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.
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ellauri052.html on line 858: 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.
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.
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.'
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 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.
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.
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.
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.
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.)...
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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.
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.
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.
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 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.
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.
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.
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.
ellauri144.html on line 306: 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.
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.
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.
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 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 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 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.
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.
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 271: 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.
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.”
ellauri263.html on line 631: 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 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.
ellauri279.html on line 120: artists/morozov-pavel-trofimovich-kakaya-zhe-nastoyashchaya-istoriya-pavlika/">Источник
ellauri327.html on line 25: Various artists
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.
ellauri393.html on line 294: As Rockwell’s career flourished, wife #2 Mary suffered the neglect that has befallen so many wives of artists, and she turned to alcohol for solace. Norman turned to another 2nd rate artist, Erik Erikson.
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/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/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/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/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 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/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 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/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/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/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.
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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/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/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/ellauri379.html on line 158: 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 162: 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"
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