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Remembering the Past…
Posted by Bonnie Armstrong | 2014 Sep 26 17:20 -0400 GMT
Author: EM Drosselmeyer
Heckles poured the wine into two glasses, and handed one to each of the Kings. Lord British smiled to the jester while King Blackthorn gave him a nod, and the two returned to their conversation. "I must say, it is a surprise to find you have returned without Nystul's aid. Where have you been for so long? Why has your return been delayed?"
Lord British took a sip and set the glass down, steepling his fingers slightly before speaking. "I have…admittedly been caught up of late with new adventures. I have traveled to the stars…leaving behind the trappings of earth for a time and feeling what it is like to truly be free of all constraints. And though she could not come with me, I have also found love…and found a bond that can never be broken. Looking back, I realize that all of my ponderings and thoughts and musings upon the natures of the Virtues have come back to me in such a profound new manner at having experienced such a wondrous thing first hand…especially after being able to bring new life into existence. Through it all, I have had the shards of the gem…but they are safely with Nystul, for now. I found that a return to Britannia was in order…and it seems that the realm has it's share of troubles. Was that Sir Dupre I spied leaving as I crossed the upper walkways?"
King Blackthorn's expression was bright and he could see the way which his friends face shone with exuberance as he regaled him of his journeys. "Yes, it was…he has been pushing himself hard of late, especially with Minax's resurgence of power, but we seemed to have pushed her back…she had some new minion with her she called Shanty, and was using a shard of the gem to bring raiders through using lighthouses." The King paused as he took another sip of his wine, continuing with a hint of pride in his voice. "She is not the only old foe to resurface, with Exodus having been loosed once more…though Dupre's knights and the realms adventurers are keeping him at bay, we cannot seem to banish him anymore as I once did. We sought the cooperation of Anon, but despite his desire to be for the realm with his Council of Mages, it seems that his time alone has driven him even further into eccentricity and madness…and if reports are to be believed, his Council has been shattered by what remained of Minax's forces, at great cost to her own. Felucca is in disarray, and mindless fighting and slaughter seem to be the order of the day." A rueful smile tugged at one corner of the King's lips as he took another sip. "You definitely didn't come at the best time for a parade, I fear."
Lord British's expression was set and grim as he nodded along, and leaned in. "There may yet be something we can do."
* * *
The goblet clanged hard against the stone wall, the messenger shrinking away from her wrath as she shouted. "DON'T BRING ME RUMORS AND LIES!" Shanty merely stood in the corner, watching as the scene unfolded between the spy and Lady Minax.
"B-but, L-lady Minax, it's not rumors…I saw him myself, entering the castle a short time before Dupre left, as you asked me to watch Dupre and try and figure out where we could…"
"IDIOT! You think the knight is the biggest threat? He is a nuisance, an annoyance, and while I want him crushed like a bug you should have taken the chance and killed Lord British when you saw him!"
"I was on the castle grounds, and there are spells in place that…"
A sharp crack echoed through the room as her hand impacted the man's face, sending him tumbling to the floor and leaving little trails of blood where her nails had dug into his face. "I don't want your excuses you whelp. Leave. Now. Before I change my mind…And send Anon to me! We don't have time to waste!"
* * *
"And the Ararat has resurfaced…troubling, but fascinating." Lord British set the empty wine glass down. "It would seem that all the pieces have been…reset for a new board, and yet all is in disarray and arranged in the wrong places. Enemies surround the Kingdom, and…" Lord British paused, and gave a bit of a frown at hearing a commotion, and King Blackthorn stood and looked out to the courtyard of the castle through one of the windows.
"It seems that word travels quickly… and that the people wish to see if this rumor of your return is true. I think we had best indulge them before we have a riot, Cantabrigian." King Blackthorn turned to lead the way to the throne room.


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subset: commoncrawl


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Quality: HD
Title : Logan
Director : James Mangold.
Release : 2017-02-28
Language : English,Espanol
Runtime : 135 min.
Genre : Action, Drama, Science Fiction.
