bukeed

Sjebu je sitnice, previše razmišljanja, brige, buke, škole, ljudi pa čak i porodice. Treba joj utočište, grudi na koje će nasloniti glavu, zagrljaj i malo tišine. Često joj je teško da povjeruje koliko je snažna i dobra osoba, mnogo odan prijatelj i vjerna žena i ako bog da savršena mama. -A.D.
—  A. D. ( Stihovi za nju )

Hi sha , this me zack . i buat account ni just for you sbb wechat you , you tak buke dah kan … Sebelum ni everythings just deal kat wechat… Okay ni i nak up sikit review pasal you . sebab smlm i tgok ramai bg review so i pon nak lah hehe.. Actually i dah lama ada wechat you time tu just stalking you je . kita meet up dkt rumah anis tak sengaje . sebab malam tu yg overnight rumah anis kot youre bridemaid bg pihak prmpuan and i pulak kawan abang anis . tetibe je you up pic dkt moment kata rumah anis wktu tu i pon ada gak kat situ hahaha . then i deal guna wechat dulu nak sure you ke tak haha . pastu you terkejut gile yg i kata nak service mlm tu . you dgn pakai baju kurung tudung bawal lagi tapi paling best you pakai pin up tu dah la tetek size d cup heheh walaupun bertutup tapi mendada siaa terpacak konek hahaha . then lpstu tak silap kita service dkt stor rumah anis kot sbb i nak cepat before balik . you dgn baju kurung bertudung lagi terus selak kain hehehe tengok bontot tu tertongek baik doh baik dari maria ozawa . i cant lupa thats bounty booty when i doggie you lah , korang penah bayang takk buat position 69 while her wearing baju kurung dgn tudung then after that i ask you nak pancut mne , time tu dah nak terpncut sgtt . ikutkan hati nak je bg facial face you too sbb gojes sgt but you kate pncut jelah dlm hahaha can you all imagine dah pancut² dia berdiri betulkan tudung sementara belum pakai kain then cum i kluar ikut pussy dia omg thats feelings hahahahabab !!. Sial lah tak pernah berangan nak main malam kawin pakai baju kurung lagi . youre service the best . before i kawin december ni please jadi “ bridemaid ” blah gf i hehehe . boleh practise for malam kawin hehehehehehehehe

@farahmiaww @farahmiaww @farahmiaww
start of something new // buke

Beatrice was excited to see Luke. She had always had a tiny crush on him and he was always hot, even when she was a child she thought the older man was very attractive. She got two pizza boxes for her and Luke and then made her way to his house. She grabbed the pizza’s, exited the car, and knocked on his door.

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Nihongami (Japanese hairstyles) - part 5/12: female styles, by Shota Kotake


3 – Shimada mage variations (2/2)

  • Yuiwata is a Tsubushi Shimada variation. This style was especially worn by single Chonin females in middle Edo-era (Buke or Kuge did not used it). This style was pretty informal (unlike the Taka Shimada).
  • Suisha mage is also a variation of Tsubushi Shimada, established around Meiji era. It is one of the most complicated Tsubushi Shimada style.

4 – Katsuyama variations

  • Katsuyama mage appeared in early Edo era. It is said that Katsuyama, a yujo, created this style. It was popular among yujo, but also quickly spread to Buke and Chonin classes. Its trademark was a big loopy topknot.
  • Touroubin Katsuyama is a variation of Katsuyama mage with tourou (papery thin like side buns). Katsuyama was first styled with a big loopy tail, but through time, this topknot became smaller and wider. Touroubin version was seen as pretty chic and modern.
  • Maru mage is the most popular Katsuyama variation, from Edo to Meiji era. Its topknot was more circle shaped, its thickness reflecting the age of the wearer (the bigger, the younger).
    Maru mage appeared around Bunka or Bunsei era. By Bakumatsu time, paper template were used to put this style into shape.
  • Fukiwa was a hairstyle worn by Buke princeses during Edo era. Its trademark was the loose side locks okurege (“straggling hair”).
    Fukiwa is considered part of Katsuyama style because of its topknot shape. It was worn with many luscious ornaments. However, some say that those only appeared as Kabuki props many years later – real princesses only wearing more ordinary kanzashi.

World History: Samurai

Samurai were the military nobility of medieval and early-modern Japan. In Japanese, they are usually referred to as bushi or buke. By the end of the 12th century, samurai became almost entirely synonymous with the word bushi, and the word was closely associated with the middle and upper echelons of the warrior class. The samurai were usually associated with a clan and their lord, and they followed a set of rules that later came to be known as the bushidō. The Samurai - whom occupied around 10% of then Japan’s population - teachings can still be found today in both everyday life and in modern Japanese martial arts.  [x]

Update: The original wording of this post undermined the importance of the Samurai warrior class in regards to occupying around 10% of the Japanese population; I have since updated to fit their description more accurately.  

