A fine art, film, history and literature site oriented to, but not exclusively for, the gay community. Please be aware that there is mature content on this blog. Information on images and links to sources will be provided if known. Enjoy your visit and please subscribe.
Photographer Unknown, (Hot Day: Waiting for Service)
“Louisiana in September was like an obscene phone call from nature. The air – moist, sultry, secretive, and far from fresh – felt as if it were being exhaled into one’s face. Sometimes it even sounded like heavy breathing.”
―
Photographer Unknown, (Tracks of Man)
“I think that’s what we all want, in the end.
To know that we left footprints when we passed by, however briefly.
We want to be remembered.
So remember us.
Please.
Remember us.”
―
Amber Run, “I Found” from the Album “SAM”
Amber Run is a British band from Nottingham, UK composed of Joe Keogh, Will Jones, Tom Sperring and Henry Wyeth. The band has released one album and three EPs while being signed to RCA Records. They were initially called Amber but were forced to change their name to avoid a conflict with the German dance-pop singer of same name.[3] The band has played mostly in the UK and Ireland.
In July and August 2014 the band released videos for the single “I Found” and “Pilot”, respectively, that are a duology. Speaking to LeftLion Magazine in December 2014, they explained: “We were already discussing what to do with “I Found”; it’s not a song that screams “single” but we wanted to release it in some form. Releasing it with “Pilot” just seemed to be a good method to bring attention to the whole EP, and doing something creative with the videos is a bit more interesting. Linking the videos gives you more scope… [to] expand the storyline past three and a half minutes.“
Photographer Unknown, “James Kirk”, Photo Shoots
Photographer Unknown, (The Attic Room)
“And all the spaces of our past moments of solitude, the spaces in which we have suffered from solitude, enjoyed, desired, and compromised solitude, remain indelible within us and precisely because the human being wants them to remain so. He knows instinctively that this space identified with his solitude is creative; that even when it is forever expunged from the present, when, henceforth, it is alien to all the promises of the future, even when we no longer have a garret, when the attic room is lost and gone, there remains the fact that we once loved a garret, once lived in an attic. We return to them in our night dreams. These retreats have the value of a shell. And when we reach the very end of the labyrinths of sleep, when we attain to the regions of deep slumber, we may perhaps experience a type of repose that is pre-human; pre-human, in this case, approaching the immemorial.”
–Gaston Bachelard, The Poetics of Space
Various Artists, King Kong Artwork
“To understand King Kong, you need to know Merian Coldwell Cooper. Nearly every story element of the original film is reflective of some aspect of Cooper’s life leading up to his creation of the iconic movie. His passions—aviation, exploration, adventure filmmaking—are all incorporated into King Kong. You can argue about the extent to which the final screenplay evolved through contributions by Edgar Wallace, James Creelman, Ruth Rose, as well as a host of uncredited RKO scribes, but it’s clear that virtually everything in Kong got there by way of Cooper. (There’s a great memo from James Creelman to Cooper, in fact, where the overworked scribe—he was also writing The Most Dangerous Game—laments that Cooper’s suggested addition of a giant wall, island tribe and sacrificial rites were just too much for the plot to handle. Cooper “relieved” him soon after.)
Kong´s effects, music, sound; none of these aspects of the film were the direct work of his hands, but Cooper’s force of personality, bullheadedness and sheer refusal to take no for an answer ultimately made Skull Island a real place in the minds of film lovers across multiple generations.” -John Mitchlig, The Kong Files, kingiskong.net
Salem, “Cabe Nowlen”, Painting from the Digital Collection 2015-16
Salem is a conceptual artist and illustrator from Spain who showcases his work on Deviantart. He has a seventeen year history of agency-client graphic and digital artwork.
Reblogged with thanks to http://bloghqualls.tumblr.com
Artist Unknown, (Samurai Champloo: The Battle at the Pier), Computer Graphics, Anime Animation Gifs
The Three Saviors of the Three Kingdoms
“On and on the Great River rolls, racing east.
Of proud and gallant heros its white-tops leave no trace,
As right and wrong, pride and fall at once unreal
Yet ever the green hill stay
To blaze in the west-waning day…”
― Luo Guanzhong, Three Kingdoms
“宠之以位，位极则残；顺之以恩，恩竭则慢。所以致弊，实由于此。吾今威之以法，法行则知恩；限之以爵，爵加则知荣。恩荣并济，上下有节。为治之道，于斯著矣”
― Luo Guanzhong, 三国演义
Plumb, “Cut”, From Plumb’s Third Full-Length Album ‘Chaotic Resolve”.
Artist Unknown, (The Attack!)
The kraken is a enormous mythical cephalopod-like sea monster in Scandinavian folklore. According to Norse sagas, the kraken terrorized sailors off the coasts of Norway and Greenland. It has been a staple of superstitions and legends through the centuries, becoming a common ocean-dwelling monster in fictional works.
The word ‘kraken’ comes from the Swedish and Norwegian language, the definite form of the word “krake’ denoting an unhealthy animal or smoething twisted. ‘Krake’ (plural) and ‘kraken’ (singular) in modern German means ‘octopus’. ‘Kraken is also an old euphemism in Swedish for whales, a word once believed that would summon whales.
Gossip, “Heavy Cross”
Gossip was formed in 1999 in Olympia, Washington, with vocalist Beth Ditto, guitarist Nathan “Brace Paine” Howdeshell and drummer Kathy Mendonça. All three were originally from Searcy, Arkansas; Mendonça moved to Olympia to attend Evergreen State College and Howdeshell and Ditto followed. Howdeshell and Mendonça had been in bands together in Arkansas. The band coalesced when the three members were roommates in Olympia.
Their style has been described as “a soul or gospel” voice with “a sort of funky punk soundtrack”. The band stated a liking for rock bands like Birthday Party, Siouxsie and the Banshees, Nirvana and The Raincoats but also for other genres such as dance and hip hop.
Artist Unknwon, (Merging of Spirit)
Artist Unknown, (The Danger and the Red Hood)
Ichiro Kojima, “Near Inagaki, Tsugaru”, 1960, Gelatin Silver Print
Born and raised in the northern city of Aomori, Kojima was the eldest son in a family that ran a toy and photographic supply store. He learned photography under the influence of his father, and began to publish his work in photography magazines. His subjects were everyday landscapes on the Tsugaru and Shimokita peninsulas, but his work stood apart from the mainstream realism of that era and soon gained notice for its compositional and poetic sensibilities.
With strong encouragement from the pioneer photojournalist Yonosuke Natori, Kojima mounted his first exhibition, ‘Tsugaru’, in Tokyo in 1958. Following this strong start, he moved to Tokyo in 1961 to pursue a career as a professional photographer. There he held his second exhibition, ‘Freezing’. However, having emerged on the scene with photographs of his home country, he now faced great difficulty making photographs in a new environment.
After the death of Natori, his main supporter in Tokyo, Kojima returned to Aomori. He embarked on a new project in Hokkaido, but he feel ill after repeated exposure to severe conditions and died at the early age of thirty-nine.