Девочковое

Вот первое время (не первый раз же, не скажешь так! где мое настоящее продолженное время? ), наверное, чуть ли не за всю жизнь я довольна тем, как выглядят, ощущаются и ведут себя мои волосы без каких-либо укладок. Я очень не люблю применять лак, пенку и т.п., хотя иногда могу - для разнообразия. Я люблю свои выпрямленные волосы, но выпрямлять все время мне, опять же, лень.)) И вот, применяя некоторые средства для ухода, я получила хороший результат. Волосы гладкие, волнистые, и не торчат клочками, как они любили всегда делать. Схема такая: любой шампунь + маска "Золотой шелк" (тоже любая, в общем-то) + крем-кондиционер для вьющихся волос Barex (с льняным семенем), после мытья - спрей-сыворотка Kapous (и потом по мере необходимости). Если хочется получить мелкую "завивку" - спрей "Витамины для волос" "Золотой шелк".
Это все прекрасно, но как все это с собой тащить в какую-либо поездку? я пробовала отступать от схемы - результат тут же чувствуется, и не радует.

@темы: лытдыбр

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Субастику

01.06.2011 в 14:00

Пишет  Diary best:Пишет  Дубыня Кистякова:

Бразильский бренд H.Stern в сотрудничестве с Walt Disney выпустил волшебную коллекцию украшений по мотивам “Алисы в Стране чудес” Тима Бертона. Странные розы, грибной лес, обаятельный Чеширский кот и другие чудеса этой сказки служили вдохновением для дизайнеров.
Коллекция состоит из пяти колец, все они сделаны из золота, некоторые из них покрыты цветной эмалью и украшены алмазами.

про алису

бармаглотище)





еще одно изящное и тонкое колечко,сделаное из бумаги.


а раз уж про украшения дело зашло,то...

+

ну а где украшения,там и одежда....
чудесная идея шапки)

и еще стимпанковская флешка

@темы: objets d'art, коты, перепост, Alice

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Для Субастика

31.05.2011 в 14:00

Пишет  Diary best: Пишет  Taho:

Как создавался пинап
Пинап – это популярный в середине прошлого века американский стиль массового искусства – фривольные картинки с симпатичными девушками. Создавались эти картинки следующим образом: художник брал черно-белые фотографии реальных фотомоделей и перерисовывал их в цвете и более привлекательном виде. Хотя общественность в итоге видела только приукрашенные рисунки моделей, некоторые из них становились благодаря им знаменитостями и секс-символами.

@темы: арт, перепост, фото чужое

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Себе

www.nytimes.com/2006/03/12/movies/12itzk.html

FILM; The Vendetta Behind 'V for Vendetta'
By DAVE ITZKOFF


Single-Page

CORRECTION APPENDED
THE most vivid characters in Alan Moore's graphic novels are antiheroes of ambiguous morality and identity: costumed avengers like Rorschach, the disturbed street vigilante of ''Watchmen,'' or the crusader known only by the letter V, who commits catastrophic acts of terrorism in the dystopian tale ''V for Vendetta.''

With inventions like these, and a body of writing that spans nearly three decades, Mr. Moore, a 52-year-old native of Northampton, England, distinguished himself as a darkly philosophical voice in the medium of comic books -- a rare talent whose work can sell solely on the strength of his name. But if Mr. Moore had his way today, his name would no longer appear on almost any of the graphic novels with which he is most closely associated. ''I don't want anything more to do with these works,'' he said in a recent telephone interview, ''because they were stolen from me -- knowingly stolen from me.''

In Mr. Moore's account of his career, the villains are clearly defined: they are the mainstream comics industry -- particularly DC Comics, the American publisher of ''Watchmen'' and ''V for Vendetta'' -- which he believes has hijacked the properties he created, and the American film business, which has distorted his writing beyond recognition. To him, the movie adaptation of ''V for Vendetta,'' which opens on Friday, is not the biggest platform yet for his ideas: it is further proof that Hollywood should be avoided at all costs. ''I've read the screenplay,'' Mr. Moore said. ''It's rubbish.''

Mr. Moore has never been shy about expressing himself. With ''Watchmen,'' a multilayered epic from 1986-87 (illustrated by Dave Gibbons) about a team of superheroes in an era of rampant crime and nuclear paranoia -- and again with ''V for Vendetta'' (illustrated by David Lloyd), published in America in 1988-89, about an enigmatic freedom fighter opposing a totalitarian British regime -- Mr. Moore helped prove that graphic novels could be a vehicle for sophisticated storytelling. ''Alan was one of the first writers of our generation, of great courage and great literary skill,'' said Paul Levitz, the president and publisher of DC Comics. ''You could watch him stretching the boundaries of the medium.''

But by 1989, Mr. Moore had severed his ties with DC. The publisher says he objected to its decision to label its adult-themed comics (including some of his own) as ''Suggested for Mature Readers.'' Mr. Moore says he was objecting to language in his contracts that would give him back the rights to ''Watchmen'' and ''V for Vendetta'' when they went out of print -- language that he says turned out to be meaningless, because DC never intended to stop reprinting either book. ''I said, 'Fair enough,' '' he recalls. '' 'You have managed to successfully swindle me, and so I will never work for you again.' ''

Mr. Levitz said that such so-called reversion clauses routinely appear in comic book contracts, and that DC has honored all of its obligations to Mr. Moore. ''I don't think Alan was dissatisfied at the time,'' Mr. Levitz said. ''I think he was dissatisfied several years later.''