I usually post my monthly stargazing playlists on the space blog but decided to share it here, too. This was for November and took me ages to trim all the weird incongruous shit out of it. Anyway, cheers to a new month and enjoy the fresh tunes.

Follow on Spotify or Youtube.

Tracks:

  1. Sweet November - SZA
  2. Jerome - Lykke Li
  3. Houdini Crush - Buke & Gase
  4. No Crying in Baseball - Mothers
  5. Mountains - Yuna
  6. Divisions of Labour - Dralms
  7. Hair Receding - Xenia Rubinos
  8. Apply - Glasser
  9. Had Ten Dollaz - Cherry Glazerr
  10. I Say Fever - Ramona Falls
  11. Josefin - First Aid Kit
  12. Showdown - Boy & Bear
  13. Rox In The Box - The Decemberists
  14. Ain’t Gonna Drown - Elle King
  15. Bad Girl - Devendra Banhart
  16. Styrofoam Boots/It’s All Nice on Ice, Alright - Modest Mouse
  17. Whiskey Sour - Molly Nilsson
  18. Youth - Daughter
  19. Auburn and Ivory - Beach House
  20. Hey Mami - Sylvan Esso
  21. Final Warning - Ginuwine ft. Aaliyah
  22. The Ritual - Paper Tiger
  23. Tempest - SOHN
  24. The Way We Used To - Chelsea Wolfe
  25. Play With Fire - The Rolling stones

Find previous playlists here, and happy stargazing!

Image: Brothel worker from New Orlean’s notorious Storyville district, photographed by E.J. Bellocq in the early 1900s.

telling the news // buke

Beatrice had just found out some very unexpected news and she knew she had to tell Luke so she got up and told her dad she was going out for a while with some friends. She got in her car and drove over, pulling into the driveway. She got out and knocked on the door, waiting for him to open it.

AGANO JAR

Japanese copper-green glazed Agano ware jar (Dealer: hotoke antiques) – Calm and impressive landscape with slightly bluish copper-green glaze, “designed” with practical gold restorations (kintsugi). Edo period, 18-19th century. Chic proportions and presence, and lovely handy size. In fine antique condition with no leak. approx. H 16 cm (6.29in), D 15 cm (5.90in) * Agano ware – The one of “The Seven kilns” selected by Kobori Enshu (1579-1647), associated with Samurai tea ceremony called ‘Buke-Sado’ aimed for the concept of ‘Kirei-sabi’ (lit. “Refined rusticity”) as the one of the style of ‘Wabi (Sabi)’. @tatami_antiques

#tatami #japan #antique #tatamiantiques #art #japan#古物 #骨董 #style #mingei #unique #abstract #inspiration #impression #expression #agano #beautiful #ceramic #folkart #zen #teaceremony #contemporaryart #duchamp #beuys #sennorikyu #rad #wabisabi #selfie #pottery #jar

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B.I. BUKE by MICHAEL OLIVO is a 60 page crisply detailed graphic tour de force. Get it at TinySplendor.com and read this amazing foreword by Aaron Shunga to wet your whistle: 

Somewhere between Kikaida and Kenneth Anger lies this self-published gem in the shifting paper desert known as digital-age independent comics.  Regarding the notion that all experimental cartoonists are stodgy, disheveled men:  “I don’t really consider myself a cartoonist,” stated author and illustrator MICHAEL OLIVO over the phone as I stared out into the clean courtyard of my 60’s era apartment, spices of Ethiopian stews wafting through the air.  Somewhere between Honolulu and New Jersey, there is a place called Oakland, CA, where many journey, escaping prejudice and political turmoil, or the gaping maw of the bland.

Leaving the art world and his previous forte’ of experimental film, Olivo dedicated his time to developing a pristine illustration style that displayed contemplation, a steady hand, and a sense of humor that displays the prismatic malfunction of a space-age computer.  He is a mysterious municipal wing from an unknown government, painting signage with the eerie consistency of an automaton and the whimsical glee of a young Keith Haring running through a virtual subway.  And adding to the mystery, he does so with no dialogue.

“Who is B.I. Buke?” I asked, in a halal supermarket eating Tabouli.

“An insult my brother once called me.”