Synopsis :
What happens when our superheroes get old? It's essentially something that never happens in our movies, where our heroes are always virile and robust, and if they get a little long in the tooth, we just reboot the series and start over with a younger model. But that's not the case with Logan, which follows maybe the most famous of the X-Men, Wolverine, as he not only deals with his own broken-down body, but with nursing the longtime leader of the X-Men, professor Charles Xavier. Xavier is now in his 90s and struggles to take care of himself, occasionally slipping into dementia and having trouble recognizing Logan or understanding just what's going on at any particular time.
And this is just part of what separates Logan from any other superhero movie we've seen. I'll admit that I've grown a bit tired of superhero origin stories and crash-and-bang ensemble pictures, but Logan is neither of those things. The characters here feel lived-in and real, and the violence is shocking and gritty. When innocent people are killed in this movie, it doesn't feel like collateral damage; it's genuinely disturbing and actually makes us realize that real people's lives are at stake in this universe.
And even all of this barely scratches the surface. Logan gets involved in trying to save a little girl who's far more like himself than he'd like to admit, and we eventually follow them as they work with a group of young mutant refugees trying to cross the border into Canada to escape persecution. If that doesn't resonate with our times, I don't know what will. The X-Men stories have always reflected racial and ethnic tension and fear, and that's brought to the forefront here in ways I won't spoil.
But ultimately, it's the grounding in reality that makes Logan a special film. We see the broken bodies of our superheroes laid bare, we feel the difficult emotional reality of trying to care for an elderly loved one who has difficulty understanding his own condition and can snap in strange ways at any moment, and we know that nothing can last forever, not even our greatest heroes.


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John Chamberlain
April 16th, 1927 to December 21st, 2011
April 16th, 1927 to December 21st, 2011
"John Chamberlain, Who Wrested Rough Magic From Scrap Metal, Dies at 84"
Randy Kennedy
December 21st, 2011
The New York Times
Randy Kennedy
December 21st, 2011
The New York Times
John Chamberlain, who almost singlehandedly gave automotive metal a place in the history of sculpture, smashing and twisting together a poetic fusion of Abstract Expressionism and Pop from fenders, fins, bumpers and hoods, died on Wednesday in Manhattan. He was 84.
His wife, Prudence Fairweather, announced his death but declined to give a cause. He had spent his last years mostly in Shelter Island, N.Y.
In a restless career of almost half a century, Mr. Chamberlain worked with a broad range of materials, some as pliant as foam rubber and as ephemeral as brown paper bags. But he returned again and again to the more substantial stuff of the scrap yard, explaining the attraction as one of practicality. "I saw all this material just lying around against buildings, and it was in color," he said, "so I felt I was ahead on two counts."
But auto bodies also provided him with a material that could bear more than its weight in art-historical significance: as a chaotic riff on Duchamp's readymades, as a renegade form of truth-in-materials Minimalism, as a bridge between the raw expressiveness of the New York School painters and the assembly-line deadpan of Warhol.
Critics often saw his crumpled Cadillacs and Oldsmobiles as dark commentaries on the costs of American freedom, but Mr. Chamberlain rejected such metaphorical readings. He turned to making sculpture from other things partly because he grew so tired of the automotive associations.
"It seems no one can get free of the car-crash syndrome," he told the curator Julie Sylvester in 1986. "For 25 years I've been using colored metal to make sculpture, and all they can think of is, 'What the hell car did that come from?' "
Years later, he said: "I think of my art materials not as junk but as garbage. Manure, actually; it goes from being the waste material of one being to the life-source of another."
Mr. Chamberlain devoted his life to challenging traditional notions of sculpture and to eroding the boundaries between sculpture and painting. He was among a wave of late-modernist sculptors who put color on an almost equal footing with form, and he had an uncanny ability, as the curator Klaus Kertess wrote, "to make roundness into color and color into roundness."
Donald Judd, who enshrined many of Mr. Chamberlain's pieces at the art complex he built in Marfa, Tex., observed that Mr. Chamberlain's colors in his early years were quintessentially American, "the hard, sweet, pastel enamels, frequently roses and ceruleans, of Detroit's imitation elegance for the poor."
Mr. Chamberlain felt that even the word "sculpture" was limiting in describing art that, while functioning in three dimensions, could be made from almost anything.
