Sunday, February 28, 2010
12 black and white film presets from Michael
Interesting, possibly useful array of images here showing various digital presets for a number of black and white emulsions, including Panatomic X (shown here).
Quote from Michael:
My presets are completely free, under a creative commons license, and are designed to provide a free alternative to the Photoshop film emulation plug-ins.
If nothing else, here is a good place to compare shoes and pant legs. Seriously, this is interesting and valuable for two reasons: 1. It helps me adjust my monitor settings a little more like Michael who has spent part of his career understanding and now presenting various monochrome presentations, and 2., it allows me to sample his image of what he believes to look like Panatomic X and post it with a link to his site, on the pages of this blog, and next to other images. Here is a link to Life in Digital Film which delves into the new art and possibilities of using high quality affordable scanners with films, among other things.
Saturday, February 27, 2010
Monobath rapid test II
Ludaris Speaks on Battle Of The Sexes Concept.. I was right..
I Seriously need to write stories for some major website or magazine because I did a post last week about how I expected Luda was using this "Battle Of The Sexes" album to bring Female MC's back on the mainstream of rap.. In The Above video he gives his reasons behind the project...
Point Blank Female MC's go hand in hand with Male artist.. No female MC has ever been successful without their male counterparts (well in modern rap post Latifah/Lyte). That's why Nicki Minaj is so hot right now because she has one of the hottest and well-known guys pushing her and that's Wayne. I'm interested in seeing how people like Trina, Eve, and Nicki fare back in the game. Kinda sour there is no Missy or Foxy on this but I'm glad nonetheless.
B
Friday, February 26, 2010
This Barbie Stuff Is Really Going Overboard...lls
So I'm assuming which I don't really like to but this Nicki Minaj aka Harajuki Barbie craze has taken over like a wild fire.. I see various twitpics, twitter names, facebook accounts and other outlets all celebrating their "inner barbie" lol.. Now things have and ventured over to youtube.. I swear this video is sad and funny at the same time.. 5 Star Chick Tho?
B
B
Fourth year - 4ºD - Thursday 25 February 2010
Summary of the class:
- Jose's presentation: music
- Page 39. Speaking practice: daunting challenges
- Page 44. Useful phrases.
- Vocabulary: health
- Speaking practice. Questions about health and medicine. Click here to read the questions.
Thursday, February 25, 2010
First year - 1ºC - Wednesday 24 February 2010
Summary of the class:
- Revision: connectors
- Speaking practice: When were you born?
-Pages 52, 130 and 131. Grammar: was / were
- Page 52. Pronunciation: was / were /wasn't / weren't
- Pages 109 and 112. Communication: George Washington, Theodore Roosevelt and Abraham Lincoln.
- Page 53. Reading: Four statues
Homework:
- Write a paragraph about a famous statue or about a dead famous person. When was he/she born? Where was he/she born? Who was he/she in life? What was he/she famous for?
- Page 53, exercise 5
Wednesday, February 24, 2010
Speed Graphic front standard mod
I use a Speed Graphic as the test camera here in the lab. Click on the image to zoom.
First year - 1ºC - Tuesday 23 February 2010
Summary of the class:
- Revision: was /were
- Speaking practice: cards
- Page 54. Reading and listening: A Tale of Two Cities
.- Pages 55, 130 and 131. Grammar: past simple
- Page 54. Pictures and the story.
- Page 54. Listening: what happened to Raoul and Emma?
- Page 112. Reading: Sydney in Nova Scotia.
Tuesday, February 23, 2010
Comment on the mission
Just to be clear, the main reason I used 55 was for the high quality negative. If I need a decent positive 4X5 print only, then I recommend Fuji FP-100B45. This material is very good, sharp and consistent. We are not trying to make a print material - we probably will have a print, but its purpose will be to accomplish the reaction necessary in the DTR process to produce the highest quality negative - such as we came to know in 55. That means no "sideways" diffusion, and we need fast, direct solution of silver salts over to the receiver (print) to do that. Then the kinetics of the process chemistry will have an effect on the characteristics of the negative. That's very important. I never understood why some people thought of 55 as a positive print producing material and threw away the negative when there were so many other black and white print materials available, but of course the user gets to choose how they use the material, not the manufacturer.
Polaroid developed type 55 under the guidance of Ansel Adams and, using what may have been a Kodak Aero product or something like Panatomic X, managed to produce a quick and sharp negative with little grain clumping, and fine detail using only a single a reagent, close to certain monobath formulations, but that are unlike most of the other Polaroid B&W reagents.
The negative is the focus of our attention - a negative so good, so convenient, and accessible to all, that we can afford to travel far from Jobo tanks, or dip-and-dunk, or other inconveniences, and still enjoy the process of fine image making, with its magic and technique, sans batteries and USB cables.
We can certainly make a positive too, but that's not where the need is. Like composing on an upside-down ground glass, examining a negative becomes second nature with a little practice, and with 55, or maybe New55, you might do it within a minute of exposure and still have light for another shot or two. Scanners have become so good and cost less than a kilobuck or less. Yet truly high resolution on-camera digital capture devices, such as those made by Phase One, are still up to $45,000 to buy, and too far out of reach of all but the most affluent, or urgent.
So with simple and inexpensive tools such as an old Speed Graphic, a 545, and some field processable material, the artist, the newbie, the student and the old pro can still produce even higher quality images, without a darkroom, and still have money left over to buy a new car!
Polaroid developed type 55 under the guidance of Ansel Adams and, using what may have been a Kodak Aero product or something like Panatomic X, managed to produce a quick and sharp negative with little grain clumping, and fine detail using only a single a reagent, close to certain monobath formulations, but that are unlike most of the other Polaroid B&W reagents.
The negative is the focus of our attention - a negative so good, so convenient, and accessible to all, that we can afford to travel far from Jobo tanks, or dip-and-dunk, or other inconveniences, and still enjoy the process of fine image making, with its magic and technique, sans batteries and USB cables.
We can certainly make a positive too, but that's not where the need is. Like composing on an upside-down ground glass, examining a negative becomes second nature with a little practice, and with 55, or maybe New55, you might do it within a minute of exposure and still have light for another shot or two. Scanners have become so good and cost less than a kilobuck or less. Yet truly high resolution on-camera digital capture devices, such as those made by Phase One, are still up to $45,000 to buy, and too far out of reach of all but the most affluent, or urgent.
So with simple and inexpensive tools such as an old Speed Graphic, a 545, and some field processable material, the artist, the newbie, the student and the old pro can still produce even higher quality images, without a darkroom, and still have money left over to buy a new car!
