#tock tutti

[abimee]

TY FOR THE DONO S ON THE KOFI a lamaty'i for you 🤸

[dyingbuck]

TOCK ( @abimee oc)

[mothpile]

fascinating habit of mine that i still see the effects of to this day was when i would just like. get a game or something Without Knowing Anything Really about it. A hat in time? didnt know what was up with it at all other than "i saw like. some people draw some stuff of it...?" nothing about gameplay or story etc. Hollow Knight? i had a very vague (and wildly off) conceptionof wht the game was from what i heard people talking about at school. I downloaded FFXIV without knowing what the gameplay or story was because i was curious who Tock Tutti was . ( person's warrior of light / player character / OC ) All this to say I dont know how i found Mutazione, i dont know why past mes got it, because no mes at any point knew what the game play was or is , But anyways we're playing it now i guess !

[mrswhymrhow]

tock tutti is my superstar my world. by the way

[class-wom]

Little Richard, a founding father of rock and roll whose fervent shrieks, flamboyant garb, and joyful, gender-bending persona embodied the spirit and sound of that new art form, died Saturday. He was 87. The musician’s son, Danny Penniman, confirmed the pioneer’s death to Rolling Stone, but said the cause of death was unknown.

Starting with “Tutti Frutti” in 1956, Little Richard cut a series of unstoppable hits – “Long Tall Sally” and “Rip It Up” that same year, “Lucille” in 1957, and “Good Golly Miss Molly” in 1958 – driven by his simple, pumping piano, gospel-influenced vocal exclamations and sexually charged (often gibberish) lyrics. “I heard Little Richard and Jerry Lee Lewis, and that was it,” Elton John told Rolling Stone in 1973. “I didn’t ever want to be anything else. I’m more of a Little Richard stylist than a Jerry Lee Lewis, I think. Jerry Lee is a very intricate piano player and very skillful, but Little Richard is more of a pounder.”

Although he never hit the top 10 again after 1958, Little Richard’s influence was massive. The Beatles recorded several of his songs, including “Long Tall Sally,” and Paul McCartney’s singing on those tracks – and the Beatles’ own “I’m Down” – paid tribute to Little Richard’s shredded-throat style. His songs became part of the rock and roll canon, covered over the decades by everyone from the Everly Brothers, the Kinks, and Creedence Clearwater Revival to Elvis Costello and the Scorpions. 

Little Richard’s stage persona – his pompadours, androgynous makeup and glass-bead shirts – also set the standard for rock and roll showmanship; Prince, to cite one obvious example, owed a sizable debt to the musician. “Prince is the Little Richard of his generation,” Richard told Joan Rivers in 1989 before looking at the camera and addressing Prince. “I was wearing purple before you was wearing it!”

Born Richard Wayne Penniman on December 5th, 1932, in Macon, Georgia, he was one of 12 children and grew up around uncles who were preachers. “I was born in the slums. My daddy sold whiskey, bootleg whiskey,” he told Rolling Stone in 1970. Although he sang in a nearby church, his father Bud wasn’t supportive of his son’s music and accused him of being gay, resulting in Penniman leaving home at 13 and moving in with a white family in Macon. But music stayed with him: One of his boyhood friends was Otis Redding, and Penniman heard R&B, blues and country while working at a concession stand at the Macon City Auditorium.

After performing at the Tick Tock Club in Macon and winning a local talent show, Penniman landed his first record deal, with RCA, in 1951. (He became “Little Richard” when he about 15 years old, when the R&B and blues worlds were filled with acts like Little Esther and Little Milton; he had also grown tired with people mispronouncing his last name as “Penny-man.”) He learned his distinctive piano style from Esquerita, a South Carolina singer and pianist who also wore his hair in a high black pompadour. 

For the next five years, Little Richard’s career advanced only fitfully; fairly tame, conventional singles he cut for RCA and other labels didn’t chart. “When I first came along, I never heard any rock & roll,” he told Rolling Stone in 1990. “When I started singing [rock & roll], I sang it a long time before I presented it to the public because I was afraid they wouldn’t like it. I never heard nobody do it, and I was scared.”

