Lesser known collectibles of Skyrim: Wedding Wreath
: As seen by Vitoria Vici on her wedding day. It can be found misery-free in HighPoint Tower (Solstheim/Dragonborn) I admit this sucker was really hard for me to find - and I was looking for it…
highpoints of cinema: @leadencirclesdissolve and I saw Spider-Man yesterday with a backrow of young children who were delights, so in the scene where the librarian asks Ned what he’s doing and Ned says, “I’m l…..looking… at ……porn?”, there was a very young voice behind us who asked in the silence after the laughter, “What’s porn?”
okay, for all of you who think freckles just appear all willy nilly! Freckles do not! They only appear where the sun hits on your body! But if your oc has freckles anywhere and everywhere, then go for it! But if you’re trying to be realistic, then try to only put freckles on areas where the sun would hit! Some examples of this are:
highpoints of the face
shoulders and back of the neck
tips of the ears
on the top parts of the arms
and if they wear shorts a lot then maybe on their legs!
Unless they are walking around naked all the time, they won’t really get freckles on their tummies and butts, unless they just naturally have some dark spots!
could you write Ramsay Bolton x reader, where they know each other since childhood (they where very close) but now don’t like very much and barely talk, one day reader’s father tell her that he make a deal with Warden of North and she’s now engaged to Ramsay, reader is angry and go to Ramsay, they start to argue, reader hits him couple of times but he does not fight back, when she’s try to leave he kiss her, then maybe a little smut, please? “
SasuSaku Month 2017 . Day 2- Something More . Title: It’s in Your Eyes . Summary: Sakura and Sasuke go out for lunch, and thanks to Ino’s malicious words, the dessert won’t be the highpoint of the meeting. . A/N: Guess what? I’m already late! I don’t think there will ever be a time when I’ll actually finish all the prompts in time, but better late than never, right? Well, this one is supposed to be a funny one and I gotta say it took me some time to imagine what that grumpy Uchiha would do in a situation like that. Personally, I don’t feel like he is the embarrassed kind, so I’ve decided to make Uchiha Sasuke a straight forward man in this story XD Hope you’ve enjoyed, and please, leave me a Review! Make the author happy, will you? . . . Sakura was incredibly happy that day.
Her emerald eyes were shining, her hair felt softer and never before had she smiled so genuinely at the hospital nurses before. Her “hello’s" were louder and more enthusiastic than ever, spreading kindness and making justice to her position as the Leaf’s sweetheart. She had chosen prettier clothes that morning and even changed her perfume because such a perfect day certainly asked for something special.
The Haruno girl was overflowing with confidence, and more than ever, she was stunning.
And her sudden change certainly did not go unnoticed by her loud, blonde best friend as soon as they met at the hospital’s cafeteria.
“ Oh my god, Forehead! You’re smiling so brightly that you could light up the entire village! Did you get laid?”
“ Tell me again why we’re still friends, Pig.” The pinkette said, sitting next to Ino at the metallic table she had chosen. “ You always make me doubt myself.”
“ Shut up, you love me.”
“ Do I?”
“ Yes, but you probably love someone else, too. So spill it out. Who is it?”
“ I honestly have no idea of what you’re talking about. There’s no one.”
“ Bullshit! You haven’t looked this happy since you and the Fifth found that lost medical scroll. So, unless you were able to develop a cure for some disease, I’d say your heart is the one responsible for all of this!” Ino said, pointing at Sakura’s clothes and light make-up.
“ That scroll was amazing, okay?! It had so many instructions and ideas for a better use of herbs and—“
“ Sakura!” The Yamanaka girl cut her off, giving her best friend a teasing look. There was just no way Ino was going to let her get away with her nerd talk. “ What’s going on?”
“ Nothing is going on.” She chuckled, not being able to hide a smile. A soft blush was spread around her cheeks, and before she noticed, Sakura was biting her lower lip like a teenager in love. “ Can’t I just be… Happy?”
To be completely honest, when Y/N first stepped into the job, she was completely unaware of what exactly it would all entail. But she was desperate; she needed the money. And the vague description made it seem easy enough—hands-on work, filing, historical research—so she thought simply, “To hell with it.”
The job description never elaborated as far as to how ridiculously life-threatening her bosses’ ventures would be. Maybe she should’ve just walked right out the door the second she found out what she had signed up for. Maybe then, she wouldn’t be here in a motel room tending to her boss’s bullet wounds.