Mr. Lloyd, the illustrator of ''V for Vendetta,'' also found it difficult to sympathize with Mr. Moore's protests. When he and Mr. Moore sold their film rights to the graphic novel, Mr. Lloyd said: ''We didn't do it innocently. Neither myself nor Alan thought we were signing it over to a board of trustees who would look after it like it was the Dead Sea Scrolls.''

Mr. Moore recognizes that his senses of justice and proportion may seem overdeveloped. ''It is important to me that I should be able to do whatever I want,'' he said. ''I was kind of a selfish child, who always wanted things his way, and I've kind of taken that over into my relationship with the world.''

Today, he resides in the sort of home that every gothic adolescent dreams of, one furnished with a library of rare books, antique gold-adorned wands and a painting of the mystical Enochian tables used by Dr. John Dee, the court astrologer of Queen Elizabeth I. He shuns comic-book conventions, never travels outside England and is a firm believer in magic as a ''science of consciousness.'' ''I am what Harry Potter grew up into,'' he said, ''and it's not a pretty sight.''

(Page 2 of 3)

Actually, he more closely resembles the boy-wizard's half-giant friend Hagrid, with his bushy, feral beard and intense gaze, but those closest to Mr. Moore say his intimidating exterior is deceptive. ''Because he looks like a wild man, people assume that he must be one,'' said the artist Melinda Gebbie, Mr. Moore's fiancée and longtime collaborator. ''He's frightening to people because he doesn't seem to take the carrot, and he's fighting to maintain an integrity that they don't understand.''

After he left DC Comics, he spent the 1990's working his way from one independent publisher to the next, ultimately arriving at Wildstorm Studios, owned by the comics artist Jim Lee. There, Mr. Moore was given his own imprint, called America's Best Comics, where he continued to write such pioneering and popular titles as ''The League of Extraordinary Gentlemen,'' about a proto-superhero team of Victorian literary characters including Allan Quatermain, Captain Nemo and the Invisible Man.

DC Comics purchased Wildstorm, in 1998, expecting that Mr. Moore would not tolerate the arrangement. ''We did the deal on the assumption that Alan would be gone the day it was signed,'' said Mr. Levitz. But Mr. Moore's loyalty to his artists trumped his aversion to his former employers, and he stayed put. ''It seemed easier to bite the bullet meself,'' he said.

In 2001, the first film adaptation of one of Mr. Moore's graphic novels arrived in theaters. ''From Hell,'' distributed by 20th Century Fox, was based on his extensively researched account of the Jack the Ripper murders, a 572-page black-and-white title illustrated by Eddie Campbell. Mr. Moore had no creative participation in the film, and happily so. ''There was no way that I would be able to be fair to it,'' he said. ''I did not wish to be connected with it, and regarded it as something separate to my work. In retrospect, this was kind of a naïve attitude.''

Two years later, when 20th Century Fox released a movie version of ''The League of Extraordinary Gentlemen,'' the screenwriter Larry Cohen and the producer Martin Poll sued the studio, charging that elements of the film had been plagiarized from their work. Though the film, which was one of the year's costliest flops, differed drastically from the graphic novel, the lawsuit nonetheless claimed that the ''Extraordinary Gentlemen'' comics had been created as a ''smokescreen'' to cover up the theft.

Mr. Moore found the accusations deeply insulting, and the 10 hours of testimony he was compelled to give, via video link, even more so. ''If I had raped and murdered a schoolbus full of retarded children after selling them heroin,'' he said, ''I doubt that I would have been cross-examined for 10 hours.'' When the case was settled out of court, Mr. Moore took it as an especially bitter blow, believing that he had been denied the chance to exonerate himself.

Since then, he has refused to allow any more movies to be made from work he controls. In the case of work whose rights he does not control, he has refused credits on any film adaptations, and has given his share of option money and royalties to the artists who illustrated the original comic books. That position is so radical that though his colleagues say they respect his position, few in the film industry can understand it.

''It's very simple, but they don't seem to hear it,'' said John O'Neill, the illustrator of ''The League of Extraordinary Gentlemen.'' ''They just gravitate towards offering more money.''

Last year, when Mr. Moore received a phone call from Larry Wachowski -- who, with his brother, Andy, had written and directed the ''Matrix'' movies -- to discuss the ''V for Vendetta'' film that the Wachowskis were writing and producing for Warner Brothers, Mr. Moore felt he had made it clear that he did not want to be involved in the project.

''I explained to him that I'd had some bad experiences in Hollywood,'' Mr. Moore said. ''I didn't want any input in it, didn't want to see it and didn't want to meet him to have coffee and talk about ideas for the film.''

(Page 3 of 3)

But at a press conference on March 4, 2005, to announce the start of production on the ''V for Vendetta'' film, the producer Joel Silver said Mr. Moore was ''very excited about what Larry had to say and Larry sent the sсript, so we hope to see him sometime before we're in the U.K.'' This, Mr. Moore said, ''was a flat lie.''

''Given that I'd already published statements saying I wasn't interested in the film, it actually made me look duplicitous,'' he said.

