Up and running immigrant who focuses and fights for cultural appropriation v cultural appreciation, the dashing 27 year old Alexander Hamilton designs for the REVOLVTIONVRIES, a high rising company, dedicated to fight against white supremacy and stands up for the LGBT+ community. While the Caribbean’s affair with the young and bright model, Mariah, his credibility did not falter as he increases his sales production and works twice as hard. However, does the ex-reporter and failed model have a shot to work with the infamous billionaire playboy, Thomas Jefferson?
he tries but fails, fashion designer
Son of Henry Laurens, an anti LGBT+ activist however the biggest movie producer in the world, John Laurens sets his eyes on the beauty of the tiniest details. Only the age of 27, John Laurens captivated all the men and women with his freckled face and his signature smile. After the tragic accident where Henry Laurens publicly disowns his son via Twitter, John Lauren bites and claws his way to the top, working with Alexander Hamilton, Gilbert de Lafayette, and Hercules Mulligan and mentored by George Washington, his future seems to shine the brightest.
GILBERT DE LAFAYETTE:
Also bright and shining, the magnificent Marie-Joseph Paul Yves Roch Gilbert du Motier de Lafayette sets his past aside as a young adult actor to a shining new model, focusing on breaking gender roles and blah blah.
Introducing an unknown tailor, Hercules Milligan comes to the big screens as this hot, new fashion designer appears from no higher ground. Like Hamilton, Hercules Mulligan
ANGELICA SCHUYLER (CHURCH):
To the woman in charge, Angelica Schuyler nee Church enters the scene with fashion lines, impossible to not purchase.
fights against sexism she a femin
married to john church a movie star who came out trans
ELIZABETH SCHUYLER (HAMILTON)
Something w the divorce
she’s an ex actress who now focuses on law for the company
single and gay
make up artist
publicly announced the speculations against the affair - he said it was an one time thing on a drunken night,, it wasn’t one time
glamour and gay
playboy who was married to model/actress martha
impossible to interview
good at hiding
Paul Verhoeven’s breakthrough hit about corporate greed and dehumanization so thoroughly disguised its thematic depth with ultraviolence and stop-motion robots that you probably didn’t even realize you were learning something about society while watching it. Sucker!
The success of RoboCop immediately compelled the studio to make a sequel. Verhoeven wasn’t down for it, but they went ahead anyway and hired The Empire Strikes Back director Irvin Kershner to make RoboCop 2, which was a critical disaster. It shouldn’t be any mystery why – the clues are in the plot of the movie itself.
In RoboCop 2, the evil OCP wants to make a whole army of RoboCops, but the new models keep failing because they can’t figure out why the original RoboCop worked at all – an observation so astute that it should have been the tagline for the goddamn movie.
The editor has written me that he is in favor of avoiding “the notion that the artist is a kind of ape that has to be explained by the civilized critic”. This should be good news to both artists and apes. With this assurance I hope to justify his confidence. To use a baseball metaphor (one artist wanted to hit the ball out of the park, another to stay loose at the plate and hit the ball where it was pitched), I am grateful for the opportunity to strike out for myself.
I will refer to the kind of art in which I am involved as conceptual art. In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive, it is involved with all types of mental processes and it is purposeless. It is usually free from the dependence on the skill of the artist as a craftsman. It is the objective of the artist who is concerned with conceptual art to make his work mentally interesting to the spectator, and therefore usually he would want it to become emotionally dry. There is no reason to suppose, however, that the conceptual artist is out to bore the viewer. It is only the expectation of an emotional kick, to which one conditioned to expressionist art is accustomed, that would deter the viewer from perceiving this art.
Conceptual art is not necessarily logical. The logic of a piece or series of pieces is a device that is used at times, only to be ruined. Logic may be used to camouflage the real intent of the artist, to lull the viewer into the belief that he understands the work, or to infer a paradoxical situation (such as logic vs. illogic). Some ideas are logical in conception and illogical perceptually. The ideas need not be complex. Most ideas that are successful are ludicrously simple. Successful ideas generally have the appearance of simplicity because they seem inevitable. In terms of ideas the artist is free even to surprise himself. Ideas are discovered by intuition. What the work of art looks like isn’t too important. It has to look like something if it has physical form. No matter what form it may finally have it must begin with an idea. It is the process of conception and realization with which the artist is concerned. Once given physical reality by the artist the work is open to the perception of al, including the artist. (I use the word perception to mean the apprehension of the sense data, the objective understanding of the idea, and simultaneously a subjective interpretation of both). The work of art can be perceived only after it is completed.
