#connelly leather

[boricuacherry-blog]

elodiia:

Michael Jackson designed the interior of his 1999 Rolls-Royce Seraph Limousine himself with 24K gold embellishments added to the already magnificent Connelly leather and rich walnut interior.

1999 Rolls-Royce Silver Seraph Limousine. Rolls Royce produced only 1,570 Silver Seraphs from 1998-2002, all of which were hand built in Crew, England. This one was built especially for Michael.

elodiia:

Michael Jackson designed the interior of his 1999 Rolls-Royce Seraph Limousine himself with 24K gold embellishments added to the already magnificent Connelly leather and rich walnut interior.

1999 Rolls-Royce Silver Seraph Limousine. Rolls Royce produced only 1,570 Silver Seraphs from 1998-2002, all of which were hand built in Crew, England. This one was built especially for Michael.

[omegaremix]

Cold Waves @ Warsaw; September 15 & 16, 2022.

If I told you that I was feeling shaky going into attending Cold Waves, you’d write me off instantly. Why would I still feel nervous about attending shows? Sure, the event is everything, but every trip to grandiose New York City is still a major thing for me. It’s still feels like uncharted territory and I’m still not over it but it has everything Long Island fails to provide: the venues, the people, the exciting energy, and an allure I still can’t put my finger on. It’s all for the taking, whereas on Long Island I had way more than enough. Also: anxiety. (Film at 5.)

I was only mere days away and I had to get ready for two straight nights of taking trains to and from Brooklyn. Cold Waves would be the third show I’d attend this year - fourth if I cared going to Ministry’s “Industrial” Strength tour which I didn’t go to. I was a frantic wreck anticipating this industrial legends / synthwave festival. The tremors in my black heart would stop only if I finally arrived at Warsaw. It’s my third visit there. The first was for Hospital Productions’ 20th Anniversary and the second was for Black Marble and Cold Cave on a hot June day - before my world, my momentum, and soul were all upended.

I don my black cap, a Clock DVA shirt, blue jeans, black boots and new black leather jacket. It’s sunny out, a hazy blue sky is being invaded by cumuluses all over the place - perfect conditions for an afternoon drive westward on the Long Island Expressway, down on Sagtikos Parkway, through Southern State to Rt. 231, and heading south to Rt. 27A to the Babylon station. I took no chances catching the earlier one-hour train to Penn Station, then hopped on the ‘E’ line to Court Square’s ‘G’ line to Greenpoint Ave. The train ride was bliss as hardly anyone was on it.

It was 6:15 PM when I stepped off the G and went upstairs to Greenpoint, my favorite Brooklyn neighborhood. It only took me 15 minutes to walk a few blocks down to Driggs Av. in Kings County’s Polish neighborhood. It’s only 6:30 PM and already I’m being greeted by a crowd of three at the very front of the line. One of them saw my DVA shirt and gave me two thumbs up. “Great shit, man!”, he said. I smiled and my heart rate went up 20.00% knowing I made the right choice of t-shirt for night #1 of Cold Waves. I found myself standing at the exact same spot on line more than four years ago when I waited to enter the venue for Cold Cave and Black Marble. It was that very corner where Wes Eisold stood with Genesis P. Orridge before that show. Doors open at 7 PM as all of us trudge towards the venue for our security checks before entering paradise where I’m immediately hit with the smell of incense, a special smell distinct to my Brooklyn travels and nowhere else.

The music existed before the beginning of time and it was pumping. No wonder - DJ Andi (Harriman) was behind the wheels of steel. She’s a fixture of the neighborhood where she fit perfectly with the industrialists and synth-wave demographic that populate there. With me being 15th in line, I won a spot up front. As always without fail. I was feeling great about what was about to go down for the next five hours. The first person I thought of was my Roman goth friend Lira* who I wished was there with me. She would’ve blended in with all these vampires, witches, and mistresses attending; many walking around wearing 242, Wax Trax, Pig, Pigface, Hocico, and Twin Tribes shirts.

7:45PM is here. The dee-jay fades out, the overheads turn off and the first act is ready to go. Cold Waves is finally underway.

Spike Hellis was the first of ten on the roster and kicked off the entire festival. The fresh Los Angeles duo have enjoyed a new sizable uptick of exposure. They were active and had lots of energy on stage; a theme that they’d set the tone for the entire program. Their fast-paced EBM, electro, and electronic hybrid was a fine example of the current sound that Los Angeles had to offer. Both Cortland Gibson and Elaine Chang traded instrumental and (screaming) vocal duties with each other while conveying themes of agony, control, rage, emotional despair, and submission that rubber-stamped their own pandemic-era, all accentuated at the end with an annoyed Chang dealing the finger to an audience member as the cherry on top. Who knows what happened there? What I do know was that someone threw an empty beer can at them during their set and security called him out on it; eyes and pointy fingers in his direction with a one-and-final warning not to do it again.

For those wondering why Rein is being highly praised all over, you’ll see why. One of two solo acts, Rein wasted no time taking the stage and it wasn’t long for her to show everyone why she’s one of the most talked-about synthwave acts of recent. It’s not just her razor-sharp EBM delivery and style but also her choreography which made her perfectly groove to the music. She can seriously move it like no other and also delivered plenty of hard-edged sounds of equal measure. It was more than enough to ask who the fuck Shakira was, because she’s got nothing on her. It wasn’t just Rein who was motioning to the music. I look to my right and seen a good number of people getting into it, too; such as the guy three spaces away from me who happened to be wearing a gas mask through her set. After she closed out her set came another intermission. The next three legendary acts have yet to come into play and right behind me are three belligerent drunks (one male and two females) fighting over who bumped into who, not saying ‘excuse me’, who stood where, and lots of name-calling and f-bombs lobbed at each other’s slovenly faces. Not a dull moment so far.

Portion Control was the third and most enduring act of the festival with their debut cassette release A Fair Potion dating all the way back to 1980. I’ve constantly heard of them through new-wave, industrial, and synthwave circles. It’s my first go at them and Wow. They. Nailed. It. They became one of the very few artists I ever discovered to give me a perfect example of everything I was looking for on the very first listen. Perhaps the hungriest, meanest, and venomous act I discovered live or not. I may have caught them at their best ever and it lead me to the three Seed e.p.’s. Onstage, Dean Piavanni was a vocally sinister, persuasive, and direct force who could’ve easily taken on the audience (and would’ve won); as Jon Whybrew was on the controls transmitting ultra-energetic and juiced-up EBM and industrial techno for the small masses. It was the most exciting payout of the night so far.

