Mut tää voi teidät kyllä yllättää (sanon kuin Matti Vanhanen tv-showssa): sehän oli hittovie homppeli! No so what, niinhän näyttää olevan suurin piirtein puolet kaikista nimekkäistä artisteista. Ehkä ei voi edes tulla nimekkääksi artistiksi ellei sitä kokeile. Voivoi. Multa on jo mennyt mahixet. Ellei sitten riitä vaan tarjota takapuolta pystyvämmille. Jos sillä pääsis edes puolijulkkikseksi.
ellauri014.html on line 1788: Katkerot (Gentiana) on kasvisuku katkerokasvien (Gentianaceae) heimossa. Siihen kuuluu yli 300 ruohovartista kasvilajia, jotka kasvavat usein vuoristoissa. Joukossa on sekä yksi- että monivuotisia kasveja. Niiden varsi on pysty, ja kukat kasvavat yksitellen tai muutaman kukan ryhmänä kasvin latvassa. Kukat ovat sinisiä tai purppuranpunaisia, viisiterälehtisiä ja yleensä suhteellisen suuria.
ellauri016.html on line 776: Nick Drake received little critical success during his lifetime, but has since been widely acclaimed. Based on professional rankings of his albums and songs, the aggregate website Acclaimed Music lists him as the 101st most acclaimed recording artist in history.
ellauri016.html on line 780: In 1999, "Pink Moon" was used in a Volkswagen commercial, boosting Drake's US album sales from about 6,000 copies in 1999 to 74,000 in 2000. The LA Times saw it as an example of how, following the consolidation of US radio stations, previously unknown music was finding audiences through advertising. Fans used the filesharing software Napster to circulate digital copies of Drake's music; according to the Atlantic, "The chronic shyness and mental illness that made it hard for Drake to compete with 1970s showmen like Elton John and David Bowie didn't matter when his songs were being pulled one by one out of the ether and played late at night in a dorm room." In November 2014, Gabrielle Drake published a biography of her brother. Over the following years, Drake's songs appeared in soundtracks of "quirky, youthful" films such as The Royal Tenenbaums, Serendipity and Garden State. Made to Love Magic, an album of outtakes and remixes released by Island Records in 2004, far exceeded Drake's lifetime sales. In 2017, Kele Okereke cited Pink Moon as an influence on his third solo album Fatherland. Other contemporary artists influenced by Drake include José González, Bon Iver, Iron & Wine, Alexi Murdoch and Philip Selway of Radiohead.
ellauri019.html on line 1026: The Lega Serie A announced its series of anti-racism initiatives, including a representative from every team and a controversial choice of art works. The presentation had as its centre-piece three pieces from internationally renowned artist Simone Fugazzotto, who uses chimps and apes in motifs throughout all of his paintings.
ellauri019.html on line 1028: The triptych by the Italian artist was presented on Monday at the league's Milan headquarters, along with an anti-racism plan which included the signing of a charter by a player representing each of the 20 Serie A clubs. Italian stadiums are the scene of recurrent racist incidents, including monkey chants aimed at black players.
ellauri019.html on line 1037: The anti-racism organization, Fare, argues that the paintings are a dehumanization of people of African descent. So it seems to them that the anti-racist campaign is essentially racist. In an email to CNN, artist Simone Fugazzotto said she was "completely shocked" by the reaction.
ellauri025.html on line 643: Lovecraft is a famous writer and bullshit artist, but also a well-known racist. Should I read his novels?Was H.P. Lovecraft ever a chill or a good guy at least even a little bit? I know his works basically put humankind to the lowest of the low, but was there even a tiny bit of good in him?What does H.P. Lovecraft mean with his phrase “That is not dead which can eternal lie, And with strange aeons even death may die” in his writing of The Nameless City?
ellauri033.html on line 146: sans doute comme celui d´un poète unique, qui, dans un siècle d´artistes
ellauri033.html on line 176: Le japonisme, — l´écriture artiste, — la vérité littéraire, — voilà les
ellauri033.html on line 237: Uniquement soucieux de « piquer » la sensation, l´écriture artiste des
ellauri033.html on line 247: eux un artiste. Et vraiment je crains qu´il ne faille être quelque peu
ellauri033.html on line 500: Ah! urhea keskiluokka! se huoahtaa. Huoh. Siitä on nuosnut uutteria upseereja, däppäriä diplomaatteja, eteviä professoreja (oyez! oyez!), ehjiä artisteja! Mut sit on näitä kelvottomia poliitikkoja, jotka ajaa mies- ja ääniperiaatetta ja päästävät keskinkertaisuuxia meidän johtopaikoille. Ei enemmistö voi päättää, enemmistöhän on laahusta, totaalisia idiootteja. Mehän keskiluokka ollaan täällä parhaimmistoa. Ei me siis olla turhia, vaikka sota hävittiin. Mut me haudotaan revanshia! Sakuille pannaan vielä päihin, odottakaapas vaan. (No on sitä saanut odottaa. Ranskixet odotti kaxi maailmansotaa tumput suorina et muut hoiteli sakut niiden puolesta.)
ellauri033.html on line 645: artists_model.jpg" height="250px" />
ellauri039.html on line 343: Rie Hatsipompponen came to the United States as a high school exchange student in rural Kansas from Sapporo, Japan. Her initial inability to effectively communicate in English led her to engage in artistic forms of expression.
ellauri039.html on line 351: Hatsipompponen’s artistic development is threaded with a series of performance works that are inspired by autobiographical events and social issues. Benevolence evoked an inner quietness with extremely slow and repetitive motions, questioning the exponential acceleration of our contemporary lives. MISEMONO: SIDESHOW dealt with cultural stereotypes and racial issues. Ritual for RED was a re-enactment of the lost memories suffered from a severe auto accident. "My work in execution and establishment communicates both the solid fact and the ephemerality of life."
ellauri039.html on line 778: Tais Forsteria vähä vituttaa, kun vanhempi virkaveli pokkas pokaalin. Ize se oli 16 kertaa ehdolla muttei saanut, kun Galsworthy oli saanut jo. Aika samantapaisia koroillaelävien brittikermaperseiden perhehuolia ne setvii molemmat. Yrittäjähenkisiä romantikoita, koittaa yhdistää money senseä ja artistic sensibilityä. Perseelleen siitä tuppaa menemään molemmat. Geenit ja meemit sekoittuu huonosti. Forster oli muuten Cambridgen apostoli, sieltä hilpeimmästä päästä. Se kirjoitti homoilusta kirjankin nimeltä Maurice.
ellauri042.html on line 699: Maria Fyodorovna Nechayeva, his mother, was descended from a conservative Moscow merchant family. Dostoevsky was educated at home and at a private school. The family lived in a very small apartment, which his father also used as a doctor´s practice. The patriarchal and avaricious character of his father was seminal for the personal and the artistic development of Fyodor.
ellauri046.html on line 862: oli runoileva leipäpappi Stuttgartista 1804-1875. Nuorena diggas vanhaa hullua Hölderliniä ja jotain Krüdicken piikaa. Hautas äitinsä Schillerin äidin unohtuneen haudan viereen. Sit siitä tuli kirjallisuuden proffa Stuttgartiin, kunniatohtori ja se sai palkintoja. Nai jälkeenjääneen katolisen tytön jonka kanssa sai 2 tytärtä. Tää oli sukulaisille ainainen kivi kengässä. Vaimkon kanssa tuli lopulta känää tyttären sulhasesta ja asumusero. Sopu tehtiin kuolinvuoteella.
ellauri048.html on line 741: Anita worked and, while Saul tried to write, supported the family financially, something his father conveniently overlooked, Bellow says, after they split up and she had to chase him for alimony. "I was 20 before he became famous, so I did not grow up the son of a famous father. I grew up the son of a starving artist."
ellauri048.html on line 743: There followed the years of bohemia, when the family moved to Paris and Saul started to shrug off the influence of his 19th-century literary heroes and find his own voice in The Adventures of Augie March. When he was happy and the writing was going well, their lives would be joyous; when he struggled, the apartment was mired in gloom. Meanwhile, "Saul had women stashed all over town," writes his son. The pain of these recollections is secondary to Bellow's fury at what he calls his father's "self‑justification: that his career as an artist entitled him to let people down with impunity." As an adult, when he asked his mother about it, she said, "I'm blessed with a poor memory."
ellauri048.html on line 745: The taboo of spilling the beans on Saul was "very big", he says, ""ecause my father took the position that art is inviolate and that the artist has to be protected at all costs because he's an artist. Towards the end of his life, Saul asked his son rather charmingly, "Was I a man or a jerk?", which Bellow quotes in the book. "You know, he was asking himself a dead earnest question. And I think it was the right question. But if you were lionising him, you don't ask that question."
ellauri049.html on line 285: Saarlo sammui hiljaa Itä-Hämeen erämaapitäjässä Sysmiössä tubitautisena. Olikohan Sysmän vazanvetelöittävällä sahdilla osuutta asiaan. Ottikohan Saarlo osaa Sysmän rollaattorikisoihin? Retorinen kysymys, rollaattoria ei ollut vielä kexittykään. Sarkia oli Turun Musset, pieni Musse Pigg. Dekadenttisymppari oli Mussekin. Baudelaire, Rimbaud, Verlaine, the lot. Kossukin tykkäsi Saarlon kännisestä paatista. Musta se hexametri ei sovi yhtään laivan huojuntaan, humalikkaista puhumattakaan. Sangen artistinen näkökulma! Artisti maxaa.
ellauri051.html on line 930: 347 A farmer, mechanic, artist, gentleman, sailor, quaker, 347 Maanviljelijä, mekaanikko, taiteilija, herrasmies, merimies, kveekari,
ellauri052.html on line 493: In his novella Death in Venice, Thomas Mann hails the "Sebastian-Figure" as the supreme emblem of Apollonian beauty, that is, the artistry of differentiated forms; beauty as measured by discipline, proportion, and luminous distinctions. Juu tähän Tompan Venezian seikkailuun Sale vinkkaa myös. Hizi mikä sanaristikko on Salella tässä homostelun peittona. Täähän on kuin Proustin Albertine ja Gilbertine. Mafioso törkkää Salen sykkivään punanahkasisuxiseen autoonn takapuolesta. Polly on pelkkää hämäystä, statisti niinkuin Sepen nuolenreijät paikannut leski Irene tai Lemminkäisen äiskä.
ellauri052.html on line 857: Leader (Salen elämäkerturi) is statesmanlike, fair-minded. He acknowledges in the introduction that great artists are not necessarily family men and that Bellow helped himself to his friends’ and relatives’ life stories even when they would have preferred their privacy.
ellauri052.html on line 953: Bellow’s portrait of the Romantic author was self-reflective: “The artist is a spurned and misunderstood genius whose sensitivity separates him from and elevates him above the rest of philistine humanity.”
ellauri053.html on line 138: One of Sainte-Beuve's critical contentions was that, in order to understand an artist and his work, it was necessary to understand that artist's biography. Marcel Proust took issue with this notion and repudiated it in a set of essays, Contre Sainte-Beuve ("Against Sainte-Beuve"). Proust developed the ideas first voiced in those essays in À la recherche du temps perdu (In Search of Lost Time).
ellauri053.html on line 152: The term 'Pre-Raphaelite' conjures up visions of tall, willowy creatures with pale skin, flowing locks, scarlet lips, and melancholic expressions. The paintings of these models and muses, who were often the artists' wives and mistresses, defied Victorian standards of beauty and caused much controversy.
ellauri053.html on line 167: Dans la première moitié du XIXe siècle les peintres français vont en faire un emploi très fréquent. La texture laquée et la tonalité d'un roux très sombre intéressent des peintres comme Prud'hon qui l'utilise dans son tableau La Justice et la Vengeance divine poursuivant le Crime, et il sert avec excès jusqu'à Gustave Courbet. Les artistes l'utilisent abondamment soit en glacis pour les ombres, soit en couche épaisse pour les aplats des fonds. L'usage d'une couleur chaude pour les ombres et les fonds apparaît alors comme une nouveauté remettant en question la doctrine courante qui voulait que les ombres et les lointains soient bleuâtres (froids).
ellauri053.html on line 837: At Jorasanko lived the direct descendants of the Maharshi at No. 6, Dwarkanath Tagore Lane. It was a huge rambling house spread over an acre of ground with wide verandahs and large halls around the outer courtyard and a series of dark and dingy corridors and staircases and rooms, where no sunlight ever penetrated, which gave us the creeps whenever as children we had to pass through them. At No. 5, the handsome residence opposite to ours, lived my three artist cousins Gaganendra, Samarendra and Abanindra.
ellauri053.html on line 1379: In December 1923, Yeats was awarded the Nobel Prize in Literature, "for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation". He was aware of the symbolic value of an Irish winner so soon after Ireland had gained independence, and sought to highlight the fact at each available opportunity. His reply to many of the letters of congratulations sent to him contained the words: "I consider that this honour has come to me less as an individual than as a representative of Irish literature, it is part of Europe's welcome to the Free State." Taas yxi tällänen taatatyyppinen poliittinen nobelisti.
ellauri055.html on line 670: Kriitikko Graham Hough (lue Huff) oli japsulaisten sotavankina, inhos sittemmin modernisteja ja jenkkejä. Hough totee aivan oikein että kriitikoille ei pystytetä pazaita. Niin kuin kadunlakaisija se on kunniallinen ammatti mutta harvan unelma. Kriitikot on enimmäkseen manqué artisteja. Hyvä graahamsämpylä! Frank Kermode sitävastoin vaikuttaa hanuristilta.
ellauri062.html on line 538: Ungaretti (1888-1970) oli Mussolinin kamu, liittoutuneiden kannalta housunsa paskantanut kaveri. Sixi Guasimodo vei sodan jälkeen pokaalin. Montale (1896-1981) pokkas omansa 1975 «per la sua poetica distinta che, con grande sensibilità artistica, ha interpretato i valori umani sotto il simbolo di una visione della vita priva di illusioni». Se oli antifasisti vaan koska se oli aristokraattinen snobi.
ellauri062.html on line 778: Fue hija del diplomático Héctor Aldunate Cordovés y de la soprano Sofía del Campo de la Fuente. Entre 1947 y 1963, estuvo casada con el millonario judío sefardí Jean Aghion, radicado en Egipto desde 1952. Residió en diferentes países de Asia y Europa hasta cuando falleció su esposo. Posteriormente, se casó con el artista alemán Will Williams.
ellauri063.html on line 274: "Frontside Ollie" is a Finnish language song by Finnish teen pop artist Robin and his debut single taken from his debut album Koodi. Written by Sana Mustonen, it was released on Universal Music on 16 January 2012. #skateboarding Today's video is about the basic frontside ollie on transition. Useful for quarter pipes, mini ramps, bowls and more. Hit subscribe & leave your suggestions below for future skate hacks videos!
ellauri063.html on line 312: Songs in the Key of Z is a book and two compilation albums written and compiled by Irwin Chusid. The book and albums explore the field of what Chusid coined as "outsider music". Chusid defines outsider music as; "crackpot and visionary music, where all trails lead essentially one place: over the edge." Chusid's work has brought the music of several leading performers in the outsider genre to wider attention. These include Daniel Johnston, Joe Meek, Jandek and Wesley Willis. In addition, his CDs feature some recordings by artists who produced very little work but placed their recordings firmly in the outsider area. Notable amongst these are nursing home resident Jack Mudurian who sings snatches of several dozen songs in a garbled collection known as Downloading the Repertoire and the obscure and extreme scat singer Shooby Taylor AKA 'The Human Horn.'
ellauri066.html on line 306: Pilaako Pynchon vakavan artistin imagonsa tälläsellä paskalla? Jotkut lukijoista on sitä mieltä. Mä taas meinaan että älytönkin mätystys on paikallaan; yhden miehen teinihölmöily on toisen "karnevalismia". Samaa voi sanoa myös Rabelaisista. Näitä törkymöykkyjä on ollut maailman sivu, ja törkymöykyn bändäreitä myös. Jos lättäpäisyydet sensuroitas kirjoista, ei lättäpäille jäis mitään luettavaa.
ellauri067.html on line 418: Used as the title of the political manifesto of George Lincoln Rockwell and the American Nazi Party. Is the motto on the coat of arms of the city of Plzeň, Czech Republic. The phrase is in the coat of arms of the city of Birkirkara, the largest city on the island of Malta, and the city of Bayamon, Puerto Rico. Is the motto on the Coat of Arms of O´Donnell. Appears in one of the paintings of the Polish artist Zdzisław Beksiński. It has been used in some versions of logo for the brand of cigarettes, Pall Mall. Appears on one of the stickers on the guitar of Alvin Lee, Ten Years After´s frontman, the same guitar he played at The ´69 Woodstock Festival.
ellauri067.html on line 467: Franz von Bayros (28 May 1866 – 3 April 1924) was an Austrian commercial artist, illustrator, and painter, best known for his controversial Tales at the Dressing Table portfolio. He belonged to the Decadent movement in art, often utilizing erotic themes and phantasmagoric imagery. His work can be found at the Metropolitan Museum of Art in New York. He drew over 2000 illustrations in total. Bayros piirsi eri paljon porsliinipilluja. Sanalla sanoen, pornokuvia.
ellauri067.html on line 583: The publication of Voices: A Memoir in 1983, advertised as a record of his encounters with some of the century´s leading artists and writers, returned Prokosch to the limelight. His early novels The Asiatics and The Seven Who Fled were reissued to much public acclaim. In 2010, Voices was shown to be almost wholly fictitious and part of an enormous hoax.
ellauri069.html on line 42: Modern art didn’t abandon the world, but it made art-making part of the subject matter of art. When (in the second account) did a break occur? It happened when artists and intellectuals stopped respecting a bright-line distinction between high art and commercial culture. Modernist art and literature, in this version of the story, depended on that distinction to give its products critical authority. Modernism was formally difficult and intellectually challenging. Its thrills were not cheap. But there were cheap thrills out there, a vast and growing mass of products manufactured to stroke the senses and flatter the self-images of their consumers. This bubble-gum culture wasn’t just averse to the spirit of high art. It was high art’s reason for being.
ellauri069.html on line 89: Barthelme believed himself to be working in the tradition of Joyce and Samuel Beckett, and that his appropriation of popular, commercial, and other sub-artistic elements (instruction manuals, travel guides, advertisements, sentences from newspaper articles, and so on) in his writing was done as a means of making literature, not subverting it or announcing its obsolescence. Daugherty thinks that many people have got Barthelme wrong.
ellauri069.html on line 97: The visual artist can deal with almost every kind of material, even sound, but the writer deals with only one kind of material: sentences. The solution, therefore, was to treat sentences as though they were found objects.
ellauri069.html on line 111: He also believed that one of the things deadening our responses was mass culture. “I believe that’s the place artists are trying to get to, and I further believe that when they are successful, they reach it... an area somewhere probably between mathematics and religion, in which what may fairly be called truth exists.” He was an enemy of television. He was a serious jazz buff. It took him a while to become interested in rock. Daugherty is right. He was a postmodernist in the first sense.
