#oloff

[pieterhb]

The Fleet of Destruction - Oloff the Pirate Series #12 (Complete Story) (on Wattpad) https://www.wattpad.com/1470184687-the-fleet-of-destruction-oloff-the-pirate-series?utm_source=web&utm_medium=tumblr&utm_content=share_reading&wp_uname=Pieterhb Gerrie Radlof is once again at his best with his Oloff the Pirate series, and this book number 12 in the series of 24 books is no exception. Amidst the vast oceans and treacherous shores of 17th-century South Africa, Oloff the Pirate unfolds a tale of loyalty, danger, and redemption. Oloff, a fiery and determined pirate captain, is on a mission to eradicate the notorious pirate haven of Deelen Bay. Despite his friends' concerns about possible treachery, Oloff seeks the help of Admiral Rynhardt te Hoogen, a former ally, and brother of Oloff's past love, Anna. As they navigate the shadows of their past, secrets, and unresolved emotions, the two men confront the ultimate challenge to destroy a fortress filled with the most ruthless pirates of the Indian Ocean.

[newleasemusic]

Listen to Oloff's latest EP, 'Free'

Listen to Oloff's latest EP, 'Free'

To enter the mind of Bristolian alt-rapper OLOFF, you definitely have to withstand the most hellraising rollercoaster ride you can imagine. His latest EP, ‘Free’ is, at large, a full-on mish-mash concoction of chaotic dnb-esque bass, aggressive guitar riffs, which collides with Oloff’s infamous wayward delivery. Further down the line, the eight-piece set goes go into a place of some serenity. To…

[tomkiesche]

View this post on Instagram

A post shared by Tom Kiesche (@tomkiesche)

Meet Olaf! Great Dane. Available 7/14. Intake 7/10. Stray. Seven years old. Brown and black. #A1794090 #greatdane #dancer #dancing #rescuedogsofinstagram #bigdaddy #BigDog #Hola #Oloff #Olaf #danish #northcentral @greatdanerescuenetworksocal @greatdanesofinstagram @greatdanemoments @greatdanerescue @northcentralshelter 120 pounds. (at Friends of North Central Shelter - Los Angeles Animal Services)

[cliffcrampillustration]

Oloff - 11” x 14” casein on panel #oloff #frozen #disney #disneyart #instaart #artistsoninstagram #illustration #art #oloffdisney https://www.instagram.com/p/Bt8zVjZlLsg/?utm_source=ig_tumblr_share&igshid=2940ygbrirss

[mysterious-secret-garden]

 Adrian Ludwig Richter - Erlkönig's daughter, stops the riding Oloff.

[inkomation]

[fatehbaz]

The sea, as “a space unexplored […] offers a fleeting experience of an absolutely unknowable realm” [...]. It is, therefore, unsurprising that an important subcategory of the Weird focuses on oceans. [...] The Oceanic Old Weird is suffused with fear and loathing of the unknowable sea, which is imagined as a force of malevolent antagonism directed at ships and sailors, or as embodying the natural immanence of death and entropy. While Jolene Mathieson has previously discussed “hypermateriality” and “wet ontology” in the Oceanic Weird through a new materialist lens, alleging that the genre troubles the limits of “earlier modes of oceanic thought within the natural and social sciences,” we [...] instead [...] analyse the ways in which the genre’s aesthetics and themes mediate the violence, epistemes, and socio-ecological relations corresponding to the eco-racial regimes of capitalism and colonialism [...].

The Oceanic Weird emerged within a larger tradition of ecophobic tales at the turn of the twentieth century in a world still dominated by European colonialism, but increasingly reshaped by emergent US imperialism. [...]

[W]e elaborate on two tropes that flourished in an era when European and American powers competed for dominance in the Caribbean: monstrous octopi, which would metamorphose into the Lovecraftian anthropoid tentacular figure, and the Caribbean-centred myth of the Sargasso Sea as a “Weed World” [...].