If there was ‘the’ reason that attending Cold Waves was an absolute must, it was the team of former Wax Trax and Ministry members Paul Barker and Chris Connelly. They are part of the reason why everyone had some of the best moments of their lives and made for some of the greatest industrial releases ever. Billed as The Revolting Cocks Corpse and in conflict with Al Jourgensen’s version of the band, it would be their last-ever appearance. I hate to admit, a scratch off the bucket list was long overdue and years in waiting. Now, here was my chance of seeing both of them live in one shot.

Want real-deal Cocks classics? You got ‘em. Paul Barker handled his iconic bass logo-ed with the Cocks’ Beers, Steers & Queers emblem on it before kicking off with “38” and brought out former Cock (Front 242’s) Richard 23 on vocals. After that comes Connelly onstage in casual wear in a trucker hat, jeans, and a shirt that’s scrawled “Strong And Pretty” on the front, so we’re getting the nutty version of him. Then the rest of the hits came rolling in: “Attack Ships On Fire”, “Cattle Grind”, “Crackin’ Up”. When Connelly asked himself out loud what else to play, the audience yelled “Let’s Get Physical” (rest in peace, Olivia Newton John). “Well, I didn’t ask for your help!” he said coyly to all of us and we couldn’t help but to laugh. They did cap off their monumental set with “Do Ya’ Think I’m Sexy” and it felt like a dream. Connelly leans on the speakers acting all cute and blowing kisses to the crowd with a smile. Before you know it, he’s laying on the floor with arms wide open like he’s just fallen in love as Barker and company call it a night. Nothing but good times and an ultimate culmination of their Wax Trax output as I hoped for.

Finally, it was Front 242’s turn to take the stage; the apex of an already high-flying night. It would be a bittersweet performance at that as this was one of many shows on what was their final U.S. tour. Many fans thought it was because of Jean-Luc De Meyer health issues but thankfully that wasn’t the case. No matter, it was everyone’s last chance in the states to catch them before leaving North America once and for all with no turning back. I considered Front 242 to be a bonus for me as I was heavily into their pioneering Eighties material during my community college years, their later albums, and C-Tec which De Meyer took part in. I had absolutely nothing to lose seeing them live. All throughout the night I’ve seen photographers-for-hire huddle around the space in-between the rail and stage getting their dozens of shots in. For Front 242, the three-song policy got extended to four. It had to be. Warsaw security managed to catch one snap artist who didn’t know better.“No flash! No flash!” they told him as they pointed at and called him out on it. Which also begged the question: where the hell is Brooklyn’s industrial / synthwave fixture-photographer Nikki Sneakers? It’s been at least five years since I’ve seen her shooting at venues.

Front 242 played their most-recognizable and popular classics that established and pioneered EBM with “Don’t Crash”, “Operational Tracks”, “U-Men” and many more. It was all Richard 23, De Meyer, and Patrick Codenys in their unmistakable iconic tactical outfits with a shirtless Tim Kroker on live drums. They took all the power and energy they had and kept it going all the way, delivering nothing short of a rhythmic and beat-heavy experience they were known for. One funny moment to be seen was when De Meyer stood cross-armed wearing his huge shades and had such a scowl on his face, looking all bad-ass as the other three carried on. After eight or nine songs, 242 left the stage - not to lock targets and catch men - but to gear up for their first encore. We all knew there was more to come and what came was “Headhunter”, one of industrial / EBM’s most historic songs ever written. Two more songs later and 242 left the stage again charging up for another encore. As soon as we all heard the soundbyte “Hey, Poor!”, it meant only one thing: “Welcome to Paradise”. Only then was the perfect Front 242 show complete. The team of 23, De Meyer, Codenys, and Kroker took in a lengthy applause and gave a standing ovation as they all thanked New York City and bid farewell. The lights turn on for all of us to head out of Warsaw. I turn around to get going and behind me I see a female fan being consoled by her husband - and she’s in tears. Either she finally fulfilled her life-long dream of seeing Front 242 or saddened that they would say goodbye and farewell to the states, never to return.

The first five acts were amazing. It felt like I did a great service to myself in attending. I already checked off all the boxes I wanted to: take mass transit, visit Greenpoint, see Barker and Connolly play, and be associated with my kind of people. A night out in Brooklyn never fails and the thrills would still continue after the show ended. There’s always the experience of taking the alphabet and number lines - taking the ‘G’ and then the ‘7’ line to walk from 10th St. towards the Empire State Building and then arriving at Penn Station all by one-in-the-morning. Like the ride from Babylon to Penn Station, the reverse ride was quiet and not as crowded as a can of sardines. More exhilarating was the ride from Babylon back home where all the roads were empty and quiet, leading up to driving east on a wide-open Sunrise Highway at three in the morning and getting home all in 25 minutes time.

Night One of Cold Waves was now in the record books.

**********

Friday afternoon? Well, what an adventure. I had no idea that traffic was literally paralyzed on Sagtikos Parkway. It was that point where I knew it would be down to the wire getting to the Babylon station. From then on, I was finding every inch I could to cut other drivers off, find detours, and get head-starts while waiting for green lights and cursing out turtle drivers. Traffic was tight and every decision counted. One minute I thought I was going to make it and the next minute I was doubtful. South on Commack Road, down Deer Park Avenue then Route 231, and finally to Route 27A where I was only a few thousand feet away from the station. I arrive at the parking lot across from the station, bolted out of my car, ran across the street and up the stairs like a motherfucker. I finally reach the platform and - it’s taking off. Fucking great.

