There’s so much that’s ostentatious about the Italian supercar that they attract these sort of people. There’s a subset of exotic car owner that is the totally tasteless exotic car owner. This guy is so tasteless that he doesn’t think that parking a Ferrari 599 in front of a soup kitchen is in bad taste. He’s the same buy that puts a leopard print wrap on his Lambo Murcielago.
[via GT Spirit]
Horst Faas, a prize-winning combat photographer who set new standards for covering war with a camera, has died aged 79.
The German, who joined US-based news agency The Associated Press (AP) in 1956, photographed wars, revolutions and Olympic Games.
But he was best known for covering Vietnam, where he was severely wounded in 1967 and won four major photo awards including the first of his two Pulitzer Prizes.
Combat zone: US Army helicopters pour machine gun fire into a tree line to cover an advance by South Vietnamese troops in this March 1965 photo by Horst Faas
As chief of AP’s photo operations in Saigon for a decade starting in 1962, Faas covered the fighting while recruiting and training new talent from among foreign and Vietnamese freelancers.
The result was ‘Horst’s army’ of young photographers, who fanned out with Faas-supplied cameras and film and stern orders to ‘come back with good pictures’.
Faas and his editors chose the best and put together a steady flow of telling photos – South Vietnam’s soldiers fighting and its civilians struggling to survive amid the maelstrom.
Captivating: Women and children crouch in a muddy canal as they take cover from Vietcong fire at Bao Trai, 20 miles west of Saigon, Vietnam. The January 1, 1966 image is another captured by Horst Faas
Among his top proteges was Huynh Thanh My, an actor turned photographer who in 1965 became one of four AP staffers and one of two South Vietnamese among more than 70 journalists killed in the 15-year war.
My’s younger brother, Huynh Cong ‘Nick’ Ut, followed his brother at AP and under Faas’s tutelage won one of the news agency’s six Vietnam War Pulitzer Prizes, for his iconic 1972 picture of a badly burned Vietnamese girl fleeing an aerial napalm attack.
Faas, who dies in Munich yesterday, was a brilliant planner – able to score journalistic scoops by anticipating ‘not just what happens next but what happens after that’, as one colleague put it.
‘Legendary’: Horst Faas, pictured right in Vietnam in 1967
His reputation as a demanding taskmaster and perfectionist belied a humanistic streak he was loath to admit, while helping less fortunate ex-colleagues and other causes.
He was widely read on Asian history and culture, and assembled an impressive collection of Chinese Ming porcelain, bronzes and other treasures.
In later years Faas turned his training skills into a series of international photojournalism symposiums.
Faas also helped to organise reunions of the wartime Saigon press corps, and was attending a combination of those events when he became ill in Hanoi on May 4 2005.
Lt Col George Eyster of Florida is placed on a stretcher after being shot by a Vietcong sniper at Trung Lap, South Vietnam on January 16, 1966
He was hospitalised first in Bangkok and then in Germany, where doctors traced his permanent paralysis from the waist down to a spinal haemorrhage caused by blood-thinning heart medication.
Although requiring a wheelchair, he continued to travel to photo exhibits and other professional events, mainly in Europe.
Faas also made two arduous trips to the United States, in 2006 and 2008.
His health deteriorated in late 2008. Hospitalised in February for treatment of skin problems, he also underwent gastric surgery.
Faas’ Vietnam coverage earned him the Overseas Press Club’s Robert Capa Award and his first Pulitzer in 1965.
Wounded in action: US soldiers are treated on a battlefield in Vietnam on April 2, 1967
Receiving the honours in New York, he said his mission was to ‘record the suffering, the emotions and the sacrifices of both Americans and Vietnamese in … this little bloodstained country so far away’.
Burly but agile, Faas spent much time in the field and on December 6, 1967, was wounded in the legs by a rocket-propelled grenade at Bu Dop, in South Vietnam’s Central Highlands.
He might have bled to death had not a young US Army medic managed to stem the flow.
He often teamed with Pulitzer Prize-winning AP reporter Peter Arnett to produce powerful and exclusive reports such as the 1969 story of Company A, an army unit that balked at orders to move against the enemy.
Talk about a career transition! Before becoming a tattoo artist, Best Ink contestant Jessica Rotweinstudied piano at Juilliard and performed as a classical pianist for 29 years! Getting her first tattoo at 26, the New Jersey native was a lot older than most tattoo first-timers. Her tattoo artist boyfriend at the time encouraged her to pursue the art of ink, teaching her the ways of tattooing – and since then she’s never looked back! Jessica joins Buzznet this week as a guest blogger, giving Buzznet some handy tattoo tips.
Here’s what Jessica had to say:
Getting tattooed is the experience of a lifetime. And it can be a very enjoyable one. If you listen to these mistakes that I have described for you and avoid making them when getting your tattoo, you will have a great experience and will also make your artist’s job a little easier.
