• The Master of Supper
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[B]The Master of Supper[/B] [B]Introduction[/B] Isabella "Bella" Swan moves from sunny Phoenix, Arizona to rainy Forks, Washington to live with her father, Charlie, while her mother, Renée, travels with her new husband, Phil Dwyer, a minor league baseball player. Bella attracts much attention at her new school and is quickly befriended by several students. Much to her dismay, several boys compete for shy Bella's attention. When Bella is seated next to Edward Cullen in class on her first day of school, Edward seems utterly repulsed by her. He disappears for a few days, but warms up to Bella upon his return; their newfound relationship reaches a climax when Bella is nearly run over by a fellow classmate's van in the school parking lot. Seemingly defying the laws of physics, Edward saves her life when he instantaneously appears next to her and stops the van with his bare hands. Bella becomes hellbent on figuring out how Edward saved her life, and constantly pesters him with questions. After tricking a family friend, Jacob Black, into telling her local tribal legends, Bella concludes that Edward and his family are vampires who drink animal blood rather than human. Edward confesses that he initially avoided Bella because the scent of her blood was so desirable to him. Over time, Edward and Bella fall in love. Their relationship is thrown into chaos when another vampire coven sweeps into Forks. James, a tracker vampire who is intrigued by the Cullens' relationship with a human, wants to hunt Bella for sport. The Cullens attempt to distract the tracker by splitting up Bella and Edward, and Bella is sent to hide in a hotel in Phoenix. There, Bella receives a phone call from James, who claims he is holding her mother captive. When Bella surrenders herself, James attacks her, but Edward, along with the other Cullens, rescues Bella and destroys James. Once they realize that James has bitten Bella's hand, Edward sucks the venom from her system before it can spread and transform her into a vampire, and she is then sent to a hospital. Upon returning to Forks, Bella and Edward attend their school prom and Bella expresses her desire to become a vampire, which Edward refuses. [B]Origins[/B] Jack Smith was raised in Texas and, after making his first film Buzzards over Baghdad (1952), moved to New York in 1953.[1] Smith was one of the first proponents of the aesthetics which came to be known as 'camp' and 'trash', using no-budget means of production (e.g. using discarded color reversal film stock) to create a visual cosmos heavily influenced by Hollywood kitsch, orientalism and with Flaming Creatures created drag culture as it is currently known. Smith was heavily involved with John Vaccaro, founder of The Playhouse of The Ridiculous, whose disregard for conventional theater practice deeply influenced Smith's ideas about performance art. In turn Vaccaro was deeply influenced by Smith's aesthetics. It was Vaccaro who introduced Smith to glitter and in 1966 and 1967 Smith created costumes for Vaccaro's Playhouse of The Ridiculous. Smith's style influenced the film work of Andy Warhol as well as the early work of John Waters, and while all three were part of the 1960s gay arts movement, it is certain that both Vaccaro and Smith refuted the idea that their sexual orientation was responsible for their art.[2] Smith has also been referenced by artists such as Laurie Anderson, Cindy Sherman and Mike Kelley, filmmakers David Lynch and Matthew Barney, photographer Nan Goldin, musicians John Zorn, Lou Reed and David Byrne, and theatre director Robert Wilson. Theater legend Richard Foreman writes, 'Jack Smith is the hidden source of practically everything that's of any interest in the so-called experimental theatre today.' The most famous (and arguably the most notorious) of Smith's productions is Flaming Creatures (1962). The film is basically a travesty on Hollywood B movies and tribute to actress Maria Montez, who starred in many such productions. However, authorities considered some scenes to be pornographic. Copies of the movie were confiscated at the premiere and it was subsequently banned (technically, it still is to this day). Despite not being viewable, the movie gained some notoriety when footage was screened during Congressional hearings and right-wing politician Strom Thurmond mentioned it in anti-porn speeches. Smith's next movie Normal Love was the only work in Smith's oeuvre with an almost conventional length (120 mins.), and featured a whole host of underground stars, including Mario Montez, Diane di Prima, Tiny Tim, Francis Francine, Beverley Grant, John Vaccaro, and others. The rest of his productions consists mainly of short movies, many of them never to be screened in a cinema, but to feature in performances and constantly re-edited to fit the stage needs (including Normal