#studio jg

[aninreh]

Ptaszek na uwięzi. „Zniewolony książę” – recenzja książki

Kiedy umiera król, na tron wstępuje nowy – nie zawsze jest on naturalnym następcą, bywa, że wykorzystując zamieszanie, władzę w zamachu stanu przejmie ktoś zupełnie inny. O tym fakcie na własnej skórze przekonał się książę Damianos z Akielos, bowiem, zamiast zastąpić ojca, trafił jako niewolnik do haremu przyszłego władcy znienawidzonego królestwa Vere, księcia Laurenta. Tego samego, którego…

[aneysajanis]

‘Kolorowy Shōnen z uroczą kreską - Hanako, Duch ze Szkolnej

Toalety’

Moje pierwsze zetknięcie się z historią Hanako było wtedy, gdy moja przyjaciółka pożyczyła

mi pierwszy tom jej mangi. Dobrze zapamiętałam ten komiks, ponieważ bardzo, ale to

bardzo nie przypadł mi do gustu. Nie mogłam zrozumieć, dlaczego wszyscy tak uwielbiają tę

serię. Nie dawało mi to spokoju. Dlatego właśnie zdecydowałam się wypróbować adaptację

tej mangi, której autorami są Aidalro, w formie 12-odcinkowego anime.

Wyprodukowany przez studio Lerche Shōnen z gatunku komedia, nadprzyrodzone został

wypuszczony na ekrany 9 Stycznia 2020. Pierwszy sezon zakończył się 26 Marca tego

samego roku.

Został wyreżyserowany przez Masaomi Andō a za scenariusz odpowiada Yasuhiro

Nakanishi. Mimo, że papierowa wersja nie przekonała mnie do siebie, to po obejrzeniu

anime jestem naprawdę ciekawa dalszych losów bohaterów.

Główną bohaterką tej historii jest Yashiro Nene. Jej przyjaciółka opowiada o plotkach, jakie

krążą na temat Uczelni Kamome, do której uczęszczają. Jedna z nich dotyczy ducha

dziewczyny Hanako, która przywołana w damskiej toalecie jest w stanie spełnić czyjeś

życzenie, jednak w zamian zabiera od tej osoby coś ważnego.

Yashiro postanawia przywołać tę zjawę, by zbliżyć się do obiektu swoich westchnień ale

zamiast dziewczyny pojawia się duch chłopca, który przedstawia się jako Hanako.

Postanawia on pomóc dziewczynie i tak po pewnych wydarzeniach, wybiera ją na swoją

pomocnicę. W trakcie dalszego rozwoju historii pojawia się też bardzo interesująca postać

chłopca-egzorcysty, Minamoto Kou, którego misją jest przeprowadzenie na Hanako

egzorcyzmów, jednak zaprzyjaźnia się on z duchem i Yashiro.

Brzmi na bardzo pogmatwaną historię i taką właśnie jest. Przez to bardzo ciężko czytało mi

się tom pierwszy mangi, ale w anime wszystko zostało dobrze pokazane. Akcja ciągle idzie

do przodu, a bohaterowie mają zabawne i interesujące przygody.

Bawi mnie sposób, w jaki autorzy prezentują niektóre sceny. Słowo, które od razu

przychodzi mi na myśl, gdy oglądam to kolorowe anime to: 'kawaii'. Sposób przedstawienia

postaci i ich myśli często jest naprawdę uroczy i myślę, że dobrze się to sprzedaje w

przypadku tej serii. Gdyby nie wszechobecne podteksty seksualne, powiedziałabym, że jest

to serial dla młodszej widowni. W fabule znajdziemy bardzo ciekawe elementy, ale według

mnie powtarzalne i przewidywalne.

Tak naprawdę ten tytuł zainteresował mnie dopiero w 8 odcinku, kiedy pojawia się Mitsuba,

który jest moją ulubioną postacią.

Niestety sezon pierwszy urywa się w takim momencie, gdy wspomniany przed chwilą

bohater dopiero jest rozwijany i zresztą nie tylko on sam. To, co mnie najbardziej urzekło to

jego relacja z Kou. Oprócz tego w końcowych odcinkach jest nam dane poznać ducha

chłopca, którego wygląd jest niemal identyczny jak u Hanako. Nie bez powodu... Hola!