Luckily, she’s familiarized with him well enough. It had been undoubtedly an unlikely friendship in the beginning, considering her distaste toward Sam’s reactive tendencies and the mild discrepancies between the two of them. But as the months passed, their differences were set aside and similarities were recognized but unspoken: their passions, at times bawdy sense of humour, the uneasiness of being held up in one place for an extended amount of time.
She only wishes she has mistaken her—cough—affection for Sam in place of ample respect. But she has drawn too close enough to acknowledge the fact that she has developed a crush on him like a damn schoolgirl. Still, she has done nothing to act upon it. Sure, there has been the occasional flirtatious jest here and there, but as a response to his own flirtatious habits, it should not count.
She sees it like a puzzle; beneath the ever-so obvious heavily guarded exterior adorned with the denim and the chain-smoking and the tendency to steer every topic of conversation away from himself. Yet he wears a mask of arrogance, convincing to a point where she’d almost disliked him if not for that damn charm.
Sam has also seen things—for more than Y/N ever has. The matter of being only a few years out of university on her end is an easy excuse, but he’s never held it against her. He has been guiding her throughout the whole adventuring, treasure-hunting crusade, and for that she is grateful. He’s never put her on the spot, either, except in the extreme cases that have grown far too common for her liking.
She is knelt behind him on the queen-sized bed, finishing up with the bandage over the stitches on the final bullet wound on his left shoulder.
“Done,” she says, tucking away the supplies beside her. She adjusts in her place, moving to stand in front of him.
“Thanks,” he tells her.
He bows his head to inspect the number she’s done on him. This particular incident counts as her third time stitching him back up. Her skills have certainly grown, but in no means are these scars going to heal pretty.
Then he meets her eyes. She nearly averts them. It has grown to be an instinct; not because she is slightly enamoured with him, but because she’s always wary of his next move as if he’d get himself hurt again. He has established himself as somewhat reactive, and she is skeptical whether or not his decisions have resulted in more negative than positive.
He holds her gaze as if he is about to say something. Anything. But then he purses his lips, bows his head again, and shifts on the bed, wincing at the pain in his side and shoulder. She immediately reaches out, aiding him as he lay on his back, exhaling deeply.
Periodically, the Parallel Julieverse likes to profile some of the many talented photographers who have worked with Julie over the years. One of the more fascinating, and possibly lesser known, was L. Arnold Weissberger (1907-1981).
An entertainment lawyer who first rose to prominence as legal representative for Orson Welles – he drafted the actor’s much-ballyhooed 1940 contract with RKO (Chapman, G-3) – Weissberger was for many years the resident go-to attorney for the theatrical haut monde. “[O]ne definition of high and mighty,” claimed a newspaper report, “is to be a client of his” (Hunter, D3). Indeed, with a client list featuring everyone from Sir Laurence Olivier, Cecil Beaton and Lillian Gish to Garson Kanin, Billy Rose, Helen Hayes and Igor Stravinsky, Weissberger could have given MGM a run in the “more stars than there are in the heavens” stakes.
A gentleman of the old school who always wore a suit jacket and trademark white carnation, Weissberger was as admired for his charm, grace and unerring discretion, as his legal nous. Quipped Orson Welles:
“Like the Rolls Royce, this lawyer is valued not only for the pleasing elegance of his appearance, but for performance, which can be formidable. A terror and a scourge to producers, he is a wonder to observe. Yet the loudest thing on Arnold is his Patek Philippe watch.” (Weissberger 1973, 337)
Weissberger was also life partner to Milton Goldman, a successful theatre agent in his own right and vice-president of International Creative Management. Together the two men – equal bons vivants and talented socialites – formed a show biz power couple that presided over the trans-Atlantic theatre scene for decades. Their weekly Sunday cocktail parties were legendary and their swanky Sutton Place apartment “became the party place for theatre personalities from three continents” (Lawrence and Lee, 227). Each summer, the couple would relocate to Europe, spending a month in the River Suite at the London Savoy where they would host a whirlwind of social affairs with “every famous name you have ever wanted to meet” (Harris, 47).
It was in this context that Weissberger developed what he fondly called his “double life” as a celebrity photographer (Wise, B-1). A self-avowed “shutterbug” since youth, Weissberger never went anywhere without his trusty twin Leicas, “loaded at all times, one with outdoor, the other with indoor colour film” (Glover, 10-A). Though unabashedly amateur – he was entirely disinterested in the the technical dimensions of photography, “never uses flash, hates to be bothered with filters and won’t have a light meter around” (ibid.) – Weissberger honed his talents through a good eye and sheer voluminous slog. By the mid-70s, he estimated having shot 50,000 pictures of people and another 60,000 on travels (Anderson, 25).