A Sore Loser Even With A Silver Medal...SmH
Evgeni Plushenko's long, delusional journey continues. Just days after the silver medalist for men's figure skating denied that Evan Lysacek is the true champion of men's figure skating, he has apparently awarded himself a platinum medal. From his official website:
It reads, "Silver of Salt Lake, Gold of Torino, Platinum of Vancouver." What's impressive here is that not only has Plushenko's website team fabricated an Olympic medal, it designed a platinum medal, too. Bravo. That's commitment to a delusion.
Previously, Plushenko ripped gold medalist Evan Lysacek for not attempting a quad jump, and even Russian Prime Minister Vladimir Putin weighed in on the controversy, saying Plushenko "performed the most accomplished program on the Vancouver ice." Lysacek responded to the criticism with class, but Plushenko clearly hasn't come to grips with the fact that the gold medal eluded him in Vancouver.
This is the true definition of being upset...smh
B
Fourth year - 4ºA - Monday 22 February 2010
Summary of the class:
- Page 39. Grammar: narrative tenses.
- Speaking practice: stories
- Page 39. Speaking: anecdote. Daunting challenges.
- Page 44. Useful phrases.
- Vocabulary: health
Monday, February 22, 2010
Top Women Sedu Hairstyles
Top Women Sedu Hairstyles The results from our Sedu Flat Iron and we are proud to share them with you. We'd love to tell you how great we are, Want to know more about your favorite celebrity sedu hairstyles? How they got their look so perfect? Check out the Celebrity Sedu Hairstyle page and see for yourself.If you are in need of an updo whether it is Elegant, Formal, a Wedding updo, or a teen
Hairstyle Exclusive Gallery
Hairstyle Exclusive GalleryThis is not meant to be an exact just an inspiration from this picture. I hope you enjoy Jessie. The hair from the inspiration picture is drawn on,not a "real" sim hair,that's why you couldn't find it. But you did really good trying to recreate it.
Land's patent no. 2,669,516
Above is a link to the Land patent that does not seem to say too much about the preparation of the receiver layer. Rott's complete description of the kinetics and chemistry in his book, mentioned below, may seem to have possibly obviated the need, or perhaps the desire, for Land et al to publish a follow-on book that would have had to teach what Polaroid might have considered trade secret information, to be complete.
This is the key reference on DTR
I am still engrossed in
Authors: Andre Rott, Dipl Ing, Edith Weyde, and Dr Ing.
Focal Press, London 1972
Which among other things describes the history and development, dozens of configurations, and many examples of diffusion transfer reversal techniques. This claims to be part one of a two-part series published by Focal Press and promises a follow-on named "Instantaneous Photography" by Land. But I cannot find a trace of the second book that is named here. Perhaps it never was written.
Not that it matters all that much right now, because Rott et al have done such a thorough job of describing the DTR process from a chemical and electrochemical aspect, that I have a hard time believing that we cannot extract enough information from it to at least get started producing DTR-assisted negatives, as I term them.
There is a section that talks about the use of lead acetate and other metal acetates in the receiver sheet of Polaroid materials which are not mentioned in any of the MSDS that we have on hand for 55. But at least we know how to imbibe paper with lead acetate easily, and probably produce a number of different nucleating particles in a receiver layer with enough experimentation. Still, I wish I could find someone, anyone, with specific knowledge in that area. I have made inquiries, but no luck so far.
Authors: Andre Rott, Dipl Ing, Edith Weyde, and Dr Ing.
Focal Press, London 1972
Which among other things describes the history and development, dozens of configurations, and many examples of diffusion transfer reversal techniques. This claims to be part one of a two-part series published by Focal Press and promises a follow-on named "Instantaneous Photography" by Land. But I cannot find a trace of the second book that is named here. Perhaps it never was written.
Not that it matters all that much right now, because Rott et al have done such a thorough job of describing the DTR process from a chemical and electrochemical aspect, that I have a hard time believing that we cannot extract enough information from it to at least get started producing DTR-assisted negatives, as I term them.
There is a section that talks about the use of lead acetate and other metal acetates in the receiver sheet of Polaroid materials which are not mentioned in any of the MSDS that we have on hand for 55. But at least we know how to imbibe paper with lead acetate easily, and probably produce a number of different nucleating particles in a receiver layer with enough experimentation. Still, I wish I could find someone, anyone, with specific knowledge in that area. I have made inquiries, but no luck so far.
J.Cole - I Get Up..
I downloaded this yesterday and It's been stuck in my head every since.. I hope this dude drops a mixtape very soon cause from what I heard J. Cole is dope. Signed to Jay-Z's "Roc Nation" I'm looking and anticipating great things from Jigga's new first signee.. Let's just hope we don't end up with another Beanie Sigel fiasco...
Fashion Spot Monday : It's All In My Vest..
Ok.. so when it comes to fashion I'm not posting what's the hottest threads on the market I wear what looks good on me and what I feel is the hottessness.. This is however the "BlancoEXperience..lls
"I Set Trends/Don't Follow Them"---Teedra Moses
Anyway my obsession with cardigan's have escaped to vest.. I've always had a great deal of appreciation for a nice vest and they can worn in a variety of ways not to mention you can pull off a semi dressy yet comfortable casual style.. In my goings and coming on this past weekend I stopped in a men's shop to browse and just see what they had that would intrigue my fashion itch. My homeboy had just copped a new pair of "Jay's" and I guess he put me in the mind frame of buying something fresh. So after being in the store for a good little while nothing really caught my eye that is until I see this Cardigan and the fit was perfect after putting it to the side this grey vest pulled me in and well the rest is history.. lol
Basically I'm a t-shirt/jeans/snicker kid.. but I'm getting older and I wanna put my money into clothes that will last not to mention pulling off a grown and sophisticated look. Woman appreciate a guy with fashion sense who not only smells but looks good as well. My mother said a guy who keeps himself maintained and has the great smell good could get the world..lol.. She so crazy..
The Above Vest can be found on http://www.neimanmarcus.com retailing for $101.00
Guys don't sleep on style we gotta represent as well..
B
Fresh New Hairstyles For 2010
The New Year 2010 is here. I think you want to get a new fresh look for the coming new year. The change of hairstyles is the most important thing. One of the hottest hairs that remain strong for 2010 is long hair. For the past season short hair has remained in the spotlight. But with 1980s styles making a comeback, 1980s styles can be created with the use of hair spray. A big ponytail crinkles
Sunday, February 21, 2010
BP3 Kickoff: Jay-Z Feat Young Jeezy - Real As It Gets
I Really wanted to see this tour but due to the powers that be I won't be able to experience live.. Hopefully Jay puts out a Dvd.. Anyway this is footage from his live show last night in Florida for the kick off the BP3 Tour...
B
Hill Harper... Letters to A Young Brother..