Gdybym rzekła coś więcej, mogłabym odsłonić zbyt wiele szczegółów tego anime, a

przecież nie chcemy tu spoilerów, prawda? Jednakże zakończenie sezonu z takimi

wydarzeniami i postaciami przekonuje mnie do rozpoczęcia kolejnego.

Jeśli chodzi o kreskę to mogę powiedzieć, że według mojej opinii jest trochę nietypowa.

Choć może 'charakterystyczna' będzie tu lepszym słowem. Ze względu na uroczo

wykreowane postacie kojarzy mi się ona ze stylem kawaii. Pastelowe kolory tego dzieła są

bardzo ładnie ze sobą skomponowane. Myślę, że sama oprawa wizualna jest jednym z

najciekawszych elementów w tym tytule.

Podsumowując, "Hanako, Duch ze Szkolnej Toalety" mogę polecić osobom, które szukają

shōnena do obejrzenia na luzie oraz wszystkim, którzy gustują w dziecinnych klimatach i nie

mają zbyt wielkich wymagań co do fabuły. Mi osobiście historia przypadła do gustu i na

pewno z ciekawości wypróbuję kolejny sezon :)

~Aneysa

[autochops]

The Foetus of Excellence

[foetalmania]

JG Thirlwell during production of Shotgun Wedding by Rowland S Howard and Lydia Lunch, 1991. Source: Easley McCain Recording

[pollackpatrol]

the leftism leaving people's bodies as soon as they're told the movie they've been asked to boycott is gay

[80ssuperstar]

How do you guys love my Fanart Drawing of my sweetheart Mordecai from Regular Show 💖💖💖🐦🐦🐦

By Me @80ssuperstar 💕💕💕

[jgthirlwell]

The incredible Sami Stevens came by Self Immolation Studios to put vocals on two songs on the forthcoming project by JG Thirlwell and Simon Hanes. She has a new solo album coming out on July 28, check it out!

[suosage]

ini color directornya baru dipanggil pas ngerjain blu-ray po piye si

[szalonykasztan00]

And all my money is gone.

Good job Studio JG 👍

[chaifootsteps]

Something that confuses and disgusts me about Spindlehorse is how POSSESSIVE they apparently are of some of their animators…specifically the screenshots of viv asking people not to hire anyone working on her projects, and the studio talking shit about other animated projects like far fetched and Lackadaisy….b/c literally how we get more wonderful animation is when creators mentor and support the people on their staff!!!

Here’s the whole “Thurop Van Orman/Flapjack Family of Cartoons” as an example:

https://www.reddit.com/r/gravityfalls/comments/nwizfg/the_flapjack_family_of_cartoons/

Imagine if Orman had told other companies not to hire Pendleton Ward or JG Quintel. We wouldn’t have adventure time, which means we wouldn’t have Steven universe, or over the garden wall, or OK, KO!, or GRAVITY FALLS!!

And because we wouldn’t have gotten THOSE shows we also wouldn’t have got Craig of the Creek, The Owl House, Amphibia, Infinity Train, and more!!!

I hope that those screenshots of Viv asking other higher ups not to hire Spindlehorse employees and stuff are older, and I hope that she’s changed…but I doubt it.

I wonder what other opportunities she’s taken from her animators out of pettiness, jealousy, and spite???

(In particular, I specifically hope that Ashley Nichol’s show succeeds and does well. She, Michael, and Ed did so much for Viv’s shows, and she seems to resent them so so much for it and I can’t understand why? I try to give everyone as much benefit of the doubt as I can, but when I see ALL the people she used to be associated with and then burned??? Michael, Ashley, Erin, Kyra, and who knows who else…I just don’t understand)

Absolutely. There's zero excuse for a creator going behind their employees' backs and asking other creators not to hire them, especially when freelance animators frequently have to juggle multiple jobs to make ends meet.

You want to keep as many of your employees as possible, Viv? Pay them the wage we all know goddamn well you can afford.