It didn’t hurt, of course, that Weissberger had ready access to some of the most famous people in the world. How many photographers, marvelled one newspaper report, “run into Orson Welles, Marlene Dietrich, Noel Coward, Lord Snowden…Alice B. Toklas, Marianne Moore, W.H. Auden, Peter O’Toole, the Redgraves, Beatrice Lillie and Judy Holliday in their daily rounds?” (Wise, B-1). The fact that he knew these celebrities personally and was, for the most part, photographing them in the context of private social events afforded a genuine intimacy and unguarded spontaneity unmatched in most other celebrity photography of the era.
“His subjects are his clients and his clients are his friends,” noted Orson Welles, “We all smile in front of his camera because Arnold is behind it” (Weissberger, 1973, 337-338). In a similar refrain, Douglas Fairbanks Jr remarked that Weissberger “is a gregarious host with a catholic taste in friends” all of whom “have long since learned to repose their collective confidence in [his] gentler disposition and infinite discretion” (ibid, 183).
For the most part, Weissberger took his photos for the simple fun of it and as personal mementoes. He was known among intimates for compiling the shots as “gifts for friends, to be presented in elegant gold-tooled, white-bound albums on Christmas or birthdays” (Weissberger, 1973, 282). As Weissberger’s archive of celebrity photography grew, however, so did its fame and in the late-1960s he was invited to hold several exhibitions of his work, including a major showing at the Museum of the City of New York (Weissberger, 1967).
The highpoint of public recognition was undoubtedly the 1973 publication of Famous Faces, a lavish 450-page coffee table book from prestigious art publisher, Harry Abrams, that featured almost 1500 of Weissberger’s portraits taken over a 25 year span from 1946-1971. The literal heft of the tome was such that, when Weissberger gifted a copy to longtime friend, Hermione Gingold, she quipped, “Thanks but this isn’t for my coffee table. From now on, this is my coffee table!” (Lyons, 13).
Famous Faces is an astonishing catalogue of mid-century Anglo-American celebrity culture and a dynamic visual immersion in a long vanished world. “[A]s succinct as Boswell’s Diaries and [with] an even larger cast of characters,” notes Anita Loos in one of several appreciative celebrity “comments” peppered through the tome, “This is more than history; it is poetry and it is art” (Weissberger, 1973, 283-84).
Certainly, these charmingly candid shots of our Julie, which are drawn from Weissberger’s gallery of greats, possess a decided poetic allure. Disarmingly simple, they arrest with their potent combination of playful ordinariness and historical import. The shot of Julie glimpsed in the background between Flora Robson and Judith Anderson is especially entrancing. Taken in 1960 when Julie had not long wrapped her long star-making turn in My Fair Lady and was about to embark on Camelot, it captures a spontaneous moment of apparent banality – “three women at a party” – and, through serendipitous framing, lighting and, even, costume (the contrast of matronly black and virginal white), imbues the scene with a symbolic cast that borders on the epic. A triangulated drama of looks as the once and future queen of musical theatre apprehends her own - as yet only glimpsed – grande dame destiny.
Weissberger had ambitions to develop a second volume of photographs and was also working on an autobiographical memoir to be titled “Double Exposure” when he died suddenly of an embolism in 1981 at age 74. His partner, Milton Goldman organised a special memorial at the Royale Theatre on W. 45th – where incidentally Julie made her bow in The Boy Friend – which, by all accounts, played to an adoringly packed-house. “The outpouring of affection was so enormous,” reported famed Broadway correspondent, Earl Wilson (1981), “that VIPs sat in the balcony or stood” (15B) as from the stage a series of heartfelt reminiscences were delivered by, among others, Orson Welles, Ruth Gordon, Garson Kanin, Martha Graham, Louise Rainer, Douglas Fairbanks Jr, Meryl Streep, Beverly Sills, and Lillian Gish.
It was a fittingly star-studded close to an extraordinary life for this man who remained enthralled by celebrity culture both professionally as entertainment lawyer and artistically as “the Proust of American photographers” and “the chronicler of the headliners” (Wise, B-1).