I had one hour until the next train to figure out how to unfuck myself and get to Warsaw in time. I tried signing up for OMNY (New York City’s wireless transit pay) months ago but was unsuccessful. Now time to try again. I downloaded the Apple Pay app- and then had to call the bank to connect my card. Now that it’s tied to my phone, I tired again to sign up for OMNY. Success! The 4:35 PM Babylon train arrives and I had 55 minutes to map out the quickest path in getting to my destination. The train arrives at Penn Station and I waste no time hauling ass to the ‘E’ line. Here we go. I hover my phone over the turnstile and - GO. Raced up and down the flights of stairs and I catch the ‘E’ train by five seconds before its doors closed. I take another 20 minutes to cool down before the transfer to Court Square / 23rd Street’s ‘G’ line. I hop off, sprint, and find the ‘G’ train that would take me to the Nassau Avenue stop, the closest one to Warsaw. It took me about two minutes and 1,000 feet to get there. I finally arrive out of breath before I go through the security checks and magic wands before entry. All clear. It’s 7:40 PM. Five minutes to go and I’m at the exact same spot I was the night before. All worship to Lucifer that I made it.

And now, night two begins.

If there was any artist to kick off Friday’s festivities that represented his hometown and carried its flag, then Confines was it. The hard-hitting, beat-heavy industrial-techno / EBM project certainly had some punch to it. Like Rein, Confines was a one-person show who did all of his instruments and movements on his own. Not bad at all. At the time of this writing I learned something about him that totally kicked me off of my seat: Confines happened to be David Castillo, co-owner of Brooklyn’s Saint Vitus bar and venue, host of the Age Of Quarantine podcast, and lead singer of Primitive Weapons. Are you fucking kidding me?! I was on the lookout to spot him at my last visit to -Vitus to see Uniform but I was shit out of luck. Now I finally found him performing at Cold Waves and didn’t even know that was him until after the fact! Fucking right. And it doesn’t stop there. I also learned that both Geography Of Nowhere 1 and Work Up The Blood was mixed and mastered by Hospital Productions’ Kris Lapke / Alberich and laid out by Sannhet’s AJ Annunziata. Wow. Talk about getting five-in-a-row on that bingo card.

Fans of Vancouver musicks enjoyed a two-for-one approaching the middle of the night’s bill. We were all treated to Leathers consisting of Shannon Hemmett (vocals), Kendall Wooding (synths), and Adam Fink (drums). For anyone who wanted the 2022’s tense of what an Eighties’ synthpop / new-wave show would look like? Well, now you have it. It was a treat seeing them perform and also seeing the slender Hemmett as an Eighties dream while Wooding and Fink played a smooth mid-tempo set. But with a wardrobe change and Jason Corbett coming into play, Leathers became Actors and Artoffact’s flagship band was the iteration that appeared on everyone’s radar as of late. They traded in their Eighties’ synthpop and new-wave cool for heavier rock. This time Hemmett took over synth duties and Wooding wielded bass as Fink stayed on drums and Corbett helped Actors push more power and electricity into their second set to keep the excitement steady from start to finish. I tried out both Leathers / Actors before and for some reason they’re not my type of heavy-rotation listening. However, there’s no denying that their talent brought them their well-deserved fanfare and exposure.

Not since Merzbow’s personnel bringing out his gear at Output have I been bracing myself with another artist’s set-up. Lighting fixtures attached all over and bulbs placed in front of huge cymbals might’ve told me that the next set would burn my eyes right off my face. Luckily, I was wrong. That was Kite’s visual set-up and a precursor to their performance. The Swedish duo of Niklas Stenemo and Christian Berg were another act I never heard anything of, and afterwards tilted me to give them a shot. Both were skilled in playing two keyboards at once (or keys- and knobs in Berg’s case) as they delivered a lively performance and Stenemo a few kicks, switching between synth-wave and synthpop. Their latest single “Bocelli” was the highlight on the night, showing their dramatics while also providing a soulful, heartfelt, and at times acclaimed power.

While Kite tore down their equipment, I thought of something. It’s been five years since I attended Hospital Production’s 20th Anniversary. I remember one moment near the end of the showcase when Bone Awl was playing their set - where all of a sudden Dominick Fernow (Prurient and Hospital- label-head) runs to the apron, stage-dives over the pit, and into the audience for a crowd-surf. It was a moment that never escaped me since then. Here I am back again at Warsaw for Cold Waves five years later and I’m at the rail for both nights. During one intermission, something dawned on me - I look at the rail, then the edge of the stage, and then the rail once again. I thought to myself: how in the fuck did Dominick have enough clearance to fly in the air, avoid banging into the rail, and land safely on top of the crowd? Good thing he successfully pulled off that spectacular feat.

Asterisk: New York City was supposed to receive Stabbing Westward as the closer to Cold Waves but had to bow out. That’s where Cold Cave gladly stepped in and ultimately sealed the deal for Cold Waves’ entire New York City stop. “Remember when we last played here?” lead singer Wes Eisold asked the audience. Yes I do, Wes. Yes I do. Seeing Cold Cave again for the second time in the same venue was another special bonus to me, and always a welcome one at that. I walk through previously-ventured territory and this time it was just as exciting as the last. All hits and zero misses from Eisold, his lady Amy Lee, and company. “Glory”, “People Are Poison”, “A Little Death To Laugh”, “Confetti”, “Rainbow Girls”, “Godstar”, “Theme From Tomorrowland”. You named it, they played it. For 50 minutes they kept a steady upbeat energy of synthwave and classic goth pedigree; not to mentions tons of smoke and fog fired towards our way to where I’m seriously considering getting myself screened. The only difference between their 2018 appearance and this one at Cold Waves? No sign of Max G. Morton, and Eisold’s heroine Genesis P. Orridge who joined him on guest vocals had sadly passed away since then.

But there was one shining onyx that fit the head jewel of the crown: when Eisold and Amy Lee brought their daughter out on stage. How fucking amazing was that? The audience collectively melted. Imagine being in your single-digits and having an amazing story to tell your friends back in school about how your rock-star dad brought you up on stage to sing for the crowd. Through their entire set, Cold Cave never let up and missed any of their targets as Eisold, Amy, and the rest played through their last encore and that’s all they wrote.

Before I knew it, it’s 12:20AM. Cold Waves in New York City was now history.