By 1956, he was washing dishes at the Greyhound bus station in Macon (a job he had first taken a few years earlier after his father was murdered and Little Richard had to support his family). By then, only one track he’d cut, “Little Richard’s Boogie,” hinted at the musical tornado to come. “I put that little thing in it,” he told Rolling Stone in 1970 of the way he tweaked with his gospel roots. “I always did have that thing, but I didn’t know what to do with the thing I had.”

During this low point, he sent a tape with a rough version of a bawdy novelty song called “Tutti Frutti” to Specialty Records in Chicago. He came up with the song’s famed chorus — “a wop bob alu bob a wop bam boom” — while bored washing dishes. (He also wrote “Long Tall Sally” and “Good Golly Miss Molly” while working that same job.)

By coincidence, label owner and producer Art Rupe was in search of a lead singer for some tracks he wanted to cut in New Orleans, and Penniman’s howling delivery fit the bill. In September 1955, the musician cut a lyrically cleaned-up version of “Tutti Frutti,” which became his first hit, peaking at 17 on the pop chart. “’Tutti Frutti really started the races being together,” he told Rolling Stone in 1990. “From the git-go, my music was accepted by whites.” 

Its followup, “Long Tall Sally,” hit Number Six, becoming his the highest-placing hit of his career. For just over a year, the musician released one relentless and arresting smash after another. From “Long Tall Sally” to “Slippin’ and Slidin,’” Little Richard’s hits – a glorious mix of boogie, gospel, and jump blues, produced by Robert “Bumps” Blackwell — sounded like he never stood still. With his trademark pompadour and makeup (which he once said he started wearing so that he would be less “threatening” while playing white clubs), he was instantly on the level of Elvis Presley, Jerry Lee Lewis and other early rock icons, complete with rabid fans and mobbed concerts. “That’s what the kids in America were excited about,” he told Rolling Stone in 1970. “They don’t want the falsehood — they want the truth.”

As with Presley, Lewis and other contemporaries, Penniman also was cast in early rock and roll movies like Don’t Knock the Rock (1956) and The Girl Can’t Help It (1957). In a sign of how segregated the music business and radio were at the time, though, Pat Boone’s milquetoast covers of “Tutti Frutti” and “Long Tall Sally,” both also released in 1956, charted as well if not higher than Richard’s own versions. (“Boone’s “Tutti Frutti” hit Number 12, surpassing Little Richard’s by nine slots.) Penniman later told Rolling Stone that he made sure to sing “Long Tall Sally” faster than “Tutti Frutti” so that Boone couldn’t copy him as much.

But then the hits stopped, by his own choice. After what he interpreted as signs – a plane engine that seemed to be on fire and a dream about the end of the world and his own damnation – Penniman gave up music in 1957 and began attending the Alabama Bible school Oakwood College, where he was eventually ordained a minister. When he finally cut another album, in 1959, the result was a gospel set called God Is Real.

His gospel music career floundering, Little Richard returned to secular rock in 1964. Although none of the albums and singles he cut over the next decade for a variety of labels sold well, he was welcomed back by a new generation of rockers like the Rolling Stones and Bob Dylan (who used to play Little Richard songs on the piano when he was a kid). When Little Richard played the Star-Club in Hamburg in 1964, the opening act was none other than the Beatles. “We used to stand backstage at Hamburg’s Star-Club and watch Little Richard play,” John Lennon said later. “He used to read from the Bible backstage and just to hear him talk we’d sit around and listen. I still love him and he’s one of the greatest.”

By the 1970s, Little Richard was making a respectable living on the rock oldies circuit, immortalized in a searing, sweaty performance in the 1973 documentary Let the Good Times Roll. During this time, he also became addicted to marijuana and cocaine while, at the same time, returning to his gospel roots.

