’Brien mystery/thriller

‘The Bookish Life of Nina Hill’ by Abbi Waxman contemporary/romance

‘The Chain’ by Adrian McKinty thriller

‘The Gifted School’ by Bruce Holsinger contemporary fiction

‘The Golden Hour’ by Beatriz Williams historical fiction

‘The Guy on the Right’ by Kate Stewart NA romance

‘The Last Book Party’ by Karen Dukess historical fiction

‘The Marriage Trap’ by Sheryl Browne thriller

‘The Merciful Crow’ by Margaret Owen fantasy

‘The Miraculous’ by Jess Redman middle grade

‘The Need’ by Helen Phillips horror/thriller

‘The Nickel Boys’ by Colson Whitehead historical fiction

‘The Rogue King’ by Abigail Owen paranormal romance

‘The Seekers’ by Heather Graham mystery

‘The Silent Ones’ by K.L. Slater thriller

‘The Storm Crow’ by Kalyn Josephson fantasy

‘The Wedding Party’ by Jasmine Guillory romance

‘Three Women’ by Lisa Taddeo non-fiction/feminism

‘To Be Devoured’ by Sara Tantlinger horror

‘Truly Madly Royally’ by Debbie Rigaud YA romance

‘Under Currents’ by Nora Roberts romance

‘War’ by Laura Thalassa fantasy/romance

‘Whisper Network’ by Chandler Baker mystery/thriller

‘Wilder Girls’ by Rory Power YA horror/mystery

A fantastic review of…

‘Reclaimed by her Rebel Knight’ by Demetra at Demi Reads

‘The Merciful Crow’ by Clarissa at Clarissa Reads It All

‘The Bookish Life of Nina Hill’ at Flavia the Bibliophile

‘The Merciful Crow’ by Kaleena at Reader Voracious

‘The Guy On the Right’ by Astrid at The Bookish Sweet Tooth

‘False Step’ by Jordann at The Book Blog Life

‘The Guy On the Right’ by Angela at Reading Frenzy Book Blog

‘Reclaimed by Her Rebel Knight’ by Joules at Northern Reader

‘Depraved’ by Demetra at Demi Reads

‘Never Have I Ever’ by Steph AT Steph’s Book Blog

‘Reclaimed by Her Rebel Knight’ by Jennifer C. Wilson

‘That Long Lost Summer’ by Shalini at Shalini’s Books and Reviews

‘Sisters of Willow House’ by Joanne at Portobello Book Blog

‘A Whisker in the Dark’ by Berit at Audio Killed the Bookmark

‘The Rouge King’ by Ashley at Falling Down the Book Hole

‘Good Guy’ by Astrid at The Bookish Sweet Tooth

‘Drummer Girl’ by Astrid at The Bookish Sweet Tooth

‘The Need’ by T. J. Fox

‘The Seekers’ by Shalini at Shalini’s Books and Reviews

‘The Silent Ones’ by Steph at StefLoz Book Blog

‘Resist’ by Tijuana at Book Twins Reviews

‘Reclaimed by Her Rebel Knight’ by Jess Bookish Life

‘Sisters of Willow House’ by Joanna at Over the Rainbow Book Blog

‘How To Hack a Heartbreak’ by Corina at Book Twins Reviews

‘Somebody Else’s Baby’ by Shalini at Shalini’s Books and Reviews

‘Life Ruins’ by Amanda at mybookishblogspot

‘The Miraculous’ by Chris at Plucked from the Stacks

‘The Betrayed Wife’ by Shalini at Shalini’s Books and Reviews

‘Salvation Day’ by Lilyn G at Sci-fi & Scary

‘The Marriage Trap’ by Shalini at Shalini’s Books and Reviews

‘The Chain’ at Jess Just Reads

‘To Be Devoured’ by Sam and Gracie at Sci-fi & Scary

‘Truly Madly Royally’ by Olivia at The Candid Cover

‘Season of the Witch’ by Jill at Jill’s Book Blog

‘Gore in the Garden’ by Rekha at The Book Decoder

‘Never Look Back’ by Berit at Audio Killed the Bookmark

‘Wilder Girls’ by Kathy at Pages Below the Vaulted Sky

‘Deserve to Die’ by Shalini at Shalini’s Books and Reviews

‘Sisters of Willow House’ by Shalini at Shalini’s Books and Reviews

‘Sisters of Willow House’ by Berit at Audio Killed the Bookmark

‘Nightingale Point’ by Amanda at mybookishblogspot

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See these beautiful covers? *.*

Which are your favorites?

I’m so happy to be here with you bookish guys again!!

Don’t forget to let me know if you have a review!

Oh, and in the near future comes another post with the releases of the beginning of August! You can send me reviews for that post, as well.

Have a wonderful time!

Hugs 🙂

I’m back! – A Master List of Book Releases of June and July + Reviews! It has been a long hiatus, though to me it didn't seem to be one. Time flies.

[phroyd]

We lost one of the Great Film Makers yesterday.  Her soul will live on In Cinema! Rest In Peace, Agnes! - Phroyd

Agnès Varda, a groundbreaking French filmmaker who was closely associated with the New Wave — although her reimagining of filmmaking conventions actually predated the work of Jean-Luc Godard, François Truffaut and others identified with that movement — died on Friday morning at her home in Paris. She was 90.

Her death, from breast cancer, was confirmed by a spokeswoman for her production company, Ciné-Tamaris.

In recent years, Ms. Varda had focused her directorial skills on nonfiction work that used her life and career as a foundation for philosophical ruminations and visual playfulness. “The Gleaners and I,” a 2000 documentary in which she used the themes of collecting, harvesting and recycling to reflect on her own work, is considered by some to be her masterpiece.