In a telephone interview, Mr. Silver said he had misconstrued a meeting he had with Mr. Moore and Dave Gibbons nearly 20 years ago, when Mr. Silver first acquired the film rights to ''Watchmen'' and ''V for Vendetta.'' (Mr. Silver no longer owns the rights to ''Watchmen,'' though Warner Brothers is still planning an adaptation.) ''I had a nice little lunch with them,'' he said, ''and Alan was odd, but he was enthusiastic and encouraging us to do this. I had foolishly thought that he would continue feeling that way today, not realizing that he wouldn't.''

Mr. Silver said he called Mr. Moore to apologize for his statement at the press conference, but that Mr. Moore was unmoved. ''He said to me, 'I'm going to hang up on you if you don't stop talking to me,' '' Mr. Silver recalled. ''It was like a conversation with a tape recording.''

Through his editors at DC Comics (like Warner Brothers, a subsidiary of Time Warner), Mr. Moore insisted that the studio publicly retract Mr. Silver's remarks. When no retraction was made, Mr. Moore once again quit his association with DC (and Wildstorm along with it), and demanded that his name be removed from the ''V for Vendetta'' film, as well as from any of his work that DC might reprint in the future.

The producers of ''V for Vendetta'' reluctantly agreed to strip Mr. Moore's name from the film's credits, a move that saddened Mr. Lloyd, who still endorses the film. ''Alan and I were like Laurel and Hardy when we worked on that,'' Mr. Lloyd said. ''We clicked. I felt bad about not seeing a credit for that team preserved, but there you go.''

DC, however, said it would be inappropriate to take Mr. Moore's name off of any of his works. ''This isn't an adaptation of the work, it's not a derivative work, it's not a work that's been changed in any fashion from how he was happy with it a minute ago,'' said Mr. Levitz.

Still, some DC editors hope that Mr. Moore might return. ''He remains a good friend, and I would work with him again in a heartbeat,'' said Karen Berger, the executive editor of the DC imprint Vertigo, in an e-mail statement.

But Mr. Moore does not seem likely to change his mind this time. For one thing, his schedule is almost entirely consumed with other comics projects, including a new volume of ''The League of Extraordinary Gentlemen,'' to be released in late 2006 or early 2007 by the American publisher Top Shelf Productions. This summer, Mr. Moore said, Top Shelf will also be publishing ''Lost Girls,'' his 16-years-in-the-making collaboration with Ms. Gebbie, a series of unrepentantly pornographic adventures told by the grown-up incarnations of Wendy Darling of ''Peter Pan,'' Alice of ''Alice's Adventures in Wonderland'' and Dorothy Gale of ''The Wizard of Oz.'' ''I refuse to call it erotica, because that just sounds like pornography for people who've got more money,'' Mr. Moore said. ''It would seem to be possible to come up with a kind of pornography that was meaningful and beautiful, not ugly.''

Ms. Gebbie said she was more excited to see Mr. Moore finish his novel ''Jerusalem,'' another years-long project that he estimates will total 750 pages when complete. ''It's his story, his heritage, his blood ties and his amazing, wonderful system of beliefs,'' Ms. Gebbie said. ''This book for him is an unfolding of his real, deep self.''

But Mr. Moore suggested that his comic-book writing has already defined his identity. He recalled an encounter with a fan who asked him to sign a horrific issue of his 1980's comic ''The Saga of the Swamp Thing''; the admirer then disclosed that he was a special effects designer for the television series ''CSI: NY.'' ''Every time you've got an ice pick going into someone's brain, and the close-ups of the little spurting ruptured blood vessels, and that horrible squishing sound, that's him,'' Mr. Moore said. ''So that's something I can be proud of. This is my legacy.''


Photos: Alan Moore, above left, created V, the avenging hero of the comic book and graphic novel ''V for Vendetta'' (drawn by David Lloyd), which has been adapted into a movie starring Hugo Weaving, top. (Photos by above, illustration by The New York Times, photograph by David Appleby/Warner Brothers Pictures. Below left, José Villarrubia.)(pg. 1); Alan Moore's series ''V for Vendetta,'' top, depicts a totalitarian British dystopia. In the film, Natalie Portman plays Evey, the protégée of V, in foreground, a terrorist in one view, a freedom fighter in another. (Photo by David Appleby/Warner Brothers Pictures); ''From Hell,'' by Alan Moore and Eddie Campbell, is a grim fantasia on the Jack the Ripper murders.; ''Lost Girls'' is a collaboration between Mr. Moore and Melinda Gebbie. (pg. 13)

< Previous Page 1 2 3
Correction: March 19, 2006, Sunday An article last Sunday about the graphic novelist Alan Moore misstated the given name of the illustrator of Mr. Moore's book ''The League of Extraordinary Gentlemen.'' The illustrator is Kevin O'Neill, not John.
**
**
The Vendetta Behind 'V for Vendetta'

By DAVE ITZKOFF

Published: March 12, 2006

David Abbleby/Warner Brothers Pictures

Hugo Weaving as V, the avenging hero of the screen adaptation of the comic book and graphic novel "V for Vendetta."

Josй Villarrubia

Alan Moore created V, the avenging hero of the comic book and graphic novel "V for Vendetta" (drawn by David Lloyd), which has been adapted into a movie.