Anderson, George.”A Man of 1,500 Faces, None of Them His.” The Pittsburgh Post-Gazette. 15 March 1974: 25.
Chapman, John. “Orson Welles, the Movies’ New Mr. Moneybags.” The Chicago Tribune, 13 October 1940: G-3.
Glover, William. “Fastest Shooting Lawyer Shoots Uses Camera in Hobby.” The Daily Times News. 6 March 1968: 10-A.
Harris, Radie. Radie’s World. New York: Putnam and Sons, 1975.
Hunter, Stephen. “Christmas is A-Coming and the Books are Getting Fat.” The Baltimore Sun. 6 December 1973: D3.
Lawrence, Jerome and Lee, Rober E. “Inward Bound.” William Inge: Essays and Reminiscences on the Plays and the Man. Eds. Jackson R. Bryer and Mary C. Hartig. Jefferson, NC: McFarland and Co, 2014.
Lyons, Leonard. “Lyons Den.” The Times. 7 January 1974: 13.
Weissberger, L. Arnold. Close-Up: A Collection of Photographs. New York: Arno Press, 1967.
____________. Famous Faces: A Photograph Album of Personal Reminiscences. New York: Harry N. Abrams, 1973.
Wilson, Earl. “They Faced the Critics…” Fort Lauderdale News. 12 March 1981: 15B.
Wise, Gabrielle. “'Faces’ Author Likes Unusual Mixes of His People.” The Baltimore Sun. 15 March 1974: B-1.
George Harrison’s note included in the book Jumpin’ Jim’s ‘60s Uke-In: Ukulele Solo by Jim Beloff. Previously posted here.
“George Harrison’s outspoken love for the ukulele went a long way towards buffing the image of the uke as well. One of our most memorable days occurred in early 1999 when George Harrison spent an afternoon at our home in Los Angeles. We talked about and played ukuleles for three hours. Just before he left he wrote a wonderful appreciation of why he liked the ukulele, which we included in our Jumpin’ Jim’s ‘60s Uke-In songbook.” - Jim Beloff, Ascap, 18 April 2011
Q: “George Harrison played the ukulele.”
Jim Beloff: “Did you know that George Harrison came to our house? Oh yeah.”
Q: “He was a big ukulele fan.”
JB: “A total ukulele fan. In 1999, George Harrison came to our house and hung out for a few hours; we played ukuleles together. George was there because he was good friends with the luthier to the stars, Danny Ferrington. Danny brought George to our house because George wanted to see our ukulele collection. It was the two of them, my wife Liz, and myself. So just four of us.
The highpoint was when I was working on this book that was going to be the first ukulele songbook that really had a lot of Beatle songs in it. The ukulele essentially died in the ‘50s before the Beatles even got here. So I said, ‘We’re doing this book. It is going to have a lot of Beatle songs. I’m putting two of your songs in, they sound so good on the uke.’ And we started to play ‘All My Loving’ with George Harrison. It was amazing. We were in shock.
Not only that, but George wrote the forward to one of our most popular songbooks, ‘Jumpin’ Jim’s '60s Uke-In.’ As he was leaving, I said, ‘I need you to do something for me. I need you to write why you, George Harrison, like the ukulele.’ I gave him a piece of company stationary, and he wrote the most charming paragraph. Then he did a little drawing and signed it at the bottom, ‘George Keoki Harrison.’ Keoki is the Hawaiian name for George. He loved all things Hawaiian. He lived in Hawaii.“
Aiba-san said the setting is not like in Japan, the feeling is like a fantasy world. His character doesn’t do deduction at all (all giggle) and it is an unconventional story.
Namase-san said that Aiba-san was like Kizoku, he didn’t see him stand in the filming site at all (joke) and Aiba-san put his left hand on Namase-san’s shoulder and hit his own left hand with his right hand pretending to be jokingly hitting Namase-san’s shoulder, and said that it was the character who didn’t stand, when it was not filming he himself stood all along~
Then Takahashi-san asked Namase-san if the interesting scriptlines were from the script and Namase-san said yes while Aiba-san immediately said Namase-san did a lot of ad-libs (all laugh).
Takahashi-san said he has watched the first episode and Aiba-san thanked him.