"A sculpture is something that if it falls on your foot, it will break it," he said. (Well into his career, some people still had a tough time seeing his sculptures as works of art; in 1973, two 300-pound metal pieces were mistaken for junk and carted away as they sat outside a gallery warehouse in Chicago.)
Mr. Chamberlain's early influences included few sculptors. He gravitated to poets and to the Abstract Expressionist painters he met at the Cedar Tavern in Greenwich Village after moving to New York from Chicago in 1956, chiefly to Franz Kline and Willem de Kooning.
"Kline gave me the structure," he once said. "De Kooning gave me the color."
They also helped fuel a love of drink that contributed to his reputation as an art-world hellion, especially during the heyday of Max's Kansas City, the Cedar's successor as New York's art-world clubhouse. At six-foot-four, with a broad, toothy smile full of mischief and menace, he looked, and sometimes acted, like a character from a Sam Peckinpah movie. In 1964, the year he represented the United States at the Venice Biennale, he was arrested in the Village after a drunken street fight with a police officer. Mr. Chamberlain's lawyer defended his client by saying the fight was the fault of the officer, who had repeatedly and "needlessly struck Mr. Chamberlain on the head with a nightstick."
John Angus Chamberlain was born on April 16, 1927, in Rochester, Ind., the son of a fifth-generation saloonkeeper. He was raised above a meat market until he was 4, when his parents divorced. His mother, a sometime waitress, took him to Chicago, where he was left in the care of his maternal grandmother, Edna Brown Waller, whom he described as a strong, voluble presence in his life.
In his teens, he grew to love classical music but decided he didn't have enough talent to pursue a music career. Mostly to stay out of trouble, he joined the Navy at 16 in 1943, lying about his age, and served in the Pacific and Mediterranean before returning to Chicago to study hairdressing on the G.I. Bill — an occupation he saw partly as a good way to meet women. Between shifts as a hair and makeup instructor at a modeling school, he tried to teach himself to draw but grew frustrated and enrolled in private art classes. He later entered the School of the Art Institute of Chicago but lasted only a year and a half because of quarrels with instructors he accused of being narrow-minded.
Through a friend, Mr. Chamberlain found Black Mountain College in North Carolina, which he attended in 1955 and 1956. It introduced him to like-minded artists, most of them poets including Robert Creeley, Charles Olson and Robert Duncan. Shortly after leaving the school he met and married Elaine Grulkowski, his second wife, and the couple had three sons. Two, Angus and Duncan, survive him, as does his fourth wife, Ms. Fairweather, and her daughters, Alexandra Fairweather and Phoebe Fairweather. Elaine Chamberlain died in 1973, and a son, Jesse, died in 1999. Two other marriages ended in divorce.
Early on, Mr. Chamberlain was drawn to the totemic welded constructions that David Smith made from old tools and machine parts. But in 1957, he had an epiphany while staying with the painter Larry Rivers in Southampton, N.Y. Using two fenders he pulled from a 1929 Ford rusting on Mr. Rivers's property, he made a sculpture by running over the pieces repeatedly with a truck to bend them the way he wanted, then he fitted them together almost like puzzle pieces.
The sculpture, "Shortstop," opened his eyes to the potential of pre-painted junk metal. And work like it, heavily indebted to his Abstract Expressionist mentors, attracted admirers like the influential collector Allan Stone, who described the young Mr. Chamberlain as "a gruff, hairy" character, "more like a north woodsman than a sculptor." Many critics saw his early work as an affront. One, writing in The New York Times in 1959, described a Chamberlain work as "a construction from the wreckage of a motor car."
Even admirers like the critic Peter Schjeldahl seemed unsettled by the apparent randomness of Mr. Chamberlain's crushing machines. "As with a sunset or a snowstorm, you don't know whether there's an operating intelligence behind it all or not," he wrote in 1969, "so you learn to accept the manifestations for themselves." He added: "The mangle is the message."
Mr. Chamberlain was rarely happy working for long in one place. Besides New York, he lived in New Mexico, California, Connecticut and Sarasota, Fla., where he kept a houseboat and a yacht in addition to two sprawling studios. He continued to work and sail after settling in Shelter Island (while living part-time in Manhattan). At 74, he took up the saxophone. He also made headlines in 2011 by leaving his longtime gallery, Pace, for the larger empire of the Gagosian Gallery.
