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Jorge Joestar by Maijo Otaro Based on Characters Created by Araki Hirohiko for Araki Hirohiko ONE
Jorge Joestar by Maijo Otaro based on characters created by Araki Hirohiko For Araki Hirohiko ONE Tsukumojuku 九十九十九 My name is Jorge Joestar. The name was taken from my aristocratic grandfather but written the Spanish style. I asked why Mum didn't spell it George like a proper English name, but she just smiled and said, "Well, you were born in the Canary Islands, and if I named you George, we couldn't very well call you Jojo, could we?" My father – he died in a shipwreck – was named Jonathan Joestar, and had gone his whole life by the nickname Jojo; he'd died so soon after their wedding that Mum, still deeply in love with him, had her heart set on my inheriting that nickname. Sadly, only Spaniards lived on La Palma, and nobody called me Jojo; Mum and Lisa Lisa called me 'George' and everyone pronounced my name the Spanish way: 'Horhe'. Pointing this out to Mum just made her look sad, so I held my tongue. Frankly, what they called me was the least of my problems. For as long as I could remember, I was tormented by Spanish-speaking jackanapes – this very day they'd rubbed dog shit on my face on the way home from school. They'd managed to get some up my nose and no matter how much I washed my face the stink remained. But they'd been trying to make me eat it, so I guess I got off easy. Like she always did, Lisa Lisa found us and saved me before they could force the shit all the way in. -
Metallic Clothing Faux Fur Blue and White Dress Ball Gown Red Shoes
Junior Airline Pilot Jumpsuit Aviator hat and glasses Nerves of steel Platinum Gals Wig Comfortable house clothes Sharp-witted humor All american Gal Patriotic clothes Red, white and blue bling American spirit a Horse of course Brown shirt and pants Horse head Brown shoes Taste for oats Prom King Crown and cape Suit and tie Sceptor Charming personality Butterfly Wings Sparkly shoes Outfit in solid color Glitter dust A fun-loving spirit Flamenco Dancer Floral mask Dress with ruffles A love of dance here’s waldo? Red striped shirt Round glasses Winter hat Ability to hide Oktoberfest Fraulein German outfit German spirit German steins A love of October Hot under the collar Leggings Canvas shoes A love of spicy food on the Jersey Shore Big glasses and jewelry Faux fur Wig Taste for finer things in life Starry Starry night Gazer Shirt and tie Black robe Telescope A love of science Princess Earmuffs Wig White robe Belt Lightsaber Scarecrow Overalls and boots Flannel shirt Straw hat Dislike of crows Cleopatra Gold jewelry Headdress Strappy sandals Desire to rule the Inspector Trench coat Hat and pipe Notebook An eye for details Disco Gal ‘60s-inspired clothing High-heel boots Chunky jewelry A passion for disco the Big Catch Waders and hat Fishing gear A prized catch Royal Princess White dress Tiara Sparkly shoes Fancy jewelry Slumber party Robe Slippers Suitcase Teddy bear Mother of sky lizards Elaborate dress Long white hair Stuffed dragons Cowgirl Western shirt Cowgirl hat and boots Horse Roping skills Web Slinger Mask Spider-themed clothing -
Spring Concert 2017 Costume Parent Info
2017 MCDA Spring Concert Costume Information DANCER NAME:_______________________ DANCER’S CLASS:_______________________ Included in this bag is your class costume and concert gift, your MCDA t-shirt. Instructors have checked for desired fit. Please be aware that a safety pin may be needed to tighten straps or waist bands. When you receive your costume please hang it up to allow it to settle into place. For stiffer ballet skirts or tutus it's recommended to hang in a steamy bathroom to help the skirt relax. Please do not allow your dancer to wear the costume until after the performance