**********

I walk out of Warsaw and away from the busy volume of the patrons standing around in front of it. The night skies changed their tune to a purplish overhead. They were nice enough to wait until my moment was over to return. I’m now processing how to put the last 48 hours into words and also my place in the universe after being where I wanted to be. I head west on Driggs Street through McCarren Park weaving through the pedestrians walking towards me and observe a few small groups of people congregating and chilling on park grounds with their portable speakers. It’s only a few more blocks before I enter the ‘L’ line that will connect me to the ‘2’ line.

If only I can tell you the city’s delights that I’ve seen during my travels to Penn Station. I’ve seen female torture artists and double-pigtailed mistresses in their black onesies and shiny knee-high boots. There’s an Asian girl my height in a low-cut purple dress and her thigh is all bloodied and bandaged up; situated below her very visible purple underwear. Across from me was this gay guy who was the stunt double for The Ukiah Drag’s Tommy Conte, kissing his boyfriend on the cheek and sad-gazing in his boyfriend’s eyes who boarded off the ‘L’, but not before he blew Tommy a kiss goodbye. Another couple hopped on our crowded car. His blonde girlfriend’s neck and chest were literally covered red with hickeys and didn’t give a soaring aerial fuck about all the eyes and stares aimed at her. The ‘L’ ends and I transfer to the quick ‘2’ which only took five minutes to get me to Penn Station, leaving me with a half-an-hour wait for the Babylon train to arrive. Lather, rinse, and repeat with a left-hand forward ride to the station and another Sunrise Highway night drive back to my quiet-as-night neighborhood. A return to silent normalcy.

**********

Chicago has been widely known as the industrial capital of the U.S. It’s where Jim Nash and Danny Flescher established Wax Trax as a record store and the label that’s given birth to the careers and legacies of Ministry, KMFDM, My Life With The Thrill Kill Kult, Meat Beat Manifesto, and countless other acts. It’s also where Public Image Ltd.’s Martin Atkins created Pigface and Invisible Records and gave life to Chemlab, Damage Manual, Dead Voices On Air, Murder Inc., Ritalin, Sheep On Drugs, and Test Dept. All these artists made my identity, or part of it. Throughout the years I’ve followed all of my favorite artists and have never given up on them. They were there for me during my difficult times at community college and to this day I’ve never tired of their projects. It wasn’t until recently when I revisited the classics that I realized that these artists and labels were in my heart all along. Millions of industrialists join each other in various online groups to share their stories and live memories and say “hi!” to the many legends who lurk around and keep that cameraderie going. I see the company around me in Greenpoint who share similar interests, qualities, and aesthetics and those are the people I want to be associated with.

I thought attending just one Boy Harsher show was a rite of passage. Yes - more in the synthwave world. I’ve also attended shows for Nine Inch Nails, Ministry, and Killing Joke and that’s more than enough for me to hoist my flag for this genre. (Naysayers will wave their filthy unclean fingers at me and say “not so fast” because I wasn’t able to go to a Skinny Puppy show.) I’ve heard many great things about Cold Waves that I’d be a fool to miss out. Mutuals who went told me it’d be amazing and they were double-right. With Front 242’s final American appearances and with Braker and Connelly having to quit the RevCo name, this year was a non-negotiable. What started out as a one-night benefit and an honor of Jason Novak (Acumen Nation, DJ? Acucrack) and David Schock’s fallen friend Jamie Duffy evolved into an (almost) annual round of the best and legendary industrial, synthpop, and synthwave acts. Like my attendance with the previous Cold Cave and Black Marble shows, attending Cold Waves was a thank-you to the scene that gave me an identity but also to a certain number of acts that helped build it.

It’s been one of the best and most exhilarating moments of the year, ranking as high as Sacred Bones’ 15th anniversary. If the line-up for next year is as good or better (how could it?), then I guarantee you I’ll be returning.

[bellheadband]

Derision Cult announce 'The Mercenary Mixes' (out 10/3 on Glitch Mode Recordings) featuring "Slaves Rebuild" (BELLHEAD Remix) with Reeves Gabrels (The Cure/David Bowie).

Also featured: Assemblage 23, Chris Connelly (Cocksure), GoFight, Steven OLaf, Stabbing Westward, Slighter, Caustic, Stoneburner, Moris Blak, Actors, SpanktheNun, Martin Atkins (Pigface/Ministry/PiL), The Joy Thieves, Leather Strip, Cyanotic, Justin K. Broadrick (Godflesh)

[darkarfs]

It seems that 9-year-old me was correct when i saw The Rocketeer and decided, “That’s the hottest person ever in the world.”

[imagoddamnonionmason]

Ashley "Smokey" Woods

Basic Information

Other name(s): Ash

Citizenship: US

Language(s): English, Spanish, Russian

Place of Birth: [redacted].

Date of Birth: 17/08/1983

Occupation: US Navy Fighter Pilot

Status: Alive

Physical Appearance

Eyes: Blue

Hair: Black brown

Skin: pale fair, white

Tattoo(s): Right arm, from shoulder tip spanning over upper arm and ending at the elbow. A phoenix, consumed by flames, ash and smoke. [Example Image]

Scar(s): none, yet.

Face Claim: (Adult) Jennifer Connelly, [child face claim]

Description: Ashley, in her down time, can be found wearing a combination of the following types of clothing: straight, mom or slim jeans, plain coloured short and long sleeved shirts, flannel shirts (got that style from her dad), leather jacket, heavy fur lined winter coat, sneakers or boots.

She got into the habit of wearing non-branded clothes throughout her teens, picked up from her mother; the only item of clothing she own that has any sort of picture/brand on it is a baseball cap.

Her features are an even balance between her mother and father, her eye shape resembles that of Jodie, whereas the colour is an exact match of Frank's. She has the same nose as her mother, too. Although, most people say she looks more like Frank, until she then stands next to Jodie. Then when she stands in the middle of her parents, people can't decide which on she resembles more.

However, most faces she pulls, the facial gestures, are very much Frank. You can definitely tell she is her father's daughter, lol.

Ashley's hair is very straight, black-brown in colour like Frank's and it straight cut at her shoulders with a middle parting. She keeps it long enough that she can comfortably tie it back without any strays falling into her face.