ellauri073.html on line 210: John McCain oli US politiikan David Foster Wallace (jatkaa Matt): pelkkää pintaliitoa. Molempien ura oli vaihtoehtoista totuutta. Wallace oli muka “avant-garde” artisti mutta matki Hubert Selbyä, Franz Kafkaa ja 12 muuta hemmoa; McCain oli "sotasankari" joka särki 8 konetta ja särkyi kidutuxessa. (En mä ois kyllä, miettii Matt). Molemmat oli huonoja koulussa: Wallu jätti kesken tohtoriopinnot ja Johnu sai melkein potkut sota-akatemiasta. Ne oli ilkeitä naisille: Wallu stalkkasi useita naisia ja kerran työnsi tyttöystävänsä liikkuvasta autosta. McCain otti avioeron vammaisesta vaimosta ja nimitti tosta vaimoa julkisesti "vituxi". Wallace oli olevinaan omaperäinen vaikka se kirjoitti kuin ala-asteella, ja McCain oli olevinaan kapinoizija vaikka se oli rebublikaanina ihan keskitasoa. Tähän vähän lisää Wallun plitiikkanäkemyxiä:
ellauri077.html on line 308: Siinä tapapaukauxessa: Onko Wallu Hal vai onko se Jim? Joku Cohen (se on pappi hepreaxi) sanoo että Loputon läppä on tyyliin Künstlerroman, tai “portrait of the artist as a young man.”. Hal Incandenzan tennis olis väliin kipsissä kuten Wallun kirjoittaminen. Barretin Risto myöntää että Loputtomassa läpässä on omaelämäkerrallinen "aspekti", muzen miälestä Hal ei ole Wallu, vaan pikemminkin superman tattoon poika, seuraavaa sukupolvea joka ei osaa muuta tehdä kuin kyynisesti pilkata vanhempien arvoja. Eli Wallu on pikemminkin Jim. Mäkin on samaa mieltä että tennispojat on sukupolven Wallua nuorempia, ja "Jim" ois ehkä Wallun ikänen, ja James size isoisä joka jossain mainitaan. (Onkohan tää mikälie Barret sukua Norjan helluntailiikkeen kuuluisalle supertähdelle joka vaikutti syvällisesti Wilho Pylkkäseen? Ei kai, sen nimi oli Thomas Ball Barratt.)
ellauri082.html on line 58: Wallace described himself as “near great” at his favorite sport, but in reality he was just the 11th-best teenage player in central Illinois – not exactly a tennis hotbed. Still, he was good enough to beat Jay McInerney when they were both at the artist colony Yaddo.
ellauri083.html on line 336: For all their profusion, these paled in comparison with Sachs's newest display pieces: The Cabinet, 2014, and The Rockeths, 2017. The former was a folding case fashioned from orange-and-white striped barricades and festooned with hundreds of tools, hung in groups and inscribed with the names of individuals who have "inspired, influenced, or frightened" the artist--from Le Corbusier and Louis Kahn to the members of the Wu-Tang Clan--while the latter was less a cabinet than a kind of portable workbench and shelving unit, similarly jam-packed with the tools of the artist's trade, as well as a collection of model rockets, all again labeled to namecheck various figures of personal importance--scientists, musicians, artists; Apollo, Dionysus, Stringer Bell. The fetishistic frisson the assembled materials (pens, pliers, drill bits, tape measures) clearly provoke in Sachs was made even more explicit in McMasterbation, 2016, one of a trio of scale-model space modules arrayed on plinths. Featuring a copy of the legendarily comprehensive McMaster-Carr hardware catalogue spread open like a porn mag centerfold designed for lonely gearheads--alongside a ready supply of Vaseline and a handy tissue dispenser--it was part cathectic confession of objectophilia and part self-derogating indictment of his own work's tendencies toward sometimes masturbatory excess. Smart and stupid, funny and somehow a bit sad, it was classic Sachs: too much information, in every sense of the phrase.
ellauri093.html on line 370: Kauneus on vaan puku hyvän päällä, jonka sisällä on totuuden luuranko. Sixei sovi tehdä vaan l'art pour l'art kuten Goncourtin veljexet. Eräiden uskonto on taide, ne on väärässä. Toisten taide taas on uskonto, ne on bullshit artisteja kuten mä (sanoi Kari). Vastustakaa kaikkea epäpuhdasta, työntäkää tamponeja joka reikään, käykää tiheästi alapesulla. Tukkikaa vahalla lasten ja nuorten korvia.
ellauri095.html on line 117: As a poet, Hopkins's father published works including A Philosopher's Stone and Other Poems (1843), Pietas Metrica (1849), and Spicelegium Poeticum, A Gathering of Verses by Manley Hopkins (1892). He reviewed poetry for The Times and wrote one novel. Catherine (Smith) Hopkins was the daughter of a London physician, particularly fond of music and of reading, especially German philosophy, literature and the novels of Dickens. Both parents were deeply religious high-church Anglicans. Catherine's sister, Maria Smith Giberne, taught her nephew Gerard to sketch. The interest was supported by his uncle, Edward Smith, his great-uncle Richard James Lane, a professional artist, and other family members.
ellauri095.html on line 123: Hopkins became a skilled draughtsman. He found his early training in visual art supported his later work as a poet. His siblings were much inspired by language, religion and the creative arts. Milicent (1849–1946) joined an Anglican sisterhood in 1878. Kate (1856–1933) would help Hopkins publish the first edition of his poetry. Hopkins's youngest sister Grace (1857–1945) set many of his poems to music. Lionel (1854–1952) became a world-famous expert on archaic and colloquial Chinese. Arthur (1848–1930) and Everard (1860–1928) were highly successful artists. Cyril (1846–1932) would join his father's insurance firm.
ellauri095.html on line 227: Several issues led to a melancholic state and restricted his poetic inspiration in his last five years. His workload was heavy. He disliked living in Dublin, away from England and friends. He was disappointed at how far the city had fallen from its Georgian elegance of the previous century. His general health suffered and his eyesight began to fail. He felt confined and dejected. As a devout Jesuit, he found himself in an artistic dilemma. To subdue an egotism that he felt would violate the humility required by his religious position, he decided never to publish his poems. But Hopkins realised that any true poet requires an audience for criticism and encouragement. This conflict between his religious obligations and his poetic talent made him feel he had failed at both.
ellauri095.html on line 256: Christina Georgina Rossetti (5 December 1830 – 29 December 1894) was an English poet who wrote romantic, devotional, and children´s poems. "Goblin Market" and "Remember" remain famous. She also wrote the words of two Christmas carols well known in the UK: "In the Bleak Midwinter", later set by Gustav Holst and by Harold Darke, and "Love Came Down at Christmas", also set by Darke and by other composers. She was little sister (2 years junior) of the artist and poet Dante Gabriel Rossetti and features in several of his paintings.
ellauri096.html on line 591: Although obscure at the time of its initial publication, Maldoror was rediscovered and championed by the Surrealist artists during the early twentieth century. The work's transgressive, violent, and absurd themes are shared in common with much of Surrealism's output; in particular, Louis Aragon, André Breton, Salvador Dalí, Man Ray, and Philippe Soupault were influenced by the work. Maldoror was itself influenced by earlier gothic literature of the period, including Lord Byron's Manfred, and Charles Maturin's Melmoth the Wanderer.
ellauri097.html on line 804: Kiilusilmäinen Karen Kilcup tutki viime vuosisadan lopulla kostonhimoisesti Frostin homopetteröintiä sata vuotta sitten. Kirjeessä 1838 jollekulle Hautakirstulle Roope Pakkanen kirjoittaa: Todellinen artisti nauttii raakuudesta raaka-aineelle. Se on raakimus joka katkoo kulmat marmorista ja kiskoo korkkaamattoman kaunottaren vuoteesta. Tästä tulee mieleen Wilt Whatman, joka lauleskelee samalla nuotilla "Aatamin lapsissa": Painan hitaasti raa'alla muskelilla / jännitän izeni tehokkaasti, en kuuntele armonpyyntöjä / en vedä ulos ennenkö olen munanasettanut / mitä mullon niin kauan kerääntynyt pussiin.
ellauri099.html on line 44: The remains of Oscar Wilde lie in Père Lachaise Cemetery in Paris. His sleek, modern tomb, designed by the British sculptor Jacob Epstein and commissioned by Wilde’s lover and executor, John Robert "Haj" Ross, is one of the most frequently visited and recognizable graves in a cemetery notable for the many famous writers, artists, and musicians buried there (Balzac, Chopin, Proust, Gertrude Stein, Jim Morrison). The surface of Epstein’s massive monolith is covered with hundreds of lipstick kisses, some ancient and faded, others new and vibrant. (“The madness of kissing” is what Wilde said Lord Alfred Douglas’s “red-roseleaf lips” were made for.)...
ellauri099.html on line 48: The longer and revised version of The Picture of Dorian Gray published in book form in 1891 featured an aphoristic preface—a defence of the artist's rights and of art for art's sake—based in part on his press defences of the novel the previous year. The content, style, and presentation of the preface made it famous in its own right, as a literary and artistic manifesto. In April 1891, the publishing firm of Ward, Lock and Company, who had distributed the shorter, more inflammatory, magazine version in England the previous year, published the revised version of The Picture of Dorian Gray.
ellauri099.html on line 55: Dorian Gray is the subject of a full-length portrait in oil by Basil Hallward, an artist impressed and infatuated by Dorian's beauty; he believes that Dorian's beauty is responsible for the new mood in his art as a painter. Through Basil, Dorian meets Lord Henry Wotton, and he soon is enthralled by the aristocrat's hedonistic world view: that beauty and sensual fulfilment are the only things worth pursuing in life.
ellauri099.html on line 223: artists/image/s/satrapi_marjane/satrapi_persepolis2.jpg" width="40%" />
ellauri100.html on line 38: Vincent van Gogh was not psychotic or bipolar when he cut off his ear, medical experts decide. A conference of 30 international medical experts has announced a more prosaic explanation for the famously tortured artist's behaviour — stress and alcohol.
ellauri100.html on line 42: The experts divided the artist’s life into two periods – before and after his documented breakdown on December 23 1888 in Arles, southern France, when the artist argued with his friend, Paul Gauguin, and cut off his own ear.
ellauri101.html on line 44: Since the publication of The Hero with a Thousand Faces, Campbell's theories have been applied by a wide variety of modern writers and artists. His philosophy has been summarized by his own often repeated phrase: "Follow your bliss." He gained recognition in Hollywood when George Lucas credited Campbell's work as influencing his Star Wars saga.
ellauri101.html on line 155: Joseph Campbell, arguably the greatest mythologist of the twentieth century, was certainly one of our greatest storytellers. This masterfully crafted book interweaves conversations between Campbell and some of the people he inspired, including poet Robert Bly, anthropologist Angeles Arrien, filmmaker David Kennard, Doors drummer John Densmore, psychiatric pioneer Stanislov Grof, Nobel laureate Roger Guillemen, and others. Campbell reflects on subjects ranging from the origins and functions of myth, the role of the artist, and the need for ritual to the ordeals of love and romance. With poetry and humor, Campbell recounts his own quest and conveys the excitement of his lifelong exploration of our mythic traditions, what he called “the one great story of mankind.” Hemmetti nää sen sankarit on lähes yhtä tuntemattomia kuin se ize.
ellauri101.html on line 473: Kotimaa-lehti tekee oikaisun: artistin nimi ei ole Nutez Jonez, artistin nimi on Nuteh Jonez. Paljon väliä. Kyse on suomalaisista somalipojista, kuvassa toinen näyttää kiltiltä, toinen ruipelompi rääväsuiselta röyhkimyxeltä. Varmaan tarkoituxella. Ne kuulostaa kyllä aika liikuttavilta. Niiden laulun sanat on mustaa suomea. Siitä ei mä eikä Philip Teir ymmärretä enää mitään! Näin ne menee:
ellauri106.html on line 54: So what did sex mean to Roth? Bailey’s book is so caught up in its obsessive cataloguing of paramours that the forest gets lost in an endless succession of trees. The place where Roth found insight into his own character was on the double bag. Over and over, in the novels, he transformed pro life. Bailey’s prurient, exhaustively literal version of that life reverses the effect, and the result is sadly diminishing. What he never grasps is Roth the artist, with his powers of imagination, of expression, of language—what made him worthy of biography at all.
ellauri106.html on line 146: Sanford Roth, more affectionately known as "Sandy," lived with flair and boldness in his roles as an accomplished artist, a successful advertising executive spanning three decades, and a smooth dancer some likened to Fred Astaire.
ellauri106.html on line 154: Born in Newark, N.J., Mr. Roth enlisted in the Navy in 1945 and served for about two years. He went on to study at the Pratt Institute in the late 1940s and later at the Art Students League of New York, a school established by artists for artists, in 1952.
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"I hope the time is coming when not only the artist, but the common, average man, who always ´has the standard of the arts in his power,´ will have also the courage to apply it, and will reject the ideal grasshopper wherever he finds it, in science, in literature, in art, because it is not ´simple, natural, and honest,´ because it is not like a real grasshopper. But I will own that I think the time is yet far off, and that the people who have been brought up on the ideal grasshopper, the heroic grasshopper, the impassioned grasshopper, the self-devoted, adventureful, good old romantic card-board grasshopper, must die out before the simple, honest, and natural grasshopper can have a fair field."
ellauri106.html on line 527: “Comically agnostic,” an apt description, I think, of much of Roth’s later work. With all of history suddenly exposed as fictional constructs, artists were freed to interrogate it with impunity, making it the stuff of parodic play.
ellauri107.html on line 291: Bikiniasuinen Susan pani kätösensä suoraan penixelleni. Äiti kazeli. Erektio Albertinkadulla. Calpurnia oli täysin oikeassa: artistijuipit viettelee neitosia vaan tyydyttääxeen tyydyttämätöntä sexuaalista turhamaisuuttaan. Ja onhan Darwinillakin siinä sormet pelissä, sillä laillakin syntyy jälkeläisiä. Jos siittiöt vaan ovat kunnossa. Pepun ironia oli että se ei tarvinnut ehkäisykeinoja 60-luvulla.
ellauri107.html on line 534: Riita kuumenee kunnes paita puree kättä joka iskee sitä lättyyn niin että veri purskahtaa. En yhtään ylläty kun kazon Philin julmaa juutalaisenkuonoa. Sydämetön infantiili artistipaska, just se se on.
ellauri108.html on line 170: 1968 saw the development of reggae in Jamaica, a musical style typified by slower, heavier rhythms than ska and the increased use of Jamaican Patois. Like calypso, reggae was a medium for social commentary, although it demonstrated a wider use of radical political and Rasta themes than were previously present in Jamaican popular music. Reggae artists incorporated Rasta ritual rhythms, and also adopted Rasta chants, language, motifs, and social critiques. Songs like The Wailers' "African Herbsman" and Peter Tosh's "Legalize It" referenced cannabis use, while tracks like The Melodians' "Rivers of Babylon" and Junior Byles' "Beat Down Babylon" referenced Rasta beliefs in Babylon. Reggae gained widespread international popularity during the mid-1970s, coming to be viewed by black people in many different countries as music of the oppressed. Many Rastas grew critical of reggae, believing that it had commercialised their religion. Although reggae contains much Rastafari symbolism, and the two are widely associated, the connection is often exaggerated by non-Rastas. Most Rastas do not listen to reggae music, and reggae has also been utilised by other religious groups, such as Protestant Evangelicals. Out of reggae came dub music; dub artists often employ Rastafari terminology, even when not Rastas themselves.
ellauri108.html on line 222: In the mid-1970s, reggae's international popularity exploded. The most successful reggae artist was Bob Marley, who—according to Cashmore—"more than any other individual, was responsible for introducing Rastafarian themes, concepts and demands to a truly universal audience". Reggae's popularity led to a growth in "pseudo-Rastafarians", individuals who listened to reggae and wore Rasta clothing but did not share its belief system. Many Rastas were angered by this, believing it commercialised their religion.
ellauri108.html on line 244: The Twelve Tribes peaked in popularity during the 1970s, when it attracted artists, musicians, and many middle-class followers—Marley among them—resulting in the terms "middle-class Rastas" and "uptown Rastas" being applied to members of the group. Carrington died in 2005, since which time the Twelve Tribes of Israel have been led by an executive council. As of 2010, it was recorded as being the largest of the centralised Rasta groups. It remains headquartered in Kingston, although it has followers outside Jamaica; the group was responsible for establishing the Rasta community in Shashamane, Ethiopia.
ellauri109.html on line 374: Flaubert (21-80) arvosteli rakastajatartaan (hyi mikä setämiessana) Louise Coletia os. Révoil (1810-76) kun se oli kirjoittanut pilkkarunon vihaisesti ehkä edellisestä kirjailijahoidostaan Mussetista (1810-57). An artist must not get mad they must get even. Tai joholle.
ellauri109.html on line 507: From the start, critics complained about the ostensible sameness of Roth’s books, their narcissism and narrowness—or, as he himself put it, comparing his own work to his father’s conversation, “Family, family, family, Newark, Newark, Newark, Jew, Jew, Jew.” Roth turned self-obsession into art. He was a consummate bullshit artist.
ellauri109.html on line 523: Zuckerman considers the biographer a ruthless seducer, out to cut the artist down to comprehensible and assailable size—to displace the fiction with the real story. And this Zuckerman cannot bear. He was unnervingly present, a condor on a branch, unblinking, alive to everything.
ellauri110.html on line 324: Siis tommosta tyypillistä meemit vastaan geenit romantiikkaa. Porvariskodin kasvatus oli tehnyt tehtävänsä tavallistakin paremmin. Pässi sai taas nuolla sorkkiaan. Tää on siis niinkö Wertherin kärsimyxet: ei pääse pukille, paizi tässä lekuri kirjoitti artistikaverinsa tarinan. Levitan oli juutalainen taivaanrannan maalari. Ei kelvannut.
ellauri115.html on line 1083: Sämillä on ollut hirmu määrä lyhkäsiä vakansseja mitä hämärimmissä paikoissa, joilla se kehuu aivan sikana. Erittäin selkeästi rajatilanarsisti, ja bullshit artisti. Mitä ilmeisin huijari. Lidija taitaa olla toinen mokoma. Ne on olleet yllättävän kauan yhdessä, vakkaan näkyy löytyneen oikeanmallinen kansi.
ellauri117.html on line 380: While in pre-production, write detailed story summaries and character descriptions intended to guide artists and level designers throughout production cycle.
ellauri117.html on line 381: Near end of production cycle, feign surprise when artists and level designers admit they never read your detailed story summaries or character descriptions.
ellauri118.html on line 818: Roi parfaitement représentatif de la Renaissance française, Henri II poursuit l´œuvre politique et artistique de son père. Il continue les guerres d´Italie, en concentrant son attention sur l´empire de Charles Quint qu´il parvient à mettre en échec. Henri II maintient la puissance de la France mais son règne se termine sur des événements défavorables comme la défaite de Saint-Quentin (1557) et le traité du Cateau-Cambrésis qui met un terme au rêve italien.
ellauri131.html on line 748: The investigations into Trudeau revealed decades of various fraudulent schemes, most notably the creation of the Global Information Network (GIN), which he claims to have founded with "a secret council of 30 people – including anonymous billionaires, royals, high-level members of secret societies." Oh yeah, it just gets crazier and crazier with this guy. He didn't just disappoint. He turned out to be one of the biggest scam artists of our time.
