Curiosa foto de unos requetes saludando brazo en alto en el balcón de un ateneo anarquista.
Curiosa foto de unos requetes saludando brazo en alto en el balcón de un ateneo anarquista.
Subli
(sooh-BLEEH)
From the province of Batangas comes this ancient dance, originally performed in veneration of the holy cross of Alitagtag, referred to in the vernacular as Mahal na Poong Santa Cruz. The word subli is derived from two Tagalog words, subsub (stooped) and bali (broken). Hence, the men are stooped throughout the dance and appear to be lame and crooked, while the women dance with hats.
South Sudan: Birth of a Nation – powerful new series by photographer Zed Nelson of Love Me fame, captures the journey of the world’s newest nation as Africa’s largest country officially split into two after Africa’s longest-running civil war.
Many of South Sudan’s political bosses are former rebel fighters who have lived through a lifetime of war. The long-suffering population are mainly poor, completely uneducated, and living in conditions described by the UN as ‘the least developed place on earth’. The country has oil reserves promising vast revenues which could kick-start development, but $20 billion dollars in oil revenue is already unaccounted for. The capital has grown from little more than a village to a booming city over the past few years. Deals are being made in South Sudan’s new, inexperienced ministries, and the future of South Sudan is up for grabs. Foreigners here are either running charities trying to give money away, or oil companies and entrepreneurs trying to suck profit out of the country as quickly as possible.
Nelson is represented by INSTITUTE for Artist Management.
Prone to crushes on boys in books.
"Grammatically, there are various ways of describing what’s going on. One helpful set of terms is essential vs. nonessential. When the identifier makes sense in the sentence by itself, then the name is nonessential and you use a comma before it. Otherwise, no comma. That explains an exception to the only-thing-in-the-world rule: when the words “a,” “an” or “some,” or a number, come before the description or identification of a name, use a comma. A Bronx plumber, Stanley Ianella, bought the winning lottery ticket. When an identifier describes a unique person or thing and is preceded by “the” or a possessive, use a comma: Baseball’s home run leader, Barry Bonds, will be eligible for the Hall of Fame next year. My son, John, is awesome. (If you have just one son.) But withhold the comma if not unique: My son John is awesome. (If you have more than one son.) The artist David Hockney is a master of color. The celebrated British artist David Hockney is a master of color. And even The gay, bespectacled, celebrated British artist David Hockney is a master of color. (Why are there commas after “gay” and “bespectacled” but not “celebrated”? Because “celebrated” and “British” are different sorts of adjectives. The sentence would not work if “and” were placed between them, or if their order were reversed.) If nothing comes before the identification, don’t use a comma: The defense team was led by the attorney Harold Cullen."
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The Most Comma Mistakes – The New York Times’ Ben Yagoda dissects the most common grammatical mistakes in using commas.
(via explore-blog)
(Source: , via explore-blog)
“Unlike previous muralists who legally painted the Sunset walls, Cache and Eye One are able to actively call the laws regarding wall aesthetics into question with the support of a paradoxical alliance of local interest groups. This is an alliance of strange bedfellows—including existing residents, hipster gentrifiers, law enforcement, business owners, local governmental agencies, and graffiti writers—each member seeing in the murals something different, even disparate, to accept. As Pat Gomez’s statement suggests, the laws regarding “vandalism” have not changed, but the neighborhood has, along with what type of murals its residents and stakeholders see as suitable.” —from “The Illegal Face of Wall Space: Graffiti-Murals on the Sunset Boulevard Retaining Walls” by Stefano Bloch. Radical History Review (issue 113) Spring 2012
oh boy
