Example Of Alphabet Letters A-Z Graffiti | Graffiti Fonts | Graffiti Alphabets. Create graffiti alphabet on paper with red and orange colors. Graffiti at the top created by using a brush.
Monday, March 1, 2010
Graffiti Alphabet Letters A-Z | Graffiti Fonts | Graffiti Alphabets
Example Of Alphabet Letters A-Z Graffiti | Graffiti Fonts | Graffiti Alphabets. Create graffiti alphabet on paper with red and orange colors. Graffiti at the top created by using a brush.
Graffiti Alphabet Letters A-Z | Graffiti Fonts | Graffiti Alphabets
Example Of Alphabet Letters A-Z Graffiti | Graffiti Fonts | Graffiti Alphabets. Create graffiti alphabet on paper with red and orange colors. Graffiti at the top created by using a brush.
Graffiti Alphabet Letters A-Z | Graffiti Fonts | Graffiti Alphabets
Example Of Alphabet Letters A-Z Graffiti | Graffiti Fonts | Graffiti Alphabets. Create graffiti alphabet on paper with red and orange colors. Graffiti at the top created by using a brush.
Dolphin Bubbles
Watch the dolphins at SeaWorld Orlandos Dolphin Cove as they artfully create and play with underwater bubble rings and hear what SeaWorlds trainers, educators and guests have to say about this fun and fascinating behavior.
Guinness Rishi - The Human Flag Pole
Har Parkash changed his name to Guinness Rishi, demonstrating that his goal is setting new Guiness records. This 67-year-old man already became father of the world’s oldest adoptee, after taking custody of his 61-year-old brother-in-law, and built the tallest sugar-cube tower in the world. Now he wants to become a human flag pole by tattooing 220 national flags on his body.
He has started his effort at the top of his head, continued with his face, got a map of the world on his stomach, and plans to get his privates tattooed as well. He just hasn’t decided what he’s going to put down there. Rishi’s efforts began in 2009 and he plans to fulfill his dream in three years time, but by the looks of things, he just might finish ahead of schedule.
He has started his effort at the top of his head, continued with his face, got a map of the world on his stomach, and plans to get his privates tattooed as well. He just hasn’t decided what he’s going to put down there. Rishi’s efforts began in 2009 and he plans to fulfill his dream in three years time, but by the looks of things, he just might finish ahead of schedule.
Implode podcast 01
First podcast by Implode.
Hard hitting drum n bass
Implode Podcast 01 by Implode
1. Markoman & Tsunami Treo - Human Sacrifice - Temper D
2. Temper D – Techno Prisoners (Dean Rodell rmx) – Temper D
3. Raiden & Current Value – Scrapyard - Offkey
4. Kemal & Rob Data – Fucking Hostile (LOD VIP)
5. Prode – Borer (The Sect rmx) - Revolution
6. Cooh – Vtakt - Sintwist
7. Slipknot – I am Hated (CVI rmx) -
8. Forbidden Society – Manic Circle – T3K
9. Lucio de Rimanez – Flying Machines – Subsistenz
10. Counterstrike & Cooh – Computer Control – Counterstrike Recs
11. Forbidden Society & DJ Hidden – Consumed –Hardline
12. B –Soul & Dextems – Harder, Louder – Future Sickness
13. Raiden & Dean Rodell – Vietnam Heroin –
14. Limewax – Golden Path VIP – Freak MP3
15. Donny & Current Value – Nightmare Man – Future Sickness
16. Counterstrike & Gein – Pentagram – Counterstrike Recs
17. Lucio de Rimanez – Children – Mindsaw
18. Kriotek – Borrhot
19.Silent Killer – Saviour – OHM
20. Sinner Inside – Soul Hunter (Skull VIP) - Mindsaw
Artwork done by upcoming Swedish artist, visit her site.
More work from her coming soon on ESPVisuals.
