common records


The Watercolors of Thierry Duval 

A graduate of Decorative Arts in 1982, illustrator, and creative in a large advertising agency in Paris, Thierry Duval drew and painted since childhood.

In preparing the entrance of Decorative Arts in Paris he discovered the work of the painter Delacroix, and that he will his passion for watercolor. This technique will give a great freedom of expression. But his way of approaching watercolor is not common, in fact, his record, unlike the traditional watercolors, a force emerges in unusual colors and lights. Its purpose is to evoke a «impressionism» of dawn or dusk depending on the themes, all supported by a drawing of a high accuracy. All these criteria give aquarelles Thierry Duval evocative power, a realism uncommon in the usual expression of watercolor.

Follow the Source Link for images sources and more information.


Blackstar - Respiration ft. Common (1998)

three of my favorite verses from three of my favorite emcees…

Record-breaking common swifts fly for 10 months without landing

Some common swifts spend ten months in flight without taking a break, setting a flight record that would be the envy of Amelia Earhart and Charles Lindbergh. Researchers report these long hauls, which occurred during migrations between Scandinavia and central Africa, on 27 October in Current Biology1.

Ornithologists and birdwatchers have speculated about the long-distance prowess of common swifts (Apus apus) since the 1960s. People had seen the birds fill the sky in Liberia, for example, but couldn’t find any nearby roost sites where the birds might land.

Scientists attached tags that combined tiny data loggers and accelerometers to the 40-gram birds to record their route and flight activity during their annual journey. The team tracked 13 individual birds, some for multiple seasons, starting and ending at their breeding grounds in Sweden.

The researchers found that some of the birds made a few brief night landings in winter but remained airborne for 99% of the time. Three birds didn’t touch down once in the entire ten month

Common swifts (Apus apus) flit through the sky at sunset over France. Francois Merlet/FLPA

anonymous asked:

You really recorded your lines separately from the other VAs? That's surprising. I mean, I knew that over here in the U.S., it's pretty common for VAs to record their lines separately. In Japan, VAs record their lines together to play off each other, making the dialogue seem more natural. I figured with Breath of the Wild being the first time a LoZ game has voice acting, they'd do something similar for such a big project. Anyway, you were awesome as Revali! :D And Teba and the Deku Tree, too!

The reason it’s pretty ‘common’ for VAs here to record their lines separately is because for nearly all industries except Western Animation, the projects are “dubbed”. For anime, JRPG videogames, etc. the content was all originally created in Japan, which is why the Japanese voice actors record FIRST and the lip flaps are MOLDED to them. Sonic Adventure 2 Battle is a great example of this, if you switch between watching the scenes in JP vs. English.

The Western Equivalent to this would be shows like Samurai Jack, Ed Edd ‘n Eddy, Chowder, etc. where - since the content was created in AMERICA to begin with - the ENGLISH voice actors would record first whereas Japanese/Spanish/French studios would have to do the ‘dubbing’ that time around.

So, to recap an example:

The Lion King = VO First in America, “dubbed” in Japan/elsewhere

Naruto = VO First in Japan, “dubbed” in America!

The Narrative of Accepted Magic

The nature of folklore is that it creates a dynamic for evolutionary influences, filtering out weak ideas and impractical solutions to actual problems. An herb that has a pronounced chemical effect will be found in oral tradition much more often than a placebo. A method of purification, an element whose properties are ideal for certain functions, a word that spoken gives true power. These things tend to stay while the superfluous falls away over time.

From handwritten manuscripts handed down from collector and scholar unto the introduction of print many such ideas, both valuable and inconsequential, have been put to ink. From centuries of antiquarian and ethnographic study in hundreds of authoritative volumes over the past three centuries there has grown a substantial body of dross, useless material with no practical knowledge or understanding of the craft. The 20th century’s ease of printing cumulated in decades of uninformed and badly researched material becoming common in the archival record. Ill thought dissertations and sensationalist propaganda that moves now yellow paged pulp paperbacks off of shelves into the hands of naive inquiring seekers.

Practical occultism in the past two centuries has been dictated by the occultists who happen to also be writers. The majority of practitioners (be they witch, wizard, shaman, sorcerer, or priestess), whose practice is as idiosyncratic as the next, have little or no input in the historic record in a post ethnologic environment.

Historically, those who publish books get the say, those who are interested in being public individuals with books (and blogs) and a public persona are the ones that have decided what is and is not occult practice. Across the board witches who are engineers, labourers, musicians, painters, but not writers have had little or no input in the dialog of occultism over the past two centuries outside of secondhand ethnographic reporting.

The ethnographic folklore record is at best 300 years old. It was only in the 18th century that scholars began to gather the stories of common people and publish them. Crofton Croker, the Brothers Grimm, Lady Wilde, those names we associate with fairy tales were actually scholars researching the history of the magic of common people. They travelled the towns and villages, lending an ear to anyone who had a tale to tell. Collating the data and constructing theories about the archetypes of storytelling, about the ritual practices of pre Christian central Europe and the British Isles, about which creatures you should fear most in the night. These words are a solid foundation of knowledge, and the most direct from living sources in the wild. Yet they are still viewed through the mind of the writer who is the folklorist.

Thus the practice of all forms of occultism have been viewed almost solely through the lens of the written record given to us by exclusively history’s writers. Not the painters, not the farm labourers, rarely the words of women, the insights of possibly powerful yet totally illiterate, or antisocial, practitioners of the world having no historic recourse. The thoughts, rituals, and practices of those isolated magicians mostly erased from history. For centuries the narrative of accepted magic has been the domain of those who work in written words, not the smith who works in iron, nor the midwife or the ploughman.

