A major high point of the documentary is hearing some of these early records. Educated on the melodies and chord structures of Tin Pan Alley composers, he started out as a low-rent house writer for the label, Pickwick Records. Reed was a rock and roller with a strong affinity for street corner doo wop groups like the Paragons and the Jesters. Reed didn’t like it, and would ultimately fire Andy, but it fitted the outfit for celebrity. Upon a suggestion by Warhol Factory superstar Paul Morrissey, Warhol added the hypnotic German actor and model Nico to the band’s mesmerizing sustains. It was, apparently, more effective for Reed than putting his hand through a glass door to get out of a gig he didn’t want to play on the St. Cale called the collaboration “dream music.” Modern Lovers founder Jonathan Richman says there were more noises coming from the stage than there were band members to account for. As evidenced in the drone of the viola of “Venus in Furs,” or the sustained chordal dissonance of “All Tomorrow’s Parties,” the harmonics create tones of their own. ![]() As opposed to the standard 440 pitch standard tuning, the 60-cycle hum, according to Cale, was “the drone of western civilization.” It affects the alpha rhythm of the brain frequency which then has a psychological effect on the listener. They found a home by tuning to the hum of the refrigerator at the Dream Syndicate space on 56 Ludlow Street. The most intriguing revelation of the documentary, musically, is hearing how the band settled in new places in sound. Warhol said that he liked the group because they sounded the way his movies looked. Warhol sponsored The Velvet Underground, putting lights behind them and producing their first album by merely coming up with the banana cover. We hear from Factory girl Amy Taubin that the Warhol clique only had time for women if they were beautiful, which is a disappointing, if not unexpected, revelation. Films like Bad and Trash put a gritty New York City edge to the campy cult classics of John Waters. Warhol’s film The Kiss extends time and expands inclusionary acceptance. This is partially because his films are obviously an inspiration to him personally. ![]() Haynes spends a lot of time on Andy Warhol. Yet, he still captures the period’s experimental tone. Haynes includes every scrap available, along with still photos and talking heads, to make the documentary chronological and straightforward. ![]() There is very little footage of the 1966 Exploding Plastic Inevitable shows, which is a shame because Warhol was noted for filming everything. The documentary uses split screens, like Andy Warhol’s film Chelsea Girls, but also clips of his other movies, including his Velvet Underground camera tests. ![]() It earns its bona fides by including a smorgasbord of excerpts from experimental films. The Velvet Underground spends an hour in New York’s burgeoning and contradictory underground of the early 1960s. Velvet Underground drummer Maureen Tucker thought the “healthy-looking” Californians should “get real.” Named after Michael Leigh’s 1963 book about the sexual subculture, The Velvet Underground – Reed, Cale, Tucker, and Sterling Morrison – were as real as the city streets and as psychedelic as a Dream Syndicate. Because The Velvet Underground’s songs were about drugs and dregs, Zappa thought they were a group of heroin junkies looking for a banana to smoke. They even had a spat with their west coast counterparts, Frank Zappa’s Mothers of Invention, who were also musically adventurous, and virulently anti-hippie. With The Velvet Underground, director Todd Haynes effectively evokes the Andy Warhol Factory’s experimental celluloid renderings, and captures both why Warhol was so taken by the band, and the reason the Velvet Underground were not made for factory settings.īoth Lou Reed and John Cage are renowned as antagonistic agitators, and the band had nothing but disdain for much of their contemporaries.