My mother recently gave this to me as a gift and for any young man who deals with pressures of accomplishing goals, managing money, school and so much more than this book is a definite good read. I heard about the book a while back and I was honestly interested in reading it. Now inbetween school and other things I'm gonna get into and read it... I'll have my review of it in a few weeks (hopefully lls)
B
Poll Results: How often do you use 55?
Quite often, if available | 21 (42%) |
Once in a while | 11 (22%) |
Rarely | 3 (6%) |
Never have | 3 (6%) |
Not yet, but maybe | 11 (22%) |
Saturday, February 20, 2010
Aerecon II (Panatomic X Aerial Film)
Just in case this is a useful emulsion I am going to try to get a sample of 3412. Before I do that, I thought I would ask if anyone has a few feet of it around.
Black History Film: Blaxploitation....
In 1965 the young black actor Sidney Poitier starred alongside Anne Bancroft in a thriller called 'The Slender Thread'. The job of scoring the film went to Quincy Jones, a jazz trumpeter from Lionel Hampton's band. He had completed scores for 'The Pawnbroker' and 'Mirage' by this time and was set to score a number of television series. He said of Sidney Pollack, director of 'Slender Thread', that he was 'a modern guy who didn't get shocked when he heard a far-out piece of music'. This gave him the artistic freedom to experiment outside of the traditional jazz score. The track 'Big Sir' which closes the album gave a hint at what was to come. Uptempo, with a strong 'four' feel, it captured the evolving soul sound using full, brassy instrumentation.
Poitier went on to star in the racially-charged 'Guess who's coming to dinner?' in which he played white middle-class Katherine Houghton's boyfriend to the mixed reactions of her friends and relatives. 'In the heat of the night' saw Poitier playing a cop coping with Rod Steiger's racist redneck sheriff. These films showed Poitier in a presentable, middle-class light, tolerated rather than accepted by the white society in which he found himself.
While Poitier set about taking the Hollywood screen by storm, Jones meanwhile was in considerable demand as a soundtrack composer. Amongst his most well-known works are T.V. themes such as 'Ironside', 'Sanford and Son' and soundtracks for a number of later major Hollywood releases like 'The Heist' ($) with Warren Beatty and 'The Italian Job' with Michael Caine.
Although Poitier's films, mainstream Hollywood creations at best, suggested that it was possible for blacks to be accepted into white American society, the reality for many was harshly different. Race riots had broken out in cities across the US. The Black Panthers, with a large following in deprived areas of the big cities, were advocating militant action. Regardless of Poitier's positive influence on society through his films, they simply did not reflect life for the black majority at that time.
By now, major 'black' artists such as Funkadelic, the Impressions, Sly's multiracial Family Stone and even James Brown were producing music which carried a serious political message on the back of an angular, forceful groove. The R&B charts proved that demand for 'music with a message' was at a high. Black audiences wanted cinema that reflected their daily experiences in the same way.
As the 1970's began, these wants were met in two dinstinct forms. The first, following Poitier's lead, provided a mix of comedy and serious drama which happened to include black lead roles. Bill Cosby, Flip Wilson and later Richard Pryor started their careers in this way. The music in these films also tended to be 'acceptable' to the white-owned studios, produced by Motown-style soul artists such as Curtis Mayfield. Vocal duties tended to be taken up by Aretha Franklin, Gladys Knight or one of the Staples Singers. The subject matter reflected the big studios' unease with handling the pressing social issues of the time.
The films which produced the most innovative music, if not plot, were the black alternative to these mainstream offerings. Now known as 'blaxploitation' films, they satisfied the demand from inner-city audiences for movies made by and for blacks. It should be noted that the term 'blaxploitation' refers to the films' continuation of the trashy 'exploitation' films of the 1960's rather than the film studios 'using' black actors.
Early examples tended to follow a typical James Bond style. 1969's 'The Lost Man' (Quincy Jones soundtrack) and the British 'Uptight' (Booker T & the MGs) provided two notable early soundtrack albums.
As these films saw a commercial release the talented black director Melvin Van Peebles was working on a comic drama in which a white bigot wakes up to discover he has black skin. Released in 1970, 'Watermelon Man' proved to be a hit and propelled Peebles into the Hollywood limelight. Hoping that success would allow him to make a film closer to his experiences, he began to produce a film written for the black audience and quickly discovered that the major studios wouldn't touch it.
Called 'Sweet Sweetback's Badaaass Song', it was vicious and uncompromising and deemed inaccessible to whites. Peebles went ahead and produced it anyway, financing it largely himself. Unable to show the film in many cinemas, he persuaded a few black cinemas in Detroit, San Francisco and New York to show it. The response was incredible. People queued in their hundreds to see what was essentially the tale of a promiscuous black antihero as he makes his way towards Mexico to evade the white police. Peebles wrote his own score and enlisted the assistance of a newly-formed group called Earth, Wind and Fire who happened to be friends with one of his production crew.
Almost simultaneously, MGM Studios were shooting the first big-budget Hollywood blaxploitation film, 'Shaft'. The studio had been struggling and badly needed a hit movie to revive its flagging fortunes. In the film, according to MGM's synopsis, a 'black, muscular, fine-looking' private detective called John Shaft (played by Richard Roundtree) comes up against a variety of mobsters, hustlers and kidnappers, proving himself handy both in bed and with a gun. White critics proclaimed that it was a true reflection of life on the streets when it was really nothing more than a slick thriller that just happened to feature black actors.
MGM were delighted when 'Shaft' went on to win an Oscar. The statuette was awarded to long-time Stax records artist and arranger Isaac Hayes for his 'Theme from Shaft'. His appearance at the Oscar ceremony had as much of an impact as his music. He appeared on a floating piano in a shirt made entirely of chains.
The theme is one of the most memorable and enduring pieces of music written for film. Beginning with a toppy, tight hi-hat rhythm complimented by a superbly edgy wah-wah guitar, the theme told the entire story of the film inside three minutes. The lyrics, thanks to Hayes' accomplished songwriting backgound, simultaneously satirised and glamorised the hero. The whole score was strong, following cinema convention in that slow ballads accompanied intimacy and brass and drums were used for the chase scenes. The difference was in the funk; gritty but danceable, the album went on to sell in the millions and remains a classic.
Most of the soundtrack albums that followed, in the same way as 'Shaft', provided a number of hit singles in their own right. Shaft's soundtrack, and the film itself, set the style of black movies for the next five years before the genre died out as it became increasingly ridiculous.
'Shaft' was quickly followed by a sequel, 'Shaft's Big Score', for which the soundtrack was written by the film's director Gordon Parks, with help from O.C. Smith who provided the vocals. The third, and last, in the film series was 'Shaft in Africa' which blended Johnny Pate's jazz background and experience as arranger for The Impressions with African rhythms and a hefty slab of the funk. The Four Tops provided a great theme and hit single, 'Are You Man Enough', for the soundtrack. This album features many strong tracks and is well worth seeking out. 'Shaft' also spawned a TV spinoff series.