Little Richard also dismantled sexual stereotypes in rock & roll, even if he confused many of his fans along the way. During his teen years and into his early rock stardom, his stereotypical flamboyant personality made some speculate about his sexuality, even if he never publicly announced he was out. But that flamboyance didn’t derail his career. In a 1984 biography, The Life and Times of Little Richard, written with his cooperation, he denounced homosexuality as “contagious … It’s not something you’re born with.” (Eleven years later, he said in an interview with Penthouse that he had been “gay all my life.”) Later in life, he described himself as “omnisexual,” attracted to both men and women. But during an interview with the Christian-tied Three Angels Broadcasting Group in 2017, he suddenly denounced gay and trans lifestyles: “God, Jesus, He made men, men, he made women, women, you know? And you’ve got to live the way God wants you to live. So much unnatural affection. So much of people just doing everything and don’t think about God.”

Yet none of that craziness damaged his mystique or legend. In the 1980s, he appeared in movies like Down and Out in Beverly Hills and in TV shows like Full House and Miami Vice. In 1986, he was one of the 10 original inductees into the Rock and Roll Hall of Fame, and in 1993, he was awarded a Lifetime Achievement Award at the Grammys. His last known recording was in 2010, when he cut a song for a tribute album to gospel singer Dottie Rambo.

In the years before his death, Little Richard, who was by then based in Los Angeles, still performed periodically. Onstage, though, the physicality of old was gone: Thanks to hip replacement surgery in 2009, he could only perform sitting down at his piano. But his rock and roll spirit never left him. “I’m sorry I can’t do it like it’s supposed to be done,” he told one audience in 2012. After the audience screamed back in encouragement, he said – with a very Little Richard squeal — “Oh, you gonna make me scream like a white girl!”

[thepainlove]

Tick tock

Tick tock tick tock

E avanti così in una sequenza infinita, sempre uguale, imperturbabile

Questo è quanto ci dicono tutti sin da bambini e ci viene confermato dalla ragione

Semplice sicurezza di un incedere lineare

Troppo semplice

Perché poi si scopre che i tick hanno così spesso diverse velocità e che i tock seguono in modo irregolare, che non viviamo allo stesso modo tutti i tick e che mentre certi tock volano via indifferenti altri li ricorderemo per sempre

Che tra un tick e un tock capitano interferenze che, come capita ad un segnale radio o televisivo, ci spostano su un altro canale, ora per un attimo ora per sempre

E lì sentiamo e vediamo immagini e suoni diversi da quelli che ci circondano

Sono pescati dal passato, ripresi dal futuro

Lì, dove non esiste tempo e spazio, tutto è possibile è tutto sembra assurdo, c'è ogni cosa e non c'è niente

E ci si può entrare e uscire subito, o entrare e non uscire mai

E ora un tick viene saltato e un tock non ha fine

Realtà parallela, irreale paradosso

Tick tock tick tock

-- thepainlove

[ddfrostds]

Little Richard, Founding Father of Rock Who Broke Musical Barriers, Dead at 87

Pianist-singer behind “Tutti Frutti,” “Good Golly Miss Molly,” and “Long Tall Sally” set the template that a generation of musicians would follow

Little Richard, a founding father of rock & roll whose fervent shrieks, flamboyant garb, and joyful, gender-bending persona embodied the spirit and sound of that new art form, died Saturday. He was 87. The musician’s son, Danny Jones Penniman, confirmed the pioneer’s death to Rolling Stone. The cause of death was bone cancer, according to his lawyer, Bill Sobel.

Starting with “Tutti Frutti” in 1956, Little Richard cut a series of unstoppable hits – “Long Tall Sally” and “Rip It Up” that same year, “Lucille” in 1957, and “Good Golly Miss Molly” in 1958 – driven by his simple, pumping piano, gospel-influenced vocal exclamations and sexually charged (often gibberish) lyrics. “I heard Little Richard and Jerry Lee Lewis, and that was it,” Elton John told Rolling Stone in 1973. “I didn’t ever want to be anything else. I’m more of a Little Richard stylist than a Jerry Lee Lewis, I think. Jerry Lee is a very intricate piano player and very skillful, but Little Richard is more of a pounder.” 

Although he never hit the Top 10 again after 1958, Little Richard’s influence was massive. The Beatles recorded several of his songs, including “Long Tall Sally,” and Paul McCartney’s singing on those tracks – and the Beatles’ own “I’m Down” – paid tribute to Little Richard’s shredded-throat style. His songs became part of the rock & roll canon, covered over the decades by everyone from the Everly Brothers, the Kinks, and Creedence Clearwater Revival to Elvis Costello and the Scorpions. “Elvis popularized [rock & roll],” Steven Van Zandt tweeted after the news broke. “Chuck Berry was the storyteller. Richard was the archetype.”