Art that is meant for the sensation of the eye primarily would be called perceptual rather than conceptual. This would include most optical, kinetic, light, and color art.
Since the function of conception and perception are contradictory (one pre-, the other post fact) the artist would mitigate his idea by applying subjective judgment to it. If the artist wishes to explore his idea thoroughly, then arbitrary or chance decisions would be kept to a minimum, while caprice, taste and others whimsies would be eliminated from the making of the art. The work does not necessarily have to be rejected if it does not look well. Sometimes what is initially thought to be awkward will eventually be visually pleasing.
To work with a plan that is preset is one way of avoiding subjectivity. It also obviates the necessity of designing each work in turn. The plan would design the work. Some plans would require millions of variations, and some a limited number, but both are finite. Other plans imply infinity. In each case, however, the artist would select the basic form and rules that would govern the solution of the problem. After that the fewer decisions made in the course of completing the work, the better. This eliminates the arbitrary, the capricious, and the subjective as much as possible. This is the reason for using this method.
When an artist uses a multiple modular method he usually chooses a simple and readily available form. The form itself is of very limited importance; it becomes the grammar for the total work. In fact, it is best that the basic unit be deliberately uninteresting so that it may more easily become an intrinsic part of the entire work. Using complex basic forms only disrupts the unity of the whole. Using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form. This arrangement becomes the end while the form becomes the means.
Conceptual art doesn’t really have much to do with mathematics, philosophy, or nay other mental discipline. The mathematics used by most artists is simple arithmetic or simple number systems. The philosophy of the work is implicit in the work and it is not an illustration of any system of philosophy.
It doesn’t really matter if the viewer understands the concepts of the artist by seeing the art. Once it is out of his hand the artist has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way.
Recently there has been much written about minimal art, but I have not discovered anyone who admits to doing this kind of thing. There are other art forms around called primary structures, reductive, ejective, cool, and mini-art. No artist I know will own up to any of these either. Therefore I conclude that it is part of a secret language that art critics use when communicating with each other through the medium of art magazines. Mini-art is best because it reminds one of miniskirts and long-legged girls. It must refer to very small works of art. This is a very good idea. Perhaps “mini-art” shows could be sent around the country in matchboxes. Or maybe the mini-artist is a very small person; say less than five feet tall. If so, much good work will be found in the primary schools (primary school primary structures).
If the artist carries through his idea and makes it into visible form, then all the steps in the process are of importance. The idea itself, even if not made visual, is as much a work of art as any finished product. All intervening steps –scribbles, sketches, drawings, failed works, models, studies, thoughts, conversations– are of interest. Those that show the thought process of the artist are sometimes more interesting than the final product.
Determining what size a piece should be is difficult. If an idea requires three dimensions then it would seem any size would do. The question would be what size is best. If the thing were made gigantic then the size alone would be impressive and the idea may be lost entirely. Again, if it is too small, it may become inconsequential. The height of the viewer may have some bearing on the work and also the size of the space into which it will be placed. The artist may wish to place objects higher than the eye level of the viewer, or lower. I think the piece must be large enough to give the viewer whatever information he needs to understand the work and placed in such a way that will facilitate this understanding. (Unless the idea is of impediment and requires difficulty of vision or access).
Space can be thought of as the cubic area occupied by a three-dimensional volume. Any volume would occupy space. It is air and cannot be seen. It is the interval between things that can be measured. The intervals and measurements can be important to a work of art. If certain distances are important they will be made obvious in the piece. If space is relatively unimportant it can be regularized and made equal (things placed equal distances apart) to mitigate any interest in interval. Regular space might also become a metric time element, a kind of regular beat or pulse. When the interval is kept regular whatever is irregular gains more importance.
Architecture and three-dimensional art are of completely opposite natures. The former is concerned with making an area with a specific function. Architecture, whether it is a work of art or not, must be utilitarian or else fail completely. Art is not utilitarian. When three-dimensional art starts to take on some of the characteristics, such as forming utilitarian areas, it weakens its function as art. When the viewer is dwarfed by the larger size of a piece this domination emphasizes the physical and emotive power of the form at the expense of losing the idea of the piece.