THE most vivid characters in Alan Moore's graphic novels are antiheroes of ambiguous morality and identity: costumed avengers like Rorschach, the disturbed street vigilante of "Watchmen," or the crusader known only by the letter V, who commits catastrophic acts of terrorism in the dystopian tale "V for Vendetta."

With inventions like these, and a body of writing that spans nearly three decades, Mr. Moore, a 52-year-old native of Northampton, England, distinguished himself as a darkly philosophical voice in the medium of comic books — a rare talent whose work can sell solely on the strength of his name. But if Mr. Moore had his way today, his name would no longer appear on almost any of the graphic novels with which he is most closely associated. "I don't want anything more to do with these works," he said in a recent telephone interview, "because they were stolen from me — knowingly stolen from me."

In Mr. Moore's account of his career, the villains are clearly defined: they are the mainstream comics industry — particularly DC Comics, the American publisher of "Watchmen" and "V for Vendetta" — which he believes has hijacked the properties he created, and the American film business, which has distorted his writing beyond recognition. To him, the movie adaptation of "V for Vendetta," which opens on Friday, is not the biggest platform yet for his ideas: it is further proof that Hollywood should be avoided at all costs. "I've read the screenplay," Mr. Moore said. "It's rubbish."

Mr. Moore has never been shy about expressing himself. With "Watchmen," a multilayered epic from 1986-87 (illustrated by Dave Gibbons) about a team of superheroes in an era of rampant crime and nuclear paranoia — and again with "V for Vendetta" (illustrated by David Lloyd), published in America in 1988-89, about an enigmatic freedom fighter opposing a totalitarian British regime — Mr. Moore helped prove that graphic novels could be a vehicle for sophisticated storytelling. "Alan was one of the first writers of our generation, of great courage and great literary skill," said Paul Levitz, the president and publisher of DC Comics. "You could watch him stretching the boundaries of the medium."

But by 1989, Mr. Moore had severed his ties with DC. The publisher says he objected to its decision to label its adult-themed comics (including some of his own) as "Suggested for Mature Readers." Mr. Moore says he was objecting to language in his contracts that would give him back the rights to "Watchmen" and "V for Vendetta" when they went out of print — language that he says turned out to be meaningless, because DC never intended to stop reprinting either book. "I said, 'Fair enough,' " he recalls. " 'You have managed to successfully swindle me, and so I will never work for you again.' "

Mr. Levitz said that such so-called reversion clauses routinely appear in comic book contracts, and that DC has honored all of its obligations to Mr. Moore. "I don't think Alan was dissatisfied at the time," Mr. Levitz said. "I think he was dissatisfied several years later."

Mr. Lloyd, the illustrator of "V for Vendetta," also found it difficult to sympathize with Mr. Moore's protests. When he and Mr. Moore sold their film rights to the graphic novel, Mr. Lloyd said: "We didn't do it innocently. Neither myself nor Alan thought we were signing it over to a board of trustees who would look after it like it was the Dead Sea Scrolls."

Mr. Moore recognizes that his senses of justice and proportion may seem overdeveloped. "It is important to me that I should be able to do whatever I want," he said. "I was kind of a selfish child, who always wanted things his way, and I've kind of taken that over into my relationship with the world."

Today, he resides in the sort of home that every gothic adolescent dreams of, one furnished with a library of rare books, antique gold-adorned wands and a painting of the mystical Enochian tables used by Dr. John Dee, the court astrologer of Queen Elizabeth I. He shuns comic-book conventions, never travels outside England and is a firm believer in magic as a "science of consciousness." "I am what Harry Potter grew up into," he said, "and it's not a pretty sight."

Actually, he more closely resembles the boy-wizard's half-giant friend Hagrid, with his bushy, feral beard and intense gaze, but those closest to Mr. Moore say his intimidating exterior is deceptive. "Because he looks like a wild man, people assume that he must be one," said the artist Melinda Gebbie, Mr. Moore's fiancйe and longtime collaborator. "He's frightening to people because he doesn't seem to take the carrot, and he's fighting to maintain an integrity that they don't understand."

After he left DC Comics, he spent the 1990's working his way from one independent publisher to the next, ultimately arriving at Wildstorm Studios, owned by the comics artist Jim Lee. There, Mr. Moore was given his own imprint, called America's Best Comics, where he continued to write such pioneering and popular titles as "The League of Extraordinary Gentlemen," about a proto-superhero team of Victorian literary characters including Allan Quatermain, Captain Nemo and the Invisible Man.

(Page 2 of 2)

DC Comics purchased Wildstorm, in 1998, expecting that Mr. Moore would not tolerate the arrangement. "We did the deal on the assumption that Alan would be gone the day it was signed," said Mr. Levitz. But Mr. Moore's loyalty to his artists trumped his aversion to his former employers, and he stayed put. "It seemed easier to bite the bullet meself," he said.

Skip to next paragraph

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Alan Moore's series "V for Vandetta" depicts a totalitarian British dystopia.

Trailer for 'V for Vendetta'

Forum: Movies

 

In 2001, the first film adaptation of one of Mr. Moore's graphic novels arrived in theaters. "From Hell," distributed by 20th Century Fox, was based on his extensively researched account of the Jack the Ripper murders, a 572-page black-and-white title illustrated by Eddie Campbell. Mr. Moore had no creative participation in the film, and happily so. "There was no way that I would be able to be fair to it," he said. "I did not wish to be connected with it, and regarded it as something separate to my work. In retrospect, this was kind of a naпve attitude."