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ellauri141.html on line 800: Dag Hammarskjöld was committed to the arts. Though temperamentally a loner, and introvert, and a bachelor throughout his life (oliko se homo? Det finns inga bevis för att Dag Hammarskjöld var homosexuell. Misstankar verkar dock ha funnits: Eftersom han levde ensam började rykten spridas om att han skulle vara homosexuell och hans motståndare använde detta för att smutskasta honom), he would invite intellectuals and artists, the best of New York’s bohemia, to his Upper East Side apartment where he kept a pet, an African monkey called Greenback. People he invited to his generous dinners included the poet Carl Sandburg, the novelist John Steinbeck, the poet WH Auden, the diplomat George Kennan. Auden was the translator of Hammarskjöld’s posthumously published book of observations, ideas and poems called Waymarks. Hammarskjöld used his influence to get the poet Ezra Pound out of mental hospital. Back in Sweden, he inherited his father’s chair at the Swedish academy when the man died in 1953. The Swedish academy is the body that awards the Nobel Prize in literature. Hammarskjöld was instrumental in getting the rather obscure but doubtless brilliant French poet Saint John Perse his Nobel prize in 1960. He would sketch out the arguments for Perse’s candidacy during translation breaks at UN Security Council meetings.
ellauri142.html on line 499: Manu on pikku-Masan oululainen kaveri, joka on aika varakas. Manu siis on ihmiskunnan jumalallisen ajatuskannan edustaja jonkin määrätyn kehityskauden (luomiskauden) kuluessa. Siitä, jolloin Visvasatu Manu, meidän kantaisiemme jumalallinen ajatus ilmestyi, on salaisten laskelmien mukaan kulunut noin 18 618 732 vuotta. (Salainen oppi, kirj. H. P. B.) Tässä luvussa sakemannit innostuvat siteeraamaan maiseri Ekkeharttia tosi lujasti. Tää paasaus kertoo siten väh. yhtä paljon Ekkehartista kuin Manusta.
ellauri144.html on line 277: Malagueña Salerosa — also known as La Malagueña — is a well-known Son Huasteco or Huapango song from Mexico, which has been covered more than 200 times by recording artists.
ellauri144.html on line 552: Like Poe, Bierce professed to be mainly concerned with the artistry of his work, yet critics find him more intent on conveying his misanthropy and pessimism. His bare, economical style of supernatural horror is usually distinguished from the verbally lavish tales of Poe. In his lifetime, Bierce was famous as a California journalist dedicated to exposing the truth as he understood it, regardless of whose reputations were harmed by his attacks. For his sardonic wit and damning observations on the personalities and events of the day, he became known as "the wickedest man in San Francisco." Tälläisiä löytyy Ambrosen pirun raamatusta:
ellauri145.html on line 251: L´HUMOUR chez Baudelaire fait partie intégrante de sa conception du dandysme. On sait que, pour lui, « le mot dandy implique une quintessence de caractère et une intelligence subtile de tout le mécanisme moral de ce monde ». L´humour, nul plus que lui n´a pris soin de le définir par opposition à la gaieté triviale ou au sarcasme grimaçant dans les quels se plaît à se reconnaître l´« esprit français ». Il place Molière en tête des « religions modernes ridicules»; Voltaire, c´est « l´antipoète, le roi des badauds, le prince des superficiels, l´antiartiste, le prédicateur des concierges, le père Gigogne des rédacteurs du Siècle ». Le dandy est partagé entre le souci narcissique de ses attitudes et de ses actes («Il doit aspirer à être sublime sans interruption. Il doit vivre et mourir devant son miroir ») et le désir de provoquer sur son passage une longue rumeur désapprobatrice (« Ce qu´il y a d´enivrant dans le mauvais goût, c´est le plaisir aristocratique
ellauri145.html on line 285: D'humeur dépressive, l'auteur des Fleurs du mal effectue plusieurs tentatives de suicide. Son état psychique l'inspire artistiquement. Il s'y complaît même, non sans masochisme. Mais son spleen s'inscrit toujours dans sa quête de l'idéal, auquel il accède parfois grâce à de secrètes correspondances.
ellauri145.html on line 436: Charles Cros Émile-Hortensius-Charles Cros (October 1, 1842 – August 9, 1888) was a French poet and inventor. He was born in Fabrezan, Aude, France, 35 km to the East of Carcassonne. Cros was a well-regarded poet and humorous writer. He developed various improved methods of photography including an early color photo process. He also invented improvements in telegraph technology. In the early 1870s Cros had published with Mallarmé, Villiers and Verlaine in the short-lived weekly Renaissance littéraire et artistique, edited by Emile Blémont. His poem The Kippered Herring inspired Ernest Coquelin to create what he called monologues, short theatrical pieces whose format was copied by numerous imitators. The piece, translated as The Salt Herring, was translated and illustrated by Edward Gorey. He spent years petitioning the French government to build a giant mirror that could be used to communicate with the Martians and Venusians by burning giant lines on the deserts of those planets. He was never convinced that the Martians were not a proven fact, nor that the mirror he wanted was technically impossible to build. Tästä hepusta tulee mieleen Spede Pasanen ja sen hiihtolinko.
ellauri145.html on line 601: Maailmaan laittamistani lapsistakin puntaroin koko lailla epäröiden, josko kaikki ”Jumalan valtakuntaan” tulevat myös tulevat Jumalasta11. Tänä syksynä menin mahdollisimman vähissä vaatteissa kahdesti omiin hautajaisiini, ensin kreivi Robilantina (ei – hän on poikani, siinä missä minä olen luontoni pohjalta Carlo Alberto), mutta minä itse olin Antonelli12. Rakas herra professori, teidän pitäisi nähdä tämä rakennelma13. Koska olen täysin kokematon seikoissa, jotka luon, teille kuulukoon kaikki kritiikki, olen kiitollinen voimatta luvata hyötyväni. Me artistit olemme opettamattomissa. – Tänään katselin – henkevänmaurilaista – operettiani, tyydytyksekseni totesin tässäkin tilaisuudessa, että nyt ovat Moskova yhtä hyvin kuin Roomakin grandiööseja asioita14. Ymmärrättehän, maisemaakaan varten ei minulta puutu lahjakkuutta.
ellauri147.html on line 395: As a solo artist and as a member of the group, he has sold more than 100 million albums worldwide to date.
ellauri150.html on line 750: Maybe the Vatican needs to get into the movie business! In the past the Vatican sponsored the works of arts of the greatest artists of the times. Today the cinema is our greatest, most technologically advanced art form and we need Christian movie directors and producers that will dedicate their art to Christ. This will never happen in Hollywood. The one exception was "The Passion" and we saw what a struggle that was.
ellauri151.html on line 50: His work lived on the never resolved tensions between a strict artistic discipline, a puritanical moralism, and the desire for unlimited sensual indulgence and abandonment to life. A man of constant sorrow, caused by anal-genital conflicts. (Note)
ellauri151.html on line 129: Gide was, by general consent, one of the dozen most important writers of the 20th century. Moreover, no writer of such stature had led such an interesting life, a life accessibly interesting to us as readers of his autobiographical writings, his journal, his voluminous correspondence and the testimony of others. It was the life of a man engaging not only in the business of artistic creation, but reflecting on that process in his journal, reading that work to his friends and discussing it with them; a man who knew and corresponded with all the major literary figures of his own country and with many in Germany and England; who found daily nourishment in the Latin, French, English and German classics, and, for much of his life, in the Bible; [who enjoyed playing Chopin and other classic works on the piano;] and who engaged in commenting on the moral, political and sexual questions of the day. Monsters lead an interesting li-i-fe.
ellauri152.html on line 615: Now, here Singer is not mad at Yentl the film for cis-normifying his gender-ambiguous, interestingly queer Yentl, but rather for turning the ending into optimistic kitsch that ignores the harsh reality of what life in America was for Jewish immigrants, especially for Jewish women. And in some ways I feel like rolling my eyes at him for that. Aside from the fact that it offends his artistic vision, why shouldn’t Jewish women get a film where—suspension of disbelief!—a Jew will study Torah, loudly and proudly, as a woman? It’s a musical, not a documentary.
ellauri153.html on line 496: artistic and other practices, and the study of meaning of the world and of different worldviews’
ellauri155.html on line 544: Tutustu Jeesuksen lähettämiin gospelartisteihin.

ellauri156.html on line 211: A third reason -- and I am hesitant to suggest it -- is that David may be getting soft. Let's face it, David had some very difficult days when he was fleeing from Saul. I am sure there were hot days and cold nights. There were certainly days when his food was either limited or lousy, or both. Army food has never been known as a work of culinary artistry. Now, David has moved up in the world, from barren wilderness, which Saul and his army would avoid if possible, to the hills of Jerusalem. His accommodations are better, too. He no longer lives in a tent (if he was fortunate enough to have one in those days); he lives in a palace. Why would David want to stay in a tent in the open field, outside of Rabbah, if he can stay in his own bed (or Bathsheba's), in his own palace, inside Jerusalem?37
ellauri160.html on line 562: Ex-räppäri ei kuitenkaan ollut juttutuulella ja vastaili vain pikaisesti Sofian keskustelunaloituksiin. Lopulta hän käänsi Sofialle selkänsä ja keskittyi siemailemaan ökyputiikin tarjoamaa kuumaa glögiä. Ex artisti ei kuumunut povikaunottaren jutuista. Onkohan se homo?
ellauri161.html on line 203: Nyölö jatkaa siitä, minkä osaa parhaiten, eli analysoi musiikkimaailmaa ja jaarittelee artisteista. Arvostelun jälkeen suositellaan levyjä, joista "voisit pitää" (ja me Spotifyn käyttäjäthän tunnemme ilmiön). Tämä on näennäiskritiikkiä, joka kelluu irrallaan maailmasta. Siltä ei juuri odoteta moraalista tai filosofista otetta, argumentaatiota koskien maailmaamme, muutosvaatimuksia.
ellauri162.html on line 435: Jakeessa 14 toistetaan toista kvartistia ("peilit", "liekit / soihdut"): kuolema on tahrannut peilit ja sammuttanut liekit, mutta ne elvytetään. Siksi sielut eikä ruumiit elvytetään, koska "peilit" ja "liekit" viittaavat ystävien hengellisyyteen eikä heidän kehoonsa. Myös jakeiden 7 ja 8 assonanssi [i] vastaa myös jakeiden 13 ja 14 assonanssia. Kuolema yhdistää rakastavaiset ja sinetöi heidän rakkautensa ikuisesti. Runoilija näyttää siis odottavan sitä vapautuksena, kuten tulevaisuuden käyttö runossa osoittaa. Otsikkoa lukuun ottamatta sana "kuolema" ilmestyy lopulta vain runon lopussa, mutta se on pikemminkin ylösnousemus, kuten jakeessa 13 osoitetaan. Lisäksi "kuolleet liekit" on oksymoroni (liekit = elämä) ja [m] -allitaatio yhdistää nämä kaksi sanaa.
ellauri163.html on line 48: He wrote the drama Got fun nekome (God of Vengeance) in the winter of 1906 in Cologne, Germany. It is about a Jewish brothel owner who attempts to become respectable by commissioning a Torah scroll and marrying off his daughter to a yeshiva student. Set in a brothel, the play includes Jewish prostitutes and a lesbian scene. I. L. Peretz famously said of the play after reading it: "Burn it, Asch, burn it!" Instead, Asch went to Berlin to pitch it to director Max Reinhardt and actor Rudolph Schildkraut, who produced it at the Deutsches Theater. God of Vengeance opened on March 19, 1907 and ran for six months, and soon was translated and performed in a dozen European languages. It was first brought to New York by David Kessler in 1907. The audience mostly came for Kessler, and they booed the rest of the cast. The New York production sparked a major press war between local Yiddish papers, led by the Orthodox Tageplatt and even the secular Forverts. Orthodox papers referred to God of Vengeance as "filthy," "immoral," and "indecent," while radical papers described it as "moral," "artistic," and "beautiful". Some of the more provocative scenes in the production were changed, but it wasn't enough for the Orthodox papers. Even Yiddish intellectuals and the play's supporters had problems with the play's inauthentic portrayal of Jewish tradition, especially Yankl's use of the Torah, which they said Asch seemed to be using mostly for cheap effects; they also expressed concern over how it might stigmatize Jewish people who already faced much anti-Semitism. The association with Jews and sex work was a popular stereotype at the time. Other intellectuals criticized the writing itself, claiming that the second act was beautifully written but the first and third acts failed to support it.
ellauri171.html on line 217: His father, Marcel Théodore Tissot, was not a watchmaker but a successful drapery merchant. He took part in losing the war of 1870 and in the Paris Commune. In 1885, Tissot had a revival of his Catholic faith, which led him to spend the rest of his life making paintings about Biblical events. Many of his artist friends were skeptical about his conversion, as it conveniently coincided with the French Catholic revival, a reaction against the secular attitude of the French Third Republic. They brought Tissot vast wealth and fame. Tissot spent the last years of his life in his chateau working on paintings of subjects from the Old Testament. Although he never completed the series, he exhibited 80 of these paintings in Paris in 1901 and engravings after them were published in 1904. In the first half of the 20th century, there was a re-kindling of interest in his portraits of fashionable ladies and some fifty years later, these were achieving record prices.
ellauri171.html on line 1073: There are few words to describe the awfulness of this story, but let's give it the old college try: dismal, depressing, embarrassing and utterly lacking in any artistic or social worth.
ellauri171.html on line 1168: Yhtä terixiä ovat Aku-Aatamin Thomas Alva Edison ja jaarli Ewald. Ewald on tollanen ehdoton päälle pois kaveri, se jättää kompromissit ja vivahteet toisille. On se niin jalostettu koira. Muthei, Verlaineko se oli joka sanoi että vivahteet on pääasia, muu on artistikamaa. Huishaismanninkin pitää valita nyt kumpaa uskoa. Älä usko kaikkea mitä ajattelet!.
ellauri182.html on line 425: First simply draw a circle on the paper. It doesn't have to be very 'good' from an artistic point of view and an approximation is adequate.
ellauri189.html on line 568: In a Ponzi scheme, a con artist offers investments that promise very high returns with little or no risk to his victims. The returns are said to originate from a business or a secret idea run by the con artist. In reality, the business does not exist or the idea does not work. The con artist actually pays the high returns promised to his earlier investors by using the money obtained from later investors. In other words, instead of engaging in a legitimate business activity, the con artist attempts to attract new investors in order to make the payments that were promised to earlier investors. The operator of the scheme also diverts his clients' funds for his personal use.
ellauri191.html on line 95: "in special recognition of his poetic composition, which gives evidence of lofty idealism, artistic perfection and a rare combination of the qualities of both heart and intellect"
ellauri191.html on line 259: "as a tribute to the consummate artistry, permeated with idealism, which he has demonstrated during his long productive career as a lyric poet, dramatist, novelist and writer of world-renowned short stories"
ellauri191.html on line 477: "for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation"
ellauri191.html on line 642: "for the strict artistry with which he has carried on the classical Russian traditions in prose writing"
ellauri191.html on line 700: "for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novel cycle Les Thibault"
ellauri191.html on line 835: "for his comprehensive and artistically significant writings, in which human problems and conditions have been presented with a fearless love of truth and keen psychological insight"
ellauri191.html on line 867: "for his powerful and artistically unique contribution to the modern American novel"
ellauri191.html on line 899: "for the artistic vigour and true independence of mind with which he endeavours in his poetry to find answers to the eternal questions confronting mankind"
ellauri191.html on line 915: "for the deep spiritual insight and the artistic intensity with which he has in his novels penetrated the drama of human life"
ellauri191.html on line 980: "for his lyrical poetry, which in Spanish language constitutes an example of high spirit and artistical purity"
ellauri191.html on line 1125: "for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people"
ellauri191.html on line 1332: "for his distinctive poetry, which, with great artistic sensitivity, has interpreted human values under the sign of an outlook on life with no illusions"
ellauri191.html on line 1434: "for writings marked by a broad outlook, a wealth of ideas and artistic power"
ellauri191.html on line 2145: From 1901 to 1912, the committee, headed by the conservative Carl David af Wirsén, weighed the literary quality of a work against its contribution towards humanity's struggle 'toward the ideal'. Leo Tolstoy, Henrik Ibsen, Émile Zola, and Mark Twain were rejected in favour of authors little read today. The choice of philosopher Rudolf Eucken as Nobel laureate in 1908 is widely considered to be one of the worst mistakes in the history of the Nobel Prize in Literature. The main candidates for the prize that year were poet Algernon Swinburne and author Selma Lagerlöf, but the Academy were divided between the candidates and, as a compromise, Eucken, representative of the Academy's interpretation of Nobel's "ideal direction", was launched as an alternative candidate that could be agreed upon. Solzhenitsyn did not accept the award and prize money until 10 December 1974, after he was deported from the Soviet Union. Swedish Academy member Artur Lundkvist had argued that the Nobel Prize in Literature should not become a political prize and questioned the artistic value of Solzhenitsyn's work. The award to Camilo José Cela was controversial as he had moved voluntarily from Madrid to Galicia during the Spanish Civil War in order to join Franco's rebel forces there as a volunteer.A member of the Swedish Academy, Knut Ahnlund, who had not played an important role in the Academy since 1996, protested against the choice of the 2004 laureate, Elfriede Jelinek; Ahnlund resigned, alleging that selecting Jelinek had caused "irreparable damage" to the reputation of the award.
ellauri192.html on line 327: His poetry, said James Ragan, director of the USC graduate school’s professional writing program, “was at all times optimistic, reflecting a championing of the human self. I think that’s primarily why he was awarded the Nobel Prize, because he suggested a new liberated spirit in writing (behind the Iron Curtain) after the Stalin era. Although he was a Communist as a youth, he became disillusioned with the party in the late 1920s. Thereafter, he was in and out of party favor during the turbulent decades that followed in Czechoslovakia. The state-run news agency, in announcing his death Friday, described him as “a prominent Czech poet, national artist (and) winner of the 1984 Nobel Prize for Literature.”