But it was not her last film to receive widespread acclaim. In 2017, at the age of 89, Ms. Varda partnered with the French photographer and muralist known as JR on “Faces Places,” a road movie that featured the two of them roaming rural France, meeting the locals, celebrating them with enormous portraits and forming their own fast friendship. Among its many honors was an Academy Award nomination for best documentary feature. (It did not win, but that year Ms. Varda was given an honorary Academy Award for lifetime achievement.)

It was her early dramatic films that helped establish Ms. Varda as both an emblematic feminist and a cinematic firebrand — among them “Cléo From 5 to 7” (1962), in which a pop singer spends a fretful two hours awaiting the result of a cancer examination, and “Le Bonheur” (1965), about a young husband’s blithely choreographed extramarital affair.

Ms. Varda established herself as a maverick cineaste well before such milestones of the New Wave as Mr. Truffaut’s “The 400 Blows” (1959) and Mr. Godard’s “Breathless” (1960). Her “La Pointe Courte” (1955), which juxtaposed the strife of an unhappy couple with the struggles of a French fishing village, anticipated by several years the narrative and visual rule-breaking of directors like Mr. Truffaut, Mr. Godard and Alain Resnais, who edited “La Pointe Courte” and would introduce Ms. Varda to a number of the New Wave principals in Paris.

These included Mr. Truffaut, Mr. Godard, Claude Chabrol and Éric Rohmer, all of whom had gotten their start at the critic André Bazin’s magazine Cahiers du Cinema, and who became known as the Right Bank group. The more politicized and liberal Left Bank group would come to include Mr. Resnais, Chris Marker and Ms. Varda herself.

Arlette Varda was born on May 30, 1928, in Ixelles, Belgium, the daughter of a Greek father and a French mother. She left Belgium with her family in 1940 for Sète, France, where she spent her teenage years. At 18, she changed her name to Agnès.

She studied art history at the École du Louvre and photography at the École des Beaux-Arts before working as a photographer at the Théâtre National Populaire in Paris.

“I just didn’t see films when I was young,” she said in a 2009 interview. “I was stupid and naïve. Maybe I wouldn’t have made films if I had seen lots of others; maybe it would have stopped me.

“I started totally free and crazy and innocent,” she continued. “Now I’ve seen many films, and many beautiful films. And I try to keep a certain level of quality of my films. I don’t do commercials, I don’t do films pre-prepared by other people, I don’t do star system. So I do my own little thing.”

Her “thing” often involved straddling the line between what was commonly accepted as fiction and nonfiction, and defying the boundaries of gender.

“She was very clear about her feeling that the New Wave was a man’s club and that as a woman it was hard for producers to back her, even after she made ‘Cléo’ in 1962,” T. Jefferson Kline, a professor of French at Boston University and the editor of “Agnès Varda: Interviews” (2013), said in an interview for this obituary. “She obviously was not pleased that as a woman filmmaker she had so much trouble getting produced. She went to Los Angeles with her husband, and she said when she came back to France it was like she didn’t exist.”

Ms. Varda was married to the director Jacques Demy (“Lola,” “The Umbrellas of Cherbourg”) from 1962 until his death in 1990. From 1968 to 1970 they lived in Hollywood, where Mr. Demy made “Model Shop” for Columbia Pictures and Ms. Varda made “Lions Love,” which married a meditative late-’60s Los Angeles aesthetic to the New York counterculture. (The cast included the Warhol “superstar” Viva; Gerome Ragni and James Rado, the writers of the book for the musical “Hair”; and the underground filmmaker Shirley Clarke.) During that same period, she shot the short documentary “Black Panthers” (1968), which included an interview with the incarcerated Panther leader Huey Newton; commissioned by French television, it was suppressed at the time.

It was also during that period that she befriended Jim Morrison, the frontman of the Doors, who visited her and Mr. Demy in France; according to Stephen Davis’s “Jim Morrison: Life, Death, Legend” (2004), she was one of only five mourners at Mr. Morrison’s funeral in the Père Lachaise cemetery in Paris in 1971. That same year she became one of the 343 women to sign the “Manifesto of the 343,” a French petition acknowledging that they had had abortions and thus making themselves vulnerable to prosecution.

In 1972, the birth of her son, Mathieu Demy, now an actor, prompted Ms. Varda to sideline her career. He survives her, as does the costume designer Rosalie Varda Demy, Ms. Varda’s daughter from a previous relationship, who was adopted by Jacques Demy.

“Despite my joy,” Ms. Varda told the actress Mireille Amiel in a 1975 interview, “I couldn’t help resenting the brakes put on my work and my travels.” So she had an electric line of about 300 feet for her camera and microphone run from her house, and with this “umbilical cord” she managed to interview the shopkeepers and her other neighbors on the Rue Daguerre. The result was “Daguerréotypes” (1976).

In 1977 she made what she called her “feminist musical,” and one of her better-known films, “One Sings, the Other Doesn’t,” which also seemed inspired by personal circumstance.

“It’s the story of two 15-year-old girls, their lives and their ideas,” she told Ms. Amiel. “They have to face this key problem: Do they want to have children or not? They each fall in love and encounter the contradictions — work/image, ideas/love, etc.”

One of Ms. Varda’s more controversial films, because of its casting, was “Kung-Fu Master!” (1988), a fictional work about an adult woman — played by the actress Jane Birkin, a friend of Ms. Varda’s — who falls in love with a teenage boy, played by Ms. Varda’s son. The title — it was changed in France to “Le Petit Amour” — referred to the young character’s favorite arcade game. The film was shot more or less simultaneously with “Jane B. par Agnes V.,” another of Ms. Varda’s border crossings between fact and fiction, which she called “an imaginary biopic.”

After Jacques Demy’s death, Ms. Varda made three films as a tribute: the biographical drama “Jacquot de Nantes” (1991) and the documentaries “Les Demoiselles Ont Eu 25 Ans” (1993), about the 25th anniversary of Mr. Demy’s “The Young Girls of Rochefort,” and “L’Univers de Jacques Demy” (1995).

