#photos by parker burr

[knowthatiloveyou]

Hannah Waddingham BTS for the Creative Arts Emmys 2024

[modern-day-classic]

It's giving gothic bride, it's giving Morticia Addams 😍😍😍😍

Hannah Waddingham photographed by @parkerburrphoto

[niconation]

Nico Greetham by Parker Burr for Muze Magazine, January 2021

[kwebtv]

TV Guide -  January 27 - February 2, 1962

Myrna Fahey (March 12, 1933 – May 6, 1973)  Actress known for her role as Maria Crespo in Walt Disney's Zorro.  

She appeared in episodes of 37 television series from the 1950s into the 1970s, including Bonanza, Wagon Train, The Time Tunnel with Robert Colbert, Maverick with James Garner, 77 Sunset Strip with Efrem Zimbalist Jr., Laramie, Gunsmoke with James Arness, The Adventures of Superman with George Reeves, Kraft Suspense Theatre, Daniel Boone with Fess Parker, Perry Mason with Raymond Burr, and Batman with Adam West and Burt Ward.

She served as one of the fashion model hostesses on Queen for a Day and did photo shoots and general publicity events for the station's advertisers and other programs. Her first real acting job was for a television anthology series, Cavalcade of America, appearing on episode "Margin for Victory".

With the beginning of 1957 Myrna had a steady stream of film and television work, though her roles in the former were still small and uncredited. She moved from Burbank to a large apartment in Beverly Hills that she shared with her mother.

Matinee Theater, an anthology series that presented a new hour-long movie every afternoon, was her mainstay for television work at this time. She did many of these live original productions during 1957, though the titles of some are no longer known.

Fahey complained in a 1960 interview that she was being typecast in "good girl" roles because of what directors called her "moral overtones," even though she wanted to play darker and more complicated characters. She had worked in many Westerns in the late 1950s, usually in the role of the sheriff's daughter, including an appearance on Gunsmoke in 1958 (an episode entitled: "Innocent Broad"). She also appeared in a supporting role in "Duel at Sundown", a notable episode of Maverick with James Garner, featuring Clint Eastwood as a trigger-happy villain. In another appearance in ‘‘Maverick’’ she starred as Dee Cooper, the owner of a cattle ranch, in conflict with Maverick’s herd of sheep. She starred in two episodes of Wagon Train, "The Jane Hawkins Story" (1960) and "The Melanie Craig Story" (1964), and an episode of Straightaway, "Troubleshooter," in 1961. Her image branched out in the 1960s, helped by House of Usher and a role on the Boris Karloff TV series Thriller that same year entitled "Girl with a Secret". Even her Western parts became "darker." After a rough love scene in the 1960 episode of Bonanza "Breed of Violence", in which she cut her lip, the cast presented her with an award for "Best Slapper in a Filmed Series".

Fahey's most sustained television work was a starring role in the one-season (1961–62) series Father of the Bride, based on a film of the same name starring Spencer Tracy and Elizabeth Taylor. She also portrayed Jennifer Ivers on the TV version of Peyton Place.

Fahey made four guest appearances on the drama series Perry Mason: Lydia Logan in the 1960 episode, "The Case of the Nimble Nephew"; defendant Grace Halley in the 1961 episode "The Case of the Violent Vest"; murder victim Myrna Warren in the 1965 episode "The Case of the Gambling Lady"; and defendant Holly Andrews in the 1966 episode "The Case of the Midnight Howler". In 1966, she played Blaze in the Batman episodes "True or False-Face" and "Holy Rat Race".  (Wikipedia)

[imperial-martian]

Fandoms

BBC Sherlock

Good Omens

The Good Doctor

To Kill a Mockingbird [ Book + Movie ]

Star Wars

Hamilton

Lucifer [ Seasons 1 - 3 ]

Marvel

Joker [ 2019 ]

Gladiator [ 2000 ]

Naruto

John Wick

007 [ Daniel Craig ]