Hopefully these tips will help you all!
1. First and foremost, the most common mistake I feel that people make is not putting enough thought into what you are getting. Getting a tattoo shouldn’t just be for the sake of just having a design on your body. Don’t come into the shop and tell an artist that you have no idea what you want and that you want them to recommend something to put on your body.
2. A more serious mistake that people too often make is not choosing the right shop or the right artist. I’ve seen some very scary results for this serious mistake. You really need to take the time to also research shops, read reviews, make sure the shop is clean and safe, and especially to check your artist’s portfolio. Don’t be afraid to ask questions. You can get a serious infection, disease, or even have your skin scarred permanently if you are not careful.
3. Another mistake is haggling about the price of your tattoo. Just don’t do it. If you have found an artist you like to work with, complaining about the price is an insult to the time and dedication this artist is going to put into bringing your idea to life.
4. Not tipping after the work has been done for you is also a very common mistake. It’s like you going out to dinner and not tipping your waitress. We are in the hospitality category of services. We are doing a service for you to enjoy for the rest of your life. It is also a nice thing to do because most shops take half the money of the cost of your tattoo. Giving them a tip is your way of saying thanks for the time and effort the artist took to making sure your tattoo was done the right way.
– Jessica Rotwein
[Buzznet]
“Fox [Studios] should start paying as much attention to me as they are paying to Elizabeth Taylor,” Marilyn Monroe told Lawrence Schiller, hatching the idea that would turn out to be the break of the young photographer’s life: for him to photograph her nude. In an adaptation of Schiller’s memoir Marilyn & Me, the June issue of Vanity Fair reveals never-before-published pictures from that shoot, as well as details of Schiller’s conversations with the star.
In 1960, as part of an ongoing battle to get Fox to take her more seriously, and out of jealousy over Taylor’s success, Marilyn came up with an attention-grabbing plan: a poolside shoot in which she’d jump in the water with a bathing suit on—and come out without it. “Larry,” she said, “if I do come out of the pool with nothing on, I want your guarantee that when your pictures appear on the covers of magazines Elizabeth Taylor is not anywhere in the same issue.” Marilyn was making only $100,000 for what would be her last film, Something’s Got to Give, in 1962, while Taylor was receiving a million dollars for Cleopatra. She wanted to show Fox that she could get the same kind of coverage as the publicity bonanza generated by Taylor’s very public affair with her co-star, Richard Burton. When Hugh Hefner agreed to pay $25,000 for a nude shot of Marilyn—the most money Playboy had ever paid for a photograph—Schiller thanked her for creating such a big payday, joking, “See what tits ’n’ ass can do?” “That’s how I got my house and swimming pool,” Marilyn said, laughing. “There isn’t anybody that looks like me without clothes on.”
Just 23 years old at the time, Schiller, at the set on assignment for Look magazine, had no idea that he was getting to know the icon in some of her most vulnerable moments. In an adaptation of his memoir about their sessions together, Schiller recounts intimate and telling conversations that illuminate the private struggles that consumed the starlet in her final days.
“I could tell you all about rejection,” Marilyn said to Schiller. “Sometimes I feel my whole life has been one big rejection.” “But look at you now,” he said. “Exactly,” she replied. “Look at me now.” Confused, Schiller protested, “You’re a star! Your face is on magazine covers all over the world! Everyone knows Marilyn Monroe!” “Let me ask you, Larry Wolf [Schiller first introduced himself to Monroe as the Big Bad Wolf]—how many Academy Award nominations do I have?” “I don’t know,” he said. “I do,” she said. “None.”
Marilyn even confided her deepest worry. “I’ve always wanted a baby,” she said. “Having a child, that’s always been my biggest fear. I want a child and I fear a child. Whenever it came close, my body said no and I lost the baby.” She talked to Schiller about being afraid that she’d wind up like her mother, who had been in and out of mental institutions her whole life.
She reflected often on her assumed identity, and where Norma Jeane fit in. “I never wanted to be Marilyn—it just happened. Marilyn’s like a veil I wear over Norma Jeane,” she admitted to Schiller. During a photography session, she told him, “I always have a full-length mirror next to the camera when I’m doing publicity stills. That way, I know how I look.” Schiller asked, “So, do you pose for the photographer or for the mirror?” “The mirror,” she replied without hesitating. “I can always find Marilyn in the mirror.”
However, Schiller reveals, Marilyn’s attitude about her sex-symbol status fluctuated wildly. While she was at times boastful of her looks and what they procured for her, she was also by turns insecure and angry. “It’s still about nudity. Is that all I’m good for?” she demanded of Schiller. “I’d like to show that I can get publicity without using my ass or getting fired from a picture,” she continued. “I haven’t made up my mind yet.”