Little Richard’s stage persona – his pompadours, androgynous makeup, and glass-bead shirts — also set the standard for rock & roll showmanship; Prince, to cite one obvious example, owed a sizable debt to the musician. “Prince is the Little Richard of his generation,” Richard told Joan Rivers in 1989, before looking at the camera and addressing Prince. “I was wearing purple before you was wearing it!”

“If you love anything about the flamboyance of rock & roll, you have Little Richard to thank,” says the Black Keys’ Dan Auerbach, a longtime fan. “And where would rock & roll be without flamboyance? He was the first. To be able to be that uninhibited back then, you had to have a lot of not-give-a-fuck.”

Born Richard Wayne Penniman on December 5th, 1932, in Macon, Georgia, he was one of 12 children and grew up around uncles who were preachers. “I was born in the slums. My daddy sold whiskey, bootleg whiskey,” he told Rolling Stone in 1970. Although he sang in a nearby church, his father Bud wasn’t supportive of his son’s music and accused him of being gay, resulting in Penniman leaving home at 13 and moving in with a white family in Macon. But music stayed with him: One of his boyhood friends was Otis Redding, and Penniman heard R&B, blues, and country while working at a concession stand at the Macon City Auditorium.

After performing at the Tick Tock Club in Macon and winning a local talent show, Penniman landed his first record deal, with RCA, in 1951. (He became “Little Richard” when he about 15 years old, when the R&B and blues worlds were filled with acts like Little Esther and Little Milton; he had also grown tired with people mispronouncing his last name as “Penny-man.”) He learned his distinctive piano style from Esquerita, a South Carolina singer and pianist who also wore his hair in a high black pompadour.

For the next five years, Little Richard’s career advanced only fitfully; fairly tame, conventional singles he cut for RCA and other labels didn’t chart. “When I first came along, I never heard any rock & roll,” he told Rolling Stone in 1990. “When I started singing [rock & roll], I sang it a long time before I presented it to the public because I was afraid they wouldn’t like it. I never heard nobody do it, and I was scared.”

By 1956, he was washing dishes at the Greyhound bus station in Macon (a job he had first taken a few years earlier, after his father was murdered and Little Richard had to support his family). By then, only one track he’d cut, “Little Richard’s Boogie,” hinted at the musical tornado to come. “I put that little thing in it,” he told Rolling Stone in 1970 of the way he tweaked with his gospel roots. “I always did have that thing, but I didn’t know what to do with the thing I had.”

During this low point, he sent a tape with a rough version of a bawdy novelty song called “Tutti Frutti” to Specialty Records in Chicago. He came up with the song’s famed chorus — “a wop bop a loo bop a wop bam boom” — while bored washing dishes. (He also co-wrote “Long Tall Sally” while working that same job.) 

By coincidence, label owner and producer Art Rupe was in search of a lead singer for some tracks he wanted to cut in New Orleans, and Penniman’s howling delivery fit the bill. In September 1955, the musician cut a lyrically cleaned-up version of “Tutti Frutti,” which became his first hit, peaking at 17 on the pop chart. “’Tutti Frutti really started the races being together,” he told Rolling Stone in 1990. “From the git-go, my music was accepted by whites.”

Its follow-up, “Long Tall Sally,” hit Number Six, becoming his the highest-placing hit of his career. For just over a year, the musician released one relentless and arresting smash after another. From “Long Tall Sally” to “Slippin’ and Slidin,’” Little Richard’s hits — a glorious mix of boogie, gospel, and jump blues, produced by Robert “Bumps” Blackwell — sounded like he never stood still. With his trademark pompadour and makeup (which he once said he started wearing so that he would be less “threatening” while playing white clubs), he was instantly on the level of Elvis Presley, Jerry Lee Lewis, and other early rock icons, complete with rabid fans and mobbed concerts. “That’s what the kids in America were excited about,” he told Rolling Stone in 1970. “They don’t want the falsehood — they want the truth.”