ellauri194.html on line 114: Vuonna 1946 jazz-säveltäjä ja pianisti Bobby Troup kirjoitti tunnetuimman teoksensa, Route 66, ajettuaan itse reitin Kaliforniaan. Kappaleen nimen keksi nokkelasti Troupen ensimmäisen vaimo Cynthia, joka oli ollut mukana automatkalla. Toisella automatkalla olikin jo vähemmän mäkättävä vaimo. Hän esitteli kappaleensa Nat King Colelle, joka sai siitä erään suurimmista hiteistään. Laulusta on tullut hitti myös Chuck Berrylle ja sen ovat levyttäneet myös monet tunnetut artistit, kuten The Rolling Stones, Depeche Mode ja Manhattan Transfer. Suomalaisista maailmanluokan artisteista M. A. Numminen on esittänyt kappaleen nimeltä ”Route 66”. Eero and the Boysin coveri 1964 oli huomattavasti parempi. MA Numminen on ylimainostettu pelle, se laulaa vielä paljon huonommin kuin Bob Dylan. Jussi Raittinen levytti vuonna 1975 kappaleesta suomenkielisen version ”Valtatie 66”, joka ei tosin kerro Route 66:sta vaan Suomen Kantatie 66:sta (Orivesi–Lapua). Samaisen kappaleen on levyttänyt myös "Sami Saari " Heti vapaa-levylleen, vuonna 2009. Sami Saaresta ei kyllä ole kuullut kukaan.
ellauri197.html on line 217: Civilizations rise again, edifices like the Mariupol theatre are rebuilt with money from the ancient Rome, and new bullshit artists replace the old.
ellauri198.html on line 824: He was equally firm in adhering to his self-image as an artist. This conviction led many to accuse him of elitism, but conscious and undaunted image building also unquestionably contributed to his greatness.
ellauri198.html on line 846: While Yeats was playing with esoterica, Ireland was rife with internal strife and a world war flitted past. He was now the “sixty-year-old smiling public man” of his poem “Among School Children,” which he wrote after touring an Irish elementary school. He was also a world-renowned artist of impressive stature, having received the Nobel Prize for Literature in 1923. At night the poet could “sweat with terror” because of the surrounding violence, but otherwise he was enjoying himself royally. His collection The Dark Tower (1928) is often considered his best single book.
ellauri203.html on line 306: Professional Ketman Miloszille on "the reluctant acceptance of Stalinist standards only to allow one to continue to pursue a desired career path. This is based on the idea of having only a single life and therefore using the time to the best of one's ability" or "to pursue artistic or scientific innovation which requires at least tolerating Socialist Realism and other such censorship standards in order to continue one's work." Miloszia ei realismi napannut, sosialistinen tai ei.
ellauri204.html on line 704: Antoine Marie Joseph Paul Artaud, better known as Antonin Artaud, was a French writer, poet, dramatist, visual artist, essayist, actor and theatre director. He is widely recognized as one of the major figures of the European avant-garde. In particular, he had a profound influence on twentieth-century theatre through his conceptualization of the Theatre of Cruelty. Known for his raw, surreal and transgressive work, his texts explored themes from the cosmologies of ancient cultures, philosophy, the occult, mysticism and indigenous Mexican practices. Hirveää scheissea.
ellauri206.html on line 279: En 1844, Théophile Gautier fonde le club des Hashischins avec Jacques-Joseph Moreau, club voué à l'étude du cannabis. Ce club sera fréquenté par de nombreux artistes de l'époque, dont Charles Baudelaire. Teophilen haudalla on muusia, nim. Kalliopee.
ellauri206.html on line 477: Rita Marketta Behm (s. 26. lokakuuta 1994 Hollola) on suomalainen laulaja-lauluntekijä, joka käyttää taiteilijanimenään sukunimeään. Lisäksi Behm tuottaa itse omaa musiikkia. Hän on myös kirjoittanut kappaleita muille artisteille. Artistit maxavat.
ellauri207.html on line 60: Sven-Ingvars ligger tvåa på listan över artister med flest melodier på Svensktoppen (55 låtar), endast slagna av Sten & Stanley (61 låtar). Sven-Ingvars blev 2016 invalda i Swedish Music Hall of Fame.
ellauri210.html on line 67: « Monsieur Gide n'a pas l'air d'un enfant d'amour, ni d'un éléphant, ni de plusieurs hommes : il a l'air d’un artiste ; et je lui ferai ce seul compliment, au reste désagréable, que sa petite pluralité provient de ce fait qu'il pourrait très aisément être pris pour un cabotin (komeljanttari). Son ossature n'a rien de remarquable ; ses mains sont celles d'un fainéant, très blanches, ma foi ! Dans l'ensemble, c'est une toute petite nature. »
ellauri210.html on line 333:

Picasso was a prolific artist. What fun.
ellauri210.html on line 335:

Picasso was the first artist to receive a 90-year retrospective exhibition. And the last.
ellauri210.html on line 363: But boxing also transfixed artists beyond American shores. Ennen kaikkea palaa tässä yhteydessä mieleen tietysti Vesa-Matti Loiri, jonka nyrkkeilysaavutuxet on ikuistanut Hotakaisen Kari.
ellauri210.html on line 365: One of them was the Swiss enema Arthur Cravan. Described by one critic as “a world tramp … a traverser of borders and resister of orders,” Cravan traveled the globe in the early 1900s by forging documents and assuming false identities, preening, harassing, and haranguing, as he went. He was hailed by André Breton as a pivotal precursor of Dadaism, and belonged to that category of floating prewar avant-gardists whose legacy resides more in their mode of living than their artistic creations. Indeed, he declared himself anti-art and avowed boxing to be the ultimate creative expression of the modern, American-tinged age. He’s often referred to as a “poet-boxer,” though he wasn’t especially accomplished as either; his real talent appears to have been making a spectacle of himself, in every sense. Publicist rather than a pugilist.
ellauri210.html on line 383: The money Cravan earned from the Johnson fight helped him buy his passage out of Europe, and what he thought was safety from the war. In January 1917, he sailed for New York. Dozens of other European artists and intellectuals were making the same journey at the time; one of Cravan’s shipmates was Leon Trotsky, who noted in his diary that he’d met a man who claimed to be related to Oscar Wilde and “who frankly declared that he would rather smash a Yankee’s face in the noble art of boxing than be done in by a German.” Cravan didn’t stay in New York long; just long enough to put several noses metsphorically out of joint. He split his time between sleeping rough in Central Park and hobnobbing with Greenwich Village bohemians. Among them was the poet Mina Loy, with whom Cravan began an intense love affair.
ellauri210.html on line 394: « Monsieur Gide n'a pas l'air d'un enfant d'amour, ni d'un éléphant, ni de plusieurs hommes : il a l'air d’un artiste ; et je lui ferai ce seul compliment, au reste désagréable, que sa petite pluralité provient de ce fait qu'il pourrait très aisément être pris pour un cabotin (komeljanttari). Son ossature n'a rien de remarquable ; ses mains sont celles d'un fainéant, très blanches, ma foi ! Dans l'ensemble, c'est une toute petite nature. »
ellauri210.html on line 503: artist-dolls-lotte-pritzel-001-624x675.jpg" />
ellauri210.html on line 610: On peut être artiste sans être rien de particulier. Tout ce que j'ai fait d'important pourrait tenir dans une petite valise. Pas le pissoir (je n'avais fait ca), mais l'etiquette.
ellauri210.html on line 725: Alessio Di Chirico (Roma, 12 dicembre 1989) è un artista marziale misto ed ex giocatore di football americano italiano.
ellauri210.html on line 1092: Dalí tomó al famoso doble de Hollywood, Russ Saunders, como modelo para pintar a Cristo, aunque hay quien afirma que el artista tomó como modelo en realidad al trapecista Diego Schmiedl. Esta es posiblemente, la obra más humana y humilde que se ha pintado sobre la Crucifixión de Cristo. Aunque, también, podríamos afirmar que la perspectiva del observador que ve a Cristo desde arriba, es decir desde donde podría verlo Dios Padre, coloca al artista en ese papel.
ellauri210.html on line 1109: Mary Leonora Carrington OBE (6 April 1917 – 25 May 2011) was a British-born Mexican artist, surrealist painter, and novelist. She lived most of her adult life in Mexico City and was one of the last surviving participants in the surrealist movement of the 1930s. Carrington was also a founding member of the women's liberation movement in Mexico during the 1970s.
ellauri210.html on line 1111: Educated by governesses, tutors, and nuns, she was expelled from two schools, including New Hall School, Chelmsford, for her rebellious behaviour, until her family sent her to Florence, where she attended Mrs Penrose's Academy of Art. She also, briefly, attended St Mary's convent school in Ascot. In 1927, at the age of ten, she saw her first Surrealist painting in a Left Bank gallery in Paris and later met many Surrealists, including Paul Éluard. Her father opposed her career as an artist, but her mother encouraged her. She returned to England and was presented at Court, but according to her, she brought a copy of Aldous Huxley's Eyeless in Gaza (1936) to read instead.
ellauri210.html on line 1113: In 1936 Carrington saw the work of the German surrealist Max Ernst at the International Surrealist Exhibition in London and was attracted to the Surrealist artist before she even met him. In 1937 Carrington met Ernst at a party held in London. The artists bonded and returned together to Paris, where Ernst promptly separated from his wife.
ellauri210.html on line 1123: She later married Emerico Weisz (nicknamed "Chiki"), born in Hungary in 1911. Chiki Weisz died 17 January 2007, at home. He was 97 years old. Together they had two sons: Gabriel, an intellectual and poet, and Pablo, a doctor and Surrealist artist. Leonora Carrington died on 25 May 2011, aged 94, in a hospital in Mexico City as a result of complications arising from pneumonia. In 2015, Carrington was honoured through a Google Doodle commemorating her 98th birthday.
ellauri210.html on line 1152: Gisèle Prassinos a légué à la Bibliothèque historique de la ville de Paris un riche fonds [archive] de manuscrits. Son œuvre artistique a été légué à sa nièce Catherine Prassinos (voir le site de Mario Prassinos).
ellauri210.html on line 1316: The narrator, randomly named André, ruminates on a number of Surrealist principles, before ultimately commencing (around a third of the way through the novel) on a narrative account, generally linear, of his brief ten-day affair with the titular character Nadja. She is so named “because in Russian it's the beginning of the word hope, and because it's only the beginning,” but her name might also evoke the Spanish "Nadie," which means "No one." The narrator becomes obsessed with this woman with whom he, upon a chance encounter while walking through the street, strikes up conversation immediately. He becomes reliant on daily rendezvous, occasionally culminating in romance (a kiss here and there). His true fascination with Nadja, however, is her vision of the world, which is often provoked through a discussion of the work of a number of Surrealist artists, including himself. While her understanding of existence subverts the rigidly authoritarian quotidian, it is later discovered that she is mad and belongs in a sanitarium. After Nadja reveals too many details of her past life, she in a sense becomes demystified, and the narrator realizes that he cannot continue their relationship.
ellauri210.html on line 1382: Jean Benoît (1922-2010) was a Canadian artist known as "The Enchanter of Serpents", most famous for his surrealist sculptures. One sculpture called "Book Cover for Magnetic Fields" features demonic figures ripping an egg from a book. Magnetic Fields was the name of the book Breton wrote with Philippe Soupault, which Breton called the first surrealist book. Many of his works include demonic figures, brutal sexual images, exaggerated phalluses, and so on. Benoît was active and remained productive, working every day on his art until he died on August 20, 2010, in Paris. He was 88.
ellauri211.html on line 203: On peut être artiste sans être rien de particulier. Tout ce que j´ai fait d´important pourrait tenir dans une petite valise. Pas le pissoir (je n´avais pas fait ca), mais l´etiquette là-dessus.
ellauri219.html on line 71:

Richard Merkin (artist and friend of Peter Blake)
ellauri219.html on line 72:

The Vargas Girl (by artist Alberto Vargas)
ellauri219.html on line 88:

Wallace Berman (artist)
ellauri219.html on line 94:

Richard Lindner (artist)
ellauri219.html on line 105:

35. Stuart Sutcliffe (artist/former Beatle)
    ellauri219.html on line 108:
36. A "Petty Girl" (by artist George Petty)
    ellauri219.html on line 113:
37. Larry Bell (artist)
    ellauri219.html on line 209: An all-male panel presided over his widely publicized six-month trial, Bruce and Howard Solomon were found guilty of obscenity on November 4, 1964. The conviction was announced despite positive testimony and petitions of support from—among other obscene artists, writers and educators — Woody Allen, Bob Dylan, Jules Feiffer, Allen Ginsberg, Norman Mailer, William Styron, and James Baldwin, and Manhattan journalist and television personality Dorothy Kilgallen and sociologist Herbert Gans. Bruce was sentenced on December 21, 1964, to four months in dryhouse (suivahuone); he was set free on bail during the appeals process and died before the appeal was decided, just like Master Eckehart.
    ellauri219.html on line 309: American artist Wallace Berman more than earned his place on the album cover: his pioneering “assemblage art” took a three-dimensional approach to the collage style that Peter Blake excelled in, and is an influence that can be felt on the Sgt. Pepper’s design.
    ellauri219.html on line 409: An American artist known for large sculptures that play with light and space, Larry Bell first made his mark with a series of “shadowboxes” constructed in the 60s, and has since gone on to receive acclaim for his wide-ranging work, including the Vapor Drawings of the 80s and a subsequent range of Mirage Drawings.
    ellauri219.html on line 543: The famous Sgt Pepper drum skin shows one of two designs by Joe Ephgrave, a fairground artist. His second design used more modern lettering and was attached to the other side of the bass drum, giving the group two options during the photoshoot.
    ellauri219.html on line 1016: Moonman 157, a Bronx graffiti artist, and the Texas Highway Killer: what do they have in common? One wields spray cans, the other a .38 with a gloved left hand. Moonman paints subway cars, and the Texas Highway Killer shoots random lone drivers? Get it? Okay I'll tell you: They each create an artificial language like Klingon or Ido, that thickens the fog of American collective consciousness; each language is expressed by an individual who remains anonymous. As a natural consequence, they get a lot of copy cats, like de Lillo and myself.
    ellauri219.html on line 1018: Then there’s Moonman 157 and Klara Sax, a feminist ideal of Land Art. What do they have in common? Smudging useful things with paint. An artistic version of food fight. What do Jayne Mansfield’s breasts remind adolescent Eric of? The bumper bullets on a Cadillac. What does Dumb of Dumb and Dumber take for a cute lady's boobs? A semi trailer's fog lights. Meanwhile, Eric masturbates into a condom that reminds him of a missile (with his tiny wiener all loaded and cocked inside). Dad polishes his Buick, the son his dick. The clammy hand of coincidence.
    ellauri220.html on line 183: Taiteilijaämmät on vitun kateita isokannuiselle mrs. Mansfieldille. Miten alennussexin kuningattaresta tulikin noin kuuluisa? Ja me hienostuneet artistit saadaan läpyistä vain rääppeitä? Kas jengi haluaa alennussexiä, ei mitään tuhrittuja lentokoneita. Että nää Klaara Kotkojaxot onkin pitkästyttäviä.
    ellauri220.html on line 223: AceyAcey is the African American artist working on a project about the Black Panthers. Klara Sax befriends Acey in the summer of 1974.
    ellauri220.html on line 270: Moonman 157Moonman 157 is the pseudonym of a famous graffiti artist known for painting entire train cars.
    ellauri220.html on line 275: Klara SaxKlara Sax is a pop artist who recycles rubbish into fine art. As a married housewife, she has an affair with Nick Shay, 20 years her junior.
    ellauri220.html on line 597: "Sexiä tai ulos. Sanot ihan kiltisti. Me emme voi sallia että tyttö tuhoaa meidän omaisuuttamme [varastamaamme autoa]". Nick on syvästi vastenmielinen talousliberaalin ja mafioson risteytys. Kohta Klaara jättää Vihtorin saatuaan maistaa juniorimafioson kapeata kullia ja lähtee höyläämään ize omaa artistin uraansa Klaara Kotkona. Etovaa.
    ellauri220.html on line 602: Pierino Ronald "Perry" Como, född 18 maj 1912 i Canonsburg i Pennsylvania, död 12 maj 2001 i Jupiter Inlet Colony i Palm Beach County i Florida, var en amerikansk sångare och skådespelare. Han betraktades som en crooner ("smörsångare"). Han började arbeta som frisör som femtonåring och sjöng samtidigt med olika orkestrar. Han hade sin storhetstid som artist från andra halvan av 1940-talet till början av 1960-talet. Bland hans största skivsuccéer märks Magic Moments och Wanted. "50 vuotta musiikkia ja elämää hyvin elettynä. Siinä esimerkkiä kaikille." Suomessa hänen muun muassa lauantain toivotuissa suosituin laulunsa oli "Caterina" (1962), jonka myös Lasse Mårtenson teki suomeksi.
    ellauri220.html on line 611: Joo nyt musta alkaa tuntua että lähestytään Löllön kirjan käännekohtaa, missä 17-vuotias italomamu Nick pääsee sujauttamaan ohkasen mutta otaxuttavasti esinahkaisen kullinsa 36-vuotiaan bullshit artistin Klaara Kotkon hurlumheihin. Katolinen ja mosaiikkiuskonto näin kohtaavat Klaaran kostean käytävän punervassa hämärässä. Minä Tarzan, sinä Jane. Joo olin oikeassa, s. 804-5, vaikka on sanottava, että Lillo ei ole kovin hyvä kirjoittamaan panokohtauxia. Koko suvustasi ei saisi 13 tuumaa kokoon Don, ei vaikka laskisi isoisäsi ja hänen apinansa mukaan.
    ellauri221.html on line 78: It is interesting (to perhaps only me) that Fleming referenced real artists but fictitious works by those artists when describing the interior of Blades, which was a fictional club, but very much based on a real one (Poodles).
    ellauri222.html on line 159: And it got even better. Jack Ludwig reviewed the novel. He informed readers of Holiday that “the book is a major breakthrough.” By no means should it be read as autobiography—“as if an artist with Bellow’s enormous gifts were simply playing at second-guessing reality, settling scores.” No, in this book, Ludwig wrote, “Bellow is after something greater.” The greater something turns out to be “man’s contradiction, his absurdity, his alienation,” and so on. It was pretty chutzpadik, as even Bellow had to admit. But by then he was laughing all the way to the bank.
    ellauri222.html on line 215: Saul had women stashed all over town. His self‑justification: his career as an artist entitled him to let people down with impunity. He was married five times in all and infidelity was an issue throughout. Towards the end of his life, Saul asked his son rather charmingly, "Was I a man or a jerk?". It was the right question, and an easy one to answer: A jerk.
    ellauri222.html on line 237: But to keep it short – the reason: the reason lay in the hatred of one's own country. Among the French it was the old confrontation of "free spirits", or artists, with the ruling bourgeoisie. In America it was the fight against the McCarthys, the House Committees investigating subversion, etc that justified the left, the followers of Henry Wallace, etc. The main enemy was at home (Lenin's WWI slogan). If you opposed the CP you were a McCarthyite, no two ways about it.
    ellauri222.html on line 715: Apart from that, this character demands perfection only from other people, he never attempts to apply this principle to himself and it makes him a slightly comic figure. Lord Pococurante is neither artist, nor writer, but he takes faults with the world masterpieces, which is absurd in its core. Nevertheless, many people deem themselves quite competent for criticizing, having never created any work of art.
