Vincent Neil Wharton (born February 8, 1961) is an American vocalist and musician, best known as the lead vocalist of heavy metal band Mötley Crüe.
pigshitpoet
Wednesday, July 25, 2012
Vince Neil Live At Solid Gold!
Vincent Neil Wharton (born February 8, 1961) is an American vocalist and musician, best known as the lead vocalist of heavy metal band Mötley Crüe.
Kiss - kiss... Take it off !!
http://www.A3Network.com. Vince Neil Live At Solid Gold! A3 Network is a group of online TV channels that reflect the modern lifestyle, featuring Bikini Girls, Sexy Pool Parties, Nightlife, Clubs, DJ's, Music Video's, Style, Art and Fashion. Whatever the flavor, the most exciting video's on the web! Original A3 Network content is produced by http://www.5thandocean.com
Friday, March 23, 2012
Monday, March 19, 2012
Just a Lazy Bastard Living in a Suit
Old Ideas from Old Leonard
GOING HOME
I love to speak with Leonard
He's a sportsman and a shepherd
He's a lazy bastard
Living in a suit
But he does say what I tell him
Even though it isn't welcome
He just doesn't have the freedom
To refuse
He will speak these words of wisdom
Like a sage a man of vision
Though he knows he's really nothing
But the brief elaboration of a tube
Going home
Without my sorrow
Going home
Sometime tomorrow
Going home
To where it's better
Than before
Going home
Without my burden
Going home
Behind the curtain
Going home
Without the costume
That I wore
He wants to write a love song
An anthem of forgiving
A manual for living with defeat
A cry above the suffering
A sacrifice recovering
But that isn't what I need him
To complete
I want him to be certain
That he doesn't have a burden
That he doesn't need a vision
That he only has permission
To do my instant bidding
Which is to say what I have told him
To repeat
Going home
Without my sorrow
Going home
Sometime tomorrow
Going home
To where it's better
Than before
Going home
Without my burden
Going home
Behind the curtain
Going home
Without this costume
That I wore
Going home
Without the sorrow
Going home
Sometime tomorrow
Going home
To where it's better
Than before
Going home
Without the burden
Going home
Behind the curtain
Going home
Without this costume
That I wore
I love to speak with Leonard
He's a sportsman and a shepherd
He's a lazy bastard
Living in a suit
I love to speak with Leonard
He's a sportsman and a shepherd
He's a lazy bastard
Living in a suit
But he does say what I tell him
Even though it isn't welcome
He just doesn't have the freedom
To refuse
He will speak these words of wisdom
Like a sage a man of vision
Though he knows he's really nothing
But the brief elaboration of a tube
Going home
Without my sorrow
Going home
Sometime tomorrow
Going home
To where it's better
Than before
Going home
Without my burden
Going home
Behind the curtain
Going home
Without the costume
That I wore
He wants to write a love song
An anthem of forgiving
A manual for living with defeat
A cry above the suffering
A sacrifice recovering
But that isn't what I need him
To complete
I want him to be certain
That he doesn't have a burden
That he doesn't need a vision
That he only has permission
To do my instant bidding
Which is to say what I have told him
To repeat
Going home
Without my sorrow
Going home
Sometime tomorrow
Going home
To where it's better
Than before
Going home
Without my burden
Going home
Behind the curtain
Going home
Without this costume
That I wore
Going home
Without the sorrow
Going home
Sometime tomorrow
Going home
To where it's better
Than before
Going home
Without the burden
Going home
Behind the curtain
Going home
Without this costume
That I wore
I love to speak with Leonard
He's a sportsman and a shepherd
He's a lazy bastard
Living in a suit
This not so lazy grandfather of folk resonant mourner for all the soourners of love, returns to write songs of excellent nature, above all to make rubble in the heart of the listener. With Old Ideas, Cohen is darker and more introspective with every verse like a writer reading poetry giving weight to the words with humility and wisdom of experience from teh cooked and the raw 50 years of a glorious career. Production and usicianship on the new offering is extraordinary, given it is the same old Leonard with the same old moan. Fresh horses seem to make all the difference. He cavorts and caresses to sexy successes the seductive testament of irony with a Barry White drone and Buddhist perseverance, Leonard watches without compromise that life that remains in him. Sordid in some abandoned to flow in a river of life creativity, Cohen savours the sexiness, made more seductive with a deep smoky voice recites as were prayers that sink like a knife into the heart of the beloved. You will witness that “The Darkness” is always soft dark and spiritual like a slow blues in rarified choruses swimming in essences of pure restlessness. Check out his new album Old Ideas.
Sunday, March 11, 2012
Paris - Musée d'Orsay - Manet's Le déjeuner sur l’herbe
Edouard Manet's Le déjeuner sur l'herbe (Luncheon on the Grass) was painted in 1863.
Rejected by the jury of the 1863 Salon, Manet exhibited Le déjeuner sur l'herbe under the title Le Bain at the Salon des Refusés (initiated the same year by Napoléon III) where it became the principal attraction, generating both laughter and scandal.
Rejected by the jury of the 1863 Salon, Manet exhibited Le déjeuner sur l'herbe under the title Le Bain at the Salon des Refusés (initiated the same year by Napoléon III) where it became the principal attraction, generating both laughter and scandal.
Manet was paying tribute to Europe's artistic heritage, borrowing his subject from the Concert champêtre a painting by Titian attributed at the time to Giorgione (Louvre) and taking his inspiration for the composition of the central group from the Marcantonio Raimondi engraving after Raphael's Judgement of Paris.But the classical references were counterbalanced by Manet's boldness. The presence of a nude woman among clothed men is justified neither by mythological nor allegorical precedents. This, and the contemporary dress, rendered the strange and almost unreal scene obscene in the eyes of the public of the day. Manet himself jokingly nicknamed his painting "la partie carrée".
In those days, Manet's style and treatment were considered as shocking as the subject itself. He made no transition between the light and dark elements of the picture, abandoning the usual subtle gradations in favour of brutal contrasts, thereby drawing reproaches for his "mania for seeing in blocks". And the characters seem to fit uncomfortably in the sketchy background of woods from which Manet has deliberately excluded both depth and perspective. Le déjeuner sur lherbe - testimony to Manet's refusal to conform to convention and his initiation of a new freedom from traditional subjects and modes of representation - can perhaps be considered as the departure point for Modern Art.
The Musée d'Orsay (The Orsay Museum), housed in the former railway station, the Gare d'Orsay, holds mainly French art dating from 1848 to 1914, including paintings, sculptures, furniture, and photography, and is probably best known for its extensive collection of impressionist masterpieces by popular painters such as Monet and Renoir. Many of these works were held at the Galerie nationale du Jeu de Paume prior to the museum's opening in 1986.
Le déjeuner sur l'herbe (Modern) variations
"Le déjeuner sur l'herbe" de Rip Hopkins Galerie Le réverbère à Lyon
Cent quarante-cinq ans après, "Le Déjeuner sur l'herbe" d'Edouard Manet fait de nouveau scandale... mais cette fois, c'est à Paris Photo.
The men are simply ignoring the woman, engaged in their conversation and oblivious to the viewer. Both nude figures here look into the eyes of the viewer...
Beauty is after all in the eyes of the beholder..
Site de la galerie : www.galerielereverbere.com
Beauty is after all in the eyes of the beholder..
Site de la galerie : www.galerielereverbere.com
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