“It is with a heavy heart that I ask for prayers for the family of my lifelong friend and fellow rocker ‘Little Richard,’” Lewis said in a statement. “He will live on always in my heart with his amazing talent and his friendship! He was one of a kind and I will miss him dearly.”

As with Presley, Lewis, and other contemporaries, Penniman was cast in early rock & roll movies like Don’t Knock the Rock (1956) and The Girl Can’t Help It (1957). In a sign of how segregated the music business and radio were at the time, though, Pat Boone’s milquetoast covers of “Tutti Frutti” and “Long Tall Sally,” both also released in 1956, charted as well if not higher than Richard’s own versions. (“Boone’s “Tutti Frutti” hit Number 12, surpassing Little Richard’s by nine slots.) Penniman later told Rolling Stone that he made sure to sing “Long Tall Sally” faster than “Tutti Frutti” so that Boone couldn’t copy him as much.

But then the hits stopped, by his own choice. After what he interpreted as signs — a plane engine that seemed to be on fire and a dream about the end of the world and his own damnation — Penniman gave up music in 1957 and began attending the Alabama Bible school Oakwood College, where he was eventually ordained a minister. When he finally cut another album, in 1959, the result was a gospel set called God Is Real.

In 1964, with his gospel music career floundering, Little Richard returned to secular rock. Although none of the albums and singles he cut over the next decade for a variety of labels sold well, he was welcomed back by a new generation of rockers, including the Rolling Stones and Bob Dylan (who played Little Richard songs on the piano when he was a kid). When Little Richard played the Star-Club in Hamburg in the early Sixties, the opening act was none other than the Beatles. “We used to stand backstage at Hamburg’s Star-Club and watch Little Richard play,” John Lennon said later. “He used to read from the Bible backstage and just to hear him talk we’d sit around and listen. I still love him and he’s one of the greatest.”

By the 1970s, Little Richard was making a respectable living on the rock-oldies circuit, immortalized in a searing, sweaty performance in the 1973 documentary Let the Good Times Roll. During this time, he also started smoking marijuana and became addicted to cocaine while, at the same time, returning to his gospel roots. 

Little Richard also dismantled sexual stereotypes in rock & roll, even if he confused many of his fans along the way. During his teen years and into his early rock stardom, his stereotypical flamboyant personality made some speculate about his sexuality. But that flamboyance didn’t derail his career. In the 1984 biography The Life and Times of Little Richard (written with his cooperation), he denounced homosexuality as “contagious … it’s not something you’re born with.”

But while recalling a 1987 Playboy interview with Little Richard for The Guardian, filmmaker John Waters quoted him as saying, “I love gay people. I believe I was the founder of gay. I’m the one who started to be so bold tellin’ the world! You got to remember my dad put me out of the house because of that. I used to take my mother’s curtains and put them on my shoulders. And I used to call myself at the time the Magnificent One. I was wearing makeup and eyelashes when no men were wearing that. I was very beautiful; I had hair hanging everywhere. If you let anybody know you was gay, you was in trouble; so when I came out I didn’t care what nobody thought. A lot of people were scared to be with me.”

Later in life, he described himself as “omnisexual,” attracted to both men and women. But during an interview with the Christian-tied Three Angels Broadcasting Group in 2017, he suddenly denounced gay and trans lifestyles: “God, Jesus — He made men, men. He made women, women, you know? And you’ve got to live the way God wants you to live. So much unnatural affection. So much of people just doing everything and don’t think about God.”

Yet none of that seemed to damage his mystique or legend. In the 1980s, he appeared in movies like Down and Out in Beverly Hills and in TV shows like Full House and Miami Vice. In 1986, he was one of the 10 original inductees into the Rock and Roll Hall of Fame, and in 1993, he was awarded a Lifetime Achievement Award at the Grammys. His last known recording was in 2010, when he cut a song for a tribute album to gospel singer Dottie Rambo.

