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They tend to either have a hyperactive pace more akin to the pit at a thrash metal show, much like the Dead or Alive films, or relegate themselves wisely to a slow burn of plot that suits the unique style of storytelling found in many Japanese films.
Tony Takitani belongs in the latter camp, a unique study of loneliness and obsession that serves as a cinematic apotheosis of those two emotional states, both common themes in Asian filmmaking.
In this search for a proxy, Tony goes through a series of revelations about the nature of his own solitude as well as ruminations on the inescapable nature of the destiny his own choices and obsessions have created for him.
This pacing of this interesting emotional study may be off putting to audiences who are accustomed to the western cinema vernacular of: tragedy, explosion, witty quip, bad guy gets comeuppance, good guy wins, hero gets the girl, Tony Takitani will require some effort from viewers who want their movies loud, colorful, and shiny, but for those willing to put the effort in, the film is rewarding and thought provoking, if not a little depressing.
Scenes are shot with such a minimal sense of color and motion, more like beautifully composed still images than cinematic sequences.
The film makes extensive use of white and neutrals in the palette. Everything is wrapped in a pale haze that seems to oppress the characters at times.
It is a wonderful visual metaphor for the stifling obsessions of these characters. When there is motion in the camera, they are long, tony takitani The addition of prerecorded sound to cinema was a major milestone in the development of the medium.
No longer were we relegated to title cards or loose melodrama and the need to overact to convey subtleties of emotion.
By no means should one un-appreci- ate the medium of silent film, a beautiful era in cinema, one that should be cherished, studied, and respected by more people, but the advent of sound did change the game.
For the most part, the main plot and interactions of the two main char- acters remains dialogue free. It is the unique parameters of their silent relationship that drives the plot and gives it the emotional gravitas that this film so wonderfully conveys, most notably as the piece builds to its conclusion.
The study of motion and balance are important to this story in which a silent lon- er, breaks into the homes of traveling couples, and lives there while they are away.
Rather than malicious actions or any sort of destruction the visitor acts as an invisible helper, repairing appliances and mending clothing.
Likewise, the soundtrack is so minimally composed, saved for a few moments of music performed live in the film. Sounds of nature and indus- try dominate, but still seem toned down, almost as if heard through styrofoam, again add- ing to the unique atmosphere of this film.
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Before I get started, let me get this off my chest: Fuck you, Michael Bay. There, I feel better now. But just the scale of failure this film achieves is almost indescribable.
I scarcely think I need to summarize the plot, as anyone over the age of twelve is hopefully somewhat familiar with the premise of the original, but here I go anyway.
This film lazily regurgitates the original plot of undead child killer Freddy Krueger stalking and slaying teens while they dream, in retribution for his murder at the hands of their parents.
Though it does change a few elements. Krueger here is re-imagined as a child molester, not killer, which one would assume would add an even darker undercurrent to the character.
I can only imagine this was done away with to avoid humorous Home Alone comparisons. Great job, asshole. Michael Bay really stays the course with the formula, no?
What this means, in terms of direction, is likewise more of the same. Bayer has no sense of narrative structure, character development or pacing.
Let me clarify things up for Bayer and all up-and-coming horror directors. Blasting loud fucking noises in my ear is not the same thing as inspiring fear, dread or terror.
The cast is a mess, too. Rooney Mara, by contrast, is utterly dead-eyed and appears to be ironically enough sleepwalking her way through the role.
Kyle Gallner takes up the nominal Johnny Depp role and proceeds to disgust the audience with both his ghastly acting skills and still ghastlier visage seriously, this kid is fucking hideous.
Krueger in the original Nightmare was a near wordless killing machine, and when he did speak, there were no pun-filled one liners.
That aspect of the character only presented itself in the sequels, and slowly but surely reduced him to an amusing but harmless jester.
Haley tries to play both versions of the character, and this results in Freddy neither being terrifying nor darkly hilarious. But it was original and terrifying upon its release, and continues to be effective and relevant today.