[aninreh]

Nieporozumienia to ich specjalność. „OMG! Mój kumpel z gry online okazał się moim potwornym szefem!!!” #2 Nmury

Jeśli tęskniłyście za historiami obudowanymi wokół nieporozumień, mających swoje korzenie w tym, że bohaterowie czy bohaterki po prostu nie otwierają buzi w odpowiednim momencie, by powiedzieć, co trzeba, to dłużej czekać nie musicie. Po bardzo długim czekaniu na czytelnicze półki trafił drugi tom OMG! Mój kumpel z gry online okazał się moim potwornym szefem!!! Nmury – mangi w zasadzie…

[aneysajanis]

‘Kolorowy Shōnen z uroczą kreską - Hanako, Duch ze Szkolnej

Toalety’

Moje pierwsze zetknięcie się z historią Hanako było wtedy, gdy moja przyjaciółka pożyczyła

mi pierwszy tom jej mangi. Dobrze zapamiętałam ten komiks, ponieważ bardzo, ale to

bardzo nie przypadł mi do gustu. Nie mogłam zrozumieć, dlaczego wszyscy tak uwielbiają tę

serię. Nie dawało mi to spokoju. Dlatego właśnie zdecydowałam się wypróbować adaptację

tej mangi, której autorami są Aidalro, w formie 12-odcinkowego anime.

Wyprodukowany przez studio Lerche Shōnen z gatunku komedia, nadprzyrodzone został

wypuszczony na ekrany 9 Stycznia 2020. Pierwszy sezon zakończył się 26 Marca tego

samego roku.

Został wyreżyserowany przez Masaomi Andō a za scenariusz odpowiada Yasuhiro

Nakanishi. Mimo, że papierowa wersja nie przekonała mnie do siebie, to po obejrzeniu

anime jestem naprawdę ciekawa dalszych losów bohaterów.

Główną bohaterką tej historii jest Yashiro Nene. Jej przyjaciółka opowiada o plotkach, jakie

krążą na temat Uczelni Kamome, do której uczęszczają. Jedna z nich dotyczy ducha

dziewczyny Hanako, która przywołana w damskiej toalecie jest w stanie spełnić czyjeś

życzenie, jednak w zamian zabiera od tej osoby coś ważnego.

Yashiro postanawia przywołać tę zjawę, by zbliżyć się do obiektu swoich westchnień ale

zamiast dziewczyny pojawia się duch chłopca, który przedstawia się jako Hanako.

Postanawia on pomóc dziewczynie i tak po pewnych wydarzeniach, wybiera ją na swoją

pomocnicę. W trakcie dalszego rozwoju historii pojawia się też bardzo interesująca postać

chłopca-egzorcysty, Minamoto Kou, którego misją jest przeprowadzenie na Hanako

egzorcyzmów, jednak zaprzyjaźnia się on z duchem i Yashiro.

Brzmi na bardzo pogmatwaną historię i taką właśnie jest. Przez to bardzo ciężko czytało mi

się tom pierwszy mangi, ale w anime wszystko zostało dobrze pokazane. Akcja ciągle idzie

do przodu, a bohaterowie mają zabawne i interesujące przygody.

Bawi mnie sposób, w jaki autorzy prezentują niektóre sceny. Słowo, które od razu

przychodzi mi na myśl, gdy oglądam to kolorowe anime to: 'kawaii'. Sposób przedstawienia

postaci i ich myśli często jest naprawdę uroczy i myślę, że dobrze się to sprzedaje w

przypadku tej serii. Gdyby nie wszechobecne podteksty seksualne, powiedziałabym, że jest

to serial dla młodszej widowni. W fabule znajdziemy bardzo ciekawe elementy, ale według

mnie powtarzalne i przewidywalne.

Tak naprawdę ten tytuł zainteresował mnie dopiero w 8 odcinku, kiedy pojawia się Mitsuba,

który jest moją ulubioną postacią.

Niestety sezon pierwszy urywa się w takim momencie, gdy wspomniany przed chwilą

bohater dopiero jest rozwijany i zresztą nie tylko on sam. To, co mnie najbardziej urzekło to

jego relacja z Kou. Oprócz tego w końcowych odcinkach jest nam dane poznać ducha

chłopca, którego wygląd jest niemal identyczny jak u Hanako. Nie bez powodu... Hola!

Gdybym rzekła coś więcej, mogłabym odsłonić zbyt wiele szczegółów tego anime, a

przecież nie chcemy tu spoilerów, prawda? Jednakże zakończenie sezonu z takimi

wydarzeniami i postaciami przekonuje mnie do rozpoczęcia kolejnego.