Two years later, when 20th Century Fox released a movie version of "The League of Extraordinary Gentlemen," the screenwriter Larry Cohen and the producer Martin Poll sued the studio, charging that elements of the film had been plagiarized from their work. Though the film, which was one of the year's costliest flops, differed drastically from the graphic novel, the lawsuit nonetheless claimed that the "Extraordinary Gentlemen" comics had been created as a "smokescreen" to cover up the theft.

Mr. Moore found the accusations deeply insulting, and the 10 hours of testimony he was compelled to give, via video link, even more so. "If I had raped and murdered a schoolbus full of retarded children after selling them heroin," he said, "I doubt that I would have been cross-examined for 10 hours." When the case was settled out of court, Mr. Moore took it as an especially bitter blow, believing that he had been denied the chance to exonerate himself.

Since then, he has refused to allow any more movies to be made from work he controls. In the case of work whose rights he does not control, he has refused credits on any film adaptations, and has given his share of option money and royalties to the artists who illustrated the original comic books. That position is so radical that though his colleagues say they respect his position, few in the film industry can understand it.

"It's very simple, but they don't seem to hear it," said John O'Neill, the illustrator of "The League of Extraordinary Gentlemen." "They just gravitate towards offering more money."

Last year, when Mr. Moore received a phone call from Larry Wachowski — who, with his brother, Andy, had written and directed the "Matrix" movies — to discuss the "V for Vendetta" film that the Wachowskis were writing and producing for Warner Brothers, Mr. Moore felt he had made it clear that he did not want to be involved in the project.

"I explained to him that I'd had some bad experiences in Hollywood," Mr. Moore said. "I didn't want any input in it, didn't want to see it and didn't want to meet him to have coffee and talk about ideas for the film."

But at a press conference on March 4, 2005, to announce the start of production on the "V for Vendetta" film, the producer Joel Silver said Mr. Moore was "very excited about what Larry had to say and Larry sent the sсript, so we hope to see him sometime before we're in the U.K." This, Mr. Moore said, "was a flat lie."

"Given that I'd already published statements saying I wasn't interested in the film, it actually made me look duplicitous," he said.

In a telephone interview, Mr. Silver said he had misconstrued a meeting he had with Mr. Moore and Dave Gibbons nearly 20 years ago, when Mr. Silver first acquired the film rights to "Watchmen" and "V for Vendetta." (Mr. Silver no longer owns the rights to "Watchmen," though Warner Brothers is still planning an adaptation.) "I had a nice little lunch with them," he said, "and Alan was odd, but he was enthusiastic and encouraging us to do this. I had foolishly thought that he would continue feeling that way today, not realizing that he wouldn't."

Mr. Silver said he called Mr. Moore to apologize for his statement at the press conference, but that Mr. Moore was unmoved. "He said to me, 'I'm going to hang up on you if you don't stop talking to me,' " Mr. Silver recalled. "It was like a conversation with a tape recording."

Through his editors at DC Comics (like Warner Brothers, a subsidiary of Time Warner), Mr. Moore insisted that the studio publicly retract Mr. Silver's remarks. When no retraction was made, Mr. Moore once again quit his association with DC (and Wildstorm along with it), and demanded that his name be removed from the "V for Vendetta" film, as well as from any of his work that DC might reprint in the future.

The producers of "V for Vendetta" reluctantly agreed to strip Mr. Moore's name from the film's credits, a move that saddened Mr. Lloyd, who still endorses the film. "Alan and I were like Laurel and Hardy when we worked on that," Mr. Lloyd said. "We clicked. I felt bad about not seeing a credit for that team preserved, but there you go."

DC, however, said it would be inappropriate to take Mr. Moore's name off of any of his works. "This isn't an adaptation of the work, it's not a derivative work, it's not a work that's been changed in any fashion from how he was happy with it a minute ago," said Mr. Levitz.

Still, some DC editors hope that Mr. Moore might return. "He remains a good friend, and I would work with him again in a heartbeat," said Karen Berger, the executive editor of the DC imprint Vertigo, in an e-mail statement.

But Mr. Moore does not seem likely to change his mind this time. For one thing, his schedule is almost entirely consumed with other comics projects, including a new volume of "The League of Extraordinary Gentlemen," to be released in late 2006 or early 2007 by the American publisher Top Shelf Productions. This summer, Mr. Moore said, Top Shelf will also be publishing "Lost Girls," his 16-years-in-the-making collaboration with Ms. Gebbie, a series of unrepentantly pornographic adventures told by the grown-up incarnations of Wendy Darling of "Peter Pan," Alice of "Alice's Adventures in Wonderland" and Dorothy Gale of "The Wizard of Oz." "I refuse to call it erotica, because that just sounds like pornography for people who've got more money," Mr. Moore said. "It would seem to be possible to come up with a kind of pornography that was meaningful and beautiful, not ugly."

Ms. Gebbie said she was more excited to see Mr. Moore finish his novel "Jerusalem," another years-long project that he estimates will total 750 pages when complete. "It's his story, his heritage, his blood ties and his amazing, wonderful system of beliefs," Ms. Gebbie said. "This book for him is an unfolding of his real, deep self."