Personality

Like(s): adrenaline rushes, flying, tinkering with cars/bikes, taking things apart and putting them back together again, puzzles, rollercoasters, riding her motorcycle, adventure, pizza, coffee (like her mum), teasing/banter with her dad

Dislike(s): bullies, people who abuse their authority in order to cause harm to others, being underestimated, people making assumptions about her based on her parents, tea, certain kinds of bugs (centipedes will freak her out), scratchy tags in clothing, arguments without a point/baseless accusations, bland tasting foods

Strength(s): loyal to a fault, fast thinker, calm under pressure, witty, funny, cares deeply, tactically intelligent, diligent, meticulous, takes no shit, will stand up for herself and others, defends the little guy

Weakness(es): can be blunt sometimes, doesn't work well with new people easily it takes her time to warm up to new additions to teams, can sometimes seem like she prefers working alone/with a small group, can get annoyed easily when someone messes with her routine in a big way, can sometimes let her anger get the better of her, can sometimes be a little impulsive

Relationships

Parent(s): Frank and Jodie Woods, Aleksandra (@alypink's OC) and Russel Adler

Sibling(s): Marynee, Heather, Victoria Adler (alypink's OCs), David Mason (kinda views him as a brother, given he basically gets adopted by Frank and Jodie).

Spouse(s): Russel Adler Jr (alypink's OC)

Children: tba

Biography

Ashley was born in 1983 to Frank Woods and Jodie Hall, who would then later marry to become Mr and Mrs Woods. Her childhood wasn't without its challenges, though it was the best that both of her parents could offer given their line of work and the dangers they faced. Ashley cannot really remember ever wanting for anything.

Though her memories are not great surrounding this, she knows that there was a time during her childhood that she had to be heavily protected, though she was never made privy as to why. Jodie always said that it didn't matter, that it was over with, and there was no need to worry about that anymore. Ashley was always curious throughout her teens of the subject, but Jodie would often ask her to stop. It's only when she's older that Jodie and Frank explain about Jodie's past and a man named Keith.

When old enough, Ashley had made the decision that she wanted to follow in the footsteps of her parents and pursue a career in the military and spent a lot of time weighing up her options; initially, she was met with both of her parents trying their best to convince her to choose something else to do with her life, but she was dead set on it. Jodie relented first, Frank did so later. Both knew she would only do as she wished anyway. Once Ashley had looked into all possibilities, she had settled on wishing to join the Navy, the interest sparked after David had joined. Given that she had a lifelong interest in aviation, planes and fighter jets, Ashley knew where her path within the Navy would take her. Her aim was to become a fighter pilot (maybe she also saw Top Gun, which made the job look even cooler when she was a teen).

The path to becoming a Navy fighter pilot was long, arduous but definitely worth it. She gained a degree in engineering, then moved through the required training. It may have taken her years, but those years were spent going through regimented, gruelling training to become a well-rounded, adaptable, skilled fighter pilot.

Later on in her career, she goes through more training to become an instructor, teaching the next generation of pilots.

[my18thcenturysource]

Egyptian Revival

Yesterday's post was about the full opening of Tutankhamun's tomb, but there have been several times when Egypt has had a strong influence in fashion and art, and here I selected a few things from the 1910s and 1920s that are Egyptian revival, and of course let me know which ones are your favourites of you can add some when reblogging this post.

Here we go.

The beginning of the century marked the birth of modern dance, so we see that part of the Orientalism trend had a deep Egyptian influence from Les Ballets Russes to the Denishawn school: strong lines, profile poses, spectacular costumes, all taken from the art and sculpture of the ancient Egypt.

Here a little video of the Denishawn dancers along Ted Shawn (not the dance of the picture above), with no music because this is FROM 1913:

Also, this influence is clearly seen in the art deco masterpiece that is the dance scene from Metropolis (1927):

Denishawn students (Lillian Powell, Charlotte Brendel, Grace McCrea, Irene Pryor, Claire Niles) in an Egyptian dance created as part of a vaudeville act by Ted Shawn (not related to the Denishawn Egyptian Ballet), Hixon-Connelly, 1918, The New York City Public Library.

Vaslav Nijinsky and Serafima Astafieva in "Cleopatre", probably by Ernst Sandau, 1912, National Portrait Gallery, London.

Desiree Lubovska as Cleopatra, ca. 1915.

Ida Rubinstein with costume designed by Erté, 1920s.

Dancers from the Folies Bergère with costumes designed by Erté, Paris, 1924.

Dance of the Priest of Ra, from Dances of the Ages, Denishawn dancers, 1913.

Dance Scene, from Metropolis, Fritz Lang, 1927.

Fashion and accessories were deeply inspired by Egypt in the 1920s, thanks to the simple shapes of the garments, the use of striking accessories and jewelry, and the use of embellishments and embroidery to elevate the simple dresses: from appliqués to bead embroidery, to burnt velvet and translucent layers. And of course, let's not forget the use of colour that gives the feel of ancient Egyptian art: gold, sand, teal, royal blue, and burnt orange.

Orange burnout velvet dress, 1920s, available in Antique Graces.

Egyptian revival brooch, Max Neiger, 1920s, sold at auction.

Egyptian revival silk dress with appliqués, 1920s, Stephens College Costume Museum.

"Cleopatre" grande robe du soir by Jean Patou, Les Modes, september 1921 (click that link! You can read the whole magazine!).

Evening dress, Thurn, 1923-26, Metropolitan Museum of Art.

Pair of leather gloves with silk embroidery, ca. 1925, LACMA.

Beaded Egyptian revival dress, 1920s.

Egyptian revival silver gild and enamel charms necklace, 1920s, on sale on etsy.

Of course, let's not forget the graphic arts. illustration was a key for advertising and communication when colour photos were not available. Here a small selection of my favourites:

"Cleopatra", J.C. Leyendecker, for the cover of the Evening Standard, August 1923.

Ad for Egyptian Deities cigarettes, 1920s-30s.

Egyptian Goddess, ca. 1929, George Barbier.

Ramses perfume ad, 1923.

Cover for Harper's Bazaar, February 1927, Erté.

Music sheet cover for the Tutankhamen Shimmy, 1923.