Jeśli chodzi o kreskę to mogę powiedzieć, że według mojej opinii jest trochę nietypowa.

Choć może 'charakterystyczna' będzie tu lepszym słowem. Ze względu na uroczo

wykreowane postacie kojarzy mi się ona ze stylem kawaii. Pastelowe kolory tego dzieła są

bardzo ładnie ze sobą skomponowane. Myślę, że sama oprawa wizualna jest jednym z

najciekawszych elementów w tym tytule.

Podsumowując, "Hanako, Duch ze Szkolnej Toalety" mogę polecić osobom, które szukają

shōnena do obejrzenia na luzie oraz wszystkim, którzy gustują w dziecinnych klimatach i nie

mają zbyt wielkich wymagań co do fabuły. Mi osobiście historia przypadła do gustu i na

pewno z ciekawości wypróbuję kolejny sezon :)

~Aneysa

[autochops]

Clint Ruin - The definitive 80’s it-boy

[saintbleeding]

You know what you have to do now. (write the jg au for it)

Gerry doesn’t really like nerds, as a rule.

Gerry also doesn’t really like rules.

So you see the problem.

Like, okay, obviously if the rules fall within “safe and sanitary tattooing practices” then they’re inviolable, but if the rules are the only things stopping him from admitting he’s crushing a little bit on the dweeby audio engineer who works next door, then they were made to be broken.

The guy’s got a nice voice, even if he does dress like a divorced geography teacher. Mind you, Gerry’s only heard his voice in two contexts: sometimes, snatches of it drifting sonorously through the wall—which doesn’t bode well for the supposed soundproofing—as he… records? Rehearses? Whatever it is an archival audio engineer does.

Oh, and other times, while the guy is smoking out the front on his break, he’ll be on the phone, either with this treacly, measured tone that drips customer service, or in a much more genuine and irritated one, seemingly complaining about whoever he’s got to use the fake voice on. The duality of nerd, Gerry sometimes thinks, and smiles to himself as he works. It’s like there’s a silent, unacknowledged solidarity between them—strangers, but near enough that they can share the thought that people are a right bunch of dickheads.

It’s comfy. Companionable.

Easier than the mess of trying to do anything mental like having a conversation. He might be a wanker. He might be a Tory. Not worth the risk.

Or, rather, not till Sasha comes in one day. Gerry knows her. She’s come in more often as a hand-holder for her mates who are getting their first tats, but he’s worked on her once or twice too. On this day—on her lunch break, she says, but tells Gerry not to rush, she doesn’t mind being late back—she’s come in for text on her inner forearm. I am here, it’s going to say, in all-caps, with an arrow pointing up the arm, towards her. Gerry asks, genuinely curious, what it means.

“Easy to get lost,” she says. “‘Specially in my job. So it’s kind of a compass.”

Cool.

Gerry thinks that’s cool.

So they get to work on it. It’s not exactly painstaking, but given she said so, he takes his time on it. Lot of straight lines.

“Do you talk to Jon much?” Sasha says out of the blue.

“Who’s Jon?” Gerry says, without looking up.

“Oh! Works in the studio, next door?”

Gerry smiles without meaning to. “Oh, Mr A-Levels-History? Nah, haven’t had a chance.”

Sasha turns her head, sniggering. “I’ll tell him you said that.”

They lapse back into silence for a bit.

“Friend of yours?” Gerry asks breezily after what he sincerely hopes isn’t an awkwardly timed pause.

“Mm. Sort of,” Sasha says, in the same tone someone might insist they’re sort of friends with a panther. “He does a lot of recording for my company, and I’m usually the one who brings him our documents. He’s nicer than he looks.”

Gerry’s smile grows. “Doesn’t seem all that chatty.”

Sasha grins back. “Get him complaining and you won’t be able to shut him up.”

Gerry nods thoughtfully, and then the conversation drifts away from the topic.

But that evening, as he’s about to go, the nerd—sorry, Jon, apparently—is standing out the front, smoking, but not on the phone.

Gerry locks the door, pockets his keys, and turns around to face him in a way he hopes doesn’t look too orchestrated.

“Oh,” he says, “Could I bum one?”

Jon looks up like he’s surprised to remember he’s still on the physical plane, then exhales.