But Mr. Moore suggested that his comic-book writing has already defined his identity. He recalled an encounter with a fan who asked him to sign a horrific issue of his 1980's comic "The Saga of the Swamp Thing"; the admirer then disclosed that he was a special effects designer for the television series "CSI: NY." "Every time you've got an ice pick going into someone's brain, and the close-ups of the little spurting ruptured blood vessels, and that horrible squishing sound, that's him," Mr. Moore said. "So that's something I can be proud of. This is my legacy."

http://www.nytimes.com/2006/03/12/movies/12itzk.html?pagewanted=1

@темы: кино, заметки для себя

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Вики про Гая Фокса

Гай (Гвидо, Ги) Фокс (англ. Guy (Guido) Fawkes, встречаются и другие написания имени и фамилии; 13 апреля 1570 — 31 января 1606) — английский дворянин-католик, родился в Йорке, самый знаменитый участник Порохового заговора против английского и шотландского короля Якова I в 1605 году.

Хотя Гай Фокс не был главой заговора и инициатором покушения на короля, однако именно ему было поручено зажечь фитиль, ведущий к наполненному порохом помещению под палатой лордов в Лондоне. Там он и был арестован в ночь на 5 ноября 1605 года. Этим объясняется то, что именно его имя стало символом всего заговора.

Подвергнутый, по прямому указанию короля, пыткам, Фокс выдал своих сообщников, которые были также вскоре задержаны и преданы показательному суду (с предрешённым приговором), который состоялся 27 января. Фокс и его сообщники были приговорены к «повешению, потрошению и четвертованию», однако во время казни, состоявшейся 31 января, Фоксу удалось спрыгнуть с эшафота с петлей на шее и сломать себе шею, таким образом избежав следующих этапов мучительной казни.
меня вот что удивило:
Имя Гая Фокса было увековечено в названиях различных празднеств, посвящённых чудесному избавлению короля («Ночь Гая Фокса» до сих пор отмечается во многих англоязычных странах 5 ноября), в песнях. Слово guy стало обозначать чучело Фокса, сжигаемое в годовщину заговора, затем чучело вообще, затем плохо одетого человека, и наконец (в разговорном американском английском) — любого молодого человека, парня.
В англ. статье говорится - "любого человека мужского пола".

@темы: словаррр, лингвистика

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Субастику)

Какая-то додзя про поросенка))
Пишет  -Sofi-:

28.05.2011 в 00:06

поросенок и Хидзиката/Окита(на немецком)

смотреть

перевод

перевод:
Утро, все хотат спать и зевают. Свиньямже надо поесть. Саизо разрабатывает план прыганья по Соджи, пытаясь вынюхать последнего. Пройдя через кучу комнат, поросенок нытыкается-такина хозяина.
С: Хиджиката-сан... Саизо, ты здесь что делаешь? Оу, я что, забыл вас покормить? Спите спокойно, Хиджиката-сан! А ты будь потише, а то Хиджикат-сан проснеться и сделает свинной шашлык.Так... мы идем кормить свинюшек!
Х: Соджи!
С: Извините, чтоя о вас забыл, но вчера столько всего произшло... Что случилось? Это прозвучало как...
Х: Стоять, проклятое "пип пип пип"!
С: Саизо!
Х: Соджи, немедленно выдай мне эту свинью. Это приказ.
С: Чем Вы так возбужденны? Что Вам сделал Саизо? Хм, 100% вкус носа Саизо
Х: И иммено поэтому свинья и должна сдохнуть!
Саизо все пофигу - унего уже травма на всю жизнь...
С: Это моя вина, что Саизо пришел в Вашу комнату. Я обещаю, что это больше неповтрится, так что будьте милостивы! ХиДжиКаТа-сан! плизплизплизплизплизплиз
Х: О.к. лан... Согласен... Я тебе все-равно отказать немогу...
С: Спасибо,Хиджиката-сан.! Вы такой хороший человек!
Х: Чего?
С: Ну, тебе повезло, Саизо!
Х: Но только при одном условии...
С: Условии?
Х: Позаботься о том, чтоб у меня исчез привкус свинного рыла.
С: Ничего более лучшего чем это (придумать нельзя).

@темы: арт, перепост, веселье

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Потрясла стариной))

Попались на сообществе Алисы стихи, к которым быстро подобралась мелодия. Ну и пришлось записать, чтоб она уже не крутилась в голове без конца) но собиралась долго... но сегодня как уж собралась - и даже охрипший голос меня не остановил.))
Немного внесла изменения в текст. А текст очень песенный, балладный, действительно.
Применила я тут Субастикову блок-флейту. Первый раз) ура. Простейшую фразу научилась играть, криво, правда. Ну да монтаж спасает.
стихи от Мега Абеляр тут

	Langwidere's Heads Sing Along - В доме Алисы - в доме Шляпника (стихи-Мега Абеляр)
	Скачать Обсудить	Realmusic.ru

@темы: творчество автора, перепост, соавторство, Alice

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Вчера копалась в музыке по делам и набрела на довольно большую коллекцию. Я смотрела раздел "ретро" - много редкого, оцифрованного с пластинок. Накопала немножко эстрадных оркестров себе)) мне давно надо было поискать, но я все не могла сообразить, что это именно эстрадными оркестрами называется.
поиск по категории ретро

@темы: ссылки, заметки для себя, находки, музыка, лытдыбр

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Субастику

26.05.2011 в 13:00

Пишет  Diary best:

Конкурс на лучшую запись месяца!