In the years before his death, Little Richard, who was by then based in Nashville, still performed periodically. Onstage, though, the physicality of old was gone: Thanks to hip replacement surgery in 2009, he could only perform sitting down at his piano. But his rock & roll spirit never left him. “I’m sorry I can’t do it like it’s supposed to be done,” he told one audience in 2012. After the audience screamed back in encouragement, he said — with a very Little Richard squeal — “Oh, you gonna make me scream like a white girl!”

[mongoose232323]

It Seems Every Day 2020 Sux A Bit More

Little Richard , A Founding Father Of Rock And Roll Died Saturday At The Age Of 87. The Musician’s Son Danny Penniman Confirmed His Death To Rolling Stone, But Said The Cause Of Death Was Unknown.

Richard Wayne Penniman (Dec. 5, 1932 – May 9, 2020), Better Known As ‘Little Richard’, American Singer, Songwriter, And Musician.

From The Article

Starting with “Tutti Frutti” in 1956, Little Richard cut a series of unstoppable hits – “Long Tall Sally” and “Rip It Up” that same year, “Lucille” in 1957, and “Good Golly Miss Molly” in 1958 – driven by his simple, pumping piano, gospel-influenced vocal exclamations and sexually charged (often gibberish) lyrics. “I heard Little Richard and Jerry Lee Lewis, and that was it,” Elton John told Rolling Stone in 1973. “I didn’t ever want to be anything else. I’m more of a Little Richard stylist than a Jerry Lee Lewis, I think. Jerry Lee is a very intricate piano player and very skillful, but Little Richard is more of a pounder.”

Although he never hit the top 10 again after 1958, Little Richard’s influence was massive. The Beatles recorded several of his songs, including “Long Tall Sally,” and Paul McCartney’s singing on those tracks – and the Beatles’ own “I’m Down” – paid tribute to Little Richard’s shredded-throat style. His songs became part of the rock and roll canon, covered over the decades by everyone from the Everly Brothers, the Kinks, and Creedence Clearwater Revival to Elvis Costello and the Scorpions.

Little Richard’s stage persona – his pompadours, androgynous makeup and glass-bead shirts – also set the standard for rock and roll showmanship; Prince, to cite one obvious example, owed a sizable debt to the musician. “Prince is the Little Richard of his generation,” Richard told Joan Rivers in 1989 before looking at the camera and addressing Prince. “I was wearing purple before you was wearing it!”

Born Richard Wayne Penniman on December 5th, 1932, in Macon, Georgia, he was one of 12 children and grew up around uncles who were preachers. “I was born in the slums. My daddy sold whiskey, bootleg whiskey,” he told Rolling Stone in 1970. Although he sang in a nearby church, his father Bud wasn’t supportive of his son’s music and accused him of being gay, resulting in Penniman leaving home at 13 and moving in with a white family in Macon. But music stayed with him: One of his boyhood friends was Otis Redding, and Penniman heard R&B, blues and country while working at a concession stand at the Macon City Auditorium.

After performing at the Tick Tock Club in Macon and winning a local talent show, Penniman landed his first record deal, with RCA, in 1951. (He became “Little Richard” when he about 15 years old, when the R&B and blues worlds were filled with acts like Little Esther and Little Milton; he had also grown tired with people mispronouncing his last name as “Penny-man.”) He learned his distinctive piano style from Esquerita, a South Carolina singer and pianist who also wore his hair in a high black pompadour.

https://www.rollingstone.com/music/music-news/little-richard-dead-48505/amp/

[margiehasson]

Tagli di capelli medi: i trend dell’autunno 2019

L’autunno è spesso periodo di nuovi inizi e cambiamenti. Quale modo migliore di ricominciare l’anno scolastico se non con un nuovo taglio di capelli? Le tendenze 2019 vogliono capelli a lunghezza spalla, frange spettinate e morbide onde naturali.

Ecco allora una carrellata di Celebrities con tagli di capelli medi per l’autunno 2019.

Dua Lipa – Photo Credits @mordeo

In prima posizione fra i tagli più richiesti dell’anno svetta il caschetto, anche detto lob. Si tratta di un evergreen che sta bene a tutte e che viene proposto in mille declinazioni differenti. Dua Lipa ha adottato un taglio di capelli medio geometrico, con riga centrale, da portare liscissimo o volutamente spettinato.