“Um,” he says, “Uh. Yes.”

He fumbles in his coat for a second, then pulls out his carton, which he hands over, looking away with a frown. Gerry takes a cigarette and puts it between his lips. When Jon takes the carton back, Gerry mimes for a light, and unthinkingly, rather than handing it over, Jon produces a zippo from somewhere and ignites it, holding it to the tip of Gerry’s smoke.

Not that Gerry is complaining about this, obviously. It gives him ample excuse to really properly look at Jon’s face for the first time. Stubbly chin, lines beneath his eyes and in the corners of his mouth, glasses in need of a polish. Their eyes meet, and Jon smiles awkwardly.

It’s right about then that Gerry decides fuck the rules, he’s got a crush.

“Long day?” he asks as Jon turns away, taking a drag of his own smoke.

“They’re all long,” Jon says wearily, then clears his throat. “I—mm. Yeah. Yes, you could say that.”

“And here I thought archiving reports from weird faceless organisations would be a barrel of laughs.”

Jon gives him a weird, silent look.

Classic bloody Gerry.

“Oh,” he continues, glancing away. “Um, you know Sasha? She, uh, talks about work a lot.”

When he dares to glance back, Jon is nodding, and if he’s still perturbed, he’s going to efforts not to look it.

“Friend of yours?” Jon asks.

Gerry smiles. “Sort of, yeah.”

They smoke in silence for a minute.

“I’m Jon, by the way,” Jon says, and Gerry nearly says I know, until he remembers what a weird fucking response that would be.

“Gerard,” he says instead, then, after a second, “Um, Gerry. I’m Gerry.”

They don’t shake hands.

“Strange,” Jon says, “That you spend all day jabbing people with needles, and I’m still hard-pressed to convince myself that my work is less violent.”

Gerry laughs. “How violent can things get in a recording studio, exactly?”

Jon smirks ruefully. “You might be surprised.”

Oh, cool, so he’s a freak. That’s kind of a huge relief.

“Anyway,” Gerry says, running a hand through his hair. “I’ve only ever had, like, three people pass out, so I’m doing pretty well. I’m basically a pacifist of tattooing.”

“You deserve the Need-el Peace Prize,” Jon says, then immediately cringes. “Sorry. Sorry. Christ, I tried to do something with needle and Nobel. Jesus Christ.”

Gerry laughs anyway.

“Not my finest work,” Jon concludes, lifting his glasses to pinch the bridge of his nose.

“Eh, it’s fine. You’ll just have to keep trying.”

Jon gives a bemused smile, bending to butt out his cigarette on the concrete.

“I suppose I will,” he says, and straightens his coat. “In the meantime, though, I’ve got some life choices to go home and question.”

They smile, and Gerry instantly prefers the kind of companionable solidarity the two of them share when they have actually had a conversation.

“Nice to meet you, Jon,” Gerry says.

“Likewise,” Jon replies, then he turns and goes.

Gerry watches him till he’s out of sight, and as he walks home alone that night, he nails down the preference list.

He likes nerds a lot more than he likes rules.

[blueiscoool]

Steve Silver stands inside his 5,000-square-foot loft in the Williamsburg neighborhood of Brooklyn, New York. Silver, a painter, moved into the loft in 1979.

A Look Inside New York’s Historic Artist Lofts

The Last of Their Kind.

They used to be printing shops, garment factories and flophouses. Now they’re some of the coolest artist spaces you’ll ever see.

These unique, expansive lofts, rarely seen by the public, are all over New York City.

For decades, they’ve been occupied by painters, sculptors and other artists who moved in when manufacturers started leaving the city in the second half of the 20th century.

“When people think of New York City as a cultural epicenter, these are the artists that they’re envisioning,” said Joshua Charow, a photographer and filmmaker who has spent the past few years documenting the artists and their studios for his book “Loft Law: The Last of New York City’s Original Artist Lofts.”

Artist Claire Ferguson moved into her loft in the city’s Tribeca neighborhood in 1981. At the time, the building in Lower Manhattan had a mix of artists and industrial tenants. “The floor below me was a paintbrush factory,” she told photographer and filmmaker Joshua Charow. “The floor above me put lines on paper before they had offset printing, and they had these huge machines. They had a guillotine that cut through the reams of paper every morning. At 6 a.m., they would turn it on, and it was this noise, aargh!”