His pieces — with punning, portmanteau titles like "Awesomemeatloaf," "Schizoverbia" and "Anything Goethe" — were not usually intended to be figural. But, depending on the vantage point, they could evoke dancing or hobbled human forms, trees, flowers, boats and birds. A 1982 sculpture called "The Lineup (Dedicated to the Sarasota Police Dept.)" looked like a row of reprobates hauled in for public indecency.
In the late 1960s he switched from car parts to unpainted galvanized steel, then made pieces from resin-coated crushed paper bags. He also began using blocks of foam rubber that, when tied with cords, resulted in forms strikingly like his car-metal pieces, underscoring the seeming softness of such rigid pieces. In 1968, Mr. Chamberlain took a detour into filmmaking, the most notable result of which was the cult hit "The Secret Life of Hernando Cortez," filmed in Mexico with Warhol regulars Taylor Mead and Ultra Violet in various states of intoxication and undress.
In 1970, the year he was given a retrospective at the Solomon R. Guggenheim museum, he began working with heat-shaped Plexiglas and aluminum foil. But he returned to car bodies in 1974.
Mr. Chamberlain's work is in the collections of dozens of museums, including the Guggenheim, the Museum of Modern Art and Dia:Beacon in Beacon, N.Y.; this year an older piece sold at auction for $4.7 million, a record for his work.
Mr. Chamberlain spoke of his work with reluctance and often humility, deriding the over-intellectualizing tendencies of his questioners. "Everyone always wanted to know what it meant, you know: 'What does it mean, jellybean?' " he told Julie Sylvester, adding: "Even if I knew, I could only know what I thought it meant."
But he trusted his instincts and seemed to follow them to please himself more than anyone else. "When a sculpture is nearly done, you can put things on and you take them off and it doesn't make any difference," he said. "Stopping is the key; you have to know when to stop. If I feel so glad that a sculpture is here, and I don't care who did it, then I figure it's a good piece."
John Chamberlain [Wikipedia]


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Put In 6 Hours A Week Doing These Activities And You'll Have A Much Better Relationship
Here's how putting in the work in your marriage actually looks like.
By Kyle Benson
All of your relationship problems cannot be solved by reading a book, attending a weekend workshop, or enrolling in couples therapy. With that said, learning what distinguishes happy couples from unhappy ones can change the course of how you and your partner love each other.
The seemingly insignificant shifts in the trajectory of your relationship can have a significant effect over time. The catch is that you have to continue to build on the positive changes you've made so you don't fall back into old, negative patterns.
When we followed up with couples who attended The Art and Science of Love weekend workshop in Seattle, we asked ourselves, "Is there a noticeable difference between couples whose marriages continued to improve over time compared to those whose marriages did not?"
You'd think the successful couples would have made a dramatic overhaul in their marriage. This is not what we discovered.
To our surprise, they were only devoting an extra six hours per week to their relationship. How these couples split up these six hours depended on their focus and areas of improvement, but we did notice some clear patterns.
Put In 6 hours a week doing these 6 things and you'll have a much better relationship:
1. Partings
Happy couples make an effort to learn one thing that is happening in their partner's life that day before saying goodbye in the morning. This could be lunch plans with a best friend a doctor's appointment or a scheduled call with their parents. The goal is to ask questions and learn about the exciting and not-so-exciting things about your partner's day.
Time allocation: 10 minutes per week (2 minutes a day x 5 working days)
2. Reunions
When you see your partner again at the end of the day, share a hug and kiss that lasts at least six seconds. Dr. Gottman calls this a "kiss with potential." The six-second kiss is a ritual of connection that is worth coming home to.
After the six-second kiss, have a stress-reducing conversation for at least 20 minutes. This provides you with a space for empathy and non-touch intimacy, as well as encourages you to understand the stresses and problems outside of your relationship that you're both facing.
Time allocation: 1 hour and 40 minutes per week (20 minutes a day x 5 working days)
3. Appreciation and admiration
It's important to find ways to genuinely communicate affection and appreciation toward your partner. I encourage couples that I work with to use an admiration journal, which enables them to record something small they notice and connect it to a trait they admire in their partner.