    ellauri222.html on line 785: An intensely intellectual writer who peppers his novels with allusions, Bellow draws on many cultural traditions in his analysis of both the sources of American experience and its present manifestations. His fiction fully documents the decline of Western civilization without conceding its obvious demise, and the ambiguity and tenuousness of even his most positive endings balance sadness and comic skepticism with the steadfast faith that he the artist can effect coherence and order, or failing that a lot of cash, out of the chaos of modern experience. His tip for success: kusettakaa minkä jaxatte! For his achievement in confronting the modern existential dilemma with compassion and humor, Bellow's place in twentieth-century American literary history seems assured by drooling groupies like myself.
    ellauri240.html on line 105: Bullshit artist David B. Miller designed Krueger's disfigured face based on photographs of burn victims obtained from the UCLA Medical Center. The film was inspired by several newspaper articles printed in the Los Angeles Times in the 1970s about Hmong refugees, who, after fleeing to the United States because of U.S. war and genocide in Laos, Cambodia, and Vietnam, suffered disturbing nightmares and refused to sleep. Some of the men died in their sleep soon after. Medical authorities called the phenomenon Asian Death Syndrome.
    ellauri240.html on line 290: Herman Melville considered Timon to be among the most profound of Shakespeare's plays. Melville used the term "Timonism" about an artist's contemptuous rejection of both his audience and mankind in general.
    ellauri244.html on line 453: About the author: Faye Toogood is a British artist working in a diverse range of disciplines, from sculpture to furniture and fashion. Toogood's works have been acquired for the permanent collections of institutions worldwide, and she has exhibited internationally. She is represented by Friedman Benda in New York.
    ellauri244.html on line 455: Courtney Faye Taylor is a writer and visual artist. She is the author of Concentrate (Graywolf Press, 2022), selected by Rachel Eliza Griffiths as the winner of the Cave Canem Poetry Prize. Courtney earned her BA from Agnes Scott College and her MFA from the University of Michigan Helen Zell Writers' Program where she received the Hopwood ...
    ellauri244.html on line 607: A nasty setback was June's close relationship with the artist Marion, whom June had renamed Jean Ronski. Ronski lived with Miller and June from 1926 until 1927, when June and Ronski went to Paris together, leaving Miller behind, which upset him greatly. Miller suspected the pair of having a lesbian relationship. While in Paris, June and Ronski did not get along, and June returned to Miller several months later. Yxin jäänyt Ronski teki Sirolat Pariisissa around 1930. Vähän päästä Henry lähti ize yxin Pariisiin.
    ellauri244.html on line 615: The following year, he married artist Eve McClure, who was 37 years his junior. They divorced in 1960, and she died in 1966, likely as a result of alcoholism. In 1961, Miller arranged a reunion in New York with his ex-wife June. They had not seen each other in nearly three decades. In a letter to Eve, he described his shock at June's "terrible" appearance, as she had by then degenerated both physically and mentally. Not him! Though he was 11 years her senior!
    ellauri244.html on line 620: After his move to Ocampo Drive, he held dinner parties for the artistic and literary figures of the time. His cook and "caretaker" was a young artist's model named Twinka Thiebaud, 54 years his junior, who later wrote a book about his evening "chats." In relation to reaching 80 years of age, Miller explains:
    ellauri249.html on line 472: Its origin is set down in Pliny the Elder's Naturalis Historia where he records that a shoemaker (sutor) had approached the painter Apelles of Kos to point out a defect in the artist's rendition of a sandal (crepida from Greek krepis), which Apelles duly corrected. Encouraged by this, the shoemaker then began to enlarge on other defects he considered present in the painting, at which point Apelles advised him that ne supra crepidam sutor iudicaret ('a shoemaker should not judge beyond the shoe'), which advice, Pliny observed, had become a proverbial saying. The Renaissance interest in meddling cluelessly into other people's affairs made the expression popular again.
    ellauri254.html on line 134: Sergei Yesenin sanoi hänestä: "... on hyviä fiktiokirjailijoita... suuria taiteilijoita, jotka maalaavat sydämellä... No, Ivanov on ainakin vilpitön kaveri. Riippumatta siitä, kuinka paljon hänen elämäänsä julkistettiin, riippumatta siitä, kuinka sitä mätkittiin, hän oli aina ja pysyi todellisena artistina. Hän on harvinainen ihminen, joka ymmärtää ja rakastaa sanataidetta."
    ellauri254.html on line 385: In 1899, as Fyodor Sologub progressed in the teaching profession while continuing to elaborate his literary career, Sologub was appointed principal of the Andreevskoe municipal school in Saint Petersburg. With the position came an apartment on Vasilievsky Island, which Sologub shared with his sister Olga. In the late 1890s and at the beginning of the 1900s, the art world of Petersburg saw Konstantin Sluchevsky’s ‘Fridays’, and Sergei Diaghilev’s ‘Wednesdays’: literary salons which were attended by the leading poets and artists of the day. Sologub had been a participant of both groups; and between 1905 and 1907, his apartment on Vasilievsky Island became the home of ‘Sundays’, a regular meeting place for Petersburg’s nascent intellectuals.
    ellauri256.html on line 380: Contemporaries' attitude to Lilya was mixed. Men adored her: the list of Brik's admirers included practically the entire circle of Russian avant-garde artists and prominent culture figures, from Alexander Rodchenko to Sergey Diaghilev. In Italy, she was friends with Pasolini, in France, with Louis Aragon (who would eventually marry her sister Elsa) and Yves Saint Laurent, who used to say: “I know three women who can be elegant outside of fashion - Catherine Deneuve, Marlene Dietrich and Lilya Brik.”
    ellauri257.html on line 530: All this to say that the Yiddish writer’s other women — not the sexy but the stolid, those who accompanied him at home for better or worse, for richer or poorer, in sickness and in health — are crucial to the understanding of how he looked at the world. Alma was his anchor. Despite his betrayals, he always returned to her. Her silence, her resignation, might be disheartening to modern sensibilities. Yet she grounded him, and not only as an artist.
    ellauri260.html on line 229: Adam Smith's picture of laissez-faire was thoroughly optimistic. In the unrestricted competition of individuals and nations Smith saw an immeasurable gain in freedom and power. The interests of all seemed to him to unite in a complete harmony, and to guarantee a steady progress of the whole. He thought of the whole as well as the individuals, but the entire collective condition seemed to him to be best promoted when it was left to the activities of the most deserving individuals. While earlier ages had talked of a religious, scientific, or artistic type of life, we now have, added to these, if not placed higher than they, an economic type. (Eikös kauppiassääty ollut mukana myös hindujen luonnetyypeissä? Tosin ei kärjessä kuten Smithillä, Intiassa siellä rellestivät brahmiinit.)
    ellauri262.html on line 403: As an advertiser, Sayers's collaboration with artist John Gilroy resulted in "The Mustard Club" for Colman's Mustard and the Guinness "Zoo" advertisements, variations of which still appear today. One example was the Toucan, his bill arching under a glass of Guinness, with Sayers's jingle:
    ellauri263.html on line 630: Unlike the occultism presented earlier by Éliphas Lévi and similar authors, which mostly caught the interest only of a small circle of freethinkers, Theosophy fast became a successful semi-mass movement. By 1889 the Theosophical Society had 227 sections all over the world, and many of the era’s most important intellectuals and artists were strongly influenced by it. Avant-garde painters, especially, took this new teaching to heart, and it marked the work of great artists such as Mondrian, Kandinsky and Klee. In literature, authors like Nobel Prize laureate William Butler Yeats became
    ellauri264.html on line 120: In 2011, Gionet worked for Capitol Records for a short time, before pursuing his own career in rap music with a "wild, redneck, kick-ass" persona. He kept his nickname Baked Alaska as a stage name. His rap songs used a satirical tone and traded on his Alaskan roots, with titles like "I Live on Glaciers" or "I Climb Mountains". In 2013, the Anchorage Daily News published a profile of Baked Alaska, describing him as a "comedy/music video artist". Gionet also posted many humorous videos on Vine where he became known as a prankster, achieving some online popularity. A video of him pouring a gallon of milk on his face attracted several millions of views. He called himself at the time a "cross between Weird Al, Lonely Island, Borat and Jackass".
    ellauri264.html on line 477: Henley edited the Scots Observer (which later became the National Observer), through which he befriended writer Rudyard Kipling, and the Magazine of Art, in which he lauded the work of emerging artists James McNeill Whistler and Auguste Rodin. Henley was a close friend of Robert Louis Stevenson, who reportedly based his Long John Silver character in Treasure Island in part on Henley.
    ellauri275.html on line 430: Porukat huusi Tiflisissä miekkarissa "Sukhumi, Sukhumi". Gruusialaiset eivät pidä siitä, että abhaasisepartistit ottaa aurinkoa pyyhkeillä mustanmeren rannaklla venäläisten tuella. Sukhumi or Sukhum (Russian: Суху́м(и), Sukhum(i) [sʊˈxum(ʲɪ)]), also known by its Georgian name Sokhumi (Georgian: სოხუმი, [sɔχumi] (listen)) or Abkhaz name Aqwa (Abkhaz: Аҟәа, Aqwa), is a city in a wide bay on the Black Sea's eastern coast. It is both the capital and largest city of the Republic of Abkhazia, which has controlled it since the Abkhazia war in 1992–93. However, "internationally" Abkhazia is considered part of Georgia. The city, which has an airport, is a port, major rail junction and a holiday resort because of its beaches, sanatoriums, mineral-water spas and semitropical climate. It is also a member of the International Black Sea Club.
    ellauri276.html on line 447: Vuonna 1938 masentunut Kavanagh muutti Lontooseen. Hän viipyi siellä noin viisi kuukautta. The Green Fool, löyhästi omaelämäkerrallinen romaani, julkaistiin vuonna 1938, ja Kavanaghia syytettiin kunnianloukkauksesta. Oliver St. John Gogarty haastoi Kavanaghin oikeuteen hänen kuvauksestaan ​​hänen ensimmäisestä vierailustaan ​​Gogartyn kotiin: "Luulin Gogartyn valkovartista piikaa hänen vaimokseen tai hänen rakastajattarekseen; odotin jokaiselle runoilijalle varavaimon." Gogarty, joka oli loukkaantunut sanojen "vaimo" ja "emäntä" läheisestä yhdistämisestä, sai 100 puntaa vahingonkorvauksena.Kirja, joka kertoi Kavanaghin maalaislapsuudesta ja hänen yrityksistään tulla kirjailijaksi, sai kansainvälistä tunnustusta ja hyviä arvosteluja. Teoksen väitettiin kuitenkin olevan myös jossain määrin "katolisen vastainen", mihin Kavanagh reagoi vaatimalla, että teos olisi näkyvästi esillä Dublinin katolisen kirjakaupan ikkunassa. Seuraavassa runossa jää epäselväxi pääsikö Patrick hilloviivalle.
    ellauri277.html on line 219: Similarly, Gibran later portrayed his life in Lebanon as idyllic, stressing his precocious artistic and literary talents and his mother’s efforts to educate him; some of these stories were obviously tall tales meant to impress his American patrons.
    ellauri277.html on line 221: Day was partial to exotic and orientalist themes and produced elegant homoerotic photographs of young men. Day became Gibran’s friend and patron, using the boy as a nude model, introducing him to smutty literature, and "helping him with his drawing". No one who reads Gibran’s works and knows Day’s tastes can doubt the depth of the latter’s influence on Gibran. Perhaps more important, Day and Day’s friends convinced Gibran that he had a special artistic calling.
    ellauri277.html on line 229: In November 1902 Gibran wrote to Peabody, and she invited him to a party held at her house two weeks later. An intense platonic relationship resulted, though Gibran seems to have wanted it to progress to a sexual one. He visited her regularly; they went to musical and artistic events together; they wrote to each other often; and she encouraged his writing and his art. She gave him the nickname that he later used as the title of his most famous book: “the Prophet.” In October 1903 Gibran wrote something in a letter to Peabody that angered her, and their relationship cooled.
    ellauri277.html on line 238: After Paris, Gibran found Boston provincial and stifling. Haskell arranged for him to visit New York in April 1911; he moved there in September, using $5,000 that Haskell gave him to rent an apartment in Greenwich Village. He immediately acquired a circle of admirers that included the Swiss psychiatrist and psychologist Carl Gustav Jung and several Baha’is; the latter introduced him to the visiting Baha’i leader ‘Abd al-Baha’, whose portrait he drew. New York was the center of the Arabic literary scene in America; Rihani was there, and Gibran met many literary and artistic figures who lived in or passed through the city, including the Irish poet and dramatist William Butler Yeats.
    ellauri277.html on line 240: In the spring of 1913 he visited the International Exhibition of Modern Art—the “Armory Show”—which introduced European modern art to America. He approved of the show as a “declaration of independence” from tradition, but he did not think most of the paintings were beautiful and did not care for the artistic ideologies behind movements such as cubism. The reviews of an exhibition of his own work in December 1914 were mixed. Hedevoted most of his time to painting for the next eighteen years but remained loyal to the symbolism of his youth and became an isolated figure on the New York art scene.
    ellauri277.html on line 244: In 1923 the financially and emotionally exhausted Haskell moved to Savannah, Georgia, and became the companion of an elderly widower, Colonel Jacob Florence Minis. But her faith in Gibran’s literary and artistic importance never wavered, and she continued to edit his English manuscripts—discreetly, since Minis did not approve of Gibran.
    ellauri279.html on line 120: artists/morozov-pavel-trofimovich-kakaya-zhe-nastoyashchaya-istoriya-pavlika/">Источник
    ellauri301.html on line 157: Wallander was once married, but his wife Mona (remember? the immigrant charity dish) left him and he has since had a difficult relationship with his rebellious only child, Linda, who barely survived a suicide attempt when she was fifteen. He also had issues with his late father, an artist who painted the same landscape 7,000 times for a living; the elder Wallander strongly disapproved of his son´s decision to join the police force and frequently derided him for it. Fair enough: painting sunsets with/without a black grouse pays off better than finding random middle fingers of color. Kurt Wallander sr is a great fan of the opera. Kurt Wallander jr says he actually hates opera. I bet that was a joke.
    ellauri301.html on line 191: Hämeenkoski (alk. Hämeen Koski) on nyt osa Hollolaa. Muita tunnettuja Hämeenkosken poikia ovat JK Paasikivi, Ruben Lagus, Sirkka Selja, voimamies Väinö Kustaa Siltala ja Jemina Sillanpää, a versatile artist from Helsinki, Finland.
    ellauri301.html on line 258: His (Fred´s) former wife Marike described de Klerk as being "extremely sensitive to beautiful things", exhibiting something akin to an artistic temperament. Kauni
    ellauri308.html on line 229: Arvo Tuominen tuomittiin poliittisen toimintansa vuoksi Tammisaaressa sijaitsevaan pakkotyölaitokseen vuosiksi 1922–1926 ja Turun Lääninvankilaan 1928–1933. Kommunistiartisti Armas Äikiä kertoi Tuomisen olleen ”heikkoluontoinen raukka”, joka yritti miellyttää vankilan viranomaisia ja sai siksi lempeämpää kohtelua.
    ellauri313.html on line 116: Runopalkinnon voittanut spoken word -artisti Elsa Tölli haluaa, että runous tuntuu kehossa, maistuu suussa ja kuuluu korvissa ja kutisee vielä ulos tullessaan pyllyssä.
    ellauri316.html on line 381: artist-depiction-of-u-s-cavalry-chasing-native-americans.jpg?width=480" />
    ellauri322.html on line 489: You are viewing an original antique oil painting on canvas by Paulette Bardy, listed French Impressionist of the early part of the 20th century. She was born in Fez, Morocco and her works were accepted and exhibited at the prestigious Salon des Artistes Francais in Paris. She was a pupil of French artist Charles Fouqueray and she also painted a series of controversial risque beach scenes, erotic in nature, titled "La Plage" and "Bord de Mer". Her landscapes are Impressionistic mixed with an influence of rural French folk art.
    ellauri324.html on line 304: Presidentti Ronald Reagan mainitsi kampanjamielenosoituksensa Hammontonissa, New Jerseyssä lyhyesti laulun Born in the USA sanoen: "Amerikan tulevaisuus lepää tuhansissa unelmissanne sydämessänne. Se lepää toivon sanomassa. sellaisen miehen lauluissa, jota niin monet nuoret amerikkalaiset ihailevat – New Jerseyn omassa Bruce Springsteenissä." Kaksi yötä myöhemmin Pittsburghissa pidetyssä konsertissa Springsteen kertoi yleisölle: "No, presidentti mainitsi nimeni puheessaan toissapäivänä ja jouduin jotenkin miettimään, mikä hänen suosikkialbuminsa on täytynyt olla. ? En usko, että se oli Nebraska." Bruce on Reaganiin verrattuna vihervassari. 19. heinäkuuta 1988 Springsteenin konsertti Itä-Saksassa keräsi 300 000 katsojaa. Konsertin oli suunnitellut sosialistisen yhtenäisyyspuolueen nuorisosiipi, jonka tarkoituksena oli tyynnyttää Itä-Saksan nuoriso, joka kaipasi lisää vapautta ja lännen populaarimusiikkia. Nimikappale käsittelee tavallisen sotilaan tunteita ja pelkoja Irakin sodan aikana. Presidentti Obama piti puheen, jossa hän väitti, että Springsteen oli sisällytetty tavallisten amerikkalaisten laajaan kappalevalikoimaan. Vuonna 2012 Springsteen kampanjoi presidentti Barack Obaman uudelleenvalintaa vastaan. ​​Springsteenin kiertueet sijoittivat hänet neljänneksi artistien joukossa vuosikymmenen kokonaistuloissa. 31. heinäkuuta 2012 Helsingissä Springsteen esitti kaikkien aikojen pisimmän konserttinsa, neljä tuntia ja kuusi minuuttia 33 kappaleella. Syyskuussa 2023 Springsteen ilmoitti lykkäävänsä kahdeksan syyskuulle suunniteltua esitystä. Springsteen oli hoidossa peptisen haavataudin vuoksi, ja lääkärit suosittelivat, ettei hän esiintyisi livenä.
    ellauri327.html on line 25:

    Various artists

    
    ellauri333.html on line 274: – Teoriani on, että nämä ajatukset ovat kantautuneet nuorille gangsta rap -musiikin ja sitä esittävien artistien kuvaamien musiikkivideoiden kautta. Nyt alakulttuurin omaksuneet pojat näkevät, että he voivat saavuttaa yhteisössään korkean aseman tekemällä rikoksia. He myyvät huumeita, ostavat merkkivaatteita ja käyttäytyvät aggressiivisesti, väkivaltaisesti, päättäväisesti ja huolimattomasti.
    ellauri333.html on line 279: Gangsta rap-artistit kannattavat väkivaltaa ja naisten alistamista ja yliseksualisoimista, mutta heidän suurimpia ihailijoitaan ovat usein nuoret tytöt. Mohagebin mukaan pojat ovat panneet asian merkille ja kokevat, että gangsterin elämäntyyli on se, jota kannattaa tavoitella.
    ellauri333.html on line 281: Einár, oikealta nimeltään Nils Kurt Erik Einar Grönberg (5. syyskuuta 2002 Tukholma, Ruotsi – 21. lokakuuta 2021 Tukholma) oli ruotsalainen rap-artisti. Hänen ensimmäistä singleään ”Gucci/Duckar Popo” striimattiin Spotifyssa yli miljoona kertaa. Einár ammuttiin Tukholman Hammarby sjöstadissa 21. lokakuuta 2021 vuosi senjälkeen kun vastapuolen jengi oli napannut ja raiskannut Einarin.
    ellauri333.html on line 285: Ruotsissa suursuosioon noussut gangsta rap -artisti Einár ammuttiin kuoliaaksi lokakuussa vuonna 2021. Rikollisjärjestöihin yhdistetyn artistin oli tarkoitus todistaa oikeudessa Vårbynätverketiä vastaan. Ei olis kannattanut Einarin rällättää gangsta rappia.