is complete. We are unable to fix or reorder costumes if something happens to them prior to the performance. Included with this note, and in the MCDA hallway is a complete list of costume items for each class. Items provided by the dancer (such as ballet shoes, undergarments and tights) are labeled with a * You are invited to your MCDA t-shirt right away, including in all jazz, tap, contemporary and hip hop classes. Concert Hair: Unless specified otherwise with instructor performers hair should be in a mid height ponytail. Hair should be slicked back with gel and/or hairspray. Blond, brown or black hair elastics, clips and bobby pins are encouraged. Dancers with short hair should pull or clip hair away from the face. Concert Makeup: A light application of blush and tinted chapstick is encouraged for our younger dancers. This accentuates their features and prevents their faces from being “washed out” by the stage lights. Older dancers (8+) are encouraged to wear blush, lipstick, eyeshadow and mascara. -
New Items for 2013 Over 100 Brand New Hats & Accessories
New Items For 2013 Over 100 Brand New Hats & Accessories 24875 Vinyl Aviator Hat 25448 Black Goggles 25367 Peace Sign Tall Hat 24890 Rose Color Glasses 25482 Sequin Suspenders 25485 Sequin Light-up Bow Tie 25510 Gold Deluxe Glitter Jeweled King’s Crown 25513 Gold/Red Deluxe Glitter Jeweled Scepter TOLL FREE Phone: 1-800-233-4690 or 1-570-342-7887 1301 Ridge Row TOLL FREE Fax: 1-800-882-5428 or 1-570-342-7454 Scranton, Pa. 18510 website: www.jhats.com e-mail: [email protected] New Items For 2013 25112 $32.40/DZ. BLACK SATIN TOP HAT 25490 $55.20/DZ. W/RHINESTONE BAND 25294 $34.20/DZ. BLACK VELVET LADIES Adult Size Pkd: 1 Doz. VELVET TOP HAT W/MATCH- 25442 $31.80/DZ. Case Price 4 Dz. $28.20/Dz. BLACK FELT TRICORNE HAT PIRATE HAT W/GOLD TRIM, ING COLOR SATIN BAND RED BOWS & FEATHER Color: Asst. (Fuchsia, Lime, Orange) W/GOLD TRIM Adult Size Pkd: 1 Doz. Adult Size Pkd: 1 Doz. Asst. Sizes (M,L) Pkd: 1 Doz. Case Price 2 Dz. $48.00/Dz. Case Price 4 Dz. $30.00/Dz. Case Price 2 Dz. $27.60/Dz. 25440 $37.20/DZ. 25571 $20.40/DZ. CHILD’S FAUX SUEDE 25324 $46.20/DZ. DELUXE FELT WIDE BRIM 25441 $29.40/DZ. FEATHER HEADDRESS COWBOY W/BLACK DELUXE FELT BLACK Pkd: 1 Doz. COWBOY HAT STITCHING TRICORNE HAT Case Price 12 Dz. Colors: Fuchsia, Black W/STAR BAND & ELASTIC $18.00/Dz. Pkd: 1 Doz. SWEATBAND W/SNAPS Polybag Header Case Price 4 Dz. -
CMS Frozen Jr Costume Plot Costumes Must Be Ready for a Costume Parade on Friday, March 20
CMS Frozen Jr Costume plot Costumes must be ready for a costume parade on Friday, March 20 Lead/Featured Roles Please do not buy or rent any costume until a photo has been submitted for approval. Sources: amazon.com, partycity.com, The Costumer.com, ebay.com, rubies.com, Halloweencostumes.com, Costume America Thecostumer.com is a great resource to view photos of standard Frozen Jr costumes. All costumes are listed by show name for easy viewing. Ensemble Groups Most of the ensemble costumes can be put together with a bit of imagination, effort and creativity. Thrift stores, Goodwill, The Salvation Army and Savers are great resources for theatrical costuming. Don't forget to look in your closets/basements – you'd be surprised at what you can find! All performers must have dark colored non-descriptive shoes or boots All Performers must have an opening number (towns person) costume. Keep it simple by layering over your featured/lead costume. All Snow Chorus must have light color ballet slippers or jazz shoes Townspeople: traditional Norwegian dress (bunads) Girls: vibrant and colorful calf length peasant skirt, white long sleeve blouse, a colorful/pattern vest or long apron, white or nude tights Boys: solid colored pants or knickers, bright colored long sleeve shirt, tunic vest, knee socks if wearing knickers OR Boys: Bavarian style Lederhosen costume Snow Chorus: *Please coordinate so all dancers are identical white long sleeve leotard, silver flowing dance skirt, white tights, white faux fur headband (can be found on Amazon) OR silver flowing -