And finally an extra: a Tutankhamen shimmy recorded in 1926:

[astroartsya]

Scorpio Venus

-Scorpio venus-- These people are extremely seductive and sexy. Being hot is effortless and style is bit rebellious and transformative. This placement may create sex symbol because of mars and pluto being planets of sex and venus being planet of beauty and aesthetic. Leather , black and white combinations and red are common on this placement. Even tho venus is afflected in Scorpio I see it as intense in good way and it can make a person with magnetic quality and amazing for musicians as well.

Famous People with Scorpio Venus:

Jim Morrison, Doja Cat, Winona Ryder, Leonardo Dicaprio, Jennifer Connelly, Jenna Ortega, Joaquin Phoenix, Cardi B, Anne Hathaway, Vanessa Hudgens, Zoe Kraviz,Drake, Jay-Z, Matt Damon, Jodie Foster, Zac Efron, Avril Lavigne, Snoop Dog, Emilia Clarke, Rachel Mcadams, Pete Davidson, Alicia Silverstone, Penn Dayton Badgley, Brittany Murphy, Ethan Hawke and many many more.

There are some infamous people with this placement cause pluto and mars and also be very harsh planets that have to do with death and war.

Eg:

Charles Manson - A cult leader with fans

Ted Bundy- Murderer who girls went nuts over

Vladimir Putin- Dictator

Here You can see the style and vibes of Scorpio Venus Women.

[alakeeffectgirl]

Taken from @youbegmetostop

RULES: Post the first paragraph of your last 10 fics posted to AO3. (Sort by date posted.) If you have less than 10 fics posted, post what you have. Lake’s note: Fics that are archive-locked are marked with ** (as I don’t need McQ’s kids finding them, unless they’re already on AO3 and at that point: devil’s sacrament, etc.)  

1. the sound of your heart ** (RPF, Tom C/Heather McQ, background implied OT3)

Tom sees Heather sitting alone at a table near the bar, in a low-cut sky blue dress and heels, her purse in hand and looking studiously at nothing. It's exactly what they'd planned and yet - his lungs still feel like they're tightening just slightly in his chest. The dress is much shorter than she usually wears, and the visible expanse of pale skin is so much more than he's used to seeing. Already, he wants to press his mouth to the freckles just south of her elbow. 

2. if I never laid eyes on you, would I feel something missing ** (RPF, Tom C/Chris McQ/Heather McQ)

"You look good," Tom says, in that tone that Chris knows means there's more coming. "But you could look better."

3. could have sworn I saw fireworks (Top Gun: Maverick, Mav/Rooster)

Mav's first thought upon regaining consciousness is that he's warm. His second thought is that his head hurts worse than he can remember it hurting, since - since… woozily, he registers that he's probably concussed. There's probably blood. Something feels sticky near his ear. And near his collar.

4. how good does it feel ** (RPF, Tom C/Heather McQ, Tom C/Chris McQ/Heather McQ)

It's 2008. Tom is on the small dance floor of an exclusive, members-only club. He's got one arm loosely around Heather's waist as the DJ plays Kings of Leon. At a nearby table, Katie and McQuarrie are talking about theater.

5. drop shot ** (RPF, Tom C/Chris McQ/Heather McQ)

"I've got stuff to get done," he says, when Tom brings up Wimbledon. "Heather might go, though."

6. all we are is indestructible (RPF, Tom C/Chris McQ)

"It's not like I'm in a minority here," Chris points out, the first time Tom asks why he keeps his wings up, out of the way with a soft leather harness. He gestures around at the crew, most of whom are wearing something similar. None of the actors are, but that's part of their jobs unless the role calls for their wings to be bound. He waves a hand. "Plus, you're comfortable with yours just being... everywhere. I'm not."

7. Dans les coulisses ** (RPF, Heather McQ/Jennifer Connelly, Tom C/Chris McQ/Heather McQ)

Jen's dress barely moves as she steps out of it, and Heather can't help but laugh as it then slides very slowly onto the carpet. Jen grabs it up before it can truly puddle, and Heather realizes Jen's completely topless. Her breath stops in her throat and it takes a second before she can swallow and draw another. It must be audible, because Jen glances over and gives her a smile. "You get used to it," she says dryly, "being nearly naked around other people."

8. yeah, when you lay me out ** (RPF, Tom C/Chris McQ/Heather McQ)

"Haven't we danced around this long enough, darling," Heather says, just as Tom sets his empty wineglass back onto the table, right next to him in her pajamas and robe, smelling of jasmine. He blinks in slow surprise as she slides her hand up his chest, then grips the collar of his shirt and pulls.

9. everyone seems a damn genius lately (Top Gun: Maverick, Mav/Rooster)

They were three days out from Oceana when Bradley's world turned upside down yet again, another Maverick curveball. The third one in three weeks. He's not sure what number they're up to, if he counts the whole rest of his life.

10. reading about yourself on a plane ** (RPF, Tom C/Chris McQ)

Chris has just taken off his glasses and folded them on the nightstand next to his phone when there's a soft knock on the door. It can only be Tom - the last staffer left more than an hour ago, so there's no one but the two of them in the house. "Yeah?" he calls.

[omegaradiowusb]

DECEMBER 3, 2022 (#337)

Foreign Resort, The: "Stand Back" Bootblacks: "Parallel" (Chris Vrenna RMX) Soft Moon, The: "Become The Lies" (***NEW) Wingtips: "Eyes That Follow Suit, The" Actors: "Slaves" Leathers: "Missing Scene" Kanga: "Godless" Cold Cave: "Night Light" Molchat Doma: "Ne Smeshno" Boy Harsher: "Run" Boan: "Babylon" Male Tears: "Hit Me" Spike Hellis: "Rook" (Physical Wash RMX) + "Teardrops (Kisses)" Pixel Grip: "Dancing On Your Grave" Debby Friday: "Good And Evil" Rein: "Accelerate" Confines: "Every Day The Warehouse Shook" Soft Metals: "Tell Me" (Silent Servant edit) Paul Barker: "Evangelical Sound Barrier" (ft. Chris Connelly) Joy Thieves, The: "Nemesis" Lustmord & Zola Jesus: "Prime" (***NEW) Health X Backxwash X Ho99o9: "Gnostic Fleshmortal Hell" (***NEW) Pharaoh Overlord: "Ideal Flower" Princess Difficult: "Plant Mutilation" (***NEW) Alan Vega: "Invasion" (***NEW)

Welcome to all of our followers, supporters, and listeners to Omega Radio and WUSB. Tonight kicks off Year 11 for us and we have an early treat before our Winners of 2022 broadcasts with new, current, and relevant sounds from all things darkness. We also feature key artists from the Artoffact label and Cold Waves X’ New York City roster earlier this year. It’s our annual showcase as a thank-you to some of our followers, supporters, contributors, and listeners of Omega and one we always look forward to in playing.