New materials are one of the great afflictions of contemporary art. Some artists confuse new materials with new ideas. There is nothing worse than seeing art that wallows in gaudy baubles. By and large most artists who are attracted to these materials are the ones who lack the stringency of mind that would enable them to use the materials well. It takes a good artist to use new materials and make them into a work of art. The danger is, I think, in making the physicality of the materials so important that it becomes the idea of the work (another kind of expressionism).
Three-dimensional art of any kind is a physical fact. The physicality is its most obvious and expressive content. Conceptual art is made to engage the mind of the viewer rather than his eye or emotions. The physicality of a three-dimensional object then becomes a contradiction to its non-emotive intent. Color, surface, texture, and shape only emphasize the physical aspects of the work. Anything that calls attention to and interests the viewer in this physicality is a deterrent to our understanding of the idea and is used as an expressive device. The conceptual artist would want o ameliorate this emphasis on materiality as much as possible or to use it in a paradoxical way (to convert it into an idea). This kind of art, then, should be stated with the greatest economy of means. Any idea that is better stated in two dimensions should not be in three dimensions. Ideas may also be stated with numbers, photographs, or words or any way the artist chooses, the form being unimportant.
These paragraphs are not intended as categorical imperatives, but the ideas stated are as close as possible to my thinking at this time. These ideas are the result of my work as an artist and are subject to change as my experience changes. I have tried to state them with as much clarity as possible. If the statements I make are unclear it may mean the thinking is unclear. Even while writing these ideas there seemed to be obvious inconsistencies (which I have tried to correct, but others will probably slip by). I do not advocate a conceptual form of art for all artists. I have found that it has worked well for me while other ways have not. It is one way of making art; other ways suit other artists. Nor do I think all conceptual art merits the viewer’s attention. Conceptual art is good only when the idea is good.
most societies have aesthetics and philosophy comparable to archaic, flawed, long-dead cultures, demonstrating how humanity has regressed in the wake of nuclear disaster.
in some areas, humanity regresses further in the form of isolated tribes that have lost much of their understanding of technology and history. elsewhere, the NCR is developing into a formidable country, modelled after the failed US government, highlighting how, in this reality, America is just another archaic, flawed, long-dead culture. this theme is approached from a different angle by Vault City, an idealized retro-scifi settlement that's too corrupt, beurocratic, and xenophobic to live up to the ideal of the safe utopia it presents itself as (much like America, especially in the mid-20th century)
uuuhhhhhhhh. there's an anti-slavery dude who's really into abraham lincoln. i guess. vampires?
introduced the legion (an attempt by a pseudo-intellectual to create a hyper-warlike New Roman Empire). established a widespread Old West culture across Nevada. elaborates on the NCR's corruption and cultural stagnation, further demonstrating the problems inherent to "rebuilding America". expanded a fair bit on the theme of "50's america as an ancient, dead civilization", especially in Old World Blues. also, there are a handful of cool, really specific subtle parallels. for example, if arcade is sold to the legion, he disembowels himself in homage to cato (who he admires and is comparable to), a roman statesman who killed himself rather than live under a corrupt caesar. sallow mourned arcade just as julius mourned cato, though whether sallow understood arcade's gesture is left ambiguous
The Railroad is a clumsy underground railroad parallel. a militia made some Minutemen uniforms and started calling themselves The Minutemen. some guy found John Hancock's clothes and started calling himself John Hancock.
Say You Love Me-
Yuuri Katsuki is an upcoming actor, cast in the role of Christine Daaé, even though he’s a guy. He thinks that this won’t be too hard, aside from those killer high notes. But, oh, was he wrong. He didn’t think that his castmates would be so… interesting. Especially the actor portraying Raoul, Viktor Nikiforov. Yuuri finds himself head over heels for Viktor. But castmate relationships are unprofessional. Right?
it’s like you’re photoshopped - Not-So-Local Ex-Dancer Upsets Coworkers by Failing to Communicate with Celebrity Castmate, details at eleven.//Yuuri just wants to retire already.