Warm Aviator Hat Love®, Art
Finished Head Circumference: needle to left, passing yarn to the back 18 (20, 22)" [46, (51, 56) cm] between the needles, then slipping that stitch back to right needle (first NOTES stitch wrapped)—80 (90,100) stitches. Pattern is written in three sizes. Small - Place Stitch Marker to mark beginning 18" [46 cm], Medium - 20" [51 cm] and of round and slip first stitch to Left- Large - 22" [56 cm]. Medium and Large Hand needle to join, and begin sizes are in parenthesis. Sample shown working in the round (knit every is made in size Large - 22" [56 cm]. round) until hat measures 4 (5, 6)" KNIT [10 (13, 15) cm] from cast on edge. SKILL LEVEL EASY SPECIAL STITCHES K2tog = Knit 2 stitches together. Insert the right needle into two stitches SHAPE CROWN at the same time and Knit. This will (As number of stitches decreases, Designed by Lorna Miser result in a decrease of one stitch. change to Double-Pointed Needles). M1 = Make 1 (Increase). Lift strand Round 1 (decrease round): *K8, What you will need: between needles to left-hand needle k2tog*; repeat from * to end of and knit strand through the back round — 72, (82, 92) sts. RED HEART® With Love®: 1 ball 1321 Chocolate A loop, twisting it to prevent a hole. Round 2: Knit. RED HEART® Fur™: 1 ball 9370 Sl 1 = Slip 1 stitch. Round 3 (decrease round): *K7, Mink B k2tog*; repeat from * to end of round — 64, (74, 84) sts. Susan Bates® Circular Knitting Needles: EARFLAPS (Make 2) Round 4: Knit. -
Performing Postcolonial Identity in the Democratic Republic of Congo By
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OCAD University Open Research Repository Sapologie: Performing Postcolonial Identity in the Democratic Republic of Congo by Kaja Erika Jorgensen Submitted to OCAD University in partial fulfillment of the requirements for the degree of Master of Arts in Contemporary Art, Design and New Media Histories Toronto, Ontario, Canada, May 2014 © Kaja Erika Jorgensen, 2014 ii I hereby declare that I am the sole author of this MRP. This is a true copy of the MRP, including any required final revisions, as accepted by my examiners. I authorize OCAD University to lend this MRP to other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. I further authorize OCAD University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Signature __________________________________________________ iii Abstract: As open-market policies reinforce global power imbalances, postcolonial subjects in Africa often find themselves dislocated from the promises of modernity that accompanied independence movements. In the Democratic Republic of Congo, the transnational movement la Sape appropriates fashions from the metropole centres of Europe and re-enacts them in Africa, using the body as a representative surface through which to negotiate socio-economic adversity. This paper analyzes la Sape in terms of its relationship to dandyism, the gendering of performativity, and the ongoing search for an ‘authentic’ national identity in postcolonial Congo in order to explore the complex visual phenomena it evokes. -
Heritage Traditions