Not only does this make your partner feel valued, but it also primes your mind to see the positive traits of your partner, instead of focusing on the negative. Here is an example: "Thanks for helping out with the dishes last night and letting me go finish my project for work. You're such a thoughtful and kind woman."
Time allocation: 35 minutes per week (5 minutes a day x 7 days)
4. Affection
Expressing physical affection when you're together is vital to feeling connected to each other. Make sure to embrace each other before falling asleep. This can be as simple as cuddling for a few minutes or a goodnight kiss.
Think of these moments of affection as a way to let go of the minor stressors that have built up over the day. Imagine lacing your goodnight kiss with forgiveness and tenderness for your partner.
Time allocation: 35 minutes a week (5 minutes a day x 7 days)
5. Date night
This important "we time" is a relaxing and romantic way to stay connected to each other. During your date, ask open-ended questions and focus on turning toward each other. Think of questions to ask your partner, such as, "Are you still thinking about redesigning the bathroom?" or "I'd love to take a vacation with you. Do you have any places in mind?" or "How has your boss treated you this week?"
Time allocation: 2 hours, once a week
6. State of the Union meeting
Dr. Gottman's research revealed that spending just one hour per week discussing areas of concern within the relationship has been shown to transform the way partners manage conflict. In my practice, I notice this dedicated space to discuss conflict gives couples the freedom to express their fears and concerns in a way that makes them feel heard and loved instead of feeling neglected.
I'd recommend this become a weekly ritual in your relationship that happens at the same time each week. It's a sacred time because it's transformative, even though it may not feel fun in the moment.
Here's how to do it: Start by talking about what has gone well in your relationship since the last meeting. Next, give each other five appreciations you haven't yet expressed. Try to be specific and include examples. Now, discuss any issues that may have arisen in the relationship. To make the conversation effective, take turns being the speaker and the listener.
As the speaker, use gentle start-ups that avoid triggering your partner. As the listener, try to truly understand what your partner is saying without judgment. If you get defensive or flooded, take a 20-minute break and return to the conversation.
After both partners feel understood and heard by each other, move to problem-solving with the two-circle method described on page 185 in The Seven Principles For Making Marriage Work. If a regrettable incident happened during the week, process it using the exercise on page 188 in The Seven Principles For Making Marriage Work. At the end of the conversation, each partner needs to ask and answer, "What can I do to make you feel loved this coming week?"
Time allocated: 1 hour a week.
Grand total: 6 hours!
As you can see, six hours a week is quite minimal. In fact, it's only 5 percent of your waking life if you sleep 8 hours each night. As insignificant as these six hours may feel, they will help enormously in keeping your relationship on track.
Kyle Benson is a relationship coach who writes to help others understand the science of love and relationships.


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Featuring a 4-panel dome with a flip-up visor, the All-City Parthenon Party Cap is steeped in color to complement just about any kit or outfit. Made of lightweight cotton twill by Pace, right here in the USA.
- KoolFit elastic sweatband
- One size fits most
- Made by Pace in the USA
Part Numbers
Option | UPC | MPN |
Pink/Red/Blue/Black / One Size | 708752472068 | CL11122 |


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This article needs to be cleaned up to conform to WikiFur style and standards. For specifics, check the edit history and talk page. Consult the Furry Book of Style for editing help. |
The use of time in this article lacks definition. Dates should be used instead of words like "today" and "currently". For specifics, check the edit history and talk page. Consult the Furry Book of Style for editing help. |
Sundancedeer, or Rook and previously known as Paradraik, (born 1989) is a pansexual female-to-male trans-man. He is a furry artist and fursuiter. While Sundancedeer is his identity in the art community, he prefers to go by "Rook" and thinks of it as his real name to those he meets online.
From 2009 onwards, this person took up a new identity of Sundancedeer, and no longer associates with the "Paradraik" identity.