Knives Out

Money Heist/La Casa De Papel

Domhnall Gleeson’s Characters

Keanu Reeves’ Characters

Ben Mendelsohn’s Characters

Characters

BBC Sherlock

Mycroft Holmes

James Moriarty

Gregory Lestrade

John Watson

Sherlock Holmes

Good Omens

Gabriel

Aziraphale

Crowley

The Good Doctor

Marcus Andrews

Neil Melendez

Shaun Murphy

To Kill a Mockingbird [ Book + Movie ]

Atticus Finch

Arthur “Boo” Radley

Star Wars

Armitage Hux

Kylo Ren/Ben Solo

Poe Dameron

Finn

Luke Skywalker [ Original + Sequels ]

Han Solo [ Original + Sequels ]

Obi-Wan Kenobi

Anikan Skywalker/Darth Vadar

Darth Maul

Boba Fett

Orson Krennic

Qui-Gon Jinn

Cassian Andor

Hamilton

George Washington

King George III

Samuel Seabury

Aaron Burr

Alexander Hamilton

John Laurens

Hercules Mulligan

Marquis de Lafayette

Thomas Jefferson

James Madison

Charles Lee

Philip Hamilton

Lucifer

Lucifer Morningstar

Amenadiel

Marcus/Cain

Dan

Marvel

Stephan Strange

Agent Phil Coulson

Tony Stark

Steve Rodgers

Agent Everett Ross

Peter Parker

Joker [ 2019 ]

Arthur Fleck

Joker

Gladiator [ 2000 ]

Emperor Commodus

General Maximus

Naruto

Gaara

Minato

Kakashi

Naruto

Sasuke

Obito

Zabuza

John Wick

John Wick

Charon

Viggo Tarasov

Iosef Tarasov

Santino D’Antonio

007 [ Daniel Craig ]

James Bond

Knives Out

Benoit Blanc

Money Heist/La Casa De Papel

Sergio Marquina: The Professor

Andrés de Fonollosa: Berlin

Aníbal Cortés: Rio

Daniel Ramos: Denver

Domhnall Gleeson’s Characters

Armitage Hux [ Star Wars ]

Thomas McGregor [ Peter Rabbit ]

Ash Starmer [ Black Mirror (season 2, episode 1) ]

Tim Lake [ About Time ]

Caleb Smith [ Ex Machina ]

A. A. Milne [ Goodbye Christopher Robins ]

Keanu Reeves’ Characters

John Wick [ John Wick Series ]

Neo [ Matrix Series ]

Tomas Anderson [ Matrix Series ]

Ben Mendelsohn’s Characters

Orson Krennic [ Star Wars ]

Nolan Sorrento [ Ready Player One ]

Ralph Anderson [ The Outsider ]

Sheriff of Nottingham [ Robin Hood ]

Requests

Oneshots

Oneshots can typically take me anywhere from 45 minutes to a few days. I never go below 1,000 words, and I have only gone up to 4,000, however, I plan to improve and go past that. Keep in mind that when requesting oneshots they will take me some time to do, especially if I’m busy.

Example ;; Mycroft Holmes (BBC Sherlock) x Reader oneshot in which the reader is hired as Mycroft’s personal assistant. Over time, Mycroft discovers that he loves her after the reader takes a bullet for him.

Prompts

Imagines

Imagines don’t take me more than an hour usually. I keep them below 1,000 words, but typically they’re past 200 to 300 words long. When requesting these you can usually expect them to be done within in hour or so, unless I’m busy.

Example ;; Atticus Finch (TKAM) imagine where he is the readers lawyer.

Prompts

Drabbles

Drabbles take me less than 30 minutes. They’re short and always exactly 100 words. I’d usually finish this anywhere between 5 to 15 minutes.

Example ;; Gabriel (Good Omens) angst drabble.

Headcanons

Depending on the request, these may vary from a couple hours to a few days if I need ideas. I don’t have a word limit for these, however, usually they are over 7 bullet points long.

Example ;; Headcanon for President of the Hospital Marcus Andrews (The Good Doctor) who’s dating a surgeon who works for him.