Natalie Portman – Photo Credits John Photography/Shutters Tock

  I tagli di capelli medi sono un ottimo compromesso. Chi ha osato tagliare i capelli molto corti, in breve tempo potrà adottare un taglio medio. Chi invece parte da capelli lunghi e decide di cambiare look, può decidere di adottare un taglio di capelli medio senza stravolgere l’immagine in modo drastico. È il caso di Natalie Portman, che quest’anno ha deciso di accorciare la sua lunga chioma, abbracciando il trend con un taglio medio fin sopra le spalle.

  Chiara Ferragni – Photo Credits @chiaraferragni

  Anche Chiara Ferragni sta pensando di adottare un long bob, l’abbiamo vista sul red carpet del festival di Cannes indossare una parrucca con un taglio medio. Il 2020 sarà l’anno buono per un taglio di tendenza? Non ci resta che attendere.

Rihanna – Photo Credits Getty Images

  La frangia abbinata al caschetto in tutte le sue sfumature è perfetta e armonizza i lineamenti più forti. Rihanna stupisce con il suo long bob semplice ma allo stesso tempo così rivoluzionario. Un taglio di capelli medio con una frangia che incornicia i suoi occhi magnetici. Le onde naturali rendono il taglio attuale e meno grafico, perfetto per un look da tutti i giorni.

Ursula Corbero – Photo Credits Samuel de Roman/WireImage

  Tokio de “la Casa di Carta” ha fatto impazzire migliaia di fan con il suo long bob con frangia corta. Il taglio di Ursula Corbero ricalca gli anni 50 in chiave moderna, regala un look sbarazzino e alternativo.

Per altri suggerimenti e idee seguimi su consiglidimakeup.com!

L'articolo Tagli di capelli medi: i trend dell’autunno 2019 sembra essere il primo su Glamour.it.

Tagli di capelli medi: i trend dell’autunno 2019 published first on https://lenacharms.tumblr.com/

[abimee]

wuk lamat we still need to get those tacos together.... can you order tock a fresas con crema to dip hers into

[druzya]

La Disney farà con Star Wars quello che il genere Peplum ha fatto con Maciste.

E vai quindi di toto titoli

"Gli ultimi Jedi, stavolta davvero"

"L'impero colpisce ancora e ancora e ancora"

"Una speranza nuova nuovissima"

"Non indovinerete mai cos'ho trovato in cantina - altri jedi"

"Tock tock! Chi è? L'impero"

"Il risveglio della Forza, dopo altri 5 minuti"

"Il risveglio della Forza, dopo la pennica pomeridiana"

"La Forza contro la piomba da cenone natalizio"

"La Forza, I'Impero e Maciste contro tutti"

-_-

[mariobadino]

Endecasillabi scemi

E se sarò tracciato dal governo vedranno che mi piace camminare. Per mesi sono stato controllato da un’app che più cammini più ti premia. Ora ci pensa Google, che a gennaio mi ha ricapitolato tutti i posti nei quali sono stato l’anno scorso.

Quest’anno non ho visto molti posti.

Ingrasso: dovrei mettere Tick Tock, ma se sarò tracciato su Tick Tock si scoprirà che io non so ballare.

E per un…

[mrswhymrhow]

sunday may be halloween but more importantly. it is tock tuttis anniversary.

[saggiosguardo]

Intel Ice Lake, svelata nei dettagli la lineup iniziale dei processori per notebook

Prosegue la rivelazione a tappe da parte di Intel dei processori appartenenti alla nuova gamma Ice Lake. Al Computex, l'azienda di Santa Clara aveva già reso note le informazioni a grandi linee sulla gamma mobile, la prima ad arrivare sul mercato. Oggi si entra maggiormente nei dettagli, con l'ufficializzazione della lineup iniziale di CPU destinate ai portatili. Non è una gamma completa, dato che mancano le configurazioni a 6 e 8-core; tuttavia, ci sarebbe già potenziale materiale per un ulteriore giro di orologio a MacBook Air e Pro 13".