In the age of the internet something new is being born, a kind of veil made of information through which it is seemingly impossible to see. The catalyst for dross that was initiated by the continually less expensive printing process in the past century has finally broken open with online social media. Anyone can write anything and claim it as authoritative, dismissing naysayers as uninitiated or lacking insight. The adage coined by Theodore Sturgeon that “90% of everything is crap” needs to be updated in this age of too much information and not enough knowledge to “99% of everything is crap.”

The internet provides a seemingly endless supply of information on the practice of magic. Cliques of authors and bloggers siding with various historic and ahistoric documents and their infamous authors of the past. The entirety of the grimoire tradition is available online in highres scans, not to mention bootleg pdfs of contemporary analysis and comparison of these historic documents.

Beyond the hallowed halls of accepted occultism lies and vast ocean of cliques and niches, filled with people of every demographic and a few you didn’t know about. Oft naive of any age they are all seeking something, all wanting, praying, believing in magic and witchcraft. These people come to the craft looking for something, often not sure what that thing is. “Power” is a word commonly used, and traditionally magic has been the tool of the powerless. Yet in the 21st century the idea of what power is has become warped. Where centuries ago magic was used to distort and disrupt the common way of things, bending reality to its will, today it is often seen as a path of achievement, as a tool for expanding one’s material gains, increasing one’s positive emotional state, and increasing one’s luck - all buying into the structures of a contemporary society it once sought to destroy.

The illusion of knowledge created by the excess of information in the internet age has birthed an endless stream of fantastical (and that is truly what they are, fantasy) fictions of an imagined practical magic. Adjectives strung together to form infinite new subgenera of occultism without so much as a wink in the direction of its own absurdity. Chain letter blackmail with a whiff of cosplay kneeling before an Esty bought altar of other people’s killings and chinese made shiny things. A Borgesian labyrinth of nonsense parading as a magic it does not understand, as a craft it can only write fanfic about.

You will not find it in books, nor the internet. You may look, and often incredibly good advise on what to do once you’ve found it can be found in that rare book or two, but it is not there in the written word. It is in the world. In the soil and the sea, in the air and the trees. It is that humming vibrant energy that imbues all things. You have to go out and hold it in your hands, breathe of its scents, know its horrors and its delights. Lie in its tapestries of meadow and field, of forest and shore. Listen long and there you will find it. Not even in the dusty pages of the oldest book is it found. It is a secret whispered by the world, you only have to learn to listen.



Motto: Audentes fortuna juvat
Translation: Fortune favours the bold

In the mountains of Scotland’s west coast and on the Hebrides islands, the ancestors of the McKinnon family were born. Their name comes from the Gaelic personal name Findgaine. This is derived from the earlier forms Finghin and Finnguine. The Gaelic form of the surname is Mac Fhionghuin or Mac Fhionnghain.

The surname McKinnon was first found in on the Isles of Mull and Skye, where they held a family seat from early times and their first records appeared on the early census rolls taken by the early Kings of Britain to determine the rate of taxation of their subjects.

Spelling variations are a very common occurrence in records of early Scottish names. They result from the repeated and inaccurate translations that many names went through in the course of various English occupations of Scotland. McKinnon has been spelled MacKinnon, MacKinning, MacInnon, MacKinnen, MacFingon and many more.

The Mackinnon clan took part in the thirty years war with neighbouring clans such as MacKay, and McFarlane. Early history states that the Mackinnon clan was one of the most powerful clans in highland Scotland.

Though little is known of the early history of the clan, it is likely to have served under the Lords of the Isles. After the forfeiture of the Lordship of the Isles in 1493 the clan would have gained some independence, and was at various times allied or at war with neighbouring clans such as the MacLeans and the MacDonalds. The clan supported the Jacobites in the 17th and 18th centuries, and tradition has the chief of the clan aiding in the escape of Bonnie Prince Charlie in his flight to France. Because of their support for the last Jacobite rebellion the Mackinnon chiefs lost the last of their ancient clan lands.

Clan Mackinnon tartan as published in the Vestiarium Scoticum in 1842 (red and green). Today there are many different tartans attributed to the Mackinnons. Mackinnon Hunting tartan (grey, green and red). This modern tartan was registered with Lyon Court in 1960, and is based upon the Mackinnon tartan found in the dubious Vestiarium Scoticum.


I am producing a set of book cover posters in the style of Penguin paperbacks that commemorate classic albums through the ages. These designs are for the Britpop classics Different Class by Pulp, Parklife by Blur and Definitely Maybe by Oasis. You can purchase an individual print or the whole set over on Etsy.

Set of 3 Posters

Blur Poster

Oasis Poster

Pulp Poster

Kohei Uchimura talked with Yuzuru Hanyu at the “50th TV Asahi Big Sports Award” Ceremony:

“More like he asked me things one-sidedly. He asked me a lot of technical things like, ‘How different are the springs on the floor when you go overseas?’ and about twisting in gymnastics. Even though I said things only a gymnast would know, he still understood well so I was surprised. He’s very eager to learn. I see that’s why he’s a gold medallist.

I watch Hanyu-kun’s performances on TV every time and am motivated. It’s also a judged sport so there are a lot of things in common. Setting a new record each time means he’s raising the degree of perfection in his performance each time. That’s what I want to do too.”

A Day To Remember - And Their Name Was Treason
A Day To Remember - Old Record
A Day To Remember - For Those Who Have Heart
A Day To Remember - Homesick
A Day To Remember - What Separates Me From You
A Day To Remember - Attack Of The Killer B-Sides (EP)
A Day To Remember - Common Courtesy

If anyone would like to give me suggestions on what bands they would like me to do next you can leave it in my question inbox.