Preferences

Preferences are typically pretty quick for me to do depending on which fandom and how many characters you want. No word limit.

Example ;; First kiss preference for Commodus and Maximus (Gladiator).

Aesthetics/Moodboards

Aesthetics/Moodboards are typically just a collage of photos for a character you want. It can be a character x reader collage, or even a specific character au that you want.

Example [ 1 ] ;; An Arthur Fleck (Joker) x Reader aesthetic.

Example [ 2 ] ;; An Agent! Mycroft (Sherlock) moodboard!

Ships

Ships are a small things for followers/readers to interact and ask me which characters I ship them with from a specific fandom.

Example ;; For Marvel: I have brown hair, hazel eyes and I’m 5’ 9. I love to read, write and explore. I enjoy talking to people, however, I typically get really anxious which causes my hand or legs to shake...

[megadarkbouquettidalwavethings]

Inside the Hollywood Home of Social Media’s Stars. (Don’t Be Shy.)

Some are comedians, some are models, and some are famous for being famous. But all are so-called influencers, social media speak for people with a huge digital audience.

1600 Vine offers a peek into the booming ecosystem of these social media stars. As in any caldron of attention seekers who live and work together in the same building, it’s an atmosphere rife with cliquishness, jealousy, insecurity and the social hierarchy of high school, except everyone knows precisely how popular (or unpopular) you are. And it’s amplified by the fact that influencers can become millionaires with a following on a par with any movie star’s.

Joshua Cohen, a founder of Tubefilter, a site that tracks the online video industry, described the talent at 1600 Vine as a modern-day version of the Brat Pack or the Mickey Mouse Club.

“You have all these people in the same environment who grew up together and getting their entertainment chops together,” Mr. Cohen said. “Now, they’re some of the biggest people on whatever platform they’re on.”

Photo

Katie, left, and Bri Teresi, sisters and swimsuit models who live at 1600 Vine, were tapped by a neighbor to appear in an Instagram video that has been viewed more than two million times. Credit Molly Matalon for The New York Times

Gaining Followers

The origins of 1600 Vine as a social media launching pad are rooted, appropriately enough, in the video platform Vine.

Around 2014, the stars of Vine’s six-second videos started flocking to Los Angeles to turn a hobby into a career. A few of the early stars moved into this contemporary, amenity-rich complex, above a Trader Joe’s and between Jimmy Durante and Clark Gable on the Hollywood Walk of Fame.

Within a few months, the apartments — notable for their floor-to-ceiling windows, modern kitchens and living spaces, and common areas that include a pool and hot tub — became a recognizable backdrop to the most popular Vine videos. It wasn’t long before 1600 Vine became the place to be.

Continue reading the main story

It remained that way even after Vine shut down in 2016.

One of the early stars was Ms. Cerny, 26, who moved to Los Angeles from Florida four years ago to become an actress. Rejected by agents for a lack of experience, the former model started making Vine videos. Her goofy comedy sketches were a hit, and she moved into 1600 Vine to be closer to other Vine stars.

“It was perfect — we could film wherever, whenever,” she said. “Being able to surround yourself with other creative people helps.”

These days, Ms. Cerny is in the top tier of influencers, with 18.8 million Instagram followers and 1.1 million subscribers to her YouTube vlogs, the popular YouTube format that marries a daily diary with the artificial drama of reality TV. Sponsors like Guess jeans pay her six figures for promoting their products.

Hanging out at 1600 Vine can open doors, too. A year ago, the actor Ray Diaz had only 5,000 followers on Instagram, even though he was a regular on “East Los High,” a show on Hulu. Then one day, while he was lifting weights in the building’s gym (a friend of his lived there), he met Ms. Pons, a 21-year-old YouTube comedian with 20.9 million Instagram followers. Ms. Pons invited him to appear in her video “My Big Fat Hispanic Family,” a skit about introducing a boyfriend to her eccentric family and friends.