Ms. Varda was then relatively inactive until 1999, when, armed for the first time with a digital camera, she set about making “Les Glaneurs et la Glaneuse” (“The Gleaners and I”), which resurrected an artistic career now well accustomed to under appreciation and resuscitation.

“She was a person of immense talent, but also enormously thoughtful,” said Mr. Kline of Boston University. “When you look at some of the films you might think they were more spontaneous than thought out. A film like ‘Cléo,’ for instance, you might have said, ‘O.K., she just follows Cléo around Paris,’ but the film is extremely beautifully imagined and thought out beforehand.”

In “Vagabond,” an 1985 film in which Sandrine Bonnaire plays a woman who is found dead and whose life is recounted, often in documentary style, “the traveling shots in the film are always ending, and each subsequent shot beginning, on a common visual cue,” Mr. Kline said. “It makes you look at film in a completely different way.”

Alison Smith, author of the critical study “Agnès Varda” (1998), called Ms. Varda “a poet of objects and how we use them.” In an interview for this obituary, she added, “Varda as an artist intrigued, and intrigues, me by the constant freshness and curiosity which she brings to her inquiries into the everyday world and how we relate to it, particularly how she uses the detailed fabric of life.”

Richard Peña, who as director of the New York Film Festival helped introduce “Gleaners” to an American audience, praised that film and Ms. Varda’s “The Beaches of Agnès” (2008) as “touchstones for a new generation of nonfiction filmmakers.”

Ms. Varda is represented at the Museum of Modern Art by photographs, films, videos and a three-screen installation titled “The Triptych of Noirmoutier.” “A decision to change direction and move into installation art when over 80 is, by any standards, remarkable,” Ms. Smith said. “But her energy was awe-inspiring.”

Phroyd

[huguettecaland]

Huguette Caland, Untitled, 1970, oil on linen, 35 x 51 inches (90 x 129 cm)

POLARITIES: September 6 – October 14, 2018

TOTAH presents Polarities, a group exhibition spanning film, photography, sculpture, drawing, and painting, as well as more interstitial media. Polarities features 46 artists, both historical and living.

The idea of the exhibition began with a black and white photograph taken in Detroit by Brandon Ralph. Extending upon the visual themes captured in this work, Polarities overlaps, combines, and gently teases out the dichotomies between black and white scales of coloration, welcoming contrast as much as fulfillment in extremes.

Contributions by Huguette Caland and R.B. Kitaj capture an anarchic grace and socially- liberated performativity. Caland’s Untitled (1970) oil on linen work seems to line up the faces of potential suitors like dresses on a rack. While R.B. Kitaj’s oil on charcoal work Primo (1969) stands out as bridging a long-standing continuity between the concerns of utopian protest from the 1960s and the tenor of political realities experienced today. Contrasting vulnerability and nakedness with the militaristic presence of General Franco, Kitaj’s Primo humorously embarrasses the purported authority of officialdom and power.

Mel Bochner’s painting Obliterate similarly dramatizes the conflict between official representations and the social praxis that would undermine them. The painting features the titular word “obliterate”, drippingly withdrawn from legibility. As a counterpoint to Bochner’s black on black construct, Enrico Castellani’s Superficie Bianca (or “white surface”) signals a withdrawal from the imagistic conventions associated with painting, lingering somewhere between the tactility of sculpture and the formal interests of abstraction. Helen Pashgian’s sphere, meanwhile, marks the first time she has used black dye in this particular body of work since the beginning of her career.

Playing off the idea of antipodal extremes creatively informing each other, Polarities demonstrates not only the overarching thematic of black and white colored schemata, but showcases the unique way in which coloration can become an instrument toward the destabilization of contrasts.

In the screening room, Gordon Matta-Clark’s performance-oriented film Tree Dance (1971) will run throughout the exhibition.

Artists featured in Polarities: Eve Aschheim, David Austen, Robert Baras, Jean-Michel Basquiat, Lisa Beck, Isak Berbic, Mel Bochner, Alighiero Boetti, Eric Brown, Alberto Burri, Huguette Caland, Enrico Castellani, Vija Celmins, Anne Collier, George Condo, Dan Covert, Gino De Dominicis, Adeline de Monseignat, Mara De Luca, Aleksandar Duravcevic, TR Ericsson, Alison Hall, Keith Haring, Adam Henry, Sam Jablon, R.B. Kitaj, David Klamen, Sherrie Levine, Sol Lewitt, Gordon Matta-Clark, Matthew Metzger, Jonathan Owen, Luca Pancrazzi, Helen Pashgian, Pablo Picasso, Nathlie Provosty, Brandon Ralph, Paula Rego, Ad Reinhardt, Robert Ryman, Kenny Scharf, Alex Sewell, Joel Shapiro, Cindy Sherman, Beuford Smith, and Andy Warhol.

For further information please contact info@davidtotah.com

[philinfla]

Was Henry V gay?

More than a friendship?

An interesting note from the Wikipedia article on Henry V, the king Timmy is currently portraying:

"By Henry's request, he shared his grave with his friend, Richard Courtenay, rather than his wife. This was confirmed in 1953 when the grave was opened. Courtenay's death in 1415 had left Henry distraught. The closeness of the attachment has led to scholarly speculation that Courtenay played a critical role in mentoring Henry to become a respected monarch and that the attachment was more than a friendship."

*

7 APRIL 2017

When Charles Courtenay was growing up as the heir apparent to the Earl of Devon, parts of his long and distinguished family history always remained unspoken.

First was the flamboyant William “Kitty” Courtenay, a renowned playboy of the 1780s exiled to France after being caught in bed with another man. Despite his portrait hanging from the music room in the family seat of Powderham Castle – he was only ever described as the “third viscount, rather than the ninth earl” and as exiled for “financial reasons”.

“My father was ashamed of that story and never really told it,” recalls Charles Courtenay. “He was always slightly the black sheep.”