    
    ellauri336.html on line 37: Olen kokenut narsistien kanssa syvää lojaaliutta, kertoo 40v täyttänyt Jenni Vartiainen. Hän oli vuokrannut 750 huoneistoa 55-kerroxisesta pilvenpiirtäjästä, jossa oli ohituskaistat varakkaammille. Nyt hän on jättänyt perheensä ulkomaahan ja on hyvin helpottunut. Korjaan naisartistien kanssa. Sori siitä.
    ellauri342.html on line 570: Edwin Jack Fisher (August 10, 1928 – September 22, 2010) was an American singer and actor. He was one of the most popular artists during the 1950s, selling millions of records and hosting his own TV show, The Eddie Fisher Show. Actress Elizabeth Taylor was best friends with Fisher's first wife, actress Debbie Reynolds. After Taylor's third husband, Mike Todd, another entertainment Jew, was killed in a plane crash over Mexico 1958, Fisher divorced Reynolds and he and Taylor married that same year.
    ellauri359.html on line 142: Vaikka hän oli lähellä kuolemaa, Blaken keskeinen huolenaihe oli hänen kuumeinen työnsä Danten Infernon kuvitusten parissa. Hänen sanotaan käyttäneen yhden viimeisistä hallussaan olevista shillinkistä lyijykynään jatkaakseen luonnostelua. Hulluja nuo artistit.
    ellauri365.html on line 584: Back North, the self-centered man forgot his despondency by merging himself into the larger soul of his estate. To those familiar with his membership of the committee, it came as no surprise that in 1916 Heidenstam was awarded the Nobel Prize for Literature. He is perhaps most like Browning. Above all things he abhors uninspired naturalism; "gray-weather moods," he calls it. Strindberg merely "let the cellar air escape through the house.", he said. He repudiates pessimism no less than sentimentalism. He wrestled with August for the deeper meaning of life. The imagery is often daring, as when a negro's lips are compared to the crimson gash on a foreskin. Heidenstam, though one of the most daringly earnest of poets, is sufficiently an artist to relieve his style by such touches of humor and of the deeper sort of romance. But atonement was repugnant to his manhood. He longs to be worthy of his heritage, to give his life for some damn cause. He believes it is only in moments of great exaltation that we really live. The best bit is where Verner dissuades his poor countrymen from whacking the filthy rich. Without his saying so, we feel in him the quality of St. Paul affirming: "I have fought the good fight, I have kept the faith."
    xxx/ellauri027.html on line 49: Beata Siltanen kommentoi artistia Smurffit 21.3.10:
    xxx/ellauri027.html on line 950: business managers and employees, as well as non-professionals, students, retards, whole families, teams, celebrities, artists, relatives and loved ones etc.
    xxx/ellauri044.html on line 420: 1961 Hermanni sai flunssan, joka osoittautui leukemiaxi. '62 sen tappoi schlaagi 85-vuotiaana. Monissa kirjoissa sillä on oppipoika ja mestari. Kukas se mestari oli? Oisko se ollut toi pastori Blumhardt joka johatteli sitä teini-iän kriisissä? Blumhartista tuli sossu. Vai oliko Hermanni ize molempia? Hmm. Hipit tykkäsivät Hessestä, ja muut teini-ikäiset. Hessellä se näyttäisikin olleen pitkä. Siis teini-ikä. Jotain samaa sen henkilöhistoriassa on kuin Kanilla (Paulo Coelho).
    xxx/ellauri075.html on line 462: When asked in an interview in 2002 whether he was gay, Ellis explained that he did not identify as gay or straight but was comfortable being thought of as homosexual, bisexual or heterosexual and enjoyed playing with his persona, identifying variously as gay, straight and bisexual to different people over the years. In a 1999 interview, Ellis suggested that his reluctance to definitively label his sexuality was for "artistic reasons", "if people knew that I was straight, they'd read [my books] in a different way. If they knew I was gay, 'Psycho' would be read as a different book." In an interview with Robert F. Coleman, Ellis said he had an "indeterminate sexuality", that "any other interviewer out there will get a different answer and it just depends on the mood I am in".
    xxx/ellauri076.html on line 419: artistic-representation.jpg?itok=cClGlf0h" height="200px" />
    xxx/ellauri081.html on line 88: Lohan rose to prominence in the music industry under Casablanca Records, releasing two studio albums, the platinum-certified Speak (2004) and gold-certified A Little More Personal (Raw) (2005). Lohan dabbled in fashion, beginning a line of her own titled 6126 and briefly serving as artistic advisor for Emmanuel Ungaro in 2009. Since 2016, she has opened numerous nightclubs and resorts in Greece.
    xxx/ellauri084.html on line 538: Julkaissut yli 39 maassa Ron Brown myy rehkimäänsä keräilijöille ja vähittän läntisissä Yhdysvalloissa. Hänet nimitettiin erääxi 300 huippuartistista Utahissa. Näin miehen Nevadan autiomassa eräässä tienristeyxessä liftaamassa, keskellä ei mitään. Minun piti saada hänen tarinansa.
    xxx/ellauri085.html on line 120: Sidney Peterson (November 15, 1905, Oakland, California – April 24, 2000, New York City) was an American author, artist, and avant-garde filmmaker. He attended UC Berkeley, worked as a newspaper reporter in Monterey, and spent time as a practicing painter and sculptor in France in the 1920s and 1930s. After World War II, Peterson founded Workshop 20 at the California School of Fine Arts (renamed the San Francisco Art Institute), initiating filmmaking courses at the school.
    xxx/ellauri085.html on line 122: Between 1947 and 1950 the workshop produced five films under Peterson's guidance that were influential on the burgeoning American avant-garde cinema, and significant artifacts of the San Francisco Renaissance. In the years that followed, Peterson worked as a consultant for the Museum of Modern Art, made a series of documentary films, penned a novel (A Fly in the Pigment, 1961) and a memoir (The Dark of the Screen, 1980), and worked at Walt Disney Productions as a scriptwriter and storyboard artist on the never completed sequel to Fantasia.
    xxx/ellauri086.html on line 913: Poe dismissed the notion of artistic intuition and argued that writing is methodical and analytical, not spontaneous. He writes that no other author has yet admitted this because most writers would "positively shudder at letting the public take a peep behind the scenes... at the fully matured fancies discarded in despair... at the cautious selections and rejections"
    xxx/ellauri087.html on line 471: Funny little Jew Primo Levi roughly quotes Marvell in his 1983 poem "The Mouse," which describes the artistic and existential pressures of the awareness that time is finite. He expresses annoyance at the sentiment to seize the day, stating, "And at my back it seems to hear / Some winged curved chariot hurrying near. / What impudence! What conceit! / I really was fed up."
    xxx/ellauri091.html on line 294: Die versunkene Glocke (1897), a symbolic story of a master bell founder and his struggle as an artist, has been one of Hauptmann's most popular plays. After this Hauptmann wrote the tragedies Fuhrmann Henschel (1899), Michael Kramer (1900), and Rose Bernd (1903). These works also reflected the personal turmoil Hauptmann was then in he had fallen for a fourteen-year-old girl, a promising violinist Margarete Marschalk. She was the opposite of his wife, interested in his work, and in such outdoor sports as hiking, ice-skating, andf skiing. After Hauptmann wife found out about her rival, she moved with the children to Dresden. Hauptmann had a son, Benvenuto, with Margarete, and in 1904, after a long period of agonising thought, Hauptmann divorced Marie and married Margarete. However, a year later he met a sixteen-year-old actress, Ida Orloff, who became a new object of his obsession. Hauptmann described her in his letters as a moth flirting with flames, as a bewitching Siren, as a mermaid, and as a cruel spider.
    xxx/ellauri091.html on line 514:

    We actually wonder why anyone would want to visit this place, let alone live there. The food is drab, and the weather is worse. They serve beer at room temp. The museums are free, but they stole the art from cultures with far superior artists. Oh, and a certain current political situation has the country in a state of complete and utter disarray. 

    
    xxx/ellauri103.html on line 274: She and her colleagues in the fat rights movement did not want my advocacy. I could not weigh in on this material because I did not belong to the club. I found this an artistic, political, and even commercial disappointment – because in the US and the UK, if only skinny-minnies will buy your book, you’ve evaporated the pool of prospective obese consumers to a puddle.
    xxx/ellauri114.html on line 80: Yksi jumaluuskompleksin riivaama artisti on Kanye West. Vuonna 2008 räppäri ilmoitti haastattelussa olevansa kuin astia, jonka Jumala on valinnut äänekseen ja viestiensä välittäjäksi. Seuraavana vuonna hän sanoi: ”Jumala valitsi minut. Hän teki minulle polun. Suurin tuskani elämässäni on, että en voi koskaan nähdä itseäni esiintymässä livenä. Olen Warhol. Olen numero yksi, kaikkein vaikuttavin meidän sukupolvemme taiteilija. Olen lihaxikkaaxi tullut Shakespeare, Walt Disney. Nike. Google.”
    xxx/ellauri121.html on line 329: She was flat and wore hush puppies. She looked like an artist as a young man. Se on 5"4' pitkä eli Seijan pituinen. Afro hair was prohibited on negroes those days. On her it was tolerated grudgingly.
    xxx/ellauri123.html on line 585: In 1995, Studio Ghibli, a Japanese anime company, released a movie called Whisper of the Heart. It’s about two high school students struggling with their artistic callings, their feelings for each other, and coming of age.
    xxx/ellauri125.html on line 180: Yhdysvallat) on yhdysvaltalainen hip hop -artisti, lauluntekijä, tuottaja,
    xxx/ellauri125.html on line 187: Muusikon uransa lisäksi West tunnetaan suorasanaisena ja keskustelua herättävänä henkilönä johtuen hänen useista julkisista lausunnoistaan. West on näet suunnitellut kenkiä muun muassa Nikelle, Adidakselle ja Louis Vuittonille. Hän on perustanut myös oman levy-yhtiönsä GOOD Musicin, jonka artisteja ovat muun muassa Paul McCartney, John Legend ja Pusha T.
    xxx/ellauri125.html on line 201: West on yksi maailman myydyimmistä artisteista 21 miljoonalla myydyllä albumilla ja 66 miljoonalla digitaalisella latauksella. Only One on chicagolaisen hip-hop-artistin ja tuottajan Kanye Westin single, jonka julkaisi GOOD Music ja Def Jam 31. joulukuuta 2014. Single on ensimmäinen Yeezus-albumin (0 AD) jälkeen julkaistu kappale, ja sillä vierailee The Beatles -yhtyeen basisti Paul McCartney. Kappaleen tuottivat West itse, Mike Dean, Rick Rubin ja Paul McCartney. Kappaleen oli tarkoitus ilmestyä Westin The Life of Pablo -albumilla, joka tunnettiin vielä silloin nimellä So Help Me God. Kappale sai vaihtelevaa palautetta kriitikoilta. LA Timesin kirjoittaja Randall Roberts pitää kappaleen minimalistista tyyliä tylsänä ja epämääräisenä. Hän arvosti kappaleen tarkoitusta, muttei pitänyt ideasta laulaa kappale Kanyen mammavainaan Dondan perspektiivistä. Kanye on laulanut äidistään aiemmin Late Registration -albumin kappaleella Hey Mama.
    xxx/ellauri125.html on line 207: kirjoja. Kardashian meni naimisiin rap-artisti Kanye Westin kanssa vuonna 2014.
    xxx/ellauri125.html on line 304: Those who can’t stomach the polarizing Chicago artist and producer will have a replenished arsenal at their disposal.
    xxx/ellauri125.html on line 313: This is the work of a man unconcerned with offending women or racial historians, the voice of a soul in pure id mode, thinking with his groin and worrying little about the ladies’ vote. Is it the last gasp of a man who’s just become a father for the first time? An early midlife crisis? An attempt at alienating the marketplace so he can live as an artist rather than a paparazzi target?
    xxx/ellauri125.html on line 387: on ollut monellakin artistilla jotka on olleet julkkixia nuorina, dokanneet viinaa sammioittain menestyxen huumassa ja tunteneet sitten vähemmän julkkixina nelikymppisinä izensä jotenkin kehnoxi.
    xxx/ellauri125.html on line 390: Tälläset artistit on yleensä porvaristaustaisia ja kotonakin on jo ollut jotain hihhulointia.
    xxx/ellauri125.html on line 809: Amy Phillips of The Village Voice wrote: "Love is willing to act out the dream of every teenage brat who ever wanted to have a glamorous, high-profile hissyfit [= temper tantrum], and she turns those egocentric nervous breakdowns into art. Sure, the art becomes less compelling when you've been pulling the same stunts for a decade. But, honestly, is there anybody out there who fucks up better?". The album sold fewer than 100,000 copies. Love later expressed regret over the record, blaming her drug problems at the time. Shortly after it was released, she told Kurt Loder on TRL: "I cannot exist as a solo artist. It's a joke."
    xxx/ellauri127.html on line 433: Issu d'un milieu bourgeois et artiste, Prosper Mérimée fait des études de droit avant de s'intéresser à la littérature et de publier dès 1825 des textes, en particulier des nouvelles, qui le font connaître et lui valent d'être élu à l'Académie française en 1844.
    xxx/ellauri127.html on line 435: Prosper Mérimée naît le 28 septembre 18031 à Paris dans une famille bourgeoise. Du côté de sa mère, Prosper Mérimée est sans doute l'arrière-petit-fils de Jeanne-Marie Leprince de Beaumont (1711-1776). Les parents de Prosper, qui se sont mariés à (Paris 12e) le 22 juin 1802, ont un solide bagage intellectuel et artistique datant du XVIIIe siècle, mais ne s'engagent guère dans les courants culturels naissants (romantisme). De l'éducation parentale, Mérimée retient l'horreur de l'emphase.
    xxx/ellauri127.html on line 711: Endymion" is a poem by John Keats first published in 1818 by Taylor and Hessey of Fleet Street in London. John Keats dedicated this poem to the late poet Thomas Chatterton. Thomas Chatterton (20 November 1752 – 24 August 1770) was an English poet whose precocious talents ended in suicide at age 17. He was an influence on Romantic artists of the period such as Shelley, Keats, Wordsworth and Coleridge. Chatterton was born in Bristol where the office of sexton of St Mary Redcliffe had long been held by the Chatterton family. The poet's father, also named Thomas Chatterton, was a musician, a poet, a numismatist, and a dabbler in the occult. Tom got one over on his uncle the sexton: han var sjutton när han dog.
    xxx/ellauri128.html on line 427: John Barrymore (born John Sidney Blyth; February 14 or 15, 1882 – May 29, 1942) was an American actor on stage, screen and radio. A member of the Drew and Barrymore theatrical families, he initially tried to avoid the stage, and briefly attempted a career as an artist, but appeared on stage together with his father Maurice in 1900, and then his sister Ethel the following year. He began his career in 1903 and first gained attention as a stage actor in light comedy, then high drama, culminating in productions of Justice (1916), Richard III (1920) and Hamlet (1922); his portrayal of Hamlet led to him being called the "living American tragedy".
    xxx/ellauri128.html on line 515: Elbert Green Hubbard (June 19, 1856 – May 7, 1915) was an American writer, publisher, artist, and philosopher. Raised in Hudson, Illinois, he had early success as a traveling salesman for the Larkin Soap Company. Hubbard is known best as the founder of the Roycroft artisan community in East Aurora, New York, an influential exponent of the Arts and Crafts Movement.
    xxx/ellauri128.html on line 590: Max Ernst (2 April 1891 – 1 April 1976) was a German (naturalised American in 1948 and French in 1958) painter, sculptor, graphic artist, and poet. A prolific artist, Ernst was a primary pioneer of the Dada movement and surrealism. He had no formal artistic training, but his experimental attitude toward the making of art resulted in his invention of frottage—a technique that uses pencil rubbings of objects as a source of images—and grattage, an analogous technique in which paint is scraped across canvas to reveal the imprints of the objects placed beneath. He is also noted for his novels consisting of collages. Vitun tuhertaja. Onko hölmömpää kuin noi Maxin älynväläyxet? Se on yhtä puupää kuin Wolfram Rothin isäpuoli Ernst Rüdiger. Turmiolan Hannu on kyllä raapinut aforismikasaansa ihan pahnanpohjatkin. Oscar Wilden turauxet puolestaan on tyypillistä homopetteröintiä.
    xxx/ellauri129.html on line 621: Il est le père de Philippe Wiener de Croisset, patron de presse (père de l'homme d'affaires Charles de Croisset) et de Germaine Wiener de Croisset, épouse de l'artiste peintre et critique d'art Roger Lannes de Montebello (1908-1986) et mère de Philippe Lannes de Montebello, qui fut pendant plus de trente ans directeur du Metropolitan Museum of Art de New York. This is how the hot-dog crossed the Atlantic and became a household pet in the U.S.
    xxx/ellauri134.html on line 452: Strategy: develop artistic control and skill
    xxx/ellauri136.html on line 567: Kaikesta pitää artistin ize maxaa: kuvaukset, haastattelut, promootio, markkinointi, keikkojen visuaalit, sovitukset, striimaukset, klikit, some, bajamajat, palaverit, aikataulut.
    xxx/ellauri137.html on line 194: When Manet painted this piece 1868, scenes of bourgeois life were in vogue. Yet The Balcony went against the conventions of the day. All the subjects were close acquaintances of the artist, especially Berthe Morisot who here, pictured sitting in the foreground, makes her first appearance in Manet's work, and who went on to become one of his favourite models.
    xxx/ellauri137.html on line 206: And the Majas, they are not aristocratic ladies as their fine apparel may suggest; they lack refinement and dignity, though they are extremely attractive (particularly the one on the right, I would fuck her anytime). The artist calls them majas not mujeres. A patent wink to the same artist's best known work La Maja desnuda from the same year. They are no ordinary women. They are courtesans! Sluts, not to make too fine a point on it. Goya makes a subtle criticism on the society of his time. In Majas on a Balcony, Goya combines an ironic treatment of material with an impressionistic technique, a mode of presentation, which succeeds in creating a piece of social criticism. Buaahahahaha don't make me laugh!