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If you wear a hat or head covering for religious purposes, submit a signed statement that verifies that the hat or head covering in your photo is part of traditional religious attire worn continuously in public.You cannot wear a hat or head covering.You cannot wear a uniform, clothing that looks like a uniform, or camouflage attire.Taken in clothing normally worn on a daily basis.If you cannot remove your glasses for medical reasons, please include a signed note from your doctor with application.Face the camera directly with full face in view.Have a neutral facial expression or a natural smile, with both eyes open.Use our photo tool to see if your photo meets our requirements.You cannot submit a damaged photo with holes, creases, or smudges.Printed on matte or glossy photo quality paper.Head must be between 1 -1 3/8 inches (25 – 35 mm) from the bottom of the chin to the top of the head.The correct size of a passport photo is:.Submit a high-resolution photo that is not blurry, grainy, or pixelated.Please do not take a selfie because they are often the incorrect size and have the wrong head position for passport photos. We need to see your full face to establish your identity. When someone takes your passport photo, you must remove your face covering or mask so your full face is visible and the face covering and mask do not block portions of your face. We realize customers may wear face coverings and masks to prevent the spread of disease. Department of State employee will review your photo and decide if we can accept your photo. Note: this tool is intended for cropping your photo only. Compare your photo with examples of good photos. Use our Photo Tool to upload your photo and crop it so it’s the right size. Use a plain white or off-white background.Take off your eyeglasses for your photo. ![]() Do not use filters commonly used on social media. Submit a color photo, taken in last 6 months.We have a few exceptions to our photo policies for infants. You must provide one photo with your passport application.Īll our photo policies apply to both adults and children under age 16. That’s all, start JSesh and you’ll have all your new signs available in the hieroglyphic editor. If you draw a second variant for sign G36 the name will be: Locate your sign directory created in preliminary steps and save the file with a username using the following syntax:įor example, if your User Number is 123 and you are drawing a variant of Gardiner Sign G36, the name will be: US 123 G36VAR A Join all lines to a single one, select all parts of your drawing and join them using the menu: Path->Union.select “convert object’s stroke to paths”.Convert all your paths to “Filled Path”, for every line in your drawing:.When you are satisfied with your sign and it’s ready, move to the next step. Because hieroglyphics are images and not letters, like we use in modern English, it’s quite. Smaller width could be used only for detail lines. 1.Obtain a visual chart of the Egyptian hieroglyphic alphabet. Thomas developped most of the JSesh fonts, we had a lot of discussions about the Manuel de Codage and the like. Use a width of 60px (or 70px) for your lines. Im currently having discussions about a cleanup of the fonts, and the question of L16 has (re)appeared. Some JSesh library SVG may have a small size like 18×18 px, don’t care about it, resize to your cadrat size and use them. Start drawing from scratch, or open some existing SVG files and then copy and paste in this new document.Set document dimensions to 1800 x1800 px ( File->Document Properties->Page->Custom Size). ![]() Now you have a sub-directory with SVG files of all JSesh signs, available for you to design your new ones. In your JSesh installation path try to locate the file jseshGlyphs-5.4.jar (the name could be different depend on installed version), you can find it in: /libJSesh.Ĭopy the file in another directory and expand it as it was a zip file. If you don’t have one write him and ask for it.Ĭreate a directory where to store all new signs and configure it in JSesh Preferences ( Edit->Preferences->Font Preferences->Hieroglyphic Folder). Verify that you had received from Serge Rosmorduc (JSesh Author) your unique ‘User ID’ number and annotate it. Text Processing JSesh Files JSesh Files Summary Files Reviews Support Download Latest Version JSesh-7.2.0-setup.exe (55.0 MB) Get Updates Home / 6.5.5 JSesh 6.5. ![]() ![]() What you’ll find here is a little summary that, once you watched the videos, can help you to remember the steps without the need to watch the videos again. In Part 3 of our tutorial series, I reproduced the hieroglyphs found in a cartouche, went through a few diiferent steps that were to help you search for unknown hieroglyphs. Glyph creation 2: combining existing signs into a new one Part 4 of the JSesh tutorial series is out Learn how to arrange hieroglyphs.Glyph creation 1: Creating a new glyph with Inkscape.They are well done and really useful, you can find them here: The Jsesh Website, in the Tutorial Section, contains two wonderful videos that teach you how to use Inkscape to design new signs or to modify existing ones. |
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