From a monastic outpost, the steely eyed OLIVO first introduced me to his work in his apartment overlooking MLK Jr. Way, a very dangerous street in Oakland, where drivebys are a summer occurrence, bullet holes in wooden fences a mildly interesting conversation piece amongst struggling ghetto locals, jaded punks, artists, and burnouts.  Where a bullet passed through three bags of Doritos in a liquor store circa 2010, and an Arab grocer fervently told me the story, I now feel the parallel in the Nintendo-addled Futurism of B.I. BUKE.  Olivo’s work drinks in his surroundings, from the deepest hideout of abstraction, probably through a crazy straw.  

“I use this to improve my skills,” said Olivo one evening as we worked on an animation at his house, proceeding to beat most of Contra 1 without dying.

The outsider stance is a challenging viewpoint to access, and a dangerous place to inhabit.  To the Mondrians listening to their first Jazz records, hungry Basquiats quitting their day jobs, and the dejected Duchamp prior to uttering the words DADA, this feeling is no stranger.

A pivotal encounter with Olivo occurred in his backyard.  He appeared in a reddish plot of bare soil, a vacant area with a lone palm tree standing the breeze.  We engaged in a strange, labyrinthine conversation that touched on topics of fractals, cats, and Paul Pope’s career.   Here I found evidence of an earnest philosopher in the field of experimental comics, who had a keen eye for craftsmanship and no fear of the resultant isolation.  Next door, reggae played out of a lot filled with abandoned cars.

“Your backyard looks like Haiti,” I said.

The conceptual is apparent in his work, as he draws forth comparisons and ideas that challenge current assumptions and associations in motifs, bringing us to points of insight and humor that mimic the movement of frantic tropical birds.  We are randomly greeted by lush jungle scenes and flailing, muscled arms that give way to floating beings of Japanese mist in an iconic night sky.  The main character, B.I. BUKE, is both empowered by his mutation and the subject of ridicule in his warped, fragmented world of hall-of-mirrors masculinity.  His genitalia, disembodied, greet us abruptly within cracked plexiglass scattered as if Charlie Chaplin were filmed courting Yoko Ono.  Are we witnessing G.I. Joe’s first night as a gay in the military?  Is knowing half the battle?

As Oakland swelled and exhaled with political fervor during Occupy, and rents continue to skyrocket in tacky fortresses whilst peeling Victorian houses appreciate steadily in gun infested streets, we see a city of the future, a societal scrambler, a pressure cooker, as language, identity, art, and sexuality are fed LSD and academic chiding from Berkeley, Zen lesbian perfume wafting in from Mills College, cold digital freon from San Francisco.  This is a place of fragmentation, the Chimera of bohemian existence.

“Have you read that in 30 years, the ocean will be devoid of fish?”

“I look forward to one day retreating into a digital world,” said Olivo.

The movie Platoon and the book The Things They Carried engage in literary cell-division and their offspring produce a calm Egyptian relief, aloof, bicycling calmly past several crackheads in moth eaten wool cloaks, screaming at God.

While many minnows swarm to the carrion of the beached whale that is Obama’s promise, and hot storefront churches belt out distilled soul on Sundays, urban youth eating Ramen out of cups on rusty bikes, a gunshot rings out and kills a thug at Oakland’s burgeoning Art Walk.  Olivo is an artist that unlike the minnow, will survive in the futuristic ocean as it evaporates, he is already developing his two dimensional lungs at a young age.

-Aaron Shunga

Aikuchi - petit tanto (couteau) sans tsuba (garde de main)

Ashi - la bande et l'anneau sur le saya d'une épée pour suspendre l'épée à la ceinture.

Buke zukuri - un modèle traditionnel de fabrication. A un saya laqué, tsuba (garde de main), tsuka enveloppé d'ito (corde en soie), le fuchi - l'embout sur le tsuka prèsdu tsuba (garde de main).

Ha - tranchant.

Habaki - le collier en métal devant le tsuba (garde de main) permet de maintenir la lame dans le saya (fourreau).

Ha-machi - entaille sur le tranchant sous le habaki (collier)

Hamon - pour beaucoup d'amateurs, la ligne de trempe est l'élément principal du sabre japonais, située entre le shinogi et le bord de la lame.

Hi - gorge, elles sont apparues tardivement dans les traditions de forge. Le but premier était d'alléger tout en renforçant les lames et en augmentant la capacité de coupe. Cependant, elles devinrent rapidement une forme d'ornementation. Il existe plusieurs formes de gorges.

Hineri-maki - un modèle de tsuka-maki (tressage sur la poignée) où l'ito (corde en soie) est tordu.

Ito - la corde en soie enveloppant le tsuka (poignée).