1972 saw the artistic peak of the blaxploitation soundtrack. Several of America's biggest black artists were working on soundtracks simultaneously. Marvin Gaye's superb 'Trouble Man' album, much covered and respected, provided the only significant outlet for his jazz aspirations of his career, and allowed him to include several instrumental funk tracks. Bobby Womack, assisted by jazz soundtrack veteran
J.J.Johnson, showcased some of his finest soul tracks on 'Across 110th St.' The highlight of this period was undeniably Curtis Mayfield's 'Superfly'. Only four years previously Mayfield had been producing upbeat, happy songs for The Impressions. He had by now absorbed the rhymical influence of James Brown's music along with the melodic feel of Marvin Gaye and was producing music wide-ranging in mood. 'Superfly' was as violent a movie as you could find. It romanticised the antics of a drug dealer antihero, Priest, played by Ron O'Neal. Mayfield's beautiful and compassionate songs completely undermined the apparent message of the movie and represent his finest work.
The films that followed became more formulaic as the seventies progressed. Plot-wise, most of them were either 'private detective takes on the mob' or 'dealer becomes king of the pimps'. Record companies fought to add their biggest stars to any soundtrack they could get space on. Virtually all of the major soul artists and many minor stars of the period can be found on a blaxploitation album.
James Brown, ably assisted by regular JBs trombonist Fred Wesley, provided scores to 1973's 'Black Caesar' and 1974's 'Slaughter's Big Rip-Off'. The latter was a sequel to 'Slaughter', which had no soundtrack LP but featured a Billy Preston theme song. Interestingly, James Brown's best written-for-film album, 'The Payback', was rejected by director Larry Cohen for 'not being James Brown enough, y'know?'. The film was 'Hell Up In Harlem' and eventually featured an Edwin Starr soundtrack.
Solomon Burke wrote music for 'Cool Breeze' (1972, with assistance from Gene Page) and 'Hammer' (1973), for which an album was never issued. Allen Toussaint scored 'Black Samson', released in 1974. Gene Page, with the Hues Corporation, wrote 1972's 'Blacula' soundtrack while Roy Ayers produced the superb 'Coffy' in 1973. The Blackbyrds made their contribution with 'Cornbread, Earl and Me' while The Impressions provided songs for 'Three The Hard Way'. Barry White wrote music for 1974's 'Together Brothers' which included some solid stripped-down funk instrumentals. Even drummer Bernard Purdie wrote a score to an erotic film called 'Lialeh' in 1974, subsequently issued on a scarce LP.
Motown's Wille Hutch provided two fine albums in the form of 'The Mack' (1973) and 'Foxy Brown' (1974). J.J.Johnson, a veteran jazz musician with a strong ear for soundtrack composition, often wrote his best work in collaboration with other artists. 1971's Bill Cosby western 'Man and Boy' saw him working with Quincy Jones and Bill Withers. The superb 'Across 110th Street' was written with Bobby Womack. Johnson also wrote the music for 'Willie Dynamite' (with Martha Reeves) and 'Cleopatra Jones' which included a hit theme from Joe Simon and vocals from Millie Jackson.
A relatively early blaxploitation release, 'Come Back Charleston Blue' features an interesting 1920s style soundtrack thanks to Quincy Jones. This album also includes Donny Hathaway's soulful classic 'Ghetto Boy'. The 1973 sequel to 'Black Caesar', 'Hell Up In Harlem' had a theme song by Edwin Starr while Barbara Mason sang the theme to 'Sheba Baby' in 1975. The unlikely choice of Osibisa provided the 'Superfly' soundtrack sequel in the form of 'Superfly T.N.T.' in 1973.
Many of the best blaxploitation soundtracks were issued on major record labels, for which the collector should be thankful. Sales figures for these albums were invariably respectable but failed to live up to those of the original 'Shaft' LP. In addition to the mainstream releases there were a number of notable independent issues. The Fantasy label issued the soundtrack to the adult cartoon 'Fritz The Cat' and followed this up with 'Heavy Traffic'. Ed Bogas and Ray Shanklin, responsible for the original material on these two albums, wrote a further soundtrack to a serious black drama 'Black Girl' on Fantasy with the assistance of a number of great studio jazz musicians including Bud Shank. The Rimshots, studio band of the Platinum / Stang label, contributed tracks to the Stang label's 1976 score to 'Patty'. Bizarrely this all-soul album was taken from a film about Patty Hearst.
In a fitting close to the mainstream blaxploitation genre, Isaac Hayes provided soundtracks to, and performances in, two films in 1974 and 1975, 'Truck Turner' and 'Three Tough Guys'. Although both albums have good funk moments (check out 'Tough Guys Theme' and 'Pursuit of the Pimpmobile' from 'Truck Turner') they're not as vibrant and consistent as 'Shaft'.
The cinema genre had effectively ended as a creative force but the musical influence continued. Curtis Mayfield produced the soundtrack to 'Short Eyes' and appeared in the film, and arranged 'Let's Do It Again' for The Staples Singers and 'Sparkle' for Aretha Franklin. War made a late appearance with the soundtrack to 'Youngblood' in 1978.
The proliferation of action and kung-fu B-movies during the late 1970s provided source material for several notable special-pressing soundtrack albums to accompany the original films. The obscure Happy Fox label gathered a number of small-time soul artists to score 'Black Fist' in 1977. In the same year the abysmal action movie 'Bare Knuckles' spawned a superb soundtrack album on the tiny Gucci label scored by Vic Caesar, one of the stars of the movie.
It should be noted that, surprisingly, a large proportion of blaxploitation film soundtracks were never issued on commercial soundtrack albums. The movies for which a soundtrack was issued were not necessarily those with the biggest stars or highest budget, a fact that may dismay blaxploitation film enthusiasts. A limited selection of tracks from otherwise-unissued scores can be found on sound library or special pressing LPs.
Many of the soundtracks to these movies, like the films themselves, disappeared into obscurity during the 1980s. The recent revival of interest in cinema and 1970s culture has lead to a corresponding desire to explore the music of the blaxploitation genre, and with it the long-overdue acknowledgement of the huge influence of its artists on modern music.
Poitier went on to star in the racially-charged 'Guess who's coming to dinner?' in which he played white middle-class Katherine Houghton's boyfriend to the mixed reactions of her friends and relatives. 'In the heat of the night' saw Poitier playing a cop coping with Rod Steiger's racist redneck sheriff. These films showed Poitier in a presentable, middle-class light, tolerated rather than accepted by the white society in which he found himself.