Hard hitting drum n bass
Implode Podcast 01 by Implode
1. Markoman & Tsunami Treo - Human Sacrifice - Temper D
2. Temper D – Techno Prisoners (Dean Rodell rmx) – Temper D
3. Raiden & Current Value – Scrapyard - Offkey
4. Kemal & Rob Data – Fucking Hostile (LOD VIP)
5. Prode – Borer (The Sect rmx) - Revolution
6. Cooh – Vtakt - Sintwist
7. Slipknot – I am Hated (CVI rmx) -
8. Forbidden Society – Manic Circle – T3K
9. Lucio de Rimanez – Flying Machines – Subsistenz
10. Counterstrike & Cooh – Computer Control – Counterstrike Recs
11. Forbidden Society & DJ Hidden – Consumed –Hardline
12. B –Soul & Dextems – Harder, Louder – Future Sickness
13. Raiden & Dean Rodell – Vietnam Heroin –
14. Limewax – Golden Path VIP – Freak MP3
15. Donny & Current Value – Nightmare Man – Future Sickness
16. Counterstrike & Gein – Pentagram – Counterstrike Recs
17. Lucio de Rimanez – Children – Mindsaw
18. Kriotek – Borrhot
19.Silent Killer – Saviour – OHM
20. Sinner Inside – Soul Hunter (Skull VIP) - Mindsaw
Artwork done by upcoming Swedish artist, visit her site.
More work from her coming soon on ESPVisuals.
SFX Magazine Does Horror!
I recently had a copy sent to me of the brand new SFX special magazine on horror, and would like to give you all a preview of what is a very impressive and jam-packed issue. My thanks to editor Ian Berriman, whom I really hope is able to pull off making this a much-more regularly published periodical.Most of you may know SFX as a UK-based genre entertainment magazine, mainly dealing with fantasy and sci-fi. Imagine if Starlog and Empire had a baby. Anyway, from time to time they put out a special, and this latest one is entitled simply "Horror", and tackles our favorite subject head-on, in an oversized, glossy format that's to die for.
Think I'm just saying that because they sent me a free one? Well, check out some of what's inside:
- The cover story is a countdown of the Top 20 Horror Villains, basically an expansion of a poll conducted on SFX's website. And while I'm peeved that the online voters predictably left off some of the more vintage baddies (Dracula is the only Universal monster included), it is a fine list nevertheless, with some pleasant surprises like Sadako, Pennywise and my main man Dr. Anton Phibes.
- There's a very candid excerpt from Robert Englund's new autobiography, Hollywood Monster, in which he recalls first meeting Wes Craven, and how Freddy Krueger almost wore a newsboy cap instead of a fedora.
- Rick Baker talks in-depth about his approach to designing the Wolfman makeup, not even pulling any punches with regards to some of his disappointment in the finished product. I thought it rocked, Rick.
- The A to Z of Friday the 13th. B is for Betsy Palmer. S is Savini. You get the picture. Good clean fun.
Horror's Hidden Treasures is a superb piece in which 34 leading horror creators are asked to recommend a relatively obscure or underrated book/movie/whatever (although the obscurity of some is debatable). Clive Barker, for example, really wants you to check out Eyes Without a Face. Not the Billy Idol song, silly.- Writer Russell Lewin goes on a mad mission to make it through every single one of Britain's 74 infamous "video nasties". Best of all, the article gives a complete list, so you sickos can more easily track them all down yourselves!
- Yet another superb piece, My Life in Horror, spotlights five beloved character actors/genre icons: Brad Dourif, John Saxon (Yes!!), Ingrid Pitt, Kane Hodder and Ken Foree. Worth the cover price alone. Well, not literally, but you get the idea. It's really good.
- A suitably lurid and gaudy rundown of the delicious phenomenon of Spanish horror, including the likes of the late Paul Naschy, the Blind Dead series, The Awful Dr. Orlof, The Living Dead at Manchester Morgue, The Orphanage and lots more.
- Not enough for you? OK, how about a piece on the history of American horror comics, spanning the EC days and Seduction of the Innocent, through the Warren magazines, DC and Marvel's '70s horror dalliances, the Vertigo boom, all the way to the present day genre of Steve Niles, Robert Kirkman and Mike Mignola.