Scripted - Viktor Nikiforov is a wildly successful theater-turned-Hollywood actor who fears he’s plateaued.Yuuri Katsuki, on the other hand, is an up-and-coming thespian who struggles with jumpstarting his career. All the while dealing with his anxiety. Clearly, going to the same school as his Russian idol didn’t help much.Both out of ideas, they decide to pursue graduate studies in their alma mater. They work on a play together and, along the way, maybe even pursue something more with each other.
& Action!!! -
Viktor Nikiforov five tine Oscar winning actor from Russia and now employed on the biggest acting company in Asia and collaborates with its newest and ‘Rising Asian Action Star’ from Hasetsu together. Will he be able to cope with the new genre that he chose or will he be having trouble with his co-star?
Oops, baby I love you -
Viktor Nikiforov won another Oscars this 2016 and Yuri’s a budding fashion designer. As much as they do love each other, their work and the almost non-existent time they have for each other led for them to break up. Everything was okay, or so they thought until Phichit’s birthday came up and then suddenly, their hearts yearn for each other once more, but complications rear its ugly head towards their get-together again.
Opposites Attract - Katsuki Yuuri is a ill adjusted pop singer with a lot anxiety, hiding from the world of music. He’s probably not doing a good job, because when he wakes up with a hangover, he found himself starring in a viral video, pole dancing and singing Paula Abdul’s part of Opposites Attract.Oh, and he gets an offer from his favourite actor, Victor Nikiforov to be the romantic lead of his last movie, some musical about 2 people falling in love.
Endless Summer Hydrangea - Victor is a well-known actor while Yuri is an established director. They chanced upon one another once before meeting on set of the filming of a tragic love story.Rumors say that it came from the director’s personal experience. That it was his way of documenting his life and presenting his story to the world. A story on his love; his first love, his one and only love. One that didn’t include Victor.Victor who has fallen head over heels with Yuri decides to make the latter fall for him. Will he succeed in melting the frozen heart or will his love story too end up as tragic as the one he is filming?
Lights, Camera, Action -
Or Yuri On Ice is a show like usual, but Yuuri, Victor, and Yurio are all actors, and they’re not quite like their characters in the show
Live, Laugh, Love -
Yuuri Katsuki, a 23-year-old Japanese actor, was a veteran top star. He has been in various popular movies as both main and supporting actors, creating a massive fan base. Nonetheless, he never lost his composure and always worked hard to give back the love he received every day. One fateful day, he got a script; a story about a young man who lost faith within himself but found his way back to the world’s stage with the love of his coach. Something clicked within Yuuri and even though his manager told him that the project might ruin his reputation, he insisted. What could possibly go wrong? And then, he met the Viktor Nikiforov.
soft hearts, electric souls - “One day, I want to see your name on the Walk of Fame.”Yuuri Katsuki is a rising star, landing a starring role in a Hollywood film for the first time. Turns out he’s going to be starring alongside his long-time idol and the biggest star in Hollywood, Viktor Nikiforov.It begins to get difficult to differentiate their characters feelings from their own.
Putting On A Show - Viktor Nikiforov is a famous Russian actor, and it seems that he has all a man could want.Which is why no-one expects him to pack up and move to Detroit.However, this surprise move lands him very near the young IT man Yuuri Katsuki, who wants to find more from life than working his 8-5 and coming home to his roommate slaving away for college.An amateur theater group seems to grant everyone’s wishes.
Santa, Yuri -
Yuri is finally on the set of a huge film with his favourite actor, Viktor Nikiforov. Unfortunately, he’s rather nervous. So, with Christmas coming up, Phichit decides Yuri needs his help, despite Yuri’s protests.
Once Upon A Dream -
In which Victor Nikiforov is your above average salaryman and Yuuri Katsuki just made his leading male role debut as an Alternate actor for Prince Philip in the play ‘Sleeping Beauty’. Victor knows he’s fucked.
Ptichye Moloko -
Viktor is a two time Academy Award winner actor who, while shooting a movie in Japan accidentally found a small cake shop Agape & Eros and instantly fell in love with the stunning desserts on display. He, however, did not expect to fall in love with the gorgeous but shy man who ran the shop.
i wanna lock in your love- Viktor has been planning this for months and somehow, in the span of about 5 minutes, it all goes to shit.Or: In which Viktor Nikiforov, award winning singer-songwriter, actor, certified musical genius, and occasional model, tries and fails to propose to his boyfriend (but it all works out in the end anyways).