Пишет  _FOTINA:

When the world was black & white

ещё много старых и очень старых фотографий

@темы: перепост, фото чужое

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Lyambda3000, приветствую!)

@темы: арт, поздравления

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Субастику перепост

21.05.2011 в 13:53

Пишет  Лоссэ:

А два года назад, на этой неделе...Среда, 20 мая 2009 Пишет  Diary best:
Пишет  Sugizo Edogava:
Я, Дуся и ночные бдения
Собственно, рассказ в картинках о том, почему Сугизо Гендзирович сегодня не выспался.

Обычно Дуся спит с мамой. Потому что мама ее кормит, ясен пень. Но в редкие ночи кошатина приходит спать ко мне. Не знаю почему – то ли ей у родителей холодно становится, то ли спящая маман взбрыкивает и наподдает ей ногой. То ли звезды так встают.
Вчера случай был самый что ни на есть понятный – Дусильда с утра художественно сблеванула на родительскую кровать, и была отодрана за ухи, отчего к родительской спальне у нее случилась стойкая идиосинкразия. (Оффтоп: ну надо же! Слово «идиосинкразия» ворд знает, а слово «сблеванула» нет!)

Так вот. Обычно диван у меня расстелен, я сплю в одном углу, Дуся в другом и за ночь мы друг с другом не встречаемся. Выглядит это примерно вот так.



Но сегодня случилось для Дуси двойное западло. Мало того, что идиосинкразия замучила, так еще младший хозяин заленился расстелить диван, от чего и сам пострадал, потому что ноги не влезают и кошко осталась без места. Но начнем по порядку.

Дальше

1. 2:30 – кошко доделывает все свои ночные дела и начинает ломиться ко мне в комнату, дабы отдохнуть от трудов праведных.


2. Я открываю ей дверь. Дуся лицезреет западло.


3. Оскорбляется до глубины своей кошачьей души, потому что младший хозяин мало того, что не подготовился к ее приходу, так еще и все спальные места один занял.


4. И обижается НАВСЕГДА! Встаю открыть дверь….


5. Снова пытаюсь улечься на этом прокрустовом ложе, проклиная себя за лень раздвинуть диван, забываюсь на несколько минут в тревожном сне. Снятся мне белые кошки в кокошниках и картузах.


6. Но Дуся – создание света! Она не умеет сердиться долго! Сомнамбула в моем лице идет открывать ей дверь.


7. Но Дуся – создание не только светлое и отходчивое, но еще и хитрожопое! Она решает занять диван быстрее сомнамбулы. Сомнамбула же принимает решение оставить в конце-концов дверь открытой. От греха.


8. Дуся – не только отходчивая и хитрожопая, но еще и легкая! Она запросто задвигается к стенке моим мощщщным туловищщщем, где и сидит какое-то время в недоумении.


9. Кошко выжидает нужный момент и начинает искать ТО САМОЕ МЕСТО, на котором ей будет прекольно и сладко спать. Например, на моих ногах….


10. ИЛИ НА ГОЛОВЕ!!!


11. На спинке дивана безопасно… но не удобно…


12. ВО! На подлокотнике – самое оно! От удовольствия и разрешения ситуации эта опёздала начинает ЧАВКАТЬ! Вы мне скажите, чем может чавкать кошка в три часа ночи? Вот! И я тоже не знаю!


13. Без коментариев


14. Вышеупомянутое в моей речи животное показывает всем своим видом, что оно оскорблено до глубины души.


Но она же светлая! Поэтому ближе к четырем часам ночи вернулась и проспала остаток ночи на стуле под столом и вылезла оттуда только когда я зашумел феном.

@темы: перепост, веселье

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Для Субастика перепост

23.05.2011 в 14:00

Пишет  Diary best:
Пишет  Графиня Барбосса:

Монстер Саплайз, реклама проплаченная ассоциацией британских зельеваров
Самый странный магазин Лондона, дорогие кукусики, предлагает вам, вашим воображаемым друзьям и знакомаым вампирам приобрести жизненно необходимые в хозяйстве вещи, о которых мы сегодня и расскажем в нашем выпуске.
Итак, магазин "Монстер Саплайз", или, как намекает вольный перевод, "Монстрснаб".



Вроде бы ничего особенного.
А теперь смотрим ближе:




Прямо у входа потенциальных покупателей информируют о том, что в магазине может находится только один великан, посетителям не рекомендуется пожирать персонал магазаина, вампиры в ночное время обслуживаются только по номеркам, магические бобы не принимаются в качестве оплаты, а людей тут конечно ждут, но только на их страх и риск. Озлобленным толпам вежливо рекомендуют потушить факелы, прежде чем врываться в магазин.



Человеческие жертвы тоже не считаются формой оплаты

А теперь сам товар:



баночки со смутным беспокойством



варенье из мозгов и мармелад из чего-то не менее ужасного



ключи для подтяжки шейных болтов



соплиии



зубная нить для драконов



банка нарастающей паники



кровь, вёрджин и экстра вёрджин



ну и какой же уважающий себя монстро-магазин без глаз, волос и других полезностей



освежитель дыхания для зомби и другие крайне необходимые вещи





а это ящитаю в комментариях вообще не нуждается



В общем, будете в Лондоне — заходите.