Iniziamo però con un riassunto delle caratteristiche principali di Ice Lake. Essa inaugura su vasta scala il passaggio ai 10 nanometri da parte di Intel, dopo un primo approccio lo scorso anno con un singolo Core i3 destinato a prodotti specifici. I nuovi processori hanno TDP fino a 28W e memoria cache sostanzialmente invariata rispetto all'architettura precedente. In termini di prestazioni per clock ci sono miglioramenti ma non su vastissima scala, prediligendo altre aree di intervento, a partire dall'atteso supporto per la RAM LPDDR4/X. Per la prima volta la connessione Thunderbolt 3 trova posto direttamente sul die della CPU ed offrirà fino ad un massimo di 4 porte complete. Tra le novità al cuore di questa nuova edizione vi è il primo tentativo di Intel di migliorare le performance nel campo dell'Intelligenza Artificiale sui portatili, promettendo un incremento da 2,5x rispetto ai chip di ottava generazione, grazie al nuovo Deep Learning Boost basato sul Machine Learning e all'uso delle istruzioni AVX512. Altro settore d'interesse è quello grafico, Gen11, per il quale è previsto un raddoppio delle performance con le soluzioni di punta che supereranno per la prima volta in casa Intel il muro del TFLOP. Oltre a ciò, sono presenti un encoder HEVC riprogettato, il supporto alla gamma HDR e a risoluzioni fino ad 8K. Infine, Intel ha prestato molta attenzione all'implementazione del Wi-Fi 6, per il quale si prevede una prima spinta alla larga diffusione nel 2020.

Veniamo ora alle SKU rese note oggi, appartenenti alle serie U e Y. Degno di nota è un cambiamento della nomenclatura dei processori, volto ad illustrare meglio il collocamento di un singolo modello all'interno della gamma. Oltre ad i3, i5 e i7, il nome della CPU verrà composto dalla generazione (in questo caso 10), la fascia in cui si posiziona (attualmente sono in uso 0, 3 e 6), il TDP di riferimento (0 per i modelli sotto i 10W, 5 per quelli tra 15 e 25 W, 8 per quelli da 28 W) e in conclusione il chip grafico implementato (G1/UHD Graphics, G4 o G7 entrambe Iris Plus). Anche se non chiarisce del tutto a colpo d'occhio, la nuova nomenclatura è molto gradita nel dare un primo aiuto a dipanare la matassa. Iniziamo dai modelli appartenenti alla serie U, tutti dotati di HyperThreading; la cache L3 è di 8 MB per i7, 6 MB per i5 e 4 MB per i3, mentre il TDP è tra i 15 e 25 W per tutti ad eccezione del modello di punta da 28 W:

Modello Core/thread/unità GPU Clock base/Turbo/GPU i7 1068G7 4/8/64 2,3/4,1/1,1 GHz i7 1065G7 4/8/64 1,3/3,9/1,1 GHz i5 1035G7 4/8/64 1,2/3,7/1,05 GHz i5 1035G4 4/8/48 1,1/3,7/1,05 GHz i5 1035G1 4/8/32 1/3,6/1,05 GHz i3 1005G1 2/4/32 1,2/3,4/0,9 GHz

Si passa poi alla serie Y, composta da 5 modelli, altrettanto tutti dotati di HyperThreading e con le stesse distinzioni di cache L3 già viste sopra per le configurazioni U. Il TDP è tra i 9 e i 12 W. Molto interessante qui l'introduzione dei quad-core, che in un futuro non troppo lontano potrebbero dunque arrivare anche negli Air e nei suoi diretti concorrenti, anche se le frequenze base sotto il GHz saranno da verificare sul campo (per quanto si sa bene che il clock non significhi tutto nelle prestazioni di una CPU):

Modello Core/thread/unità GPU Clock base/Turbo/GPU i7 1060G7 4/8/64 1/3,8/1,1 GHz i5 1030G7 4/8/64 0,8/3,5/1,05 GHz i5 1030G4 4/8/48 0,7/3,5/1,05 GHz i3 1000G4 2/4/48 1,1/3,2/0,9 GHz i3 1000G1 2/4/32 1,1/3,2/0,9 GHz

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