-------

In legends of the weed-clogged Sargasso Sea, “ships became becalmed and trapped by the weed” in an area of the North Atlantic that would later be nicknamed the Bermuda triangle [...]. Several late nineteenth-century American and British writers “used the Sargasso as a setting for societies of people trapped there for generations” [...]. At the dawn of the twentieth century, one of the most influential authors of Sargasso tales, English author William Hope Hodgson, describes it as a place of absolute loneliness, an “interminable waste of weed -- a treacherous, silent vastitude of slime and hideousness” (p. 4) that eclipses humanity and enlightened rationality. Hodgson’s “From the Tideless Sea” (1906) depicts monsters of the deep lurking beneath this stagnant surface: “some dread Thing hidden within the weed” devours almost all of the crew [...].” In his subsequently published Sargasso-themed horror novel, The Boats of the “Glen Carrig” (1907), the tentacled creature is joined “by giant crabs, octopodes, and tentacled devil-fish, [..] giant fungi [..] trees that howl [and] […] weed men” [...].

As Emily Alder observes, these “[a]nimal monsters” are so unsettling because they “reveal the limits to scientific mastery over the natural world” (Alder 2017, p. 1084). “They violate,” she continues, “existing norms and knowledge systems; they flourish in environments in which humans are unfit and cannot dominate” and disturb “a colonialist centrism structuring relationships between humans and the more-than-human world” (ibid.). The Atlantic Ocean and its Weird creatures mark the limits of capitalism’s attempts to control the submarine world.

The Old Oceanic Weird imagines the Sargasso as a depository of a secreted, miserable history which invokes the temporality of the longue durée -- whether deep time provoking terror because it is seemingly beyond human conceptualization, or the catastrophic history of the four hundred preceding years of capitalist modernity. UK naval officer Frank H. Shaw’s “Held by the Sargasso Sea” (1908), which offers a paradigmatic condensation of imperialist tropes associated with the sea. mobilises both temporalities [...].

Shaw’s invocation of C*lumbus situates the Weird within a colonialist tradition that imagines the Caribbean both as site of triumphal European conquest and of fearfully insurgent natural alterity that might thwart or exceed European power and epistemes. At the same time, the passage offers a prescient, if unwitting, registration of capitalism’s transformation of the ocean into trash-heap and dumping-ground, full of derelict ships, but also the detritus of the Atlantic mercantile economy, trapped within a vortex that anticipates today’s garbage patch within the North Atlantic Gyre. The rampant seaweed reconfigures the ecophobic trope of monstrous tropical fecundity to imagine the loathsome vegetation as clogging and obstructing the technics and vehicles of maritime capitalism, thus resisting the rigid abstraction of nature.

-------

It is within Lovecraft’s sea horror that tentacular monsters and abyssal terrors achieve their most potent distillation, developed and refined throughout the Cthulhu mythos and its related tales of ancient underwater beings [...]. Critics have often noted that the horrors of the two world wars are central to the Old Weird, particularly in stories such as “Dagon” and “The Temple.” However, they have been less attentive to the geopolitical environmental unconscious of Lovecraftian eco-racial-phobia, which registers, even if often in displaced form, the emergence of the US as the new global hegemon in the world-ecology. In the late nineteenth and early twentieth centuries, the US aggressively expanded into the Caribbean and Latin America, establishing the ecological regime of the “American Sugar Kingdom,” increasing its control over commercial sea lanes, and justifying “dollar diplomacy” through patriarchal-racist ideology. [...]

Furthermore, during the early twentieth century, tentacled figures were explicitly used to refer to Standard Oil. [...] More broadly, tentacled creatures were employed to critique new forms of imperialism. [...]

Within the more radical politics of the New Oceanic Weird, ecological crisis is often explicitly thematised, no longer mediating the imminent transition to a new oil-fuelled regime but rather the epochal exhaustion of the neoliberal ecological regime. As a mode that estranges “our sense of reality” (Noys and Murphy 2016, p. 117), the New Weird is particularly suited to addressing the changing realities of a warming planet. The uncanny totality of climate change is aptly captured in Gerry Canavan and Andrew Hageman’s concept of “global weirding,” understood as “a cognitive frame” aimed at refocussing “our attention on the localities within the totality of the global.” As they write, it “was intended to show us is that we are now living in postnormal times: we can no longer depend on the climatological patterns that up till now have more or less reliably structured our behaviors” [...].