And then there was another blip on the records – a man who, in 1953, was discovered buried in the same grave as Henry V in the chapel of St Edward the Confessor in Westminster Abbey.

Richard Courtenay, known as “the flower of Devon”, was Henry V’s closest advisor who travelled out with him to France ahead of the Battle of Agincourt in 1415 and died of dysentery in the royal tent while the English army laid siege to Harfleur. The king was so distraught that he himself bathed the feet of Richard’s body and ordered that he was to be buried alongside him, rather than his wife.

But despite Richard's role shaping English history, his ancestor Charles Courtenay knew nothing of him. It took until 2013 and a performance of Shakespeare’s Henry V (starring Jude Law) attended by Courtenay and his wife, the former Baywatch actress Alison “AJ” Langer.

“She asked if we were involved in some way,” he says. “I started looking into it and, sure enough, Richard Courtenay came up. As a family, it was just a story we had never told before.”

Now Charles, who became Earl of Devon in 2015 following the death of his father, has uncovered previously unseen documents in the family archive that historians have hailed as vitally important in filling in the blanks in one of England’s most enduring dynasties.

More intriguingly still, the new information adds further fuel to the suspicions that Henry V may well have been gay.

HENRY V OF ENGLAND (1387 - 1422) CREDIT: CHRONICLE / ALAMY STOCK PHOTO

“This shows a much softer guy who has real intimacies with other men and is buried with a man,” says the 41-year-old Earl. “I think that completely changes our understanding of Henry V and maybe our understanding of England”.

The family relocated to Devon in June 2015 to run the estate, which remains in probate following the death of the 18th Earl, at the age of 73, in August of that year.

Since taking up the reins, Charles, who divides his time with working as a barrister in London, has devoted himself to ploughing through the archives of the estate and uncovering its secrets. The most significant find he has made to date is the Courtenay cartulary, a leather-bound and beautifully illustrated book documenting the family’s history from the time of William the Conqueror until well into the 15th century.

The book, which has never been seen in public before and forms the centre of a new exhibition at the castle that opens this week, had previously been in the possession of Sotheby’s after the auction house was asked in 2009 to trawl through the family archive to raise funds for repairs to the 14th-century castle.

When Sotheby’s telephoned asking if he would like it back, the Earl admits he had no idea it even existed.

According to Professor James Clark, an expert in medieval history at the University of Exeter, who is translating the document on behalf of the Earl of Devon, the cartulary helps piece together the early life of Richard Courtenay and his young friendship with Henry V.

As teenagers, they rose together through the court of Richard II, a place accused of being a hotbed of iniquity.

“Homosexuality is a headline issue at the very moment this friendship is forged between Richard and Henry,” Professor Clark says. “It’s an accusation that is being hurled at Richard II’s court. There is a lot of finger-pointing that something suspect is going on.”

Even from a young age, Courtenay was renowned for his intellect and striking looks. When he assumed the crown, Henry V appointed him as Bishop of Norwich and Keeper of the King’s Purse.

Professor Clark believes the king’s confidant was the person most responsible for the transformation of the fun-loving impetuous Prince Hal to wise and respected monarch at the age of just 27. He says he mentored him into the role of a serving monarch and prior to his death helped to mastermind the Agincourt campaign. But the closeness of their relationship has been airbrushed from history.

“For generations of historians wedded to the idea of Henry V as a man of action, it was unwelcome to think that he may have learned the art of kingship not on the battlefield,” he says, “but through a deep, affective and cerebral attachment to another man.”

The Earl of Devon Charles Courtenay photographed at Powderham Castle near Exeter with the medieval family tree, called a cartulary.

Of course, the Earl admits, there is no way to truly prove their relationship went beyond a mere bromance. All the same, there is a modern relevance to the findings.

In 2008, his father provoked headlines and an angry backlash after banning all civil ceremonies at the castle to avoid the prospect of two men marrying there. The decision cost the family supposedly £200,000 in lost revenue, although the licence has since been restored.

“My dad was never comfortable with gay marriage,” Charles Courtenay says. “I don’t think my dad was a bad man for it, just a man of his views and generation. I didn’t agree with him. That was his religious conviction and so he stood for it.”

Charles chose to discuss the impact and rationale of his father’s temporary ban in his eulogy to him, and he says it as an important part of the history of Powderham Castle. So too, of course, his attempts to reframe what he calls the family “shame around homosexuality”.

“I love this idea we as a nation can look back and say maybe intimate relationships between men wasn’t something that came to pass 30 years ago,” he says. “We’re not changing history, just readjusting our understanding of England too.”

[viralgossip]

VIRAL GOSSIP’S TRENDING ARTISTS !!

JUNE 7TH, 2018

wayfinder changed my life 🌠 @lilkayns · 6m with a name like [ REDACTED ] i really have to wonder why people ship them.

follow me ezra!! @ajpeg · 12m the claws are coming out! #TEAM[ REDACTED ]

AH! @pinkangel · 6m who fell harder, [ REDACTED ] from that stage or me when i saw her for the first time?  #toosoon?

NO BETTER WAY TO KICK OFF A NEW EVENT THAN A LITTLE REMINDER AS TO WHO’S ON TOP ↴

#10 IVY SERRANO ( @ivcsisms​ )

proud mom @ivydovey · 16m

#20GAYTEEN is the best thing that’s ever happened to me

Honestly, Ivy is just out here living her best life. In honor of it being Pride month, Serrano took to instagram to reveal that she’s bisexual! Everyone here at Viral Gossip is beyond happy and proud of our #bicon, and we can’t wait to see how many more hearts she breaks since literally anyone is up for grabs right now. Parents, lock up your adult children, no one is safe anymore!  Or maybe everyone is currently safe? After all, Arie Castillo also posted on instagram, although his post announced something different. Castillo posted a picture of our lovely queen, Ivy, as the two decided to take an impromptu trip to Hawaii in honor of Castillo’s birthday. Are the two dating? Will Castillo stop getting passed around from woman to woman? Will Ivy Serrano date me? Let’s hope for the best.