Cherry Blossoms - “What would you like today?” A gentle, smooth voice interrupted his reading. Viktor closed his phone and opened his mouth to order as he looked up.
The words died in his throat and he felt like he was just punched in the gut when all the air in his lungs suddenly deserted him.
“Okay class today we are
starting a new project!” Mr. Adams announced. The class groaned. “This
project will be on a home of the future. You and a partner of my
choosing will have to create home of the future. It has to have a way
of getting everything eco friendly. That means a good way to get water
and energy."You and your best friend looked at each other hoping that
you’ll get each other like you always do. Mr. Adams got a top hat out
and put everyone’s names in.
Tried And True: The Smith And Wesson Model 10 - .38 Special
So through this series, the only revolvers I’ve covered were more higher powered handguns, the Colt Python and the S&W Model 29, but those are guns more well known for film, what about a gun that’s one of the most common revolvers ever made?
So, here we are, the Smith And Wesson Model 10. This icon of the police world has around 6-7 million revolvers of it’s type made, it’s also one of the oldest continually made revolver designs, dating all the way back to 1899, and people give the M1911 beef for it’s age.
So the Model 10′s story begins at the later years of the 1890′s. Smith And Wesson had made what are commonly called the Model 1899 Hand Ejector and orders were placed by the US Military for models in the .38 Long Colt cartridge for use in the Philippines. If you know your history, you know that during the Philippine Campaign the US Army realized that .38 Long Colt was a very weak cartridge. So S&W decided to take .38 Long Colt and make it a bit hotter. What happened was that the 700 fps from the normal .38 Long Colt went up to about 700-800 fps in the brand new. 38 Special.
To say the Model 10 took off is an understatement, the Model 10 took off like a bottle rocket. Most police departments in the US adopted either the Model 10 or the Colt Official Police. The Hong Kong Police Department, post WWII Austrian police, copies in China and Israel, even the Vichy French Milice francaise used Model 10′s converted to the French 8mm revolver cartridge. Hell, Hermann Goering was said to have carried one. And while it’s been replaced for the most part by semi-automatic pistols, a number of police forces still use the old Model 10.
Besides the main Model 10/Military And Police, the only other main different model is the Smith And Wesson Victory Model. This was a simplified model made for WWII production and was widely used and circulated through both the US Military and the Allied powers, including the UK, Australia, New Zealand, Canada and South Africa. The only difference between the US Models and the Commonwealth models is that the Commonwealth ones are in .38 S&W rather than .38 Special.
The Victory Models were very common in the US Army, besides WWII, they served into Korea and Vietnam and were still in service until 1980′s with the adoption of the Beretta M9, at least the Victory’s were used with the Coast Guard, helicopter crews and Air National Guard and Transport crews up until Operation Desert Storm.
And now 100 years later, the Model 10 is still being made. Modern Model 10′s are fitted with Heavy Barrels, first added in the 1950′s and all are usually rated for +P+ ammo. Despite a number of different revolvers and semi-automatic pistols coming out and replacing the Model 10 in service, it’s still very popular. It’s strong, accurate and reliable. When all else fails, the Model 10 won’t, and with a long history in the holsters of the police comes a long history on the silver screen.
With a long history of military and police uses, the Model 10′s had a long film history. Starting all the way back in 1934′s Maniac, the Model 10′s only become more and more common as the years go by. Indiana Jones, James Bond, Super 8, Black Dynamite, Dead Presidents, The Untouchables, whether it’s with a snub nosed 2″ barrel or a full length 4″, it’s common, and while it’s video game depictions are a bit lacking, it’s still an impressive gun.
And that is the S&W Model 10, an icon of the police world and one of the best cheap revolvers. Whether it’s a brand new gun, a Victory model or even a worn-out cop gun, they’re reliable, dependable and even with 100 years of production, shows no sign of slumping in popularity.
“That’ll stop anything that moves, the Magnum, they use that in Africa for killing elephants, but that .38 is a funny gun. Some of these guns are like toys, but that .38, you can hammer nails with her all day, come home and it’ll still hit dead center”