Given the crucial role of the oceans in regulating the climate, it is no surprise that the Oceanic Weird should experience a revival in this context. [...]

-------

[T]he utopian trace in Indiana’s novel lies in its intimation that prospects for radical transformation lie in finding alternative, non-capitalist, ways of viewing the marine world, in restoring the numinosity of the oceans and revaluing all forms of life.

-------

Sharae Deckard and Kerstin Oloff. ‘“The One Who Comes from the Sea”: Marine Crisis and the New Oceanic Weird in Rita Indiana’s La mucama de Omicunle (2015).’ MDPI Humanities. August 2020.

[puredamien]

Oloff - Don't Come In Here

[4chanmusic]

https://oloff.bandcamp.com/

[tayloraj]

Check out this listing I just added to my Poshmark closet: JOAN OLOFF - CLAUDETTE BLACK LUX NAPPA HEELS.

[newleasemusic]

Album Review: Sameways - Oloff

Album Review: Sameways – Oloff

OLOFF circles back to the limelight with second project of the year, ‘Sameways’, which sonically takes on a more sombre route than its predecessor, ‘Expat’, which carries an appeasing presence of retro soul and samples that’s associated with the Golden Hollywood era. A downtempo, yet somewhat airy electronic drive dominates the ten track set momentarily interrupted by melodic chants (as heard in…

[rememberebonyjanice]

What happens when you miss the fact that you were shining? ✨ I talk about this topic often because there are too many photos that I’ve come back to months or years later like 👀 “Eb... how you wasn’t (redacted) in this season? Cause you were a baddie!” 🤔 I didn’t know. . . . So what happens when you are in #Baddie seasons but you don’t know it? ➖ You’re vibrating low so your probably attracting low vibrational situations. ➖ You’re probably accepting less than what you deserve. ➖ It’s probably some raggely Oloff if a man having the #GlowUp of his life cause you bomb.com giving him time cause that’s all you think you deserve. ➖ Somebody musty probably cheating on you. 🤷🏾‍♀️ ➖ You probably missing all kinds of opportunities cause you so blind you not shooting your shot. ➖ Misc other unfortunate occurrences. . . . So how do you make sure you don’t miss your bad btch #chakras aligned seasons? . . . ALWAYS BE ON! . . . Yesterday on my Facebook LIVE I was talking about bragging more and being less #humble and yeah... basically if you stay looking for reasons to brag on yourself and how #dope you are you’re less likely to let some low #vibrating situation bring you down. Nah! #VibrateHigher 🔮 . . . My name is #EbonyJanice - I #preach, I #teach, I #reach. Visit my website aLittleSelfHelpCompany.com // choose the #aLittleSelfHelp option in the menu and find out some of the many ways you can work one on one with me to make sure you are being who you’re supposed to be and missing everything that’s contrary! #TheFreePeopleProject

[samplesalesnyc]

Joan Oloff Online Sample Sale

Joan Oloff Online Sample Sale

After treating countless feet which have been damaged by wearing badly shoes, Dr. Joan Oloff, a practicing podiatrist combined her knowledge and her family background from shoes retail since 1920. With the determination to make women looks good and enjoy life , Dr. Joan Oloff invented her patented technology to accommodate the structure and function of the human foot. Her beautiful shoes are made…

[mhall070]

I can't believe it's amazing actor played as an annoying little snowman named oloff.

[bit-media]

SAXENBURG WINE ESTATE - The estate has a history dating back to 1693. Governor Simon Van Der Stel granted the land to Joachim Sax who was from Sweden. In 1705 the farm was bought by Swedes, Oloff and Albertus Bergh. The name Saxenburg developed from these early pioneers. In 1989, the Bührer family, a Swiss-German couple, purchased the Saxenburg wine farm. Besides the vineyards, they developed wildlife sanctuary at the front section of the est in 1998, which made Saxenburg the first wine farm in Stellenbosch to stock wildlife. READ MORE HERE - https://bitmedia24.com/about-the-winelands-45-meet-vincent-and-fiona-buhrer-of-family-owned-saxenburg-wine-estate/