Graffiti Letters MADC - Mafia Wars
GRAFFITI GRAPHIC DESIGN
GRAFFITI LETTERS MAFIA WARS THEME
GRAFFITI LETTERS MAFIA WARS THEME
Please give your comments about this graffiti image, Thanks....
Best of Black Sheep: INGLOURIOUS BASTERDS
Written and Directed by Quentin Tarantino
Starring Bard Pitt, Eli Roth, Diane Kruger, Michael Fassbender, Christoph Waltz and Melanie Laurent
Col. Hans Landa: What a tremendously hostile world that a rat must endure. Yet not only does he survive, he thrives. And that, Monsieur, is what a Jew shares with a rat.
This might sound odd at first but bear with me. Without giving anything away, the final shot of Quentin Tarantino’s sixth film, INGLOURIOUS BASTERDS – this is where I need you to bear – shows two characters looking directly into the camera and one declares to the other that this may be his best work yet. It’s just another one of those cheeky Tarantino moments we, that is “we” as in fans of his work, have come to expect and relish in his mostly masterful works. There are times though when a moment like this one ceases to be witty and serves only to allow Tarantino’s gigantic ego to overpower his usually inspired words. This is precisely one of those moments for me. Seeing this, or rather hearing this, did not make me want to stand up and cheer to show how desperately I agree with his assessment of his own work. Instead, it gave me slight pause and allowed me to remove my Tarantino-tinged glasses and ask, “Really, Quentin? You think this is your best work?”
INGLOURIOUS BASTERDS opens and is almost instantly a parody of itself and Tarantino’s previous work. I can’t say this for certain but I don’t think this was his intention. A dramatic spaghetti western score plays over the bold-faced, colorful credits and you watch to see which obscure actors Tarantino handpicked to pop up at pivotal moments (in this case, Mike Myers as British military officer) and more importantly, to see how Tarantino will bill his own credit (in this case, the surprisingly humble, “A film by”). And then the title announces that we are about to witness “Chapter One”, just as we did in KILL BILL. There is nothing wrong with adapting a similar structure for your films to distinguish your style – heck, Woody Allen does it all the time – but, while Allen’s touches are understated, Tarantino’s tone is so distinct and loud that it borders more on bravado than brilliance. Seeing as how the story hasn’t even started at this point, it feels as though he has already shot himself in the foot.
At a 2½ hour running time though, it is hardly fair to judge the film based solely on its opening credits. What follows is a scene that justifies and gives some much needed context to the film’s obnoxious marketing campaign – You haven’t seen a WWII movie if you haven’t seen Tarantino do it (or something relatively like that). It is no secret that Tarantino likes to hear himself speak. His scenes go on far longer than most other directors would allow and the dialogue wraps around itself so many times that it’s a small miracle that his players don’t get dizzy when they stand up. And while this is all play when you have a bunch of guys sitting around a table debating the meaning of Madonna’s “Like a Virgin”, it is something else entirely when the scene involves an SS officer known as “The Jew Hunter” and a French farmer suspected to be hiding a Jewish family in his home. The longer it goes on, the more tense it becomes and by the time it inevitably turns violent, Tarantino takes no prisoners, just like the Nazis. The style flows about as abundantly and as smoothly as the Nazi blood for the rest of the run time.
At times, INGLOURIOUS BASTERDS seems unfocused and overtly gratuitous, even by Tarantino’s standards. (When Brad Pitt’s Aldo Raine declares that he wants his scalps, he isn’t kidding.) While it is technically fantastic (safe for a continuity error with Pitt’s unfastened bow tie at one point that I can’t believe Tarantino didn’t notice) and also deeply engrossing, it is the liberties with history that just don’t sit too well with me. During a chilling climax, there are so many dying Nazis surrounded by burning swastika banners that one can practically feel Tarantino watching from the wings to see just how uproarious the cheers from the audience will be. It is hard to cheer though when you know that none of this happened really, that we are being manipulated as an audience to revel in this alternate reality where the doers of one of history’s greatest evils, get what they deserve, Tarantino style. This is especially true when what really happened was already horrific enough.