#9 KAILANI ( @kaiilanis​ )

follow me ezra!! @ajpeg · 12m

the claws are coming out! #TEAMKAILANI

Kailani was giving her followers a lot of mixed signals these past few weeks---and we really don’t know what to make of it. It was Kailani, and not ₩ON, who threw shade at Mimi Vang of Afterparty after the Wayfinder Music Festival spectacle, which fueled #KAIWON shippers into a frenzy. Yet, that took place only a few days after Kailani was spotted having a dare-we-say romantic dinner with ₩ON‘s ex, Ruby Rixon. And Afterparty isn’t the only band that the soloist is feuding with---apparently she has beef with Renegade and its lead singer Axel Leitch as well.

#8 ROSE QUARTZ ( @jettblvck​, @corinnasrose​, @jcdehq​, @kitwildc​ )

148 days!  @jetts_wife · 6m

#bett is old news and anyone who thinks #georgett is real is delusional.

If all rumored relationships were true, then Rose Quartz’s frontman Jett Blackwell would be a polygamist. Within only the past two weeks, he’s apparently been in a relationship with Georgia Lane, Beckley Byers, and a ‘mysterious hand’ (no, not his own). Those rumors enough are carrying his entire band. To elaborate, some have been speculating that Jett and Georgia are getting back together after Wayfinder (last week’s news!), even going as far as to say that the mysterious hand is Georgia’s. They all want to know if there’ll be any confirmation on Georgia’s upcoming album… but this isn’t promotion for her. On the other side of the spectrum, people are churning rumors that perhaps Jett and Beckley are getting back together. The two have exchanged flirty tweets and have sent each other pictures no one else has seen (again, no, not that kind, although it would make this a lot more entertaining). Others think that hand belongs to a mystery woman. We personally think that’s just for aesthetic.

#7 ETHEREAL ( @chloehq​, @winnisms​ )

wayfinder changed my life 🌠@lilkayns · 6m

with a name like #CHLACK i really have to wonder why people ship them.

It’s a rough time for fans of America’s favorite girl group. Fans were left reeling when two of the group’s members, Chloe Evans and Winnie Whitmore posted photos to their social media accounts that fueled rumors that both girls were leaving the group. Seeing how Ethereal’s only been around for a little over a year, they might want to change their name to Ephemeral if they’re already having breakup rumors. In other news, it looks like Chloe Evans and Jack Jericho might be a new thing---that will maybe fill our favorite white couple void that we have been feeling since #BELLIAN broke up? 

#6 BETTER NOW ( @greyhtml, @sweetshqs )

#bn2 is coming @ezrasweets · 16m

#gezra runs deep in my veins, this is the cutest shit i’ve ever seen.

It seems that Better Now is trending for every reason except their music. Where is Better Now 2? We see you two in the studio a lot but we don’t see any singles being released. Maybe the two are too preoccupied now in their new relationships, #gezra and #kori, to continue with their careers? After all, Ezra has been spotted all over town with his new girl, Gemma Clarke, that there is no time for him to be writing music. I’d say at least we have frontwoman, Sweets Mori, but she’s busy off “not dating” Afterparty’s own, Christian Kelley, that we’ve hardly ever seen the two bandmates together anymore. Was the band just a ploy to find dates? Is eHarmony.com out and creating a mildly successful alternative band to find your significant other IN? Who knows! We just hope this doesn’t lead to a lot of Misery Business.... see what I did there?

#5 GEMMA ( @gemclvrke )

notice me gemma @gemmastone1 · 12m

ugh can we please stop talking about #gezra and focus on gemstones instead???

You’d think we’d be focusing on Gemma Clarke’s upcoming album, right? Wrong. The focus of the week, or weeks, has been Gemma Clarke’s relationship status. (Where’s Alison Bechdel when you need her?) It seems she and Better Now drummer Ezra Grey have been getting to know each other pretty well, and by pretty well, we mean not even subtly hinting that they’re a couple in public. Anyone who thinks speculation is worth it is sorely mistaken. Anyone who thinks ‘confirmation’ is needed is very similar to Jared (can’t read, possibly 19). Sure, the Snapchat story wasn’t even close to a giveaway, just Gemma banging it out to BN. However, when you’re practically practicing PDA in front of a bunch of photographers and posting photos of yourself with that same person everywhere, if you’re not a couple, things just get weird. Anyway, she has an album coming out.

#4 BELLA CARISI ( @bcllahqs )

LEAVE BELLA ALONE @pinkangel · 6m

who fell harder, bella from that stage or me when i saw her for the first time? #TeamBella #toosoon?

It seems as if Bella has had a lot of ups, and one particular down, since coming off from Wayfinder. As if having to deal with speculation over her relationship from us (we can be pretty brutal) isn’t enough, now other artists are joining in (we’re looking at you Georgia “Doesn’t Stay In Her Own” Lane). But even as she deals with petty drama Bella is still out here giving her fans what they want by dropping a music video for her song ‘Jump’ (available on itunes)! Although, do her fans deserve the treat considering they don’t know how to keep their hands to themselves? Yes, we’re talking about when a drunk fan took it upon themselves to do a meet and greet of their own in the form of pulling our pop princess off the stage and into the crowd, resulting in Carisi having to go to the emergency room for checkups. Guys, we know some times people do things they regret when they’re drunk, but don’t pull people off stage! Especially if you’re not even cute, do you see the type of guys Bella gets? She doesn’t want your Coors beer drinking ass. Okay, that’s enough from us about the situation, but just know that we’re #TeamJacob all the way and we hope that Carisi regains her crown as #1 soon.