Heritage Traditions 2020 PRODUCT CATALOGUE HERITAGE TRADITIONS 2020 HT HERITAGE TRADITIONS 2020 ABOUT CONTENTS Page 4 --------- Peaky Panel Caps Page 68 --------- Mohair Look Scarves Page 6 --------- Duck Bill Caps Page 72 ---------- Union Jack Scarves Page 8 --------- Newsboy Caps Page 73 --------- Basket Weave Snoods Page 13 -------- Tweed Earflap Cap Page 74 --------- Tartan Mohair Scarves Page 14 --------- Flat Caps Page 75 --------- Tartan Mohair Blanket Page 18 --------- Tweed Baseball Caps Page 76 --------- Boucle Tweed Scarves Page 20 --------- Borg Trim Trappers Page 78 --------- Tartan Scarves Page 21 --------- Tweed Skip Caps Page 82 --------- Wool Herringbone Scarves Page 22 --------- Twill Skip Caps Page 84 --------- UJ Wool Scarves Page 23 ---------- Aviator Hats Page 85 --------- Wool Serapes Page 24 ---------- Check Baseball Caps Page 86 --------- Double Faced Wool Scarves Page 26 ---------- Pork Pie Hats Page 87 --------- Tartan Merino Scarves Page 28 ---------- Trilby Hats Page 88 --------- Gauze Scarves Page 30 ---------- Linen Panel Caps Page 90 --------- Seed Stitch Blanket Scarves Page 32 --------- Deer Hunter Caps Page 92 --------- Tweed Waistcoats Page 34 --------- Fisherman Wool Mix Beanies Page 94 --------- Tweed Bag Charms Page 36 --------- Twist Beanies Page 96 --------- Lapel Pin Set Page 38 --------- Chunky Fair Isle Collection Page 97 --------- Heritage Cufflinks Page 40 ---------- Rib Pom Pom Hats Page 98 --------- Mens Tweed Gloves Page 42 ----------- Ladies Newsboy Caps Page 100 -------- Mens Stud Strap -
The Aesthetics of Urban Precarity
THE AESTHETICS OF URBAN PRECARITY By Anna L. Green A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of English—Doctor of Philosophy 2020 ABSTRACT THE AESTHETICS OF URBAN PRECARITY By Anna L. Green Art historian Hal Foster points out that “Precarity has come to figure in sociological discourse, where it is used to describe the situation of a vast number of laborers in neo-liberal capitalism whose employment… is anything but guaranteed. This ‘precariat’ is seen as a product of the post-Fordist economy,” historically rooting precarity in the emergence of late-stage capitalism’s ever more unstable labor economy and the concomitant problems of poverty, displacement, and contingency. Yet Foster also admits, that despite our present sense of “emergency,” “precarity might be more the rule” and stability the exception, acknowledging that Modernist art too was marked by an overriding sense of chaos. In doing so, he casts precarity not as a novel condition but as a continuing phenomenon whose traumatic consequences undeniably mark and shape twentieth-century literature and art. Following Foster’s implications, this dissertation traces the emergence of precarity as an aesthetic sensibility that emerges with the earliest moments of consumer culture’s entrenchment with urban life and sociability. Responding to capitalism’s increasing ability to ratify the terms of personhood through regimes of bodily control, spatial regimentation, and visual policing, the artists examined in this project turn to precarity as an aesthetic rubric that resists these processes of reification. Pursuing methodologies of contingency, temporariness, and obsolescence, their projects—spanning from American Dada to post-war assemblage—thematically represent and formally recreate the instabilities of those who occupy subject positions made vulnerable by capitalism. -
Crochet Baby Hats, Crochet Booties & More
13 Free Baby Crochet Patterns: Crochet Baby Hats, Crochet Booties & More Copyright © 2014 by Prime Publishing, LLC All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system, without written permission from the publisher, except in the case of brief quotations embodied in critical articles and reviews. Trademarks are property of their respective holders. When used, trademarks are for the benefit of the trademark owner only. Published by Prime Publishing LLC, 3400 Dundee Road, Northbrook, IL 60062 – www.primecp.com Free Crochet Projects Free Craft Projects Free Knitting Projects Free Quilt Projects Free Sewing Projects Free Crochet Afghan Patterns Free Christmas Crafts Free Jewelry Projects Free Holiday Craft Projects Free DIY