Our year-end Winners of 2022 broadcasts airs in two weeks and on New Year’s Eve when we highlight our favorite, outstanding, and most talked-about sounds released this year. Thanks for tuning in.

December 17, 2022 (10PM New York City): Winners of 2022 I

December 31, 2022 (10PM New York City): Winners of 2022 II

[jacket-coats]

Dark Matter Jennifer Connelly Black Leather Jacket

$169.00

Product Specification:

Inspired by: Jennifer Connelly

External Material: Real Leather

Inner Lining: Viscose Lining

Front: Zipper Closure

Collar: Shirt Style Collar

Color: Black

Pockets: Two Outside and One Inside

Sleeves: Full Length Sleeves

Shop Now

[ultraheydudemestuff]

Cleveland Grays Armory

1234 Bolivar Rd.

Cleveland, OH           

Grays Armory is a historic building in Cleveland, Ohio. It was built by the Cleveland Grays, a private military company which was founded in 1837. This is one of the oldest standing buildings in downtown Cleveland located at 1234 Bolivar Rd. The Cleveland Grays is a social organization devoted to the promotion of patriotism and the preservation of the military heritage of Greater Cleveland. It was founded as a volunteer private military company at a time when the common or constitutional militia languished due to uninterest and neglect by state politicians.

     The unit's original purpose was twofold: to provide assistance and support to the local law enforcement authorities of the time as well as to provide a first line of defense for the city in the event that the fighting in Canada's Rebellions of 1837 spilled over the border and into the United States resulting in a third war with the United Kingdom in less than a century. The unit's motto is Semper Paratus (from the Latin: "Always Ready").  The first organizational meeting was held on August 28, 1837, and on September 18, seventy-eight men joined the active company. At the time of its founding, the unit was called The Cleveland City Guards but within the next year the membership decided that their organization would be known by reference to the gray color of their uniforms. On November 29, 1838, the Grays made one of the first of their many parade appearances fully dressed in their distinctive gray uniforms and tall black bearskin caps. As the years passed, those who had earned the status of "Pioneer" for their membership of twenty-five or more years were entitled to add leather aprons to their uniforms and to carry axes when on parade.

     The Grays saw military service as a unit during the Civil War and the Spanish–American War. Reforms of the country's militia system which began with the Militia Act of 1903 and continued with subsequent legislation at the state and federal levels meant that the era of private military companies' official participation in national military affairs had come to an end and while the Grays, under the leadership of Ludwig S. Connelly, were able to enlist in the Ohio National Guard (ONG) for duty during the Mexican Punitive Expedition, they essentially did so as a group of private citizens enlisting en masse and not as a private military company. Their participation in World War I, which began immediately upon their ONG unit's release from duty on the Mexican border, was the last conflict in which the Grays saw active service even as a group of enlistees. Individual members have served in subsequent conflicts.

     The Grays made their home in several different places from the time of their founding until the completion of their own building on Bolivar Road. The Grays' first armory was located on the fourth floor of the Mechanics Block, newly erected in 1838 at the southeast corner of Ontario Street and Prospect Street. In 1870, they moved into a building which had once served as a fire station on Frankfort Street. By March 20, 1880, the Grays had moved into the new City Armory on Long Street and used that facility as its headquarters along with the 5th Regiment, Ohio National Guard until December 8, 1892, when fire destroyed the building and much of its contents including equipment and guns belonging to the Grays. Major Otto Schade and several of his men were able to save a few items without any cost to their health or their lives. The unit was able to recover very quickly and funds were soon amassed for the purpose of building a new armory. Until construction was completed in 1893, the company found a temporary home at the Gatling Gun Battery Armory on Sibley Street.

     On May 30, 1893, a three-ton Berea sandstone foundation block was put in place by Colonel John Frazee. The main portion of the building is four stories high, and the most notable feature is the five-story tower on the northeast corner of the building. The tower has '3 x 5' foundation blocks, the main entrance corners and the front window lintels are all of solid rough-hewn sandstone. The main entry arch rests on top of polished granite columns that rise from each cornerstone. Positioned above is a black iron drop-gate, and a gothic barrier between the front steps and the colossal oak doors. There were also pointed iron rods bolted to the scarlet brick walls that make up the window protectors on the first floor. The effect is a splendid mix of color and texture in materials. The overall design effectively conveys that this is an urban fortress.  The Cleveland Grays Armory has been long known for hosting the city's premier social events. Grays Armory earned repute as an exclusive venue right from the beginning during the celebrations for Cleveland's Centennial (1896). The Grays Armory events went way beyond the customary military balls and band concerts typical during that era. This building was originally built to house weapons and provides a drill hall for the militia; this edifice quickly evolved into a vital community center for the turn-of-the-century Clevelanders. 

     The Grays Armory Museum seeks to share its historical and cultural legacy with the public. Beyond stewardship of the building and conservation of artifacts, the museum strives to preserve the traditions and the rich heritage of those who serve their country and their community. The museum actively fulfills this objective by preserving, interpreting and presenting the military history of the United States. The museum regularly reaches out to Greater Cleveland by sponsoring open-house events intended to reach diverse audiences. Each Veterans Day, the museum presents a cultural and educational program honoring those who serve. In the past, programs that have included patriotic orchestra concerts and special touring exhibits. The Grays Armory can also be rented for special events such as private parties, weddings, receptions, and even proms.  In July, 1970, the 3 manual 17 rank pipe organ was installed. The organ originates from the Warner Theater in Erie, Pennsylvania. Three or four concerts per year are given on this organ, sponsored by the Western Reserve Theater Organ Society.  The building was added to the National Register of Historic Places on March 28, 1973.