    xxx/ellauri149.html on line 206: Laulaja-sivunkääntäjä-lauluntekijä trio jonka kynistä on syntynyt lukemattomia hittikappaleita kuten Kuoriainen ja... no ainakin se. Roolimallisto monille suomalaisille eturivin artisteille ja takarivin huutajille.
    xxx/ellauri154.html on line 214: The theme of Salome is one that Moreau returned to time and again. The artist explored the subject in more than one hundred sketches and drawings as well as in numerous paintings—ranging from highly elaborate to sketchily rendered—and even in sculpture (both Salome and The Apparition figured in Moreau’s waxworks). Moreau was not alone in his passion for the theme of Salome, as other famous artists — Lucas Cranach, Caravaggio, Titian, Guido Reni, Artemisia Gentileschi, Aubrey Beardsley, and Nabil Kanso, to name just a few — shared this interest. Selkeästi perverssiä jengiä.
    xxx/ellauri154.html on line 220: Moreau underlines the sacredness of the scene, but also warns of the proverbial power of the femme fatale (a seductive woman who lures men into dangerous situations—a popular subject among Symbolist artists) as one who can be fatal to any man—even saints.
    xxx/ellauri154.html on line 222: Its symbolism is ambiguous. Does it signal lust, or is it a symbol of purity? Mieti sitä. Moreau’s typically enigmatic approach made him a target for the promoters of Naturalism, most notably Émile Zola, who accused him of retreating into his dreams and offering an artistic response to the challenge posed by science—one that couldn’t possibly have value in the modern age. Such criticism hurt him deeply and only fueled Moreau’s purposeful cultivation of ambiguity.
    xxx/ellauri157.html on line 84: Lisa made her solo debut with her single album Lalisa in September 2021. The album sold over 736,000 copies in its release week in South Korea, making her the first female artist to do so. The music video for its lead single of the same name recorded 73.6 million views on YouTube in first 24 hours of its release, becoming the most-viewed music video in the first 24 hours on the platform by a solo artist.
    xxx/ellauri157.html on line 100: Like Rubens, Jordaens painted altarpieces, mythological, and allegorical scenes, and after 1640—the year Rubens died—he was the most important painter in Antwerp for large-scale commissions and the status of his patrons increased in general. However, he is best known today for his numerous large genre scenes based on proverbs in the manner of his contemporary Jan Brueghel the Elder, depicting The King Drinks and As the Old Sing, So Pipe the Young. Jordaens' main artistic influences, besides Rubens and the Brueghel family, were northern Italian painters such as Jacopo Bassano, Paolo Veronese, and Caravaggio.
    xxx/ellauri157.html on line 109: Vähän siedettävämpi perätarjonta on tämä William Ettyn yritys samasta aiheesta. William Etty (1787–1849), the seventh son of a York baker and miller, had originally been an apprentice printer in Hull, but on completing his seven-year apprenticeship at the age of 18 moved to London to become an artist. Strongly influenced by the works of Titian and Rubens, he submitted a number of paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected outright or drew little attention when exhibited. In 1821 he finally achieved recognition when the Royal Academy accepted and exhibited one of his works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra). Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, beating John Constable to the position. Jordaens and Etty both contrasted Nyssia's pale flesh against dark red drapery and showed her in a similar pose. Jordaens's painting has hung in Sweden since the 17th century, and it is unlikely Etty was aware of it. Se tuskin löytyi googlaamalla.
    xxx/ellauri165.html on line 217: Versions of the ballad have been recorded by a number of artists, including The Corries, Angelo Branduardi, and this one by Joan Baez:
    xxx/ellauri165.html on line 301: Dame Emma Hamilton (born Amy Lyon; 26 April 1765 – 15 January 1815), generally known as Lady Hamilton, was an English maid, model, dancer and actress. She began her career in London's demi-monde, becoming the mistress of a series of wealthy men, culminating in the naval hero Lord Nelson, and was the favourite model of the portrait artist George Romney.
    xxx/ellauri165.html on line 316: Seeing an opportunity to make some money by taking a cut of sales, Greville sent her to sit for his friend, the painter George Romney, who was looking for a new model and muse. It was then that Emma became the subject of many of Romney's most famous portraits, and soon became London's biggest celebrity. So began Romney's lifelong obsession with her, sketching her nude and clothed in many poses that he later used to create paintings in her absence. Through the popularity of Romney's work and particularly of his striking-looking young model, Emma became well known in society circles, under the name of "Emma Hart". She was witty, intelligent, a quick learner, elegant and, as paintings of her attest, extremely beautiful. Romney was fascinated by her looks and ability to adapt to the ideals of the age. Romney and other artists painted her in many guises, foreshadowing her later "attitudes".
    xxx/ellauri169.html on line 145: Walt Disneyllä oli suuria vikoja luonteessaan. Hän oli uppiniskainen ja ylimielinen. Waltilla oli mustat hiukset mustien viiksien kera, ja kirkkaat, eloisat silmät, ja hän oli noin 6 jalkaa pitkä. Hän käytti omia kasvonpiirteitään antaakseen artisteilleen vihjeitä kuinka piirtää erilaiset kasvonilmeet Mikkihiirelle. Hän piti tietyllä tavalla käärityistä sikareista joita hän poltti jopa 70 kappaletta päivässä. Hän oppi tupakoimaan armeijassa. Hän piti kalliista skottilaisesta whiskystä, punaisista auringonlaskuista ja hevosista. Hänellä oli loma-asunto Palm Springsissä, Kaliforniassa, nimeltään Smoke Tree Ranch. Hänen kaulaketjussaan oli kirjaimet STR (Smoke Tree Ranch). Hän pelasi paljon golfia Bob Hopen ja Ed Sullivanin kanssa Smoke Tree Ranchilla. Hänen varsinainen asuntonsa oli Holmby Hillsillä. Tämä Holmby Hillsin asunto sijaitsi ylellisellä alueella jossa asui paljon rikkaita show-bisnes -perheitä. Tämä sijaitsi Bel-Airin (okkultistinen nimi Saatanalle) ja Beverly Hillsin välillä.
    xxx/ellauri169.html on line 153: Itse asiassa, sarjakuva-artisti (animaattori) joka teki Walt Disneystä kuuluisan oli Ub Iwerks. Toinen tuntematon suuri artisti oli Floyd Gottfredson. Floyd Gottfredson piirsi kaikki Mikkihiiri-sarjakuvat vuodesta 1932 vuoteen 1975, mikä on yli 45 vuotta. Floyd Gottfredson oli mormoni joka syntyi rautatieasemalla vuonna 1905, ja kasvoi pienessä mormoni-kaupungissa, Siggurdissa, 180 mailia Salt Lake Citystä etelään. Vuosien aikana Walt Disneyn tuotteissa ei koskaan mainittu Floydin nimeä. Fanit johdettiin uskomaan että Walt piirsi Mikkihiiri-sarjakuvat itse.
    xxx/ellauri169.html on line 155: Walt Disney sai 32 palkintoa työstä jota hänen studioissaan tehtiin. Walt Disneyn kuuluisa allekirjoitus oli itse asiassa jonkun muun suunnittelema ja se opetettiin Waltille. Walt kykeni ainoastaan tekemään tökerön Disney-allekirjoituksen, joten hän delegoi allekirjoituksensa kirjoittamisen useille artisteille mukaanlukien Bob Moore. Myöhemmin, kovan harjoittelun jälkeen hän oppi tekemään sen riittävän hyvin tehdäkseen sitä julkisuudessa.
    xxx/ellauri169.html on line 180: Walt oli usein Mikkihiiren äänen takana (vaikka hän ei ollut artisti). Hänen äitinsä suhtautui kylmästi sitä työtä kohtaan jota Walt teki. Vuoden 1940 tienoilla, pitkän suostuttelun jälkeen, hän lopulta sai tämän katsomaan Mikkihiiri-elokuvan. Hänen äitinsä (muutaman vuoden päästä Walt sai selville että tämä ei ollut hänen biologinen äitinsä) kertoi Waltille että hän ei pitänyt Mikkihiiren äänestä; Walt kertoi että se oli hänen oma äänensä, johon "äiti" vastasi että Waltilla oli hirvittävä ääni. Tämä "kylmä suihku" jonka "äiti" heitti Mikkihiiren kasvoille auttoi vakuuttamaan Waltin siitä että oli aika lopettaa Mikkihiiri-piirroselokuvat. Hyvin vähän tuli ulos Disneyltä tämän jälkeen, ja seuraavassa täyspitkässä Mikkihiiri-elokuvassa, Fantasia, Mikkihiiri oli suurimmaksi osaksi hiljaa. Idea elokuvaan Sorcerer's Apprentice tuli Waltin omasta päästä. Waltin näkemää unta käytettiin tässä elokuvassa Mickey Mouse in the Sorcerer's Apprentice. Siinä oli kyse "täydellisestä maan ja sen elementtien hallinnasta". Disneyland ja Disney World toteuttivat osittain tämän unen Mikki Hiiren kaikkivaltiudesta.
    xxx/ellauri173.html on line 741: "Okei okei", sanoi Edison, "jatkakaamme. Kerro minulle: - Neiti Alicia ei ole artisti, eihän?
    xxx/ellauri175.html on line 269: ― Mainonnan näkökulmasta täyspitkä marmorisi on välttämätön kodeissa Covent Gardenissa tai Drury Lanessa. Olennaista! ― Katsos, upean kaunis laulajan patsas, joka altistaa diletantin, hämmentää joukon ja poistaa ohjaajat. Poseeraa sitten Eevana: se on tunnetuin asento. Veikkaisin, että kukaan muu artisti ei uskalla soittaa tai laulaa sinun, tulevan Eevan, jälkeen.
    xxx/ellauri179.html on line 606: Ernest Hemingway squirmed as his second wife, Pauline, read aloud in 1927 from Henry James' novel The Awkward Age. Hemingway wondered why James bailed his characters out of their frequent inactivity by inserting a drawing room scene; and, as he was to do frequently during the next thirty years, he freely criticized the quality of James' works, "and knowing nothing about James he seems to me to be a shit." Too, he was quick to criticize the male protagonists of James,". .and the men all without any exception talk and think like fairies except a couple of caricatures of brutal outsiders". Carlos Baker observes that Hemingway, the "brutal outsider" himself, was at this time publishing Men Without Women, whose sales had reached 15,000 in the first three months after publication. But now Hemingway, the outsider, clearly in literary ascendance, was becoming acquainted with James' works; his artistic and personal recognition of James in future years was, for the most part, to take the form of a peculiar enmity. He was often to refer to James in highly derisive terms almost to the end of his own life. Hemingway's lese majeste towards him takes the form of a sporadic obsession that reveals more about Hemingway's maturity than James' imagined frailties.
    xxx/ellauri186.html on line 641: Jumala huokasi ja alkoi luetella yksitoikkoiseen sävyyn, ikään kuin puuduttaakseen kaiken säälin ja armeliaisuuden, ja eteni lisäksi aakkosittain, jottei tärkeysjärjestyksestä tulisi sanomista, Prahan Adalbert, surmataan seitsenkärkisellä pertuskalla, Canterburyn Aelfheah, hakataan kuoliaaksi häränluulla, Trevin Aemilius, mestataan, Augsburgin Afra, kuolee roviolla, Praenesten Agapetus, kuolee jaloista ripustettuna roviolla, Sisilian Agatha, kuolee rinnat leikattuina kuin body artisti, Rooman Agnes, maha viilletään auki, Bolognan Agricola, kuolee ristiinnaulittuna ja nauloilla lävistettynä, Sirmion Anastasia, kuolee roviolla rinnat leikattuina, Salonan Anastasius, hirtetään ja mestataan, Sienan Ansanus, surmataan kiskomalla sisälmykset ulos. Pamiers'n Antoninus, revitään neljän hevosen välissä palasiksi, Rivolin Antonius, hakataan kivillä ja poltetaan, Ravennan Apollinaris, surmataan nuijalla. Aleksandrian Apollonia, kuolee roviolla kun häneltä on ensin kiskottu suusta hampaat, Trevison Augusta, mestataan ja poltetaan, Ostian Aurea, hukutetaan myllynkivi kaulassa, Syyrian Aurea, kuolee nauloja täyteen hakatussa tuolissa kun veri vuotaa kuiviin. Auta, ammutaan kuoliaaksi nuolilla, Antiokian Babylas, mestataan. Nikomedeian Barbara, mestataan. Kyproksen Barnabas, kivitetään kuoliaaksi ja poltetaan. Rooman Beatrix, kuristetaan kuoliaaksi, Dijonin Benignus, surmataan keihäällä, Lyonin Blandina, kuolee raivoavan härän sarviin,
    xxx/ellauri187.html on line 77: At the Petite École, Rodin “finished lessons so quickly that the teachers eventually ran out of assignments. He did not care to socialize with his classmates; he wanted only to work.” Rodin’s talent was noted by his legion of admiring artists, writers, and lovers. His rise was a matter of time, even if he was ignored by academic art institutions early in life.
    xxx/ellauri187.html on line 90: Few of these bullshit artists and temporary thinkers were as staunchly individualist as Rodin and Rilke. Their kinship, for better and worse, relied on a shared belief about the vocation of the artist—that it was supreme: no relationship, duty, or family obligation should get in the way of his work.
    xxx/ellauri187.html on line 99: Born in 1875 in Prague, Rilke was until he was six or seven got up in skirts by his mother, who named him René and tried to console herself for the death of an infant daughter. By the time Rilke was ten, his disappointed romantic of a mother had left his father, a kindly but ineffectual minor railway official, who had spent some years in the Austrian army unsuccessfully seeking commission as an officer. Rilke's parents decided to send the young boy to military school, a prospect that stirred the father's hopes of turning his son into a soldier. LOL. Though he later claimed to have loathed military school, the young bohemian warmly absorbed the values of discipline, valor, and self-sacrifice into his ideal of the defiant artist-hero. He skillfully foiled his father's martial expectations, and lack of funds freed the aspiring poet from his family's next plans for him: law school. In fact, though he attended several universities, soaking up lectures on diverse subjects throughout his life, he never graduated from any of them. About such a practical matter as a sheepskin, the finest German lyricist since Goethe wrote as an adolescent, "And even if I never reach my Arts degree / I'm still a scholar, as I wished to be."
    xxx/ellauri187.html on line 111: First of all, it provided him with an uncanny empathy for women. His two most potent and obsessive literary images were the unrequited female lover and the woman artist struggling to find freedom and space for her work. But Rilke's liberated feminine side also gave him the gift of unabashed openness to his need and desire for the opposite sex (from women). He recalls Kierkegaard's description of Mozart's Don Giovanni, who did not calculatedly seduce, according to Kierkegaard, but desired seductively. What women found irresistible about Rilke was not the effect he had on them but the effect they had on him.
    xxx/ellauri187.html on line 127: Freedman's Rilke is an almost wholly psychologized being. He has little existence outside his leaden states of mind. We rarely hear about the rich medley of artistic and intellectual influences on him--amazingly, Simmel's "The Adventurer" never comes up. This is an extreme approach to the telling of a poet's life, but Freedman has a method to his extremism. As in a rash of recent despoiling biographies--John Fuegi's life of Brecht, Michael Shelden's of Graham Greene, Ronald Hayman's of Thomas Mann, to name just three--the author shortly puts his cards on the table: in this case we are going to meet Rilke the anti-Semite, Rilke the secret homosexual, Rilke the sexist.
    xxx/ellauri187.html on line 141: The women Rainer chose . . . were themselves practicing artists whose work he respected, from Clara to Loulou and now to Baladine-Merline. But they were given no choice to remove themselves for the sake of their art. . . . Rilke's love imposed a nonreciprocal discipline: in the end, it worked only for him and his poetry.
    xxx/ellauri187.html on line 147: This is all ludicrously unfair. It's certainly unfair to say that Rilke didn't give the women he loved and who loved him the "choice to remove themselves for the sake of their art." He was in no position to give or deny freedom to his independent-minded wife, let alone to any woman of whom he was merely a lover. Only their passion, or admiration, or use for Rilke bound these women to the famous poet. Often ambitious artists themselves, Rilke's lovers expected him to introduce them into his heady artistic and intellectual circles and to help them with their careers. This he unfailingly did; in one case he helped the careers of a former lover's children by her husband. And he offered emotional succor long after the amorous flame had waned--not to mention demanding the same support for himself.
    xxx/ellauri187.html on line 151: As for the centerpiece of Freedman's argument for Rilke's sexism--he "abandoned" Clara and their daughter, Ruth--here he portrays Clara, too, as if she were Tess of the D'Urbervilles. On the contrary. Clara enthusiastically seconded Rilke's definition of two artists wedded as each, in Rilke's cautiously ambiguous phrase, "the guardian of the other's solitude." After Rilke left for Paris, she placed Ruth with her wealthy and supportive parents and went on a pilgrimage to Egypt, among other places. Like Rilke, the adventurous Clara had a fascinating life--I don't know why Freedman didn't write her biography. Women artists suffered in Rilke's society, but not because of Rilke.
    xxx/ellauri187.html on line 207: After a period of silence following the 1906 firing, Rilke and Rodin rekindled in August of 1908. Rilke was now living with Isadora Duncan and other artists in an abandoned convent in Paris, which Henri Matisse had converted into a school and commune. Rodin met Rilke there, spent hours catching up, buried the hatchet, and decided to move in the following month. After the sculptor’s death, the building became Paris’s Rodin Museum.
    xxx/ellauri187.html on line 219: We will never know whether Rilke had Rodin in mind when he wrote. But it’s undeniable a lot went well when he met Rodin. And while an artist taking on a protégé is not unique, that Rodin and Rilke bonded despite differing languages, ages, and artistic disciplines is noteworthy. As Rilke wrote to Kappus, “in the deepest and most important places, we are unspeakably alone; and many things must happen, many things must go right, a whole dark constellation of events must be fulfilled, for one human being to successfully enter another. ”
    xxx/ellauri193.html on line 467: The former actor, who founded the Reclaim Party, is being sued by Stonewall trustee Simon Blake, Coronation Street actress Nicola Thorp and drag artist Crystal over an online spat in October last year.
    xxx/ellauri193.html on line 557: Nadine's problem is that she states platitudes in artistic terms. She even goes to say they are the most reliable truths of all. Fair enough, but they are no less cliches even so. Nadine saarnaa kuin leipääntynyt pastori: nain on meidankin elamassamme.