JG Thirlwell’s loft in Brooklyn’s Dumbo neighborhood doubles as his home recording studio. “Loft living is not for everyone,” he told Charow. “You’re responsible for everything in here, and not everyone wants a life like that.”

A cat rests inside the Tribeca loft of Ken and Flo Jacobs, experimental filmmakers who moved into the space in 1965. At the time, the monthly rent for the 2,000-square-foot loft was just $70.

For the first half of the 20th century, New York City was a major manufacturing center. Factories were all over, producing everything from ice cream to torpedoes.

But when companies started finding it profitable to move their operations to other parts of the country and the world, many buildings were abandoned. By the 1960s and ‘70s, industrial neighborhoods, including those we now know as SoHo and Tribeca in Lower Manhattan, were largely deserted.

Landlords were desperate to find tenants. A big problem, however, was that the buildings were not zoned for residential use. Many of them didn’t have kitchens or showers, or even electricity or heat.

“The only people that would rent the space were artists,” Charow said. “And that’s because (the buildings) had tall ceilings, so they could make big work. They had big windows to let in lots of light. The spaces were completely raw, in many circumstances.”

Anne Mason sits in front of one of her late husband’s paintings in the loft they lived in together in the Little Italy neighborhood of Lower Manhattan. Frank Mason died in 2009, but his wife preserved his studio and his paintings.

Plants thrive in the natural light of the Midtown loft Bob Petrucci and Ray Bailey call home. It’s on the 16th floor of a building previously used as a necktie factory.

Artists would move into the empty factories and warehouses and make them more livable spaces. It was technically illegal, of course, but everyone was benefiting and the once-abandoned neighborhoods started to thrive again.

By the end of the ’70s, however, loft living had become quite fashionable and some landlords were looking to cash in, pushing out the artists for a wealthier clientele.

The artists pushed back, and in 1982 state lawmakers enacted Article 7-C of the New York Multiple Dwelling Law, which is commonly known as the 1982 Loft Law. This legislation gave protection and rent stabilization to people who had been living in these spaces. It also required landlords to bring the units up to residential code.

When the law was enacted, Charow says in his book, there were tens of thousands of artists living in lofts across the city. Now just a few hundred remain.

Noah Jemison moved to his Williamsburg loft in 1980. He remembers his neighborhood not having as much traffic as it does now. “You could walk down the streets and see nobody,” he told Charow. “It was a place where you could hear yourself think. It was perfect for artists.”

A scan of a 1913 blueprint shows one of the Manhattan buildings Charow photographed. New York City was a major manufacturing center for the first half of the 20th century.

Painter Betsy Kaufman walks inside her Tribeca loft. She uses the front half as her studio. It still has its original wooden floors.

Legislation enacted in 1982 allowed loft residents in New York to establish legal residence and have their living spaces brought up to code. It also stabilized their rent and protected them from eviction.

Charow wanted to document these artists — and their extraordinary lofts — before their numbers dwindled even more. He found a map of the remaining protected buildings and went door to door to see whether their tenants would be willing to share their story with him.

He was often rejected at first. But over time, more doors started to open up as people he met would introduce him to others.

Over the past three years, Charow has photographed 75 artists — 30 of whom are in his book.

“My life has been greatly enriched by meeting some of these artists and learning about their lives and their stories,” Charow said. “It’s had a big impact on just my life, and I can’t imagine how much of an impact this group of people has had on the city as a whole.”

Art created by Carolyn Oberst and Jeff Way adorn the walls of the loft they share in Tribeca. They live on the top two floors of a building they started renting in 1975. “I won’t tell you what it cost, but it was very cheap. We’ll just leave it at that,” Way told Charow. “But that was an incentive to fix it up. It was sweat equity, they called it.”

Ellen Christine makes new hats and restores old ones. She’s one of the last milliners in New York City. “In the 1930s, you could walk down any street, and there would be at least 30 milliners,” she said. “It was just (that) everybody wore hats, you see… So they needed new ones all the time.”

Curtis Mitchell remembers when he first walked into his loft in the Dumbo neighborhood of Brooklyn. The building used to be an ice cream factory. “It looked just like a dream,” he said. “To me, it still is a dream. It’s a fantastic place. Cold as hell in the winter and hot as hell in the summer, but I don’t care.”