While Poitier set about taking the Hollywood screen by storm, Jones meanwhile was in considerable demand as a soundtrack composer. Amongst his most well-known works are T.V. themes such as 'Ironside', 'Sanford and Son' and soundtracks for a number of later major Hollywood releases like 'The Heist' ($) with Warren Beatty and 'The Italian Job' with Michael Caine.
Although Poitier's films, mainstream Hollywood creations at best, suggested that it was possible for blacks to be accepted into white American society, the reality for many was harshly different. Race riots had broken out in cities across the US. The Black Panthers, with a large following in deprived areas of the big cities, were advocating militant action. Regardless of Poitier's positive influence on society through his films, they simply did not reflect life for the black majority at that time.
By now, major 'black' artists such as Funkadelic, the Impressions, Sly's multiracial Family Stone and even James Brown were producing music which carried a serious political message on the back of an angular, forceful groove. The R&B charts proved that demand for 'music with a message' was at a high. Black audiences wanted cinema that reflected their daily experiences in the same way.
As the 1970's began, these wants were met in two dinstinct forms. The first, following Poitier's lead, provided a mix of comedy and serious drama which happened to include black lead roles. Bill Cosby, Flip Wilson and later Richard Pryor started their careers in this way. The music in these films also tended to be 'acceptable' to the white-owned studios, produced by Motown-style soul artists such as Curtis Mayfield. Vocal duties tended to be taken up by Aretha Franklin, Gladys Knight or one of the Staples Singers. The subject matter reflected the big studios' unease with handling the pressing social issues of the time.
The films which produced the most innovative music, if not plot, were the black alternative to these mainstream offerings. Now known as 'blaxploitation' films, they satisfied the demand from inner-city audiences for movies made by and for blacks. It should be noted that the term 'blaxploitation' refers to the films' continuation of the trashy 'exploitation' films of the 1960's rather than the film studios 'using' black actors.
Early examples tended to follow a typical James Bond style. 1969's 'The Lost Man' (Quincy Jones soundtrack) and the British 'Uptight' (Booker T & the MGs) provided two notable early soundtrack albums.
As these films saw a commercial release the talented black director Melvin Van Peebles was working on a comic drama in which a white bigot wakes up to discover he has black skin. Released in 1970, 'Watermelon Man' proved to be a hit and propelled Peebles into the Hollywood limelight. Hoping that success would allow him to make a film closer to his experiences, he began to produce a film written for the black audience and quickly discovered that the major studios wouldn't touch it.
Called 'Sweet Sweetback's Badaaass Song', it was vicious and uncompromising and deemed inaccessible to whites. Peebles went ahead and produced it anyway, financing it largely himself. Unable to show the film in many cinemas, he persuaded a few black cinemas in Detroit, San Francisco and New York to show it. The response was incredible. People queued in their hundreds to see what was essentially the tale of a promiscuous black antihero as he makes his way towards Mexico to evade the white police. Peebles wrote his own score and enlisted the assistance of a newly-formed group called Earth, Wind and Fire who happened to be friends with one of his production crew.
Almost simultaneously, MGM Studios were shooting the first big-budget Hollywood blaxploitation film, 'Shaft'. The studio had been struggling and badly needed a hit movie to revive its flagging fortunes. In the film, according to MGM's synopsis, a 'black, muscular, fine-looking' private detective called John Shaft (played by Richard Roundtree) comes up against a variety of mobsters, hustlers and kidnappers, proving himself handy both in bed and with a gun. White critics proclaimed that it was a true reflection of life on the streets when it was really nothing more than a slick thriller that just happened to feature black actors.
MGM were delighted when 'Shaft' went on to win an Oscar. The statuette was awarded to long-time Stax records artist and arranger Isaac Hayes for his 'Theme from Shaft'. His appearance at the Oscar ceremony had as much of an impact as his music. He appeared on a floating piano in a shirt made entirely of chains.
The theme is one of the most memorable and enduring pieces of music written for film. Beginning with a toppy, tight hi-hat rhythm complimented by a superbly edgy wah-wah guitar, the theme told the entire story of the film inside three minutes. The lyrics, thanks to Hayes' accomplished songwriting backgound, simultaneously satirised and glamorised the hero. The whole score was strong, following cinema convention in that slow ballads accompanied intimacy and brass and drums were used for the chase scenes. The difference was in the funk; gritty but danceable, the album went on to sell in the millions and remains a classic.
Most of the soundtrack albums that followed, in the same way as 'Shaft', provided a number of hit singles in their own right. Shaft's soundtrack, and the film itself, set the style of black movies for the next five years before the genre died out as it became increasingly ridiculous.
'Shaft' was quickly followed by a sequel, 'Shaft's Big Score', for which the soundtrack was written by the film's director Gordon Parks, with help from O.C. Smith who provided the vocals. The third, and last, in the film series was 'Shaft in Africa' which blended Johnny Pate's jazz background and experience as arranger for The Impressions with African rhythms and a hefty slab of the funk. The Four Tops provided a great theme and hit single, 'Are You Man Enough', for the soundtrack. This album features many strong tracks and is well worth seeking out. 'Shaft' also spawned a TV spinoff series.
1972 saw the artistic peak of the blaxploitation soundtrack. Several of America's biggest black artists were working on soundtracks simultaneously. Marvin Gaye's superb 'Trouble Man' album, much covered and respected, provided the only significant outlet for his jazz aspirations of his career, and allowed him to include several instrumental funk tracks. Bobby Womack, assisted by jazz soundtrack veteran
J.J.Johnson, showcased some of his finest soul tracks on 'Across 110th St.' The highlight of this period was undeniably Curtis Mayfield's 'Superfly'. Only four years previously Mayfield had been producing upbeat, happy songs for The Impressions. He had by now absorbed the rhymical influence of James Brown's music along with the melodic feel of Marvin Gaye and was producing music wide-ranging in mood. 'Superfly' was as violent a movie as you could find. It romanticised the antics of a drug dealer antihero, Priest, played by Ron O'Neal. Mayfield's beautiful and compassionate songs completely undermined the apparent message of the movie and represent his finest work.
The films that followed became more formulaic as the seventies progressed. Plot-wise, most of them were either 'private detective takes on the mob' or 'dealer becomes king of the pimps'. Record companies fought to add their biggest stars to any soundtrack they could get space on. Virtually all of the major soul artists and many minor stars of the period can be found on a blaxploitation album.
James Brown, ably assisted by regular JBs trombonist Fred Wesley, provided scores to 1973's 'Black Caesar' and 1974's 'Slaughter's Big Rip-Off'. The latter was a sequel to 'Slaughter', which had no soundtrack LP but featured a Billy Preston theme song. Interestingly, James Brown's best written-for-film album, 'The Payback', was rejected by director Larry Cohen for 'not being James Brown enough, y'know?'. The film was 'Hell Up In Harlem' and eventually featured an Edwin Starr soundtrack.