#3 ARIE CASTILLO ( @arieisms )

how can i breathe with no arie @punkinking · 6m

imagine fucking your best friends girl and STILL maintaining your friendship #iconic #westanalegend

Arie Castillo... what can we say about Arie Castillo? Or more, what can’t we say about him? There are plenty of things that I can’t say about Arie, even if they are true they’re not meant for a blog like this. So, what has our favorite daddie been up to? Nothing! If you guys want to talk about someone who uses their relationships and connections to get to the top look no further than Arie Castillo! Why is it that Georgia and Bella get their name dragged through the mud when Arie is essentially doing the same thing? It’s 2018, folks! Guys can be fame leeches too! Just look at his twitter, liking tweets mentioning Georgia, and his instagram, where he took a picture with best friend, Killian Law, right after rumors fly that Arie and Killian’s ex, Bella, did the nasty behind his friend’s back??  Yikes! Maybe if Castillo focused solely on his music this man would be #1 some day... nah, that’s not how things work around here. Keep stirring up trouble, Daddy Arie, we like you better when there’s nothing but drama attached to your name! Oh, you’re going to release an album? That’s nice...

#2 GEORGIA LANE ( @georgialanes  )

🍑 @laneegirl · 2m

find yourself a girl who’ll drag you with one hand and promo her album with the next. oh, i did, her name is georgia lane. 

It seems Georgia Lane has been one busy girl (talk about twitter fingers). With her upcoming album releasing soon (pre-order Melodrama now), her shady tweets, and just generally out here living her best life, she’s become someone we’ve slowly began to admire. We love a messy queen. Georgia has been enjoying her time in the spotlight, and it couldn’t have come at a better time. While everyone is quick to jump down her throat for her coming for Arie and Bella, are we really going to pretend that the possibility of Arie hurting Georgia isn’t a thing? Your favorite golden boy might not be so golden after all. We’re all good though, because it seems as if our favorite trouble maker might be making other artists swoon. Yes, we’re obviously talking about the notorious “hands” photos that Rose Quartz aritists Jett Blackwell keeps posting. We just have one question: dude, what’s with the hands? And obviously, is the hand Georgia? Hopefully Blackwell will have a face fetish next and finally post a picture of the mystery girl he keeps hinting at. Our money is on our messy queen, Georgia, because if we’re in love with her than it wouldn’t come as a shock if Blackwell was too. But boys and tweets aren’t the only thing she’s good at, Georgia Lane also released a music video to our new favorite track, Perfect Places! If the rest of Melodrama delivers songs as great as that one then there is no doubt that Georgia holds the new #1 album in her hands. Best Album, anyone?

AND YOUR #1 TRENDING ARTIST IS…

[lowcountrydigitallibrary]

"Clay and Wehman Alison"

Black and white photograph of two smiling children. Inscription on back of image: "Clay & Wehman Alison."

From the Septima P. Clark Papers, ca. 1910-ca. 1990 held at the Avery Research Center at the College of Charleston.

[depechemodespiritera]

Depeche Mode frontman Dave Gahan is having a wistful moment of gratitude, gazing out the picturesque window of his Beverly Hills hotel room at the sunshine that radiates like a golden blanket over steadily swaying palm trees and dreamy, magazine-ready homes in the hills beyond.

"L.A. has been there for us from day one, really," he says of his band's Angeleno fan base. "We were playing smaller places, but there was a cult aspect to the way people came to our shows and knew our music, before they even knew who the band was."

It's late April, and Gahan and his longtime partner in Depeche, Martin Gore, are doing interviews in their rooms at the Four Seasons as they gear up for a secret fan show at Hollywood Forever Cemetery's Masonic Lodge, a warm-up gig for an international tour in support of their latest album, Spirit. (The band's third member, Andy Fletcher, was not present.) Both speak enthusiastically about their love of L.A. and their fervent fan base here, which helped them sell out a record-breaking four nights at the Hollywood Bowl, something no other group has ever done.

Much has been made of L.A.'s Morrissey obsession, but it could be argued that Depeche Mode, who play those sold-out Bowl shows starting this week, enjoy an even more fanatical following here. There are club nights devoted to them and a popular DM convention held here every year, and the band's hits have never left rotation on L.A. radio, not just KROQ (where they got their first airplay) but mainstream pop stations as well.

Many Angelenos who came of age in the '80s and '90s feel a kinship with Depeche Mode and their songs' themes of sorrow and struggle, shameless romance and eternal outsider-dom. It's the same reason the goth scene is so popular here. Depeche Mode's music speaks to those of us who have always felt that the stereotypical image of sunny SoCal — wherein everyone is blond and beachy — is false and at odds with our true depth and dark proclivities. In an ironic way, dark music like Depeche's connects in L.A. more than anywhere else in the world. And you can dance to it.

Gore's ability to write emotive yet edgy songs with infectious hooks, and Gahan's visceral interpretations of them, have made them one of the most potent pairs in music. Personality-wise they could hardly be more different — Gahan the outgoing, dramatic frontman, Gore the quiet, sensitive songwriter. But they have much in common, too, including an obvious fondness for L.A. Gore lives with his wife and two baby daughters not far away in Santa Barbara. Gahan, who resides in New York, says his 18-year-old daughter, at the time of our interview, was considering attending USC. Still, their connection to L.A. runs even deeper than most people know.

Gore recalls the band being more of an underground phenomenon when they first came to L.A. during the "Just Can't Get Enough" era circa 1982, and how the crowds swelled when they returned around '85. "That was when it blew up," he says. "It seemed like alternative radio had taken hold of the country, but especially here in L.A. ... We went from playing small theaters to big ones, playing to 15,000 people. That was incredible for us at the time."

Gahan has a soft spot for early days, too, recalling the smaller shows when they were unknowns playing the Roxy and the now-shuttered Perkins Palace. He peers intently out his window once again, this time as if he's looking for something. "When I first came here, I was like, 'I wanna live here!'?" he says, pointing at the skyline.