@темы: перепост, веселье, фото чужое

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Для Субастика

16.05.2011 в 10:00

Пишет  Diary best:
Пишет  Шири:

Мастер мимикрии
Молодой китайский художник и фотограф Лиу Болин известен также под именем Человек-невидимка. Он ловко маскирует человека, используя только свой талант и краски. Фоном для его многочисленных картин может служить все, что угодно, начиная с городской свалки и заканчивая зданиями сложной архитектуры.
Работать на улицах художник стал после того, как власти Китая закрыли его мастерскую в 2005 году. Несмотря на это, его работы известны и почитаемы во всем мире.
Сам мастер уверяет, что его искусство направлено против подобных действий правительства и продолжает поражать изяществом и оригинальностью своих работ, присутствуя практически на всех полотнах.
Лиу Болин родился в 1973 году в Шаньдуне, а образование скульптора получил в Центральной Академии изящных искусств в Пекине. Сейчас его работы выставляются во многих странах по всему миру, и пользуются невероятным успехом.

++

Серия работ «Hiding in the City»

Ancient watercource, 2007

Artillery, 2007

Column, 2008

Graffiti, 2008

Demolition, 2008

Dragon series №1

Dragon series №2

Dragon series №3

Suo Jia Cun

Roadblock, 2007

Emblem of the Beijing Olimpic Games

Sawmill, 2010

Forbidden City, 2010

National Day

Great Wall

Temple of Heaven

In the woods

Pile of coal, 2010

Supermarket, 2009

Supermarket 2, 2010

Работы на фоне прекрасных городских пейзажей.

Arena, 2008

Canal Grande - Ponde di Rialto, 2010

Chinese Garden, 2010

Duomo, 2010

Lagoon City of Venice, 2010

Loggia di Fra Giocondo, 2008

Piazza San Marco, 2010

Scala della Ragione, 2008

Художник находит вдохновение в самых неожиданных местах города, мимикрируя практически под любые предметы. Здесь он к примеру слился с телефонной будкой:

Или нашел свое местечко в знаменитом театре: Royal Box at Teatro alla Scala, 2010

А вот мастер «потерялся» на фоне стадиона:

Возле провинциальной стены:

Некоторые работы Лиу Болина поражают, другие заставляют задуматься, а есть и такие, от которые кидает в дрожь.
Человек-невидимка и окружающие его люди:

Некое привидение, тихо наблюдающее за вами:

Старые развали – новые призраки:

И, наконец, немой укор всем, кто не пустил эти души на заслуженный отдых:

Материалы подготовлены для журнала "Монастырские Хроники"

@темы: перепост, фото чужое

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Закрытая запись, не предназначенная для публичного просмотра

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olgamoncher, с днем рождения!))

Вдохновения всегда и во всем!

@темы: арт, поздравления, Led Zeppelin

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Для Субастика)

Найдено у Чеширочка

постер для "правильной" "Алисы" Бертона

www.etoday.ru/2011/05/kinoposteri-canal.php

@темы: кино, перепост, веселье

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Я наконец покрасилась) цвет получился несколько более ярким, чем я предполагала, но мне нравится. В честь этого события я решила пофотографироваться на площади - давно я не фоткалась просто так, без торжественного повода типа дня рождения - нового года - свадьбы.
Далее - много меня даже не в очень разных позах.

* * * *
Ну, граффити - это не площадь уже.
За желтый платочек и браслет респект Субастику))
Снова площадь. За спиной у меня библиотека:

Вид на площадь:

Тут у меня за спиной театр оперы и балета. Не сосбо его видно, конечно, ну да и никто на нем не акцентировался.


И вообще, что-то возникло у меня желание пофлудить своими фотками. Так что ждите)) буду ворошить арживы, если будет настроение.

@темы: фото меня, лытдыбр

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Для Субастика)

12.05.2011 в 13:00

Пишет  Diary best:

Конкурс на лучшую запись месяца!

Пишет  Paradoximus:

На геттиимаджес нашел

фотосессия с овощами и прочей едой

еще несколько

@темы: перепост, веселье, фото чужое

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Black Bride, поздравляю!))

Black Bride, поздравляю со сдачей госов!
И как-то к этому моменту у меня закончилась работа над "Чайками".
Проблемы с техникой сподвигли меня на то, чтобы покопаться в программе, в которой я еще ничего не делала, только взглянула на нее пару раз. Теперь немного разобралась) а именно, это Project 5 от Cakewalk. Там классные банки звуков))
Воооот.

	Langwidere's Heads Sing Along - Чайки (стихи - Black Bride)
	Скачать Обсудить	Realmusic.ru

И фанера:

	Langwidere's Heads Sing Along - Чайки - фонограмма
	Скачать Обсудить	Realmusic.ru

@темы: творчество автора, музыка, соавторство, поздравления

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Страшные. Да. Но - красивые.

18.10.2010 в 11:32

Пишет  [MASAMUNE]:

страшные куклы.
может заняться изготовлением? у меня не мение страшные получацца...

реально страшные, вам может сильно не понравится)) а я два дня думала, да и утащила в дневник (ILT).

много фотографий кукол

@темы: objets d'art, арт, перепост, фото чужое