Solomon Burke wrote music for 'Cool Breeze' (1972, with assistance from Gene Page) and 'Hammer' (1973), for which an album was never issued. Allen Toussaint scored 'Black Samson', released in 1974. Gene Page, with the Hues Corporation, wrote 1972's 'Blacula' soundtrack while Roy Ayers produced the superb 'Coffy' in 1973. The Blackbyrds made their contribution with 'Cornbread, Earl and Me' while The Impressions provided songs for 'Three The Hard Way'. Barry White wrote music for 1974's 'Together Brothers' which included some solid stripped-down funk instrumentals. Even drummer Bernard Purdie wrote a score to an erotic film called 'Lialeh' in 1974, subsequently issued on a scarce LP.
Motown's Wille Hutch provided two fine albums in the form of 'The Mack' (1973) and 'Foxy Brown' (1974). J.J.Johnson, a veteran jazz musician with a strong ear for soundtrack composition, often wrote his best work in collaboration with other artists. 1971's Bill Cosby western 'Man and Boy' saw him working with Quincy Jones and Bill Withers. The superb 'Across 110th Street' was written with Bobby Womack. Johnson also wrote the music for 'Willie Dynamite' (with Martha Reeves) and 'Cleopatra Jones' which included a hit theme from Joe Simon and vocals from Millie Jackson.
A relatively early blaxploitation release, 'Come Back Charleston Blue' features an interesting 1920s style soundtrack thanks to Quincy Jones. This album also includes Donny Hathaway's soulful classic 'Ghetto Boy'. The 1973 sequel to 'Black Caesar', 'Hell Up In Harlem' had a theme song by Edwin Starr while Barbara Mason sang the theme to 'Sheba Baby' in 1975. The unlikely choice of Osibisa provided the 'Superfly' soundtrack sequel in the form of 'Superfly T.N.T.' in 1973.
Many of the best blaxploitation soundtracks were issued on major record labels, for which the collector should be thankful. Sales figures for these albums were invariably respectable but failed to live up to those of the original 'Shaft' LP. In addition to the mainstream releases there were a number of notable independent issues. The Fantasy label issued the soundtrack to the adult cartoon 'Fritz The Cat' and followed this up with 'Heavy Traffic'. Ed Bogas and Ray Shanklin, responsible for the original material on these two albums, wrote a further soundtrack to a serious black drama 'Black Girl' on Fantasy with the assistance of a number of great studio jazz musicians including Bud Shank. The Rimshots, studio band of the Platinum / Stang label, contributed tracks to the Stang label's 1976 score to 'Patty'. Bizarrely this all-soul album was taken from a film about Patty Hearst.
In a fitting close to the mainstream blaxploitation genre, Isaac Hayes provided soundtracks to, and performances in, two films in 1974 and 1975, 'Truck Turner' and 'Three Tough Guys'. Although both albums have good funk moments (check out 'Tough Guys Theme' and 'Pursuit of the Pimpmobile' from 'Truck Turner') they're not as vibrant and consistent as 'Shaft'.
The cinema genre had effectively ended as a creative force but the musical influence continued. Curtis Mayfield produced the soundtrack to 'Short Eyes' and appeared in the film, and arranged 'Let's Do It Again' for The Staples Singers and 'Sparkle' for Aretha Franklin. War made a late appearance with the soundtrack to 'Youngblood' in 1978.
The proliferation of action and kung-fu B-movies during the late 1970s provided source material for several notable special-pressing soundtrack albums to accompany the original films. The obscure Happy Fox label gathered a number of small-time soul artists to score 'Black Fist' in 1977. In the same year the abysmal action movie 'Bare Knuckles' spawned a superb soundtrack album on the tiny Gucci label scored by Vic Caesar, one of the stars of the movie.
It should be noted that, surprisingly, a large proportion of blaxploitation film soundtracks were never issued on commercial soundtrack albums. The movies for which a soundtrack was issued were not necessarily those with the biggest stars or highest budget, a fact that may dismay blaxploitation film enthusiasts. A limited selection of tracks from otherwise-unissued scores can be found on sound library or special pressing LPs.
Many of the soundtracks to these movies, like the films themselves, disappeared into obscurity during the 1980s. The recent revival of interest in cinema and 1970s culture has lead to a corresponding desire to explore the music of the blaxploitation genre, and with it the long-overdue acknowledgement of the huge influence of its artists on modern music.
Current Reading at New 55
Photographic Silver Halide Diffusion Processes
Authors: Andre Rott, Dipl Ing, Edith Weyde, and Dr Ing.
Focal Press, London 1972
Preface by Professor W. F. Berg
Excerpt: "The diffusion transfer process is one of the few genuinely original inventions in photography...Nevertheless, photography had to wait for about 100 years, before this inventive step was taken, and the idea matured, almost simultaneously and independently in the minds of no fewer than three inventors to whom the term genius can very fittingly be applied: Rott and Weyde, who are responsible for the present book which is devoted to Document Copying, and Land who will be the author of the second book in this series on Instantaneous Photography".
Interesting, and I will be looking all over for part two, "Instantaneous Photography", which I see listed in no Focal Press index. In the meantime, 1930s diffusion transfer inventors Rott and Weyde are keeping me entertained with a lot of information about emulsions, development rates, transfer kinetics, reagents, and nucleation schemes, which are of highest interest to New 55.
Plate 1 in this book shows the very first "accidental" silver diffusion transfer print ever made, and discovered by Rott in 1939. I'll scan it in later.
Authors: Andre Rott, Dipl Ing, Edith Weyde, and Dr Ing.
Focal Press, London 1972
Preface by Professor W. F. Berg
Excerpt: "The diffusion transfer process is one of the few genuinely original inventions in photography...Nevertheless, photography had to wait for about 100 years, before this inventive step was taken, and the idea matured, almost simultaneously and independently in the minds of no fewer than three inventors to whom the term genius can very fittingly be applied: Rott and Weyde, who are responsible for the present book which is devoted to Document Copying, and Land who will be the author of the second book in this series on Instantaneous Photography".
Interesting, and I will be looking all over for part two, "Instantaneous Photography", which I see listed in no Focal Press index. In the meantime, 1930s diffusion transfer inventors Rott and Weyde are keeping me entertained with a lot of information about emulsions, development rates, transfer kinetics, reagents, and nucleation schemes, which are of highest interest to New 55.
Plate 1 in this book shows the very first "accidental" silver diffusion transfer print ever made, and discovered by Rott in 1939. I'll scan it in later.