At last Aiba-san introduced the highpoint of the drama, he said that this deduction drama was filmed by many great co-casts and please stay tuned, and the highpoint is Namase-san~ and Namase-san said what did Kizoku say (giggle), and Namase-san said that the highpoint was solving mysteries and Aiba-san said that his character didn’t solve mystery himself (giggle). They formed a good combi to introduce the highpoint~
Namase-san said that the drama will catch audience’s attention to the last, and Kizoku caring ladies is the highpoint. Aiba-san said the duty of Kizoku is to care about ladies but not to solve mysteries. (giggle)
[image descriptions: three light brown craft-pine wooden bolts comprised of a wooden head fastened to a rifled thread and a wooden nut screwed on the thread opposite the bolt’s head. First image shows the bolts in a clear plastic package with a label in white and brown in English, Spanish and Japanese text. English text reads “Wood Bolt 12 mm x 50 mm 3 pcs”. Second image shows the bolts out of the packaging: one bolt has the nut screwed halfway down the thread, one bolt has the nut sitting underneath the thread (the two pieces separated) and one bolt shows the nut screwed to the top of the thread. Both photos sit on a red and black watermelon slice pillow.]
I found these in the stationery section at Daiso Highpoint: a pack of three wooden bolts, $2.80 AUD.
I’ve seen many plastic nuts and bolts in kids’ tool kits, and they look … extremely stimmy. Something you can screw back and forth? That has texture for touching and rolling? Sign me up. So I was pretty excited to see these - a small, quiet, pocketable stim toy that looks a little more adult than the child’s tool kit equivalent and lacks the weight inherent in the real thing.
The wood is a little splintery in places; the nuts need a good sanding. (If you look at the middle nut in the second picture, you can see the rough inside edges of the bolt.) But the nuts screw up and down the thread just fine, and considering that you get three of them for pocket change, I consider them a perfectly affordable, portable, quiet stim toy.
(If you need to stim in silence, these make only a very slight noise as you turn the nut or thread. It’s negligible, speaking as someone who hears all the slight noises. I recommend them without hesitation for anyone who’s anxious about the noise made by a Tangle or a good spinner, and I’m glad to have them for this reason.)
A video showing a group of African students being asked to leave an Apple store at Highpoint shopping centre in Melbourne, Australia on Tuesday has caused widespread outrage on social media amid claims of blatant racism.
The video, which was posted on Facebook on Tuesday night, and has since been viewed more than 33,000 times, clearly shows an Apple staff member telling the Maribyrnong College boys that the store’s security staff were concerned they were going to shoplift.
“These guys are just a bit worried about your presence in our store,” an Apple staff member is heard telling the teenagers. “They’re just a bit worried you might steal something.”
The students appear shocked by the accusation and despite their protests are asked to leave.
“Guys, end of discussion, I need to ask you to leave our store,” the staff member says.
The six Year 10 students involved in the incident say they were shocked by their treatment.
“I’ve been coming to Highpoint for a long time and I never thought something like this would happen … of course I was offended,” Mabior Ater told Fairfax Media on Wednesday.
Mabior says it is not the first time he has experienced racism but “this is the first time it has been this big.”
He says he was overwhelmed by the flood of support he and his school friends have received on social media since the video went viral.
“A lot of people shared it (the video) and they were very angry that this was still happening in 2015,” he said.
Fardawsa Shanino wrote: “That’s what people do, racial profiling happens a lot, and white Australians want to ignore that. Smart of u guys for recording it.”
Others could not believe the way the boys were treated. “Im so shocked right now,” wrote Vanessa McIntosh.
On Wednesday afternoon, Maribyrnong College principal Nick Scott accompanied the six boys involved in the incident to the Apple store at Highpoint where they sought an apology.
At about 3.30pm a senior manager from the store met with the teenagers.
“She apologised to us and told us that we are welcome here anytime,” Mabior said. “It feels like we have justice now.”
A spokeswoman from Apple said it was looking into the situation but said Apple was committed to cultural diversity and inclusion.
The spokeswoman supplied a quote from Apple chief executive Tim Cook, which reads: “We want every person who joins our team, every customer visiting our stores or calling for support to feel welcome.
"We believe in equality for everyone, regardless of race, age, gender, gender identity, ethnicity, religion, or sexual orientation. That applies throughout our company, around the world with no exceptions.”
It is understood a private security guard hired by Apple first raised concerns about the teenagers being in the store. It was an Apple staff member who was shown in the video asking the teenagers to leave. A Highpoint security staff member was called to attend the incident, but did not get involved in the dispute.
Highpoint Centre Manager Ryan Ling said: “Melbourne’s West is a multicultural area and we want to stress that Highpoint welcomes all guests.”