Love). [img]http://4.bp.blogspot.com/_xdFXCgr-fhY/SkjhVxem0gI/AAAAAAAACHk/UowPGJnIE6I/s400/amike.jpg[/img] [B]The Masters in mite[/B] Apart from his own work Smith has also worked as an actor himself. He played the lead in Andy Warhol's unfinished film Batman Dracula, Ken Jacobs's Blonde Cobra, and appeared in several theater productions by Robert Wilson. [img]http://www.ibiblio.org/jimmy/folkden/php/images/Old_Joe_Clark.jpg[img] He also worked as a photographer and founded the Hyperbole Photographic Studio in New York. In 1962 he released The Beautiful Book, a collection of pictures of New York artists, which has recently been re-released by Granary Books. After his last film, No President (1967), Smith created performance and experimental theatre work until his death on September 25, 1989 from AIDS-related pneumonia. In 1989, at Jack Smith's specific request, New York performance artist and former Warhol superstar Penny Arcade undertook to salvage his work from the rubble of Mr Smith's apartment after Smith's long bout with AIDS and subsequent death, attempting to preserve the apartment that he had transformed into an elaborate stage set for his never to be fiilmed epic "Sinbad In a Rented World" as a museum dedicated to Jack Smith and his work, which was foiled in part by the greed for cheap east Village apartments that leaked Smith's death to his landlords . Until recently, Smith's archive was co-managed by Arcade, alongside the film historian J. Hoberman via their corporation The Plaster Foundation Inc. Within ten years of Smith's death, the Foundation, operating largely without funding but thru donations and good will, was able to restore all of Smith's films, create a major retrospective curated by Edward Leffingwell[1] at PS 1, the Contemporary Arts museum now part of MOMA, put his films back into international distribution and publish several books on Jack Smith and his work. In January 2004, the New York Surrogate Court ordered Hoberman and Arcade to return Smith's archive to his legal heir, estranged surviving sister Sue Slater. Hoberman and Arcade fought to dismiss Slater's claim, arguing that she abandoned Jack's apartment and its contents; the Plaster Foundation created the archive and took possession of the work only after 14 years of repeated, documented attempts at communication with her. In a six-minute trial, Judge Eve Preminger rejected the Foundation's argument and awarded the archive to Slater. By October 2006, the Foundation had still refused to surrender Smith's archive to the estate, claiming money owed them for expenses associated with managing the archive--and hoping Smith's work would be bought by an appropriate public institution that could safeguard his legacy and keep the works in the public eye. According to curator Jerry Tartaglia, the dispute was finally resolved as of 2008, with the purchase of Smith's estate by the Gladstone Gallery. [img]http://www.wga.hu/art/l/lievens/old_man1.jpg[/img] He was called to Hollywood by Darryl F. Zanuck and signed first to Paramount Pictures and shortly afterwards to Warner Bros. He originated the character of Frankie Wells in the Broadway production of Blessed Event and reprised the role in the film adaptation, both in 1932. With the advent of talking pictures, he made a career out of playing comic henchmen, stooges, policemen and other "tough guys" in numerous films of the 1930s and 1940s, especially for Warner Bros. He was labeled the "greatest scene-stealer of the 1930s" by the New York Times.[citation needed] He voiced the character of "Officer Dibble" on the Hanna Barbera TV cartoon, Top Cat and was a regular on the television situation comedy Hey, Jeannie! (1956), starring Jeannie Carson. He was also a guest star on The Red Skelton Show, I Love Lucy, Playhouse 90, The Ernie Kovacs Show, Zane Grey Theater, and The Sid Caesar Show. Eleven days before his death, he made his final appearance, at the end of Billy Wilder's 1974 film adaptation of The Front Page. [media]spoon[/media] Since my technical skills are jacked and I can't figure out how to fix the coding to embed this old video w/o chopping off half of RPattz's face, watch it here. Thanks, Bevie74! Thanks for reading.
Is this a badage boys miniseries?
Moonlight
Wat. Was a wall of text I could not fathom.
badage boys are back in town, apparently.
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is that darwin?
What are the badage boys
[QUOTE=Zeke129;16405212]What are the badage boys[/QUOTE] [url]http://www.facepunch.com/showthread.php?t=783358[/url] -_-
[QUOTE=K00n!;16405234][url]http://www.facepunch.com/showthread.php?t=783358[/url] -_-[/QUOTE] So it's a meme that recently originated on Facepunch that sucks?
[QUOTE=Zeke129;16405243]So it's a meme that recently originated on Facepunch that sucks?[/QUOTE] i dont even, i just happend to scroll past lulz
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