The video has had more than 12 million views, and soon Mr. Diaz became an influencer on his own, reaching more than one million Instagram followers a few months after it was posted. Still, Mr. Diaz wanted more, even after landing a regular role on “Lopez,” a comedy on TV Land. So last December, he moved to 1600 Vine, to one of the nicer, split-level two-bedroom units on the 10th floor.

Today, he has 3.2 million followers and boasts that he went from driving for Uber to driving a Bentley. “Instagram is what pays for the penthouse,” he added.

Photo

Residents of 1600 Vine include, from left, Katie Teresi; Gregg Martin, an actor; and Taylor Offer, an entrepreneur. Credit Molly Matalon for The New York Times

Success stories like Mr. Diaz’s are the reason wannabe influencers continue flocking to 1600 Vine, paying anywhere from $2,500 to $15,000 a month. Many aspiring photographers and video editors hang out in the common areas, hoping to get a foot in the door by working with a few prominent influencers.

The complex is one of many modern apartment buildings in the Hollywood area. There is always the whisper that some other, nearby building is the new hot spot with more welcoming rules for social media stars, but 1600 Vine remains the most prominent and best known.

Continue reading the main story

In June, Bri and Katie Teresi, sisters and swimsuit models, moved into a small one-bedroom apartment, paying $2,700 a month, after they got a taste of what being around other influencers could do for them. Josh Paler Lin, a friend in the building, tapped them to appear in a video in which a Lamborghini’s exhaust blows off their clothes. It garnered more than two million views, and the sisters said they had each added 10,000 followers.

“Right now, I’m focused on growing and really getting my numbers up,” said Bri Teresi, 23, who has 419,000 followers on Instagram.

Others see living at 1600 Vine as a golden marketing opportunity.

Taylor Offer and Parker Burr moved in last year hoping to befriend social media stars not for their own fame but to promote their sock company, Feat Socks. When Mr. Offer first visited the two-bedroom unit, he said, it was like “walking into Jerry’s apartment building on ‘Seinfeld’” because he recognized it from Vine videos. He signed a lease on the spot, needing to prove only that he and Mr. Burr could afford the $3,700 monthly rent.

But Mr. Offer soon realized it wasn’t enough to live in the building; they had to help the influencers fill their daily need for content. So Mr. Offer bought a cute English bulldog puppy and a flashy Polaris Slingshot car. The puppy appeared in a video with Ms. Cerny while Logan Paul took an interest in the purple car, a three-wheeled vehicle that looks like a roadster.

A star like Mr. Paul has his pick of sponsorship deals, but he took a liking to his new neighbors, so he concocted a bet — or, more accurately, a social media story line. If Mr. Paul could sell 20,000 pairs of socks (printed with an image of his colorful parrot, Maverick), he would get the roadster. He promoted the bet in videos and, even though he fell short, Feat had its best sales month ever and Mr. Paul received a $200,000 commission check.

“As a business expense,” Mr. Offer said, “this place pays for itself.”

Reality Show

Calling 1600 Vine home is still no guarantee of influencer status. It also breeds a certain kind of cliquishness and backbiting.

Gregg Martin, a young actor who has landed bit roles in TV series including “Agents of S.H.I.E.L.D.,” said he felt the building’s stars looked down on him. He has 44,000 Instagram followers.

Photo

Mr. Offer with the Teresis. Hanging out at 1600 Vine can open doors, with residents working together on social media projects or marketing opportunities. Credit Molly Matalon for The New York Times

“That’s considered laughable for most people here,” he said. “People kind of look at you and just see the numbers.”

One influencer told him that he was following too many people on Instagram. It made him seem desperate. “I thought he was joking,” he said. “But he was dead serious.”

Continue reading the main story

The building also attracts its share of fame seekers, like the Justin Bieber impersonator who has all the same tattoos as the actual singer and is often seen visiting a friend in the building.

It is also a magnet for bizarre behavior that doesn’t exactly make for good neighbors. Social media stars need daily content lest they be forgotten. It’s a dynamic that pushes them to do increasingly outrageous things to capture attention.