Sundancedeer spent most of his early life pretending to be an animal. His style of IRL role-playing was strongly influenced by The Lion King. His parents recall that he would sometimes watch the movie multiple times a day. He was eventually forced to grow out of walking around on all fours, so he adopted art as an alternative creative outlet. Before discovering the furry fandom, his primary interest was dogs, and then Pokemon. He believes that drawing Pokemon characters and original Pokemon-inspired creatures for years allowed him to develop his drawing skills.
In 2003, Sundancedeer designed his first fursona, named "Snowy." Snowy was originally a Draik on Neopets, that granted him access to the Draik Clan forums, where he shared art and sometimes role-played. When Sundancedeer quit Neopets, he kept Snowy and continued to update her design over the years that followed, but the white-furred dragon with the body of a mammal stayed consistent through all changes.
"Paradraik"'s internet endeavors (2003-2010) most often occurred on her deviantART account and LiveJournal under the same name. He was briefly a member of Furry Teens and various oekaki boards under the alias Para.
In the summer of 2013, Sundancedeer discovered that he was more comfortable as a male than the gender of which he was born. He came out to immediate family and friends the same year, and is strongly considering hormone replacement therapy at this time.
Real life[edit]
Hailing from a small city in western Massachusetts, Sundancedeer attended Greenfield High School where his furriness was known by very few of his friends. He graduated in 2008 and went on to community college for art and psychology. His long-term goal was to become a successful freelance artist. In 2011, he decided to major in computer information systems and web design, but still does art on the side. His future plans include attending a state university to complete his Associate's degree.
Sundancedeer started attending furry conventions the same year, his first being FurFright 2012.[1] He has also attended Anthrocon 2013. His fursuit character is a species of chibi dragon created by Eris_Valgen. It is his first suit and was won in an auction, dubbed "Old Diamond" instead of renaming the character.
Sundancedeer is a digital artist. His work covers many subjects, from animals to surrealism, anthro art to photography. His first website, art-mafia.net (domain expired), was where his best works were archived circa 2005. In 2011, he registered and designed deerdance.net, which has since been taken offline. He plans to redesign the site in the future.
The art he uploaded to deviantART is all "in storage" (ie. not visible to others). He made a new deviantART account (dA username sundancedeer), but has since abandoned it, leaving the gallery intact. Sundancedeer is currently only uploading art to Fur Affinity and Tumblr.
Sundancedeer's fursona is a pink and orange piebald deer, named "Sundance" as a tribute to the old western outlaw, the Sundance Kid. Incidentally, Sundance cannot actually dance, and is not a fan of hot, sunny weather.
In addition to being a representation of the artist himself, Sundance has his own personality in a parallel storyline. Sundance can be hella rude—no filters on swearing and he will gladly tell it how it is. He often appears neurotic-looking, or sleep deprived, with exaggerated features to emphasizes certain facial characteristics. Drug use, bloody noses and prison tattoos, (although none consistently appear in canon drawings), are some common themes in art of this character.
A partial fursuit of this character is in the making. Why, I Otter... has begun working on the sleeves.
- ↑ FurFright!! by deerdance posted 2012 October 25 to Sundance's journal at Weasyl. Retrieved 2015 April 17.
External links[edit]
This person is a WikiFur user: |
- Active
- on Tumblr
- lucifur.co - "Main" tumblr (http://lucifur.tumblr.com/ forwards to lucifur.co)
- Rookjay - Sundance's Flight Rising Tumblr
- Sundance Draw (sundancedeer) - art Tumblr
- Inactive
- deerdance.net - personal portfolio (offline). Archived 2010-2014 from the original by the Internet Archive.
- art-mafia.net - personal portfolio (offline). Archived 2004-2006 from the original by the Internet Archive.
- Deerdance on Fur Affinity (NO art in galleries)
- Sundancedeer on Twitter (inactive; latest tweet 2014 June as of 2015 April)
- Sundancedeer on deviantART (no longer updated; latest art 2012 as of 2015 April)
- Paradraik on Fur Affinity (no longer updated; left in 2009)
- Paradraik on deviantART (abandoned; art "in storage")
- Paradraik on LiveJournal ("deleted and purged". Status noticed 2010 Nov 7.)


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Yu-Gi-Oh! - Photon Hypernova Booster Box
Yu-Gi-Oh! - Photon Hypernova Booster Box
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