Starring Bard Pitt, Eli Roth, Diane Kruger, Michael Fassbender, Christoph Waltz and Melanie Laurent
Col. Hans Landa: What a tremendously hostile world that a rat must endure. Yet not only does he survive, he thrives. And that, Monsieur, is what a Jew shares with a rat.
This might sound odd at first but bear with me. Without giving anything away, the final shot of Quentin Tarantino’s sixth film, INGLOURIOUS BASTERDS – this is where I need you to bear – shows two characters looking directly into the camera and one declares to the other that this may be his best work yet. It’s just another one of those cheeky Tarantino moments we, that is “we” as in fans of his work, have come to expect and relish in his mostly masterful works. There are times though when a moment like this one ceases to be witty and serves only to allow Tarantino’s gigantic ego to overpower his usually inspired words. This is precisely one of those moments for me. Seeing this, or rather hearing this, did not make me want to stand up and cheer to show how desperately I agree with his assessment of his own work. Instead, it gave me slight pause and allowed me to remove my Tarantino-tinged glasses and ask, “Really, Quentin? You think this is your best work?”
INGLOURIOUS BASTERDS opens and is almost instantly a parody of itself and Tarantino’s previous work. I can’t say this for certain but I don’t think this was his intention. A dramatic spaghetti western score plays over the bold-faced, colorful credits and you watch to see which obscure actors Tarantino handpicked to pop up at pivotal moments (in this case, Mike Myers as British military officer) and more importantly, to see how Tarantino will bill his own credit (in this case, the surprisingly humble, “A film by”). And then the title announces that we are about to witness “Chapter One”, just as we did in KILL BILL. There is nothing wrong with adapting a similar structure for your films to distinguish your style – heck, Woody Allen does it all the time – but, while Allen’s touches are understated, Tarantino’s tone is so distinct and loud that it borders more on bravado than brilliance. Seeing as how the story hasn’t even started at this point, it feels as though he has already shot himself in the foot.
At a 2½ hour running time though, it is hardly fair to judge the film based solely on its opening credits. What follows is a scene that justifies and gives some much needed context to the film’s obnoxious marketing campaign – You haven’t seen a WWII movie if you haven’t seen Tarantino do it (or something relatively like that). It is no secret that Tarantino likes to hear himself speak. His scenes go on far longer than most other directors would allow and the dialogue wraps around itself so many times that it’s a small miracle that his players don’t get dizzy when they stand up. And while this is all play when you have a bunch of guys sitting around a table debating the meaning of Madonna’s “Like a Virgin”, it is something else entirely when the scene involves an SS officer known as “The Jew Hunter” and a French farmer suspected to be hiding a Jewish family in his home. The longer it goes on, the more tense it becomes and by the time it inevitably turns violent, Tarantino takes no prisoners, just like the Nazis. The style flows about as abundantly and as smoothly as the Nazi blood for the rest of the run time.
At times, INGLOURIOUS BASTERDS seems unfocused and overtly gratuitous, even by Tarantino’s standards. (When Brad Pitt’s Aldo Raine declares that he wants his scalps, he isn’t kidding.) While it is technically fantastic (safe for a continuity error with Pitt’s unfastened bow tie at one point that I can’t believe Tarantino didn’t notice) and also deeply engrossing, it is the liberties with history that just don’t sit too well with me. During a chilling climax, there are so many dying Nazis surrounded by burning swastika banners that one can practically feel Tarantino watching from the wings to see just how uproarious the cheers from the audience will be. It is hard to cheer though when you know that none of this happened really, that we are being manipulated as an audience to revel in this alternate reality where the doers of one of history’s greatest evils, get what they deserve, Tarantino style. This is especially true when what really happened was already horrific enough.
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