Consider Logan Paul, one of YouTube’s biggest stars, with close to 15 million subscribers to his channel. His escalating stunts in March alone included dangling a $20 bill from his balcony using a fishing rod to tempt passers-by, rigging a zip line over Hollywood Boulevard to send gifts to fans camped outside and pretending to be shot as fans watched in horror outside his window.

Building management told Mr. Paul that it was not renewing his lease. Naturally, he recorded the conversation for his vlog, before he moved to the building next door. (He was asked to leave there, too.)

After other neighbors started to complain, management has also limited where residents can shoot. First, it banned filming by the courtyard pool. Then it banned large professional cameras in all common areas. And in June, management went further and now requires residents to seek permission before shooting any video in common areas.

Danielle Guttman Klein, chairwoman of Klein Financial Corporation, which oversees the property’s management, said it needed to walk a fine line between embracing its stars and protecting the interests of tenants whose day jobs don’t revolve around getting likes on Facebook.

The influencers seem to sympathize, at least for now. Ms. Cerny said that she had been threatened with eviction but that management had allowed her to stay when she promised to not film in any of the common areas. But she said she could understand why many of the big stars had moved out.

“It does get overwhelming sometimes,” she said. “Eventually, you need somewhere to go and not post about your life for a second.”

Continue reading the main story

DAISUKE WAKABAYASHI

The post Inside the Hollywood Home of Social Media’s Stars. (Don’t Be Shy.) appeared first on dailygate.

[dazedinmay-blog]

1. Why I bother being an artist.

I ask myself this question a lot, and sometimes its difficult to answer, but as part of an assessment recently I had to speak for a couple minutes answering it and this is an extended version of what I came up with:

Firstly my interests are obviously a big part of the reason why I create. Nature is a big factor in this. For example I watch Planet Earth religiously, to the point when I ban my family from watching it with me because they too are distracting, and theres nothing more irritating than when they keep ask annoying questions while we are watching it. I think the reason why I love nature so much is because its something us humans still don't know everything about. I’m always pining for answers to why and how things work within nature and how we differentiate from other animals. I aim not to be speciest and treat all animals equally, and therefore get frustrated too see humans destroying their habitats. This leaded me to want to communicate this frustration through what I love to do, in the hope of educating the public/viewer on how much impact we have on nature, and how we are destroying it at an alarming rate.

The artworks I have created so far to communicate this frustration mostly consist of installations, and/or text work. Sometimes you literally need to write this stuff out as an obvious way to let people know whats happening, but also I think using the medium of installation art is a good tool for communication: As nowadays I have observed that the modern world loves to interact with the evidence of the advancing technology. So therefore in order to catch the interest of the western public, making something that they can interact with is a good starting point. 

The installation artist that inspires me the most is Cornelia Parker. I enjoy the fragility of her work and how the story behind the piece is as important as the final product. For example one of my favourite pieces called ‘Edge of England’ , made up of the fragments of a major rock fall at the Beachy Head section of Dover cliffs. Its a very beautiful artwork but relates to a sinister history: Firstly in the second World War those white cliffs were the last the british souldiers saw of their country leaving to defend their freedom, which makes one imagine what it felt like experiencing that moment of trying to have full appreciation of the landscape knowing you may never see it or your country again. Beachy Head is also notorious for suicide jumps, making these seemingly beautiful cliffs a symbol of death and suffering. When talking about her practice Parker said “ I like to resurrect things that have a kind of violent history. I enjoy creating a frozen moment, a quiet thing out of a violent occasion.” Once reading that statement the aesthetics of her work make total sense and draw me in to find out the stories behind her other installations.  There is a definite quietness to Parkers installations, they remind me of a scene in the film ‘The Matrix’ when Neo (the main character) is able to move fast enough to dodge bullets, and the way they communicate this through filming is slowing down everything in the scene apart from him, showing us what it is like trough his experience. I feel this relates to Parkers work because it is making a violent situation almost beautiful, and the inherent stillness of the scene reminds me of tranquility of her installations that give us the illusion that the elements are floating, or as she said frozen. 