One of Charow’s favorite spaces was the Bowery loft of Carmen Cicero, who is now 97 years old but moves with the energy of someone much younger, Charow said. Cicero lives in the loft with his wife, the art historian Mary Abell. Filling the space are hundreds of Cicero’s paintings, some bigger than he is.

“When you dream of what a painter in their loft in New York would be like, it’s Carmen,” Charow said. “And he’s filled with incredible stories. He has such phenomenal stories of his time as an artist here.”

Cicero’s work can be found in the permanent collections of the Whitney Museum of American Art, the Museum of Modern Art and the Smithsonian American Art Museum.

He told Charow the story of how he got his big break: “I had a lot of friends who thought I was a really remarkable painter. One day, they said, ‘Carmen, you’re going to a gallery.’ And they had two guys grab my feet, and two guys grab my arms — they threw me in the car and said, ‘We’re going.’ We went to four or five galleries, and almost every one of them wanted my work — I was lucky.”

Carmen Cicero lives in the Bowery, which has one of the highest concentration of Loft Law-protected buildings in the city. The painter moved to New York in 1971, after his home studio in New Jersey went up in flames

Charow says it has been a thrill to meet these artists and listen to their stories.

“The spaces are beautiful and interesting and historic in their own ways. But without the artists, these spaces lose the significance and the interest to me,” he said. “The artists are the ones who are giving the spaces meaning. Their decades of life and working there is what makes these spaces sort of a sacred thing.”

Through June 29, Charow’s photos are being exhibited at Westwood Gallery NYC, alongside the art of many of the people he photographed.

“I’m really excited that people get to see the paintings and sculptures and and see where they’re made,” he said.

Filmmakers Ken and Flo Jacobs have lived in their top-floor Tribeca loft for more than 50 years. “Once, we staged a live shadow play with a stretched curtain in the loft. Our audience consisted of just two people: Yoko Ono and John Lennon,” Ken told Charow.

Sculptor Marsha Pels lives in what used to be a glass factory in Brooklyn’s Greenpoint neighborhood.

Even though the book is already published, Charow’s project will continue. After he began sharing his photos and videos, more artists started reaching out to him so that they could tell their story.

He now has a list of artists to photograph over the next few months.

“This isn’t just a thing of New York’s past. This is the present,” Charow said. “You can walk down the street and look at a window and you might see (an artist), and they’re still working and they’re still making their paintings and sculptures.

“I think it’s a beautiful part of our city, that this exists. It took a lot of resilience and ingenuity to stay in these spaces.”

Kimiko Fujimura, a painter, moved from Tokyo to New York City more than 50 years ago. She has lived in this Chinatown loft since 1979. It was the top floor of a former bow-and-ribbon factory.

The Lower Manhattan skyline is seen from a loft in Brooklyn.

Joshua Charow’s book, “Loft Law: The Last of New York City’s Original Artist Lofts,” is published by Damiani Books. The exhibition at Westwood Gallery NYCis taking place through July 13.

Photographs by Joshua Charow. Story by Kyle Almond. Published June 16, 2024

[80ssuperstar]

Here's another Story Script I wanted to do which is a part from Madagascar Escape 2 Africa 🌍 When Alex and Marty tries to find the Water from the Humans and Gloria Rescuing Melman from the Volcano Sacrifice 🔥

This Time I want to change the characters from Regular Show which is the following:

Benson as Alex

Rigby as Marty

Mordecai as Melman

Samantha ( @80ssuperstar ) as Gloria

Hot Dog Leader as King Julien

Fat Hot Dog as Maurice

"Operation Water Rescue: The Volcano Dilemma"

[In the woods, Benson and Rigby go to look for the clog.]

Rigby: Is this place starting to freak you out?

Benson: We'll slip in, find the problem. Hunters will never know we were here.

Rigby: Why are we doing this?

Benson: Look Rigby, maybe my dad will think I'm... I just want to show him I'm a real Boss.

Rigby: As opposed to a chocolate Boss.

Benson: Shh. I know this may sound hard to believe; but apparently, Bosses don't dance.

Rigby: [shocked] WHAT?!?

Benson: SHH!! As far as my dad is concerned.