It veers between boring and completely unwatchable, and brings virtu- ally nothing new to the table. Originality is dead in Hollywood, and nowhere is this more apparent than in the modern horror movie remake.
When I went more or less unwillingly to see the Nightmare remake in theaters, my lovely wife accompanied me. At about the halfway mark, she got up to use the restroom.
She never fucking came back. She had to get away from this movie so badly, she straight up deserted me. Till death do us part. Death and, apparently, the A Nightmare on Elm Street remake.
In this world humanity would learn from the mistakes of history, the individual would at last be freed from the tyranny of society, and technological progress would usher in a new era defined not by labor, but by leisure time.
The idea was universally proclaimed by both industrialist and artist alike, everything was to be made new. Ar- chitecture, painting, automobiles, fashion, work, literature, and people were all swal- lowed by the chromium visions of this cult of the new, but the dreams of the avant- garde of never manifested.
As the century faded to black modernism died, leaving a corpse of genocidal utopias, elevated highways, and post-industrial wastes.
It was in this morgue of metaphor that the founders of the art group AutopsiA began their work in the late s.
They undertook a post-mortem of the modernist corpse that continues to present time. Each project explores new questions, and is implemented with strategies that point out, and undermine the rotting corpse that we have built our culture upon.
For over thirty years AutopsiA has continuously operated from the edge of western civilization, bringing together artists of many mediums to collaborate on projects all authored under that single name.
They function much like a secret society with no public disclosure of its members, devoid of the egocentricity that drives the rest of the art world.
In this way the group has authored twenty-nine known album proj- ects and two experimental films, not to mention the plethora of text and images that come packaged with these projects or merely appear independently.
AutopsiA has no discernable nationalism or home geography, in the span of their existence they have moved from London to the former Yugoslavia, and currently reside somewhere in Prague.
Here the trail of verifiable information grows cold. Their existence is dif- ficult to separate from an air of mystery and so we must journey into the ephemeral space they have made for themselves in order to understand them further.
The space occupied by the tools of their ongoing autopsy and a corpse. Imagine our modernist corpse, the endless catalogues of cultural material arrayed upon a slab to be sorted through, dissected, and examined.
This is where AutopsiA begins its work, composing music, slicing and assembling collection of images and texts, piecing them together like a collage, the selections are chosen to elucidate a new whole.
In a certain way they provide the historic- ity for the sound which is body-less and place-less. What you thought would occur does not.
This composition is met with an album cover that threatens us with the image of the Wolf- Christ crucified, the high voltage sign of AutopsiA nailed above his head.
Here the Lamb of God is exposed for what he truly is a wolf in wool, and a messiah of death whose ferocious jaws plan to take you down with him.
In AutopsiA work related to Illuminating Technologies which is their record label but should also be understood as a project in its self the Wolf-Christ appears again as the fearful symbol of a new religion.
The benevolent, grandfather like dictator in this propaganda poster prepares a young fascist for an industrious life where cargo vessels ply a factory lined river, behind them the wolf watches si- lently.
As our lives continue to be invaded by new media smart phones, facebook, etc. What a person can do within understanding of its own mortality is detachment, separateness from the ruling idea about the world.
They are not attempting to reach the passive minds of the masses. Their every action seems to direct their work towards an elite audience.
In an age of cultural mass production and digital piracy, where the latest U2 album is likely to overflow landfills with their produc- tion overrun, AutopsiA has deliberately built scarcity into their art.
Even those who really desire it will have to fight to get a copy. Here again they have moved them- selves beyond our expectations, eluded out attempts to fit them inside an industry.
In truth, unlike almost every musical artist we have ever known, they do not need us to understand them or grant them our attention.
Creepy bells, obscure instruments gone wild, screams, whispers, groans, and something that sounds like a didgeridoo blown by Satan himself alternately weave in and out of the mix with such emotion that Argento used to blast the soundtrack on the set to scare the hell out of the cast in preparation for a scene.