The feeling of satisfaction also drives my work, whether its a clean line, a print or a laborious process. For example the satisfaction of finishing a detailed drawing, or for a recent work I did called Plastic Carbon; I drew and cut out 2000 circles ( the amount of tonnes of carbon that is admitted in each 24 hour period due to the manufacturing of single use plastic bags) on a sheet of plastic, communicating their effect on the environment. Overall this took me a sum of 30 hours. That feeling after finishing it was a great sense of relief and pride, and makes the whole process which got tedious at times worth while.

Recently monochrome has appeared to be a theme in my work. I think theres something very slick and professional about it; the high contrast between the two shades gives a bold and confident aesthetic. I believe that using black and white helps the viewer take a work more seriously, as a colourful piece seems more playful and child-like. So therefore deems to be appropriate for the subject matter I’m dealing with. 

An artist I’m really inspired by who uses similar aesthetics to some of my works is Steven Parrino; an artist who often uses glossy black surfaces and manipulates them by folding or creasing the fabric, which I think makes them look seductive and inviting.  My favourite installation piece of his is ’ Shattered Panels’. I think anarchy is a big part of the way Parrino works; the destructive rebellious aesthetic to his installations is really attractive because for me rebellion means freedom. One can visualise the energy that has been put into this piece, and I long to have experienced it. There’s something very powerful about anger and to act to destroy, and I therefore think this links to my attitude towards humanity, and how destructive we are as a race, meaning this may lead me to do a performance piece about carelessness and insensitivity to the world we live in from inspiration of Parrino.

As well as his work looking slick and satisfying, it has an element of fetishism; the glossy black materials could reference the skin tight leather outfit that is sometimes associated with fetish. This reminds me of the gimp from the film ‘Pulp Fiction’; in the scene the gimp is a speechless person without identity, wearing a black patent leather fill body suit which also covers the face. He is used to help torture a gang members captives with sexual trauma. Which leads me to think that Parrino’s work can be viewed as sinister and violent, that similar to the stories behind some of Parker’s installations.

Abstract photographs I have been taking are in inspiration of Parrino’s work; I have been focusing on glossy black surfaces, either using ink on diesel, remains of gloss paint or black leather. I’m treating these photographs as ephemeral paintings because the materials I am using can only be captured in a moment and have a very short lifespan. Gesture is also very important in my print work; I like to create paintings or prints, depending on how broad your definitions are, when the process is as important as the outcome. Whether is using an atypical tool for the mark-making or  making the movement of my body significant.   

When taking these photographs I came across Wolfgang Tillman’s own abstract photography. His most recent work burrs the lines between photography and drawing/painting, similar to my aim in my own photographs. My favourite photograph of his at the moment is “Freischwimmer 199”. The way the blue ombre’s from pale to a rich deep ocean blue with the contrast of fine detail and blurred gestures is quite hypnotising. Although his recent photographs are artificial, the unplanned nature of them looks very natural, as if they were taken underwater with long exposure and inverted. He creates these images in the darkroom on photopaper, however I watched an interview of Tillmans talking about his process but it was unclear how exactly he created these images. But for me that adds more mystery, which I think is part of the reason they are so successful. The process to create these pieces means that every outcome is different, and therefore making each photo more valuable. 

I have always been interested in nature and always loved creating, but its taken me a while to find out a way to combine the two that is of my taste and also subtle. For example rather then just drawing animals or landscapes, I would rather reference the beauty of nature without having to use it as a direct visual reference. I have only recently been practising ephemeral artworks and have found enjoyment in the process and outcomes of the pieces, and am interested to see how different liquids and chemicals react to each other. I therefore plan to experiment more with this technique and combine it with what I'm passionate about.

[niconation]

Nico Greetham, by Parker Burr for Muze Magazine, January 2021

[niconation]

Nico Greetham by Parker Burr for Muze Magazine, January 2021

[niconation]

Nico Greetham by Parker Burr for Muze Magazine, January 2021