Rigby: As far as people are concerned, you're a huge hit.

Benson: That was California. This is Africa... it's much tougher crowd. Rigby! Rigby, this is it! This is the clog! Come on.

Rigby: Well, there's the water.

(Rigby drinks some of the water. While Rigby is drinking the water, Benson notices Nana)

Benson: Rigby, stay down. Look at that.

Nana: Knit one, purl two.

Benson: It's her.

Man: Is this right?

Nana: Very good.

Man: Nana, slow down.

Nana: You're a little tangled, aren't you? No, don't pull. I'll do it.

Benson: We need dynamite. Got any dynamite?

Rigby: (loudly) Oh, snap! I just used my last stick this morning!

[Benson tells to quiet down, but an arrow hits the fruit hat of shame 🏹]

Rigby: Savages!

Benson: Evasive maneuvers!

Rigby: Serpentine, serpentine!

Benson: Squiggly squid maneuver!

Rigby: Zag, zig-zag, zig ziggy zag!

Benson: No, no! Squiggly squid!

Rigby: Etch A Sketch! Etch A Sketch! Etch A Sketch!

Benson: That's too complex! Octopus, octopus!

Rigby: Benson!

Benson: Run, Rigby!

Rigby: Come on, I can't leave you here!

Benson: Go get help! Squiggly squid maneuver! Go! Go! Squiggly squid!

Rigby: ETCH A SKETCH!!! ETCH A SKETCH!!!

[The camera changes to the volcano where Mordecai, Wearing a White Orchid Flower Cowrie Shells Veil Headwear, 4 Flower Lei's, Black and White Feathers on his Ankles and Wrist, is about to go into the lava, but he is looking to the deep of the volcano.]

Mordecai: OK. OK, OK, OK. OK, here we go. OK, OK. Here we go! Here we go!

Joe: What's all the hoopla about?

Blue Jay: Joe?

Blue Jay 2: Joe the Witch Doctor? We thought you were dead!

Joe: So did I. Then I realized I'm covered in brown spots.

Blue Jay: So, Mordecai's not dying! [suddenly realizing the truth] Mordecai's not dying!

Blue Jay 1: Oh, no!

Samantha: Excuse me! Mordecai!! Move! Don't do this! Hot Dog Leader, stop this! This is crazy!

Hot Dog Leader: Oh, suddenly throwing a blue jay into a volcano to make water is crazy!

Samantha: Yes! Please, Mordecai! STOOOP!!!! 😱😱

Mordecai: Samantha? 😯

Samantha: You can't do this! 😭😭

Mordecai: Why not?

Samantha: Because...Oh! 😯😯

[But as she could finish, she trips which causes cracks to come out, Mordecai is shocked at what he's seeing, he runs up, but begins to fall. Samantha stops him from falling]

Samantha: You can't do this, Mordecai. 😢😢

Mordecai: First of all, that hurts. Second of all, I've only got 18 hours to live, anyway. 😢😢

Samantha: Mordecai, I gotta know...did you really mean those things you said about me? 🥹🥰

Mordecai: Of course I did. 🥲🥲

Samantha: That's crazy 😧😧

Mordecai: It Is? 😟😟

Samantha: It's crazy to think I had to go halfway around the world... to find out that the perfect guy for me lived right next door. 🥹🥹☺️😊

Mordecai: Then I guess it's you and me, neighbor. You and me for the next 18 hours. 😻😻😻

Samantha: I'll take whatever you got 🥹❤️🩵

Hot Dog Leader: WHOA WHOA WHOA Fat Hot Dog, what just happened?! 😱😱😱

Fat Hot Dog: I believe the Hot Sassy lady has sung. 😏❤️

HERE'S THE END TO THE PART! 〽️ I Hope you guys love it!!!

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For: @fxe4596 , @nicomxm23 , @mordorigs , @jgquintelslut , @pinkcandycatmakesart , @anifaz , @isrrael120 , @notadumbdog , @martingeekermmd , @eeveepalooza , @apollothedeity , @sidoresca , @siinhorhy , @insomniacz , @rhyliethecaterfly , @yeetafry , @at-weeb96 , @kiwithekool11437 , @kiko2032 , @orchestralauthor , @untitled14360 , @loudlyhappycupcake