In 1989, Gahan left his first wife and moved in with the band's PR director, Teresa Conroy, whom he later married. His second wife is a big link to Gahan's L.A. story, one that many fans don't know much about. (Full disclosure: I have been friends with Conroy since 2008, after I profiled her in L.A. Weekly's 2008 People issue. Gahan brought her up during our interview unprompted.) What little they do know has, for the most part, been negative, with stories painting her as the scapegoat for Gahan's well-documented drug problems. With our conversation spotlighting L.A. and its influence on the band, the frontman seems eager to set the record straight.

"I fell in love with her during tour," he says. "We just connected and at the end, I told my wife in England I was not coming back. ... I showed up on Teresa's doorstep on Sweetzer and Fountain Avenue with my little suitcase and said, 'Hey!'

"We ended up getting married. We lived near Santa Monica, in Nichols Canyon and Benedict Canyon for a while. We moved around, but what brought that all down for me was I just wanted ..."

He pauses for a long moment. "Substances?" I ask.

"Yes. That's what I liked to do most," he admits, "and it tore us apart, so that was the end of it. I moved to New York around '97 and changed my life. My behavior was not gonna change in L.A.

"Some of what people thought about her might have been my doing, just blabbing my mouth off. I realized after being clean 10 years later, it was like, wow ... at the time, as long as I had what I needed, I didn't give a fuck about anybody else. And I didn't think I was that person, but I was that person."

Gahan, now 55 and married to his third wife for 18 years, has been clean and sober for more than two decades. He looks healthy and trim in a black T-shirt and dark-rimmed glasses, with hints of gray on his chin and temples. But back then, he nearly died a few times from heroin overdoses, once at the Sunset Marquis where the band rented a villa on a frequent basis. Today, however, he seems to associate L.A. and his second marriage not so much with his addiction but with inspiration.

"I haven't talked about it enough, but that time in L.A. was wonderful. The few years I did spend here when we were just hanging out and I didn't work for a couple of years, there were all these great bands playing, like Jane's Addiction, Guns N' Roses. Going to clubs like Cathouse. There was this great music coming out of L.A. There was an energy in some of the new music coming up that I was feeling and seeing here."

Gahan's personal style at the time was influenced by the L.A. rock scene (more tattoos, longer hair, leather), and he sought to steer Depeche's music that way, too. When he went back into the studio to make Songs of Faith and Devotion after 1990's Violator, the career-changing album that included worldwide hits "Personal Jesus," "Policy of Truth" and "Enjoy the Silence," Gahan says, "I was like, 'Guys, we've gotta change it up! This is just too clean, too neat!'?" But Gore and the rest of the band "didn't like at all where I was coming from."

Gore, the band's primary songwriter, was the more provocative dresser in Depeche's early days. He fancied lots of guyliner and became a fan of bondage getups — often purchased, he says, at Trashy Lingerie, not far from the Four Seasons. It gave the band an androgynous edge that "the girls seemed to like," and complemented Gore's sensitive lyrics and rhythm-driven compositions. Depeche were huge after Violator, so it's no surprise that Gore didn't want to change the winning formula, even if music in general was having a heavier moment.

Looking tan and content during our conversation (the bondage attire is long gone, replaced by a fitted black ensemble not unlike Gahan's), Gore, 56, concedes that letting go of creative control has always been something of a challenge. He describes how the early dynamics of the band evolved, putting him "behind the wheel" in terms of writing the songs and shaping the band's sound.

"When we first started we were 18 and 19, and the main driving force behind the band was Vince Clarke. He was the main songwriter, and we were just along for the ride, really," Gore says. "And then he announced to us that he was leaving before the first album was released. So because we were young and didn't really think too much about anything, we just booked some studio time and went in and carried on laying down with a three-piece, as you would at 19 and 20. We never expected it to be a huge commercial success, especially at the time. But then we grew up a little bit."

With Clarke moving on to other projects (notably Yazoo with Alison Moyet and Erasure with Andy Bell), Gore just naturally took the reins, and his talent for songwriting grew as he did. "By the time we got to the third album, we'd traveled the world quite a lot and seen a lot more," he says. "I started to get, not exactly dark by the third album [Construction Time Again], but a little bit more worldly, maybe."

Though Gahan felt like he "wanted to take it to another level," after his time in L.A. in the '90s, he didn't officially contribute to actual Depeche songwriting until 2005's Playing the Angel. It was all Gore until then. Still, the edgier aesthetics and more visceral performance style Gahan honed did steer the band into grittier territory, which fans (particularly female fans) found dramatic and sexy.

Both Gore and Gahan admit their relationship has had its tempestuous and trying moments over the years. But Gore says that after working on their latest, highly political album, Spirit, it's "as good as it's ever been."

For this tour and the Hollywood Bowl shows, Gore promises to take lead vocals on the tender numbers fans have come to expect from him, plus lots of groove-driven guitar work on songs both old and new. Depeche's massive catalog of memorable, emotionally charged music aside, their live show is why they continue to sell out stadiums at this point in their career.

I was lucky enough to attend both a rehearsal at SIR Studios in Hollywood before our interviews and the warm-up "secret" show at Hollywood Forever, and the band are as good as they've ever been onstage. With stellar production (including visuals by famed photographer and video director Anton Corbijn) and support from a solid backing band, Depeche Mode are almost certain to deliver the transcendent experience their fans expect. The Global Spirit Tour is aptly named, and Gore and Gahan hold nothing back, complementing each other in the kind of caustic yet comfortable way that only the most iconic duos do.

"Sometimes a band needs to have a bit of friction. ... The best stuff sometimes comes out of this need to be heard," Gahan explains. "Creatively we're old enough to realize that we respect each other's differences, and we know that we need each other. That's what Depeche Mode is. It's a weirdness between the two of us."