Scene Hair with Side Bangs
Scene Hair with Side BangsScenesters can be seen all over the popular downtown malls and coffee joints wearing bumpy and stylish hairstyles and colorful headbands. Scene hair with side bangs covering one side of the face or slightly falling over the forehead is a little new trend among the scenesters. In fact, it was one of the most popular fad in emo boys and girls. However, scene boys and girls
Fourth year - 4ºD - Thursday 17 Februay 2010
Summary of the class:
- Grammar: narrative tenses.
- Speaking practice: stories and anecdotes.
- Abbey: broadsheets and tabloids.
First year - 1ºC - Thursday 17 February 2010
Summary of the class:
- Writing: statues of important people
- Revision: was / were
- Speaking practice: What do you do at the weekend? On Saturday ... On Sunday
- Listening practice
- Page 53. Word formation.
- Page 53. Speaking: Top people in your country
- Speaking practice: James and Silvia.
Friday, February 19, 2010
Type 64 Sleeve, with holes not found in 55
But what are these holes for? To let air escape/enter as you move the sleeve over the captive negative?
If you can put a half dozen holes behind a masked negative, I'd assume you could put many more, which would be handy if you needed to immerse this in water and flood the sleeve.
Timbaland Feat JT - Carry Out..Music Video
One Of My Favorite Tracks From "Shock Value II".. Great single and in my opinion should have came out 1st followed by Say Something feat Drake.. But Hey What Do I Know? lls
B
Ralph Bunche.. Moments In Black History..
(born Aug. 7, 1904, Detroit, Mich., U.S.—died Dec. 9, 1971, New York, N.Y.) U.S. diplomat, a key member of the United Nations for more than two decades, and winner of the 1950 Nobel Prize for Peace for his successful negotiation of an Arab-Israeli truce in Palestine the previous year.
Bunche worked his way through the University of California at Los Angeles and graduated in 1927. He also earned graduate degrees in government and international relations at Harvard University (1928, 1934) and studied in England and South Africa. In 1928 he joined the faculty of Howard University, Washington, D.C., where he set up a department of political science. Meanwhile, he traveled through French West Africa on a Rosenwald field fellowship, studying the administration of French Togoland, a mandated area, and Dahomey, a colony. He later did postdoctoral research at Northwestern University, Evanston, Ill., and at the London School of Economics before returning to Africa for further studies in colonial policy. Between 1938 and 1940 he collaborated with Gunnar Myrdal, the Swedish sociologist, in the monumental study of U.S. race relations, published as An American Dilemma in 1944.
During World War II Bunche served in the U.S. War Department, the Office of Strategic Services, and the State Department. He was active in the preliminary planning for the United Nations at the San Francisco Conference of 1945 and in 1947 joined the permanent UN Secretariat in New York as director of the new Trusteeship Department.
Asked by Secretary General Trygve Lie to aid a UN special committee appointed to negotiate a settlement between warring Palestinian Arabs and Jews, he was thrust unexpectedly into the principal role when the chief mediator, Count Folke Bernadotte, was assassinated in 1948. Bunche finally negotiated armistices between February and May 1949.
Elevated in 1955 to the post of undersecretary and two years later to undersecretary for special political affairs, Bunche became chief troubleshooter for Secretary General Dag Hammarskjöld. One task he undertook was the UN program concerning peaceful uses of atomic energy. In 1956 he supervised the deployment of a 6,000-man UN neutral force in the area of the Suez Canal following the invasion of that area by British, French, and Israeli troops. In 1960 he again found himself in charge of UN peacekeeping machinery—this time in the Congo region. Finally, in 1964 he went to Cyprus to direct the 6,000 neutral troops that intervened between hostile Greek Cypriots and Turks.
Attracting some criticism for seeming to neglect the Civil Rights Movement at home during the 1950s and '60s, Bunche began to speak out more directly on U.S. racial discrimination. In addition, though not in the best of health, he participated in the 1965 civil rights marches in both Selma and Montgomery, Ala., and also served as a board member for the National Association for the Advancement of Colored People for 22 years. Ralph J. Bunche: Selected Speeches and Writings was published in 1995.
Does Rejection Make You Want The Person More?
Nobody on any level loves the idea of being "rejected". Whether it's a job, family member, friend, or romantic interest nobody wants to feel rejected and left out in the cold. But on the flip side of that when in the position of feeling or being ousted are those moments ammunition to want to play harder to obtain the attention of the rejecter? Sure if a job rejects you it gives you the will power to be able to work harder to improve your skills to hopefully catch the eye of a potential employer.
So I'm watching the talk show "Tyra" which I rarely watch and this particular episode dealt with how people had a difficult time getting over their ex's and one female guest said it's not that she wanted to be with her ex but the fact he rejected her and basically he erased her from his life.. she didn't take "rejection" so well and it made her want to be with him even more. I for one feel as tho when I'm on the outside looking in and it confuses me with a big question mark on my forehead lol.
Sometimes we tend to pursue things not good or important to our life but because the certain person or persons deem us "uncool" to be in their company we seem to work harder to vye for the attention along the areas. Is rejection really important to you?
B
Good Advice
Why did Pol attach small metal foil corners on these sleeves? The white strip is raised, and is either a stop so you don't pull the sleeve out too far, or a spacer to help hold the negative flat, or some of both.
Type 64 Negative
But this negative has an opaque mask on the back. It appears to be masked with the same removable black material as the fuji color pack film, and the base is a polyester (I believe) that is the very familiar 0.004" thickness. Thanks to Aaron for supplying some of this material for the New55 Project - very much appreciated, and valuable!
Thursday, February 18, 2010
Top Women's Hairstyle Trends For 2010
Women just love doing anything and everything to enhance their personality and beauty. Looking glamorous and elegant in every season for every occasion is important for her. Choosing right kind of hairstyle is as important as finding a unique dress, stunning shoes and make up. A woman's hair is like her crowning glory. So just look out for a perfect hairstyle that enhances your personality and
Wednesday, February 17, 2010
First year - 1ºB - Wednesday 17 February 2010
Summary of the class:
- Speaking: revision
- Page 49. Writing
- Speaking practice: What do you usually do at the weekend? On Saturday... On Sunday...
- Listening practice.
- Speaking practice: When is your birthday? When were you born? I was born...
Homework:
- Page 49. Write a description, following the instructions from the book.
Note:
- Remember that on Monday we have speaking exams.
Fourth year - 4ºA - Wednesday 17 February 2010
Summary of the class:
- Abbey: the media and advertising.
- Page 38. Listening: Ben Saunders and the polar bear.