Kabuto-gane - le pommeau  sur le tsuka (poignée) le plus loin du tsuba (garde de main). Ce terme est utilisé pour le tachi , le kai-gunto et le shin-gunto .

Kai-gunto - un sabre naval (période WWII) construite pour ressembler à un tachi (tranchant porté vers le bas) employant le saya( fourreau) laqué noir et l'ito ( laçage).

Kashira - le pommeau sur le tsuka (hilt) le plus loin du tsuba (garde de main). C'est le terme utilisé pour le katana de samouraï (longue épée), le wakizashi (épée courte), et le tanto (couteau).

Katana - un sabre avec la longueur de lame plus de  2 shaku (environ 24 pouces), monté pour porter le tranchant vers le haut dans l'obi (ceinture large).

Kissaki - bout de la lame.

Kuchi-gane - entrée du saya.

Kurikata - le bouton sur le saya, fait de corne, bois ou métal. Le sageo (corde) est passé à travers et employé pour attacher le saya (scabbard) à l'obi (ceinture).

Kyu-gunto - un modèle Européen monté avec un saya en métal, et un garde en forme de D.

Machi - l'entaille entre la lame et le nakago (tang). Le habaki (collier) glisse sur le nakago jusqu'à ce point.

Mei - les kanji (caractères) sur le nakago (tang),signature ciselée indiquant généralement le nom du forgeron et éventuellement son école.

Mekugi - une petite goupille en bambou placé à travers un trou dans le tsuka (poignée) qui fixe le tsuka (poignée) à la lame au niveau du nakago

Mekugi-ana - le trou dans le nakago (tang) par lequel le mekugi (goupille) passe. Il peut y en avoir plus d'un.

Menuki - l'ornement sous l'ito (corde en soie) pour améliorer la tenue. la prise sur le tsuka (poignée).

Mumei - une lame non signée. Certaines lames ne possèdent pas cette indication soit car elle n'a jamais été signée, soit que la lame a été raccourcie, on les indique sous le nom de mumei

Gimei - La signature n'est jamais une preuve en soi car certaines signatures de forgerons célèbres ne sont pas authentiques, car copiées par des forgerons souvent moins connus. On appelle ces signatures gimei

Mune - le dos de la lame,partie du sabre opposé au tranchant. Son observation est très importante dans l'observation de la forme générale qui permet de déterminer la date et la tradition de fabrication.

Nakago - soie, sa taille,ainsi que sa forme varie selon la période et la tradition de fabrication. On compte environ 8 types de formes

Mune-machi - l'entaille sur le mune (dos) pour empêcher le habaki (collier) de glisser vers l'avant.

Obi-tori - un anneau de suspension sur le saya.

Origami - certificat d'authentification de l'épée. Décerné par un juge professionnel japonais d'épée.

Oshigata - un lissage de la signature du nakago

Same - la peau de raie . La peau a des nodules ronds avec quelques grands nodules.

Saru-te - une boucle en métal pour fixer un tassel. La boucle passe à travers le kabuto-gane (embout en métal sur l'extrémité de la poignée).

Saya - un étui en bois pour la lame,souvent appelée un fourreau

Seppa - rondelles ou entretoises situées de chaque côté du tsuba (garde de main).

Shibabiki - un ornement liant les deux moitiés d'un saya en bois (scabbard) ensemble. Utilisé comme décoration sur les sabres de modèle WWII .

Shakudo - un alliage de cuivre, d'argent, et d'or qui a une patine noire riche.

Shin-gunto - les garnitures de l'épée japonaise d'officier d'armée de WWII.

Shinogi - une ligne située entre le mune (arrière) et ha (bord) d'une lame.

Sori - la courbure de la lame. L'emplacement de la courbure et son importance permettent de déterminer l'époque de fabrication ainsi que la tradition.

Tachi - une épée avec une lame de plus de 24 pouces, portée attachée à l'obi (ceinture) avec le tranchant vers le bas.

Tanto - une épée avec une lame de moins de 12 pouces,avec un tsuba (garde de main).

Tsuba - la garde de main  localisé juste à l'avant du tsuka.

Tsuka - la poignée de l'épée.

Tsuka-maki - l'art de tresser l'ito (corde en soie) au tsuka.

Tsumami-maki - un modèle de tsuka-maki (corde en soie) est pincé au point de croisement.

Wakizashi - une épée entre 12 pouces et 24 pouces de lame.

Yakiba - le tranchant trempé.

Yasurime - les marques sur le nakago.

Yokote - la ligne de division entre le corps de la lame et le kissaki (pointe).