He could have shot a film about a tree for two hours. Carnage Visors : performed by The Cure Calling this a score to a film is hardly fair.
Previously only available on the long out-of-print Faith cassette, it was finally reintroduced to younger Cure fans with the double disc reissue of the album.
While hardly es- sential Cure, it provides a nice backdrop to drinking wine, reading Albert Camus, and contemplating suicide while debating which shade of black eyeliner to wear.
Somewhere between classical lullabies, Asian melodies, and space-rock in a seedy jazz lounge, the score plays on contradictions of familiar and alien, light and darkness.
The machine generated sounds often imitate their real-life counterparts while acoustic instruments saturated in effects to create otherworldly timbres.
Slow, ambient pieces float around almost silently in the architecture of the future while the closing credits theme, evokes the tense, forbidden, passions of an- droids on the run.
While soundtracks can often prove to be nothing more than meaningless musical documents an- other way for the music biz to piggy back by selling a glorified mix tape the art of SCORING is where the real integrity lies.
The score is arguably more important than the film itself. The most daunting task of cinema falls onto the shoulders of the film score, suggesting the proper emotion to be felt by the watcher.
Of course, while heavyweight composers such as Ennio Morricone and Danny Elfman will always be considered kings of capturing a mood, the floodgates have opened in recent years allowing bands and already established musicians to try their hand at film scoring.
Directors are turning to bands to score their films more and more these days. The soundtrack, full of songs from the time, features one of the most interesting film scores of the 80s from prolific prog-rockers Tangerine Dream.
Having also written the screenplay, Nick Cave has a pin-point idea of where he wants the score to go. With violinist Warren Ellis he creates expressive pieces that are reflective of the late 19th century while as rugged and desolate as the suggested version of rural Australia.
No stranger to scoring, his tastefully over-emotional style is compli- mented to the highest extent when you add the haunting strings of the Kronos Quartet and the intensity of post-rock pioneers, Mogwai.
When put in the context of the film, it turns an otherwise heart wrenching scene of love and inevitable loss into a suspense filled question mark of a situation that could just as well be used for a horror movie.
The next few months alone give the film and music snob something to be excited about. Daft Punk will be scoring Tron: Legacy.
Gorillaz have announced their participation in an opera written by comic legend, Alan Moore. The World. Ellen Allien : Dust tells about my life, about both my day and night life.
What influences have caused these differences? Whereas Dust has been produced together with Tobias Freund. We tried to find the right classical instruments in order to make it sound more homogeneous.
The voice is mine and I wanted to make it sound very bright and clear. EA : When I produce an album I never make them exclusively techno.
This is some- thing I am not even able to do because it bores me. I love to write songs. He gave the final touches to the album, he put everything in exactly the right place.
However, when I make a single then I can make [the songs] a hundred percent dancefloor, two tracks that really rock, that is fun. EA : An album gets produced in order to [create] stories Do you have a favorite track you produced?
When you DJ, do you try and play this specific track? Where does the techno DJ fit into the music climate of today? EA : DJing is rock and roll I play in so many big clubs world- wide.
For example I cannot estimate how many people were at the BPitch Control showcase in Madrid on last Sunday, it was an incredible mixture of techno, house, and indie ambient, simply gorgeous.
It is the mixture that makes it even more special. I do not play exclusively straight forward techno, I try to mix it up and to connect different electronic sounds.
Most would say now is not a good time for record labels, what keeps you moti- vated and passionate about running BPitch Control?
EA : Our sales are stable. Also the Moderat album worked out well, also Telefon Tel Aviv was a success. Everything is possible.
The artists you sign to your label, are they personal favorites? And does the di- versity in styles on BPitch over the past year reflect your musical interests?
It is the mix- ture that makes it interesting. I try to sign different styles and talents on my label.
Name one album that describes your current musical mood. EA : Kraftwerk, Das Model released in shaped my style, intelligent minimalism with pop and genial lyrics.