- Speaking practice: What things make you afraid? Can you think of a situation
in which you were especially scared?Homework:
- Page 38, exercise 5
It's Gonna Be Hard But I'm Riding For My J-E-S-U-S
So today is Ash Wednesday and for the next 40 days I plan on giving up red meat and sweets.. It's kinda hard with the sweets cause I love ice cream, cake, and cookies... candy not so much but the 1st three are a given.. red meat comes and goes but I figured I'd comply with that.. I'm just gonna stay prayed up and ask God to get me through.. I'm looking at this as a personal sacrifice for God and not myself... It's gonna get me closer to him and his word...I'll Make It..B
Fourth year - 4ºD - Tuesday 16 February 2010
Summary of the class:
- Pages 36 and 37. Reading and vocabulary
- Speaking practice: The risk questionnaire. Click here to see the questions.
- Page 38. Listening: Ben Saunders and the polar bear.
Homework: - Page 36, exercise 4 - Page 38, exercise 5
First year - 1ºC - Tuesday 16 February 2010
Summary of the class:
- Speaking practice: revision
- Speaking practice: When were you born? I was born on...
- Page 52. Listening: Four American presidents
-Pages 52, 130 and 131. Grammar: was / were
- Page 52. Pronunciation: was / were /wasn't / weren't
- Pages 109 and 112. Communication: George Washington, Theodore Roosevelt and Abraham Lincoln.
- Page 53. Four statues
Homework: Write a paragraph about a famous statue or about a dead famous person. When was he/she born? Where was he/she born? Who was he/she in life? What was he/she famous for?
Tuesday, February 16, 2010
You might not want to throw these out yet
Under consideration at the moment as a possible holder format for New55, this simple Kodak Readyload film holder has certain attributes that make it a good candidate for future use.Ludacris new album "Battle Of The Sexes" bringing Female Rap Back?
When I heard Ludacris was doing a battle of the Sexes album with Shawnna I kinda frowned upon the idea of not expecting the two to carry an entire album. After [Shawnna] jumped ship again from DTP Luda decided to align a whole female cast to be featured on her cd. The 1st single "How Low Can You Go" feat Shawnna was welcomed with lil to no buzz and a very lackluster video. Now switching gears Ludacris has dropped 2nd single "My Chick Is Bad" feat rap new comer Nicki Minaj.
I'm kinda excited because from what I'm hearing the album will feature Nicki, Lil Kim, Eve, Trina, Ciara and Diamond formally of Crime Mob. While the list is not "over the top" it does give hope to bring female MC's back to the forefront and make rap music sexy like Kim and Foxy did back in 06.... would have been nice if Foxy Brown, Missy, and maybe few others joined in on the new album..
Musical Revolutionary..: Issac Hayes
Isaac Lee Hayes, Jr. (August 20, 1942 – August 10, 2008)[1] was an American singer-songwriter, actor and musician. Hayes was one of the main creative forces behind southern soul music label Stax Records, where he served as both an in-house songwriter and producer with partner David Porter during the mid-1960s. Alongside, Bill Withers, the Sherman Brothers, Steve Cropper and John Fogerty, Hayes & Porter were named to the Songwriters Hall of Fame in 2005 in recognition of their string of successful hit songs for Sam & Dave, Carla Thomas and others In the late 1960s. Their hit song "Soul Man" by Sam & Dave has been recognized as one of the best or most influential songs of the past 50 years by the Grammy Hall of Fame, The Rock and Roll Hall of Fame, Rolling Stone magazine, and the RIAA Songs of the Century.
In the late 1960s, Hayes became a recording artist, and recorded successful soul albums such as Hot Buttered Soul (1969) and Black Moses (1971) as the Stax label's premier artist. In addition to his work in popular music, Hayes was a film score composer for motion pictures. His best known work, for the 1971 blaxploitation film Shaft, earned Hayes an Academy Award for Best Original Song (the first Academy Award received by an African-American in a non-acting category) and two Grammy Awards. He received a third Grammy for the album Black Moses.
In 1992, in recognition of his humanitarian work, he was crowned an honorary king of Ghana's Ada district. Hayes also acted in motion pictures and television; from 1997 to 2005, he provided the voice for the character "Chef" on the Comedy Central animated TV series South Park, and Gandolf "Gandy" Fitch on The Rockford Files (which ran on NBC from 1974-1980).
Lady Gaga.. She Sick Wit It....lls
I must admit aside from the fact Lady Gaga has a pretty nice voice her style game is on another level entirely! Usually when I see this type of stuff I laugh and keep it going but homegirl is in a whole other league all by herself. Known for her over the top performances and outrageous outfits here she is with my pop queen and sex symbol Beyonce' on the set of Gaga's new video "Telephone"...
It's amazing cause when she's giving interviews she's like a totally different person.. Would love to meet her one day...
B
Fourth year - 4ºA - Monday 16 February 2010
Summary of the class:
- Speaking. What characteristics would you look for in a job? Click here to read the vocabulary.
- Listening: Two surveys
- Pages 36 and 37. Reading and vocabulary
- Speaking practice: The risk questionnaire. Click here to see the questions.
First year - 1ºB - Monday 15 February 2010
Summary of the class:
- Speaking: revision possessives
- Page 47. Song: Unchained Melody. Listen to the song and click here to read the lyrics.
- Page 48. Vocabulary: clothes.
- Page 48. Listening: buying clothes.
- Page 48. Social English.
- Page 49. Writing: describing a friend.
- Listening practice
Gwen Stefani Hair Dance for Harajuku
Gwen Stefani Hair Dance for HarajukuStefani performs and makes public appearances with four back-up dancers known as the Harajuku Girls dancers. Stefani made her onstage debut during a talent show at Loara High School, where she sang "I Have Confidence," from The Sound of Music, in a self-made tweed dress inspired by one from the film. Stefani was on the Loara swim team in an attempt to lose
Popular Floral Hair Varies
Popular Floral Hair VariesTry incorporating one of these floral accessories into your wedding hairstyle for an ultra-romantic look!Get them in pearls or Swarovski crystals, as these will really pop up on black hair. Complement a half updo with a delicate pearl tiara made with white moonstones and opals for a belle-of-the-ball feel. Curly-haired brides can put on little flowery jewel clips, or pin
Popular Punk Varies Harajuku
Popular Punk Varies HarajukuPunk fashion varies widely, ranging from Vivienne Westwood designs to styles modeled on bands like The Exploited. The distinct social dress of other subcultures and art movements, including glam rock, skinheads, rude boys, greasers, and mods have influenced punk fashion. Punk fashion has likewise influenced the styles of these groups, as well as those of popular
Monday, February 15, 2010
The Visual Kei Popular Harajuku
The Visual Kei Popular HarajukuThe "kei" in Visual Kei is japanese for style of type, meaning "visual style music" The music ranges from eighties goth rock, to heavy metal to punk and usually some combo of the three.Visual Kei, known in japanese as vijuaru kei, refers to a movement among Japanese musicians characterized by eccentric flamboyant looks. This usually involves striking make-up,
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