DEPECHE MODE: GLOBAL SPIRIT TOUR | Hollywood Bowl | 2301 N. Highland Ave., Hollywood | Thu., Oct. 12; Sat., Oct. 14; Mon., Oct. 16; Wed., Oct. 18; 7:30 p.m. all shows | $45 and up | hollywoodbowl.com

[soul-music-is-life]

Thoughts While Watching PLL “No Stone Unturned”

Damn, this one got kinda long...

1) I’m laughing hardcore because I’m picturing Hanna dragging Mona to her house by a leash and Mona trying to bite random people along the way.

2) *arguing over whether “A” is a girl* Emily: “We saw “A” jump off of a roof!” Me: “You saw “A” jump off a roof 2 seasons ago, too, and that “A” was a girl, so…”

3) Picturing Hanna trying to shimmy up Mona’s drainpipe to get to her is making me roll in hysterics.

4) I’m a little mad we didn’t get a Pam/Emily scene in Doctor Sullivan’s office. Nia and Shay jive really well on-screen together, especially the emotional stuff.

5) Go away, Clark. I want my other resident photographer Lucas back.

6) Caleb knows every inch of Hanna’s body, so he notices the lump. Sexy.

7) “Your office is where Caleb plays ‘Grand Theft Auto’ in his boxers.” Thanks for that lovely visual, Emily.

8) “Everyone screws up on their first day.” Emily laying down some Truth.

9) Dean brought that Spencer brownies. Spencers love brownies.

10) Caleb: *teaches Sara how to use technology* Sara: *pretends to be clueless* Me: “Fake ass bitch.”

11) “What’s Kimye?” God, I wish I didn’t know the answer to that.

12) “I’ve tried, but every time I bring her (Alison) up Emily shuts down.” Yep, Emison is still alive and well.

13) Hanna totally playing that valet guy to get Lesli’s car is classic Hanna Marin.

14) Me watching this episode the first time: “I like Nicole.” Me watching again: “Oh, you poor unassuming plot device.”

15) Girls: “We should stick together.” Emily: *leaves Aria alone in junkyard with Clark to go see Nicole* Me: “What the fuck? Why do you do this shit to me, girls?”

16) Clark, you acting shady.

17) Spencer: “Don’t lock Caleb out.” Hanna: “Believe me, I can’t, my mom keeps letting him in.” Literal Hanna is literal.

18) Nicole: “You think it’s a bit far from home?” Inner Emily: “Not far enough…” Me: “…yas, run gurl!”

19) I find it interesting that the only one of the girls who is being forced to go to intensive therapy is Emily. Her mom is doing right by her.

20) Emily: “I’m in!” Nicole: “Awesome.” Emily: “I can bring a plus one, right?” Nicole: “Ummm…”

21) Ashley: “Caleb, we may never know what happened to her.” Me: *crying because these two are such beautiful people*

22) “I might have embellished slightly.” Yeah, Ezra, you’re good at that.

23) I love how Caleb is bitching at Hanna because he thinks it’ll make her feel better.

24) Sara is so good at playing the victim. I hate her.

25) Spencer, Aria, and Hanna breaking in to Lesli’s lab in the middle of the night…because night crusades in a creepy dark places plus wild animals is a good idea.

26) We really haven’t seen a lot of Ali this season. WTF writers?

27) “I haven’t even stolen anything yet!” Bahaha, Hanna and the microchip

28) Spencer: “Bitch chipped us!” Me: “Chip me, too. Pass those Mesquite BBQs.”

29) I just noticed that in Hanna’s flashback of the Milgrim experiment that the switch for Emily was flipped up and red, so she chose Emily. I think the only person we’ve yet to see who chose who was Aria. Spencer chose Aria. Emily chose Spencer. Hanna chose Emily. So maybe Aria chose Hanna.

30) Hanna be like, “I’m with PETA now.” *sings “Born Free” while opening cages*

31) Feeding the rabid raccoon cheese sticks. I can’t even.

32) Mona knows her medical shit. She knew the donation form for Charles was fake cuz of the drugs he was on. My smart lil sociopath.

33) Sara ain’t got no chip. Emily, you know that means something is up with her. THINK ABOUT IT!!

34) Sara: *kisses Emily* Me: “You little ho.”

35) And now Daddy D knows Charles ain’t dead.

[clexaao3feed]

After all this time (I'm still into you.)

by InsertAnUsername

[Cross Fic.]

Spencer is working as a Lawyer in London; she has became the master of Introvert, the only company she has is her little companion. She rarely speaks to her best friends from Rosewood due to everyone being busy with their own lives. That's until Aria comes to visit her after her book tour.

----------------

 Raven is still in love with her ex girlfriend, she even accepts her ex girlfriend engagement party invitation when she was drunk. (Hoping she could attend it to show her ex girlfriend what she's missing out on.)

Raven and Clarke then set out for London to attend the party.

Raven bumps into Anya and her new fiancee near a coffee shop. Anya asks if Raven is bringing anyone to her engagement party and Raven panics with a yes.

Raven ends up grabbing the nearest woman she's sees in a panic and introduces her to Anya and Niylah as her girlfriend. ----

Basically, a fake/pretend relationship, merging two fandom's into one.

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[There will be background relationships; such as Emison and Clexa.]

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Words: 5367, Chapters: 1/?, Language: English

Fandoms: Pretty Little Liars, The 100 (TV)

Rating: Mature

Warnings: No Archive Warnings Apply

Categories: F/F, F/M

Characters: Raven Reyes, Clarke Griffin, Anya (The 100), Niylah (The 100), Lexa (The 100), Aria Montgomery, Emily Fields, Alison DiLaurentis, Ezra Fitz, Spencer Hastings

Relationships: Raven Reyes/Spencer Hastings, Anya/Niylah (The 100), Alison DiLaurentis/Emily Fields, Ezra Fitz/Aria Montgomery, Clarke Griffin/Lexa

Additional Tags: Background Relationships, Crossover, Soccer player Raven, Photographer Clarke, Band member Lexa, Band Member Anya, Minor Anya/Raven Reyes

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