Texture, silhouette, and hints at counter cultures of the past, maybe a bit of 00s hipster, 60s bohemian, and 30s modernist, it would seem with this collection you have your finger on the pulse of alternative fashion.
EA : The collection is called Nightflowers and the main theme and inspiration source is the crowd, people of the night who to me are blossoms of the night.
EA : The impressions I observe and live during the night are woven into my fashion. Fashion is a channel that helps me to process and to unify my experiences and my memories.
Ideas come up when I have to tramp in high heels through knee-high snow after a long night. Everything has to be comfortable and with style.
What fashion styles or designers are you currently draw- ing inspiration from? EA : The artist Wangechi Mutu is simply genius. Most of the ideas come from traveling and making music.
For example, when I fly to Barcelona and I sit on the beach, designs just pop into my mind. Or on the way home, when I am flying high over the clouds.
As a world traveler, with tour dates to support Dust from Singapore, to Barcelona, to Detroit, what characteristics make Berlin distinct from other cultural meccas?
A ferocious history. Berliner from the ex east and west are trying to create something new, a new Germany. Berlin is creative basically because many creative people move here, as long as this happens the city will continue to be a creative mecca.
Berlin is a club city also thanks to the fact that there are no closing hours. DJs have time to bring people to other levels, higher levels.
If Berlin is your first love, what city is your second? EA : My first love is the planet, my second the music Berlin is my home.
I saw the fall of the wall and the political change and I lived all the inherent problems. I love the world but I sometimes cannot understand the universe, since I do not know how to explain it to myself.
I cannot understand infinity; my head ex- plodes at this thought. If you could give a visitor tips on how to spend one day in Berlin, where would you tell them to go and what would you tell them to do?
And finally a question direct from one of our readers: How did you become such a techno badass? It has the perfect balance of flirting with minimal and progressive ele- ments while pressing forward with its steady rhythms.
I gave this its most intense listening by myself driving along the lake at sunset. Its a perfect album to enjoy loudly with the windows down where you can zone out and enjoy the progression and evolution of the music as its changes and evolving melodies are laid on top of rocking beats and driving bass.
Moody and pretty L36 is his second album and is packed full of atmosphere. The song structures are sparse and allow you to focus in on the individual parts.
This raw and emotional intensity is what the Deftones do best and Diamond Eyes is a knock out, it tugs out feelings of aggression, joy, and sentimentality through their honest music and lyrics.
Their album Hold My Hand is hard! Relentless pounding beats layered with screeching synths and clean, but hard vocals. The album provides dark atmospheres and unique melodies and tends to run the vocals in short segments of the tracks, say more techno in na- ture where the music is the key and the vocals add a dash of flavor.
The songs demand your attention, be it stomping your boots on the dance floor or letting your aggression meter run up a notch while driving around town.
I recommend this release! Albeit different, it still kicks ass! The music is catchy and the lyrics are infectious.
The band sounds tighter and the production on the album mashed it all together at perfect levels. Crank this album up to 11 and rock out.
Razorgrrl has since worked to expand T. After the end of the T. K, Razorgrrl took over the operation of TiKdistro herself until its close.
ReGen Radio can be heard weekly, at www. Melancholy lyrics with a solid industrial rock backing. Catchy and humorous, with an awesome accompanying video look it up online.
Enough said. It almost makes me want to move to Edmonton! I kid, I love Toronto. The music, constantly agitated and exciting, is delivered with lo-fi sensibility keeping things simple and to the point where pos- sible that always threatens to get a little out of hand and crowded, but manages to pull out some downright sublime moments of ecstasy and beauty.
In short, this album is an instant party, complete with awkward moments of intimacy, dancing on tables, occasional blackouts, and a mild hangover where you start to remember what the hell happened the night before.
Highly recommended. Immediately you can tell that this is not produced for clubs but for the serious music fan.
Anything That Gets You Through The Night has depth to each and every song and it gives a feeling that everything is placed exactly where it needs to be and really it is this attention to detail that will give this album longevity as new discoveries are made in each listen.