    xxx/ellauri212.html on line 432: famous artists and writers, including Rilke, André Gide
    xxx/ellauri212.html on line 435: Terribles). The artists Maurice Denis and Pierre Bonnard
    xxx/ellauri215.html on line 149: Hölmö Hope silittää Lonoffia myötäkarvaan kuin Tiina Salmi Jönsiä, kunnes hermot pettää ja alkaa tiskit lennellä. She can glue this. Vaimo osas liimata kaiken muttei osannut tehdä artistimiestä onnellisexi. Mitä vittua.
    xxx/ellauri218.html on line 293: Maya Penn (born February 10, 2000) is an American entrepreneur, philanthropist, animator, artist, and the CEO of her eco-friendly fashion company Maya's Ideas. Ympäristöaktivisti ja yrittäjä Stormy Maya Penn.
    xxx/ellauri218.html on line 295: Penn was born and raised in Atlanta. She started her company in 2008 at the age of 8. She spoke at the TEDWomen event in San Francisco, which was streamed live on TED.com. She has done 2 official TEDTalks and 1 TEDxxxTalk. Penn is also an animator and artist, drawing cartoon characters from an early age. She is the creator of an animated series called The Pollinators which focuses on the importance of birds and bees and other pollinators like men. She premiered a clip of The Pollinators and another animated series called Malicious Dishes at TEDWomen 2013. What a dish!
    xxx/ellauri224.html on line 75: Willy oli svaabilainen stehauf komiker Stuttgartista Saxan molempien tappioiden aikana. Sen schlagerit olivat
    xxx/ellauri224.html on line 363: We should never think selfless virtue can be reached by treading on others. The cold splinter at the heart of the true artist must be harsher in its quarrel with the self than it is in its rhetorical engagement with other people. For believers, this is the virtue of humility; I am not sure what the rest of us can call it. What we can agree on is the constant examination of conscience, and, when we fall short, a conscious decision to do better.
    xxx/ellauri224.html on line 365: Eliot was in love three times (not counting the catamites), and each of those loves became events in his artistic and spiritual lives – and two of the women involved were massively the worse for it. Vivien Eliot was a difficult woman, yet Eliot – who had connived at her affair with Bertrand Russell – treated her, with the agreement of his spiritual advisers, with a coldness that helped break her spirit, perhaps her mind. Emily Hale was the woman he deserted for Vivien; she spent her life at his encouragement waiting for Vivien to die, and it was in her presence that he had some of his deepest moments of spiritual intensity – yet she was eventually dismissed from his life with equal coldness. They were both central to his greatest works: Vivien to The Waste Land and Emily to much of The Four Quartets.
    xxx/ellauri225.html on line 392: "Faustus and Helen" was part of a larger artistic struggle to meet modernity with something more than despair. Crane identified T. S. Eliot with that kind of despair, and while he acknowledged the greatness of The Waste Land, he also said it was "so damned dead", an impasse, and characterized by a refusal to see "certain spiritual events and possibilities" Crane´s self-appointed work would be to bring those spiritual events and possibilities to poetic life, and so create "a mystical synthesis of America". But he FAILED!
    xxx/ellauri225.html on line 427: Crane was admired by artists including Allen Tate, Eugene O´Neill, Kenneth Burke, Edmund Wilson, E. E. Cummings and William Carlos Williams. Although Hart had his sharp critics, among them Marianne Moore and Ezra Pound, Moore did publish his work, as did T. S. Eliot, who, moving even further out of Pound´s sphere, may have borrowed some of Crane´s imagery for Four Quartets, in the beginning of East Coker, which is reminiscent of the final section of "The River", from The Bridge.
    xxx/ellauri228.html on line 525:
    xxx/ellauri229.html on line 544: and gnoolial drives, also activities corresponding to those instincts, activities with a highly rich and varied range, for one could gnool and brip alternately or at the same time, alone, in pairs, trios, and later - after noffles were tacked on - in groups of several dozen individuals as well. Also new forms of art came into being, master brippers appeared, and gnool artists, but that was only the beginning; towards the end of the 26th century you had the mannerism of the marchpusses, the muckledong was a tremendous hit, and the celebrated Ondor Stert, who could simultaneously gnool, brip and surpospulate while flying through the air on spinal wings, became the idol of millions.
    xxx/ellauri229.html on line 796:
    xxx/ellauri230.html on line 650: In Chinese art, the Four Gentlemen or Four Noble Ones (Chinese: 四君子; pinyin: Sì Jūnzǐ), literally meaning "Four Junzi", is a collective term referring to four plants: the plum blossom, the orchid, the bamboo, and the chrysanthemum. The term compares the four plants to Confucian junzi, or "gentlemen". They are most typically depicted in traditional ink and wash painting and they belong to the category of bird-and-flower painting in Chinese art. In line with the wide use of nature as imagery in literary and artistic creation, the Four Gentlemen are a recurring theme for their symbolism of uprightness, purity, humility, and perseverance against harsh conditions, among other virtues valued in the Chinese traditions.
    xxx/ellauri235.html on line 65: Mutta se ei ole hänen tarinansa loppu. Todistetun johtajan elämä ei ole hiljaista rauhan aikana. Seuraavaksi hän auttaa taistelemaan bonapartisteja vastaan, jotka aikovat murtaa Napoleonin St. Helenasta. Matkalla kotiin Englantiin hän pelastaa vaimonsa ja miehistönsä hurrikaanilta. Koko uransa ajan hän ansaitsee ritarin ja kontraamiraalin arvoarvon. Eli kronologisesti näin:
    xxx/ellauri237.html on line 843: Neruda construyó una casa en Santiago llamada «La Chascona» (que en argot chileno significa 'despeinada', kampaamaton) en honor a Urrutia, que sirvió como refugio amoroso para ambos —puesto que la noticia de que Neruda tenía un amorío no hubiera sido bien recibida en el público chileno—. En esta casa existe una pintura, hecha por el artista mexicano Diego Rivera, que presenta a Matilde con dos caras y su famoso y largo pelo rojo. Se dice que en la pintura una de las caras representa a la Urrutia cantante que todos conocían y la otra, a la amante de Neruda. En su pelo se esconde la pértiga de Neruda, representando su relación secreta.
    xxx/ellauri250.html on line 731:

    Sonia Joseph began reading effective altruist blogs when she was 12. The vigorous online debates about how to have the most impact in the world provided a sense of community that she was missing as an Indian-American girl growing up in suburban Boston. But when she became old enough to join in-person EA gatherings in the Cambridge area, she noticed that many of the men she met seemed enamored with “pickup artistry,” a supposedly systematic approach to convincing women to sleep with them.
    xxx/ellauri259.html on line 405: Ykän mukaan Eikalle vapaus tarkoitti mm. Suomen izenäisyyttä venäläisen vallasta, uskonnon-- ja yrittäjän vapautta ja artistin lisenssiä plus vapautta kullin orjuudesta, ase- ja aviovelvollisuudesta. Sen naissuhteissa oli strindbergiläistä misogyniaa. Kaikki naiset joita Johannes oli päässyt puikkimaan ilman vakuuksia olivat sen mielestä epäsiveellisiä.
    xxx/ellauri259.html on line 717: Illan aikana juhlatunnelmaa pitivät yllä maan ex-ykkösartistit. Lavalle hyppäsivät laulajat Paula Koivuniemi, Vicky Rosti ja Mikael Konttinen. Tilaisuuden juonsivat Baba Lybeck ja Klaus Thomasson.
    xxx/ellauri261.html on line 244: Thornton Wilder´s older brother, Amos Niven Wilder, was Hollis Professor of Divinity at the Harvard Divinity School, a noted poet, and foundational to the development of the field theopoetics. Amos was also a nationally ranked tennis player who competed at the Wimbledon tennis championships in 1922. Thornton cared little for the rough-and-tumble of sports-crazy adolescents, and his classmates teased him for being “artistic” and overly-intellectual; he was known as a “freak.” A former classmate recalled: "We left him alone, just left him alone." Guess which son was father´s favourite and which mommy´s boy.
    xxx/ellauri261.html on line 246: Unlike her husband, Isabella Wilder was artistic and worldly, and she made certain that she and her children took full advantage of the benefits of living in a university town. “In Berkeley,” writes Malcolm Goldstein, “she found opportunities to study informally by attending lectures at the University of California and by participating in foreign-language discussion groups. She was fully aware that her husband, were he present, would not approve, but she encouraged her children, nevertheless, in their independent, extracurricular search for carnal knowledge.” Isabella saw to it that Thornton got vaudeville parts in plays presented in the Greek Theatre, and even sewed his female costumes for him.
    xxx/ellauri261.html on line 446: Ambrose Kemper: A young and explosive struggling artist seeking to marry Ermengarde.
    xxx/ellauri261.html on line 458: As the nineteenth becomes the 20th century, all of New York City is excited because widowed but brassy Dolly Gallagher Levi is in town ("Call on Dolly"). Dolly makes a living through what she calls "meddling" – matchmaking and numerous sidelines, including dance instruction and mandolin lessons ("I Put My Hand In"). She is currently seeking a wife for grumpy Horace Vandergelder, the well-known half-a-millionaire, but it becomes clear that Dolly intends to marry Horace herself. Ambrose Kemper, a young artist, wants to marry Horace's weepy niece Ermengarde, but Horace opposes this because Ambrose's vocation does not guarantee a steady living. Ambrose enlists Dolly's help, and they travel to Yonkers, New York to visit Horace, who is a prominent citizen there and owns Vandergelder's Hay and Feed.
    xxx/ellauri261.html on line 515: In 1890, all of New York City is excited because the well-known widowed matchmaker Dolly Levi is in town. Dolly is currently seeking a wife for grumpy Horace Vandergelder, the well-known "half-a-millionaire", but it soon becomes clear that she intends to marry Horace herself. Meanwhile, Ambrose Kemper, a young artist, wants to marry Horace's niece, Ermengarde. However, Horace opposes this, feeling Ambrose cannot provide financial security. Horace, who is the owner of Vandergelder's Hay and Feed, explains to his two clerks, Cornelius Hackl and Barnaby Tucker, that he is going to get married, though what he really wants is a housekeeper. He plans to travel to New York that very day to march in the 14th Street Parade, and also to propose to milliner Irene Molloy, whom he has met through Dolly Levi. Dolly arrives in Yonkers and sends Horace ahead to the city. Before leaving, he tells Cornelius and Barnaby to mind the store.
    xxx/ellauri268.html on line 508: The author has been with longtime boyfriend Hugh Hamrick, an artist and designer, since the early 1990s. After living together in New York City, Paris and Tokyo, the couple resides in West Sussex, England. He became known for his bitingly funny recollections of his youth, sex life and travel experiences in foreign countries.
    xxx/ellauri281.html on line 456: Reetu on myös sanonut, että niin kauan kuin kansa tykkää, artistit ovat sankareita. Ja kyllä pikkuhousuja lentelee edelleen, hän päättää.
    xxx/ellauri291.html on line 53: artists/avatar/2015/01/laurel-goodwin_a69688.jpg" height="300px" />
    xxx/ellauri295.html on line 401: Dan Anderssons poesi åtnjuter bred folklig popularitet genom sin naturmystik och gudssökan. Anderssons visor har tolkats av en mängd artister genom åren exempelvis Hootenanny Singers and (på finska) Aappo I. Piippo.
    xxx/ellauri298.html on line 633: Campbellin mielestä uskonnolliset symbolit tulisi tulkita monomaanisixi mytologisiksi meemeixi eikä historiallisiksi faktoiksi, jolloin symboleissa voidaan alkaa nähdä syvempiä merkityksiä. Campbell's theories have been applied by a wide variety of modern writers and artists. His philosophy has been summarized by his own often repeated phrase: "Follow your bliss." He sure did, fucking hedonist.
    xxx/ellauri298.html on line 782: Campbell uskoi, että nykymaailmassa muodollisten, perinteisten mytologisten järjestelmien palveleman tehtävän ovat ottaneet yksittäiset luojat, kuten Josefin tapaiset bullshit artistit, meikkitaiteilijat ja käytännön filosofit. Joidenkin hänen suosikkiensa, kuten Thomas Mannin, Pablo Picasson ja James Joycen teoksissa, hän näki mytologisia teemoja, jotka voisivat palvella samaa elämää antavaa tarkoitusta kuin mytologialla oli kerran ollut. Niistä voisi saada Star Warsiin hienoja jatko-osia. Sääli tosiaan että Lucas huru-ukkona möi koko brändin Disney-vainajalle.
    xxx/ellauri304.html on line 521: Who is Barry Manilow anyway? Ilmeisesti joku erityisen effeminate wimpy singer kasarilta, joo se oli tosiaankin homppeli, ja juutalainen kaiken kukkuraxi äidin puolelta, vaikka siittäjänä toimi joku irkku rekkakuski lentojätkä. Tää Warren on varsinainen kaappi miehexeen. Entäs Jay-Z sitten? Declared the greatest rapper of all time by Billboard, he has been central to the creative and commercial success of artists including Kanye West, Rihanna, and J. Cole. Okei, get the point. Inhoan kyllä izekin yön läpi rummuttelevia neekereitä sekä räppiä. Se on tollasta eläimellistä "nyt nussimaan" kuzuhuutoa, johon ei ole mitään mahollisuutta enää osallistua.
    xxx/ellauri307.html on line 464: Laulaja Anna Abreu, 33, esiintyi perjantaina 14. heinäkuuta täydelle yleisölle Helsingin Allas Sea Poolilla. Kesken keikan tapahtui yllättävä tilanne, kun artistin hame putosi tämän yltä. Abreukin on pulskistunut tyttövuosista. Annaa haastateltiin alasti! Ihanaa olla tässä teidän kanssa. Onneks mulla on tää naru päällä, nakupellejen miesten
    xxx/ellauri312.html on line 355: Dr. Thomas Harvey stole Einstein’s brain, planning to study it to try to determine whether he was a genius. Harvey measured and photographed the brain, and commissioned a painting of it from an artist who had done portraits of his children's brains. He kept it in a jar in a beer cooler in his basement.
    xxx/ellauri319.html on line 359: Laura Don (1852–1886), actress-manager, playwright and artist
    xxx/ellauri319.html on line 632: ETA Hoffmann (1776-1822), German Romantic author of fantasy and Gothic horror, a jurist, composer, music critic and artist
    xxx/ellauri329.html on line 97: In 2004, Harper’s magazine published Natasha, a first short story by a promising 31-year-old Jewish Canadian writer, David Bezmozgis. This memorable tale of a doomed teenage love between Mark, a Jewish Toronto slacker, and his troubled (shiksa) Russian cousin by marriage was eventually released in a collection chronicling the lives of a Latvian immigrant family, not unlike the author’s own. Bezmozgis’s debut became a cult sensation with critics drawing literary comparisons to Bernard Malamud and Philip Roth. The story was subsequently reprinted in 15 languages. After penning two more acclaimed novels, then writing and directing his first feature Victoria Day (SFJFF 2010), Bezmozgis finally brings his modern classic to the big screen in a remarkably assured adaptation that’s both highly provocative and deeply poignant. At the heart of this emotional, coming-of-age drama are the extraordinarily measured performances of Alex Ozerov as Mark and newcomer Sasha K. Gordon as the sexually precocious Natasha, the dark star who forever alters Mark’s staid, suburban existence. Fans of the writer’s original source material will not be disappointed in David Bezmozgis’s haunting narrative of forbidden love caught between the old world and the new, further proof of this talented artist’s notable command of both literature and the cinema. —Thomas Logoreci Note: Mature Content. A New Life in the west means a second chance for precocious Latvian jews.
    xxx/ellauri354.html on line 271: In 1907, Notari (1878–1950) was already a best-selling journalist, polemicist, biographer, novelist, and dramatist. All told, he would write more than thirty books, in six of which he examines the position of women in society, most notably with a 1903 exegesis of prostitution in high and low places called Signore sole: Interviste con le più belle e le più celebri artiste (Single women: Interviews with the most beautiful and famous artists) that sold 21,000 copies and was denounced as immoral and obscene and taken to court, which inevitably increased its readership. It was followed by Quelle signore: Scene di una grande città moderna (Those women: Scenes of a great modern city; ca. 1904), which was set in a house of prostitution and whose main character, Ellere, was recognizably based on Notari’s good friend Filippo Tommaso Marinetti (1876–1944), an Egyptian-born Italian poet, editor, firebrand, and founder of the Futurist movement.
    xxx/ellauri356.html on line 47: Mä tulin sulottoman naisartistin käteen Kaivopuistossa. Se oli aika noloa. Sinä päivänä Lauri tuijotti koko kävelymatkan alaspäin ja itki - hiekka rapisi boozien alla. Perillä hänet sidottiin heti kiinni.
    xxx/ellauri357.html on line 441: 1820-luvulta lähtien hänen runojaan sekä poliittisia ja eettisiä kirjoituksiaan tuli suosittuja owenistien, chartistien ja radikaalien poliittisten piireissä, ja myöhemmin se keräsi niinkin kummallisia ​​ihailijoita kuin Karl Marx, Mahatma Gandhi ja George Bernard Shaw.
    xxx/ellauri379.html on line 154: The media have described Lipa as having a mezzo-soprano or contralto vocal range. Her music is primarily pop, and has also been described as disco, house and R&B. Stylistically, her music has been described as dance-pop, synth-pop, R&B, dream pop, alternative pop, and nu-disco subgenres. She describes her musical style as being "dark pop". She is also noted for singing in a "distinct, husky, low register", and her "sultry" tone. Regarding her songwriting process, Lipa states she usually comes to the studio with a concept and starts developing the song with her co-writers. She cites Kylie Minogue, Pink, Nelly Furtado, Jamiroquai, Kendrick Lamar, and Chance the Rapper among her musical influences. "My idea of pop has been P!nk and Christina Aguilera and Destiny's Child and Nelly Furtado", said Lipa in a GQ interview in 2018. Her second studio album Future Nostalgia (2020) was inspired by artists that she listened to during her teens, including Gwen Stefani, Madonna, Moloko, Blondie and Outkast. KIINNNNNNOS. Liikkuuko sinun Lipasi? Ei ota minun orani. I love her lack of energy. Fiat voluntas tua.
    xxx/ellauri379.html on line 158: Left foot, right foot. Vasen oikee nosta koipee sieltä näkyy pyöree soikee. Vitun neekerit. Inhoon räppiä. Toinen samanlainen lommopyllyä twerkkaava pelle on Taylor Swift. Enole mikään kopio, kopio, kopio... Time lehti valizi Taylor Swiftin vuoden 2023 "henkilöxi". Taylor Swift yllätti faninsa. Mikä tekee Taylor Swiftistä niin erikoisen? Sanos se. Ai no joo: Swift is one of the world's best-selling artists, with 200 million records sold worldwide as of 2019. Economist Alan Krueger described Swift as an "economic genius". Swift auttoi myymään amerikkalaista kantrimusiikkia laajentaen sen menestystä anglosfäärin ulkopuolelle, aloitti Internetin käytön markkinointityökaluna ja esitteli genitaalejaan nuoremmalle sukupolvelle. She is the "millennial Bruce Springsteen"
    xxx/ellauri380.html on line 377: it is like to try to survive as an artist without any.
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