[movies-series-revct]

Top Gun: Maverick - Movie Review

by John Mark Balasabas

TOP GUN: MAVERICK (2022)

Top Gun: Maverick is a 2022 American action drama film directed by Joseph Kosinski and written by Ehren Kruger, Eric Warren Singer, and Christopher McQuarrie from a story by Peter Craig and Justin Marks. The film is a sequel to the 1986 film Top Gun. Tom Cruise reprises his starring role as the naval aviator Maverick.

Maverick (Tom Cruise) is still setting standards as the finest naval aviator after thirty years. When he takes Top Gun's finest grads on a mission that requires the ultimate sacrifice from those chosen to fly it, he is forced to face the ghosts of his pasts. Additionally, his comrade and teammate died on that operation, and he wants to leave because the whole thing left him in such financial ruin.

Admiral Chester Cain (Ed Harris) shows up at the military station in the Mojave Desert just before Captain Pete "Maverick" Mitchell's (Tom Cruise) Mach 9 Darkstar aircraft test to stop it. Mitchell, determined to show that his staff is capable, disobeys orders and pushes the plane past Mach 10 before it catches fire, literally and figuratively putting him on the ground. The stubborn pilot finds himself back in the air, once again charged with instructing a cadre of the Navy's top pilots, when Admiral Tom "Iceman" Kazansky (Val Kilmer), transfers Mitchell back to "Top Gun," an exclusive strike jet instructor program. Less than three weeks were given to prepare for the extremely impossible job of destroying an enemy uranium enrichment plant, hidden deep in hostile territory.

Fans can tell Tom Cruise is physically fit resuming his ageless role, despite tucking away his small belly in two shirtless scenes. He is also still qualified as an aviator and isn't shortsighted. A similarly ageless Jennifer Connelly played the role of his love interest in order to effectively contrast his eternal charm. Jon Hamm and Ed Harris both stood out in their uniformed roles. The scene of the co-ed squad playing beach volleyball was purposefully reproduced, and the kicking Top Gun graduates were inserted with a black lives matter consciousness.

Still, the action sequences all the low-altitude flights, airborne dogfights as well as Tom Cruise on a motorcycle donned in his original Top Gun leather jacket are likewise the breathtaking stars of “Maverick". Reportedly, all the flying scenes a pair of which are pure hell-yes moments for Cruise were shot in actual U.S. Navy F/A-18s, for which the cast had to be trained for during a mind-boggling process. The authentic work that went into every frame generously shows. As the jets cut through the atmosphere and brush their target soils in close-shave movements are very great scenes.

Equally worthy of that big screen is the emotional strokes of “Maverick” that pack an unexpected punch. Sure, you might be prepared for a second sky-dance with “Maverick,” but perhaps not one that might require a tissue or two in its final stretch. I really recommend to watch first the first movie Top Gun before this 2022 Top Gun to follow the thrill this movie has.

[omegaplus]

# 4,299

Omega Radio for December 3, 2022; #337.

Foreign Resort, The: “Stand Back”

Bootblacks: “Parallel” (Chris Vrenna RMX)

Soft Moon, The: “Become The Lies”

Wingtips: “Eyes That Follow Suit, The”

Actors: “Slaves”

Leathers: “Missing Scene”

Kanga: “Godless”

Cold Cave: “Night Light”

Molchat Doma: “Ne Smeshno”

Boy Harsher: “Run”

Boan: “Babylon”

Male Tears: “Hit Me”

Spike Hellis: “Rook” (Physical Wash RMX) + “Teardrops (Kisses)”

Pixel Grip: “Dancing On Your Grave”

Debby Friday: “Good And Evil”

Rein: “Accelerate”

Confines: “Every Day The Warehouse Shook”

Soft Metals: “Tell Me” (Silent Servant edit)

Paul Barker: “Evangelical Sound Barrier” (ft. Chris Connelly)

Joy Thieves, The: “Nemesis”

Lustmord & Zola Jesus: “Prime”

Health X Backxwash X Ho99o9: “Gnostic Fleshmortal Hell”

Pharaoh Overlord: “Ideal Flower”

Princess Difficult: “Plant Mutilation”

Alan Vega: “Invasion”

Deluxe darkness, first Winter ‘23 and Year 11 broadcast.

[topsearchfirms23]

3 Reasons You're Not Making Business Profits (and How to Avoid Them)

Tales from the Online Marketing Crypt #17

Stop Doing These 3 Wasteful Things in Your Business to Start Making Net Profits!

"Waste not, need no longer."
"Don't waste your breath."
"What a waste of time/area/strength."

The listing goes on and I'm certain you have both heard or said any wide variety of those idioms over the years.

Being the gadget form of character that I am, losing time is a large pet peeve of mine.

Growing up at the farm my Dad determined he wanted to control the thistles that had been beginning to take over the returned pasture. I guess pesticides were not a issue again then, however baby labour turned into!

One summer time he positioned me to work pulling out every unmarried thistle inventory… With the aid of hand. Armed with adult-sized leather-based gloves, I sat on the field grabbing the huge prickly stalks at the base and tugged with all my would possibly to free the ones suckers from their clutches. I needed to ensure each bit of root turned into captured; in any other case, the weed might develop right again again.

I laboured all summer season on that mission (or so my youth memory has deemed this to be real). It became a big patch of nettles with thick shares firmly implanted into the tough ground, so that they were not all that easy to tug out for this 10 year old.

Of course the subsequent summer time all of them came lower back to retain their dominance of the field.

What a colossal waste of time that became.

Have you ever felt like you've got wasted an excessive amount of of some thing to your Kevin Connelly Spencer Stuart? When advertising the offerings that we provide, you will frequently listen me inspire business proprietors to prevent losing three matters:

Wasting Time

Wasting Money

three. Wasting Energy

Let's explore each of those areas and notice if something resonates with you.

Wasting time

One of the most important problems I see marketers have is wasting their time looking to examine and do some thing that is outdoor their place of expertise.

Somewhere along the manner, particularly us ladies, we got it into our heads that we ought to understand the way to do the whole lot that entails building a business.

[thyknife]

a theme.

[forcedfemme-me]

Jennifer Connelly by David Roemer for MC OZ