Overall I was very pleased with this release, the programming, lyrics, vocals, and overall feeling of the album just feels right. Cosmogramma proves that he is becoming as much of a pioneer for electronic music as his aunt was for jazz.
The spirit of free jazz is an underlying presence throughout this galactic maelstrom of an album. This is a start-to-finish album in every sense and its beauty lies in its unwavering sense of continuity.
The organic elements of horns, harp, chilled out drums, and sparse jazz guitar give you the sense that they were shot through a time machine until they were found by an advanced future civilization.
Future sounds of the past, if you will. This almost makes me wish these two hooked up earlier for The Eraser. Unlike her previous album Sool, I found Dust to be a little less experimental, except for a few wacky minimal tracks most of them could be dropped and the dance floor would keep moving.
If you are a long time fan of Ellen Allien you should pick this up. If you are a new comer to her music then I would suggest getting her earlier material and work your way up to this.
While their previ- ous outings were interesting enough in their own right, those experimental efforts seemed to be just that: experiments.
Rather than succumb to that mediocrity, Nice Nice have instead created something potentially monumental. Percussion and guitar provide the backbone to an array of real-time effects processing, creating a veritable sea of infinite sounds.
In a sentence, this is psychedelic punk rock of the future. Bunny is the third and final chapter to the Mothboy story and is an excellent culmi- nation of his work so far.
There are party friendly tunes, downtempo chillers, jazz interludes and moody beat experiments with hints of epic melody.
Bunny has multiple flavors that rear their heads in the course of listening. Adding to the feeling of variety of these tracks is the large cast of collaborators Moth- boy invited to play along for his final act.
Bunny takes a big chunk out of the predictable and plain and lets that creative blood trickle down onto its belly.
Either way you slice it, the kind of ambient created by The Sight Below requires a great deal of patience on the part of the listener.
The music moves very slowly as the piece drifts off into its own time and space. Most of the tracks do not have any percussion the few that do use only light electronic pulses which appear and disappear and are primarily created by shim- mering guitar loops that sound somewhere between modern Robin Guthrie Cocteau Twins and Durutti Column.
Flip the page, cut out, and tac on your wall! Razorcandi or Kym as she is known in everyday life is a unique model with the ability to seemingly create a hundred different looks all in one ass kicking deathrock package.
Hailing originally from the state of Florida and now residing in Romania, Razorcandi has since published multiple photography books showcasing her luminous modeling career.
As an artist and model, Razorcandi exemplifies beauty both through her creativity, her passion for individuality, and the ability to truly live for herself.
Could you share with our readers one or two of your secrets to achieving your beautiful and unique style? On a personal level it is about self ex- pression and showing my artistic side, but I also like to inspire others and stand for something.
With two photography books published show- casing your modeling, do you have any plans on publishing a book of your paintings?
I can definitely see fu- ture projects that include a picture book of my paintings, before that an art gallery exposition seams more probable.
In the near future I plan to put out a few editions of unreleased, never before seen images of new modeling work.
Romania must be a fascinating place to live for its history and folklore. More seriously, have you visited the ruins of Poienari Castle or do you have any other stories to tell?
From November 2. Truly a painting to make us thankful for Norman Rockwell. The artist went to Maine for this 1. The artist did his preliminary sketches in Maine and returned to Vermont for his model search.
The result: Dick Hagelberg, who was a bombardier with sixty- five missions over Germany to his credit, is happily pulling K.
What a treat rediscovering this obscure but delightful 1. The old gent dozes after perhaps reading something that triggers memories of his childhood Thanksgivings.
From November 1. Make a wish! Whoever got the biggest piece of the wishbone after pulling it apart got their wish. The young lady is giving it a lot of thought.
Perhaps she wishes to catch the eye of a special boy or is dreaming of something pretty for Christmas. This was a Rockwell cover in 1.
Leyendecker"After Turkey Nap"by J. But at least most of us make it up from the table first. This is a Leyendecker from 1.
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