pigfarts-pigfarts-here-i-come:
people who have autoplay on their blog are bad enough
but people who have hidden autoplay have truly ascended from the fiery depths of hell, sent by satan himself
(Source: incises)
Fire from a burning building being sucked into a tornado.
woah nigga hold up
wh
get out of there fireman what are you doing
there’s a tornado
I can’t stop laughing at this fireman
he’s just standing there going
“well darn, look at that.
fire tornado.
huh.”
Networks and complexity. Organizations and societies evolved from tribes to institutions to markets to networks, each stage triggered by major societal changes in communications. The written word enabled institutions, the printed word fostered regional and global markets, and the digital word is empowering worldwide networks.
pigfarts-pigfarts-here-i-come:
people who have autoplay on their blog are bad enough
but people who have hidden autoplay have truly ascended from the fiery depths of hell, sent by satan himself
(Source: incises)
(Source: damnthatswhack)
Sonata Arctica - The Vice (by Darkyman2000)
Moto Guzzi V8 Racer
The Moto Guzzi V8, or the Otto motorcycle was designed by Giulio Cesare Carcano for the Moto Guzzi GP Racing -Team for the 1955 to1957 seasons. The Moto Guzzi Otto motorcycle and its engine represent a unique and historically significant engineering milestone.
Jian Chongmin | 简崇民 (b.1947, China)
[more Jian Chong Min | artist found at theartofanimation]
Grieg
”Sommerfugl” (Butterfly), from Lyric Pieces
Op. 43, Nº. 1Sviatoslav Richter, piano
(photo by osvaldo_zoom)
Grieg
Piano Concerto in A minor, Op. 16
I. Allegro molto moderato
II. Adagio
III. Allegro marcatoArtur Rubinstein, piano
London Philharmonic Orch.
André Previn, cond.Grieg’s celebrated Piano Concerto was premiered in Copenhagen on 3 April 1869, with Edmund Neupert at the keyboard. The reception was tremendous, and enthusiasm for the work continued to grow in the XX Century; it was a favorite of Grieg’s friend Percy Grainger, who introduced the work in performances to much of the world outside of continental Europe.
Both the distinctive opening, surely one of the most instantly recognizable and familiar snippets of classical music in existence, and the overall key scheme and emotional progression of the work are strongly reminiscent of Schumann’s Concerto in A minor, a fact often pointed out by musicologists. Schumann’s legacy was still palpable during Grieg’s years at the Leipzig Conservatory, and here Grieg appears to have used that legacy as a basis or vehicle for his own uniquely Scandinavian expression.
Liszt also received the work enthusiastically when he met Grieg in Rome in 1870, and even offered some advice on orchestration, including the use of a trumpet to introduce the second theme in the first movement.
The work continues to please audiences today, and is one of a handful of popular “entry-level” Romantic and post-Romantic concertos studied by advanced piano students worldwide.