Wedding Ideas Free Kids’ Crafts Free Paper Crafts 2 Letter from the Editors Dear Crocheter, The most precious moment in life is when you’re introduced to a new life. Having a little bundle of joy is priceless and it’s our job to make those moments memorable. Whether you’re a parent yourself, an aunt or an uncle, or simply love being around babies then you have to continue reading on. This eBook, 13 Free Baby Crochet Patterns: Crochet Baby Hats, Crochet Booties & More, is the perfect collection of patterns for every newborn. From baby hat crochet patterns, to baby booties, baby sweaters, crocheted baby blankets and teething toys, we have something special that will catch your eye. Print this out once, and refer to it throughout the year. -
Università Degli Studi Di Milano Dipartimento Di Lingue E Letterature Straniere
UNIVERSITÀ DEGLI STUDI DI MILANO DIPARTIMENTO DI LINGUE E LETTERATURE STRANIERE DOTTORATO DI RICERCA IN LINGUE, LETTERATURE E CULTURE STRANIERE XXVIII Ciclo BETWEEN RHETORIC AND PERFORMATIVITY THE VERBAL AND VISUAL ART OF FOUR MODERNIST WOMEN Tesi di dottorato di: Francesca Chiappini R09991 Tutor: Chiar.ma Prof.ssa Caroline Patey Coordinatore del Dottorato: Chiar.ma Prof.ssa Giuliana Garzone Anno Accademico 2014/2015 To my husband Table of contents Acknowledgments v List of figures vii Chronologies xiii PART I Introduction 1 1. The corpus 3 2. Some methodological considerations 4 2.1. Visual modernity and urban aesthetics 5 2.1.1. Views on modernity 9 2.2. Recent feminist insights 13 2.3. Gendered spaces, gender practices 15 2.4. Performers 20 2.5. The relevance of life-writing 23 2.5.1. From subjectivity to collective consciousness 26 2.6. Life-painting 30 PART II Chapter 1. Form, space and colour 33 1.1. Djuna Barnes’s poetic fait divers 34 1.1.2. Patterns of fall 37 1.1.3. Metamorphic spaces: black and white 43 1.1.4. Synecdoche and the poetics of dismemberment 48 1.2. Zelda’s waltz 52 1.2.1. Fairy-tale colours: hyperboles 53 1.2.1.1.Visual prose 61 1.2.2. Nightmarish colours: plethora and horror vacui 62 1.2.2.1.In excess 67 1.2.2.2.“The vertigo of the list” 69 1.3. Mina Loy’s essential lines 71 1.3.1. Geometrical fascinations 72 1.3.2. Access-line to avant-garde 76 1.3.3. -
Thank You, Amelia Earhart
THANK YOU, AMELIA EARHART Written by Al Mertens Post Office Box 14455 Oklahoma City, Oklahoma 73113 [email protected] (405) 312-2074 FADE IN: EXT. COUNTRY ROAD - NIGHT - FLASHBACK The town DEPUTY navigates a belching vintage pick-up truck on a meandering country road as OPENING CREDITS roll. Smoke billows from the end of his hand-rolled cigarette held by fat fingers at the of hairy forearms. CUT TO: EXT. HOUSE - NIGHT The Deputy kills his lights as he pulls to a Depression-era farmhouse. He idles, observes faint movement in the faintly- lit inside. He lights another smoke, then pulls something from his side, holds it up in the moonlight. A shotgun. CROSSFADE EXT. HOUSE - DAY Same house, no truck. INT. HOUSE - CONTINUOUS All is quiet in the living room on the sparse first floor. Cardboard boxes are scattered amidst the merely adequate furnishings: a sofa, coffee table, chair, an ancient tv. The room has three entrances: the front door to the porch and two interior doors. A sturdy staircase oversees all. The vague femininity of it all makes obvious that an old lady lives here. One who likes to read, given the bookshelves on the walls, the books in ideal order. A KNOCK on the front door. Then another. The door opens. SEASON, a girl in her late teens, enters. She looks around, distracted from her apparent usual disinterest. SEASON Hello? No answer. 2. She ambles to the chair and sits, nervous. Hears NOISE from somewhere in the house. Cranes her neck. Was it through the door behind her? Or through the other one, maybe? SEASON Hello? Whatever.