It was to be their last conversation: the very next morning, Marilyn was reported dead at 36. One of her final acts had been to return the nude photo to Schiller, which he found waiting for him at his house. She had written, “Send this to Playboy, they might like it.”
Plus: a handwriting expert analyzes Marilyn Monroe’s journal entries in a VF.com exclusive.
Yesterday in Los Angeles, adidas Basketball introduced the adiZero Crazy Light 2. Set to hit stores on May 24th, the $140 9.5 ounce shoe will be the lightest basketball shoe in the world — edging out its predecessor, the Crazy Light, by 3/10ths of an ounce. We sat down with designer Robbie Fuller to get some insight into the process, and find out what it takes to make a successful sequel.
So where did you guys start with this?
Not from scratch [laughs].
Right – because I know how long the leadouts are, you must have been working on this before the first adiZero Crazy Light came out.
Yes. For sure. There are bits and pieces of the shoe we can trace back for years. But generally when everyone was celebrating over the Crazy Light1, I was at my desk putting pen to paper for the Crazy Light 2.
Were elements from the D. Rose line — did those get incorporated into this, too?
I wouldn’t say directly, but I’m the same guy going after a similar benefit, which is light. So I think of it as a spectrum. If you pick up the Rose shoe, it’s light — sometimes freaky light — but it has the lifestyle a little more into it because the recipe for success for that , but here it’s just laser focus of the lightest basketball shoe of all time, so some of those same solutions like the SPRINTFRAME go across both, but over here we gotta turn up the knob on lightweight.
Was there a specific weight you wanted to hit with the 2, knowing where you were at with the 1?
Lighter than the 1. [Laughs] I mean literally, it was just like, all right we have the Crazy Light 1, we’ve had half a million people all around the world ballin’ in this shoe, D1, NBA, so we know it’s a great shoe, but any shoe can get refined. Any product can get refined. A house, a car, whatever. A [Porsche] 911, right? It doesn’t change over the years that much, just slight tweaks. So in the same vein, I was just looking at this shoe [the 1] like, “all right, did I take enough advantage of the SPRINTFRAME,” “did I take as much advantage of the forefoot support,” of the rubber, could I thin down the rubber? So I really just made a list — I call it a gameplan — marketing gives me a brief, but I’ve got my design gameplan and I just call out the pieces that I thought still had room to improve: who was the sixth man on the Crazy Light 1, you know? It was like, all right, SPRINTFRAME, here we go, you’re gonna step up. That’s definitely how I made it up for this particular shoe, because it’s so geared towards performance — it lives and dies on the performance of it. Trends come and go, winning is always cool. As long as we keep delivering like this, we’ll always be in the mind of anyone lacing up their sneakers.
Is that where you looked to first, the SPRINTFRAME, to lose weight?
Yeah, because it’s the material on the shoe that has the most strength for how much it weighs. So the more you can use it to stabilize the shoe, you’re taking off some of the other layers, the laminates and such that you’d like to reduce. And so, that was definitely the key thing. And the bigger thing was also just about, the first one was just focused on the ultimate court, the NBA court. This one we were like, hey, can this be outdoor? Can you get these things where you thicken up the rubber, you add more abrasion-resistant rubbers, in order to make sure it can play indoor and outdoor. So if you go around the shoe, whether it’s the high-abrasion rubber, how it’s different, we’ve got high abrasion on the toe, the stripes are reflective, little cues from outdoor, one of the materials, the embosses are ripstop from outdoor jackets. So that was another little piece of the pie. The first one was so great, but can you add a little more durability to it. Which is crazy, right? I’m the designer, I’m thinking “hold on, this brief is asking how can I add all these things to it and still make it lighter?” But luckily, with the right team, we came to the right product.
By Amanda Carey
Norman Jean Roy/Allure
Heidi Klum is baring it all in a cover shoot for Allure magazine’s May issue.
Klum, a mother of four, said she had no issue with posing nude.
“I think you just have to be comfortable in your skin,” said the 38-year old. “But I’m a nudist in any case, I’ve never had a problem with my body and I don’t really care what people think.”
She told the magazine she has never had any cosmetic surgery.
“Ask me again when I’m 65, but I’m proud to be able to say, in this day and age, I haven’t doesn’t anything,” she said. “Everyone has a view of what’s pretty and what’s not pretty, and [surgery] just doesn’t look pretty to me.”
She discusses Seal, her husband of seven years from whom she just filed for divorce.
“If I had to go back in time and say, ‘I could have changed this or that…’ No. I don’t resent anything that ever happened,” she said. “Things just turn out the way they turn out.”
She also discusses her years before becoming a Victoria’s Secret model, saying she did not model in fashion shows and was rejected by her Project Runway co-host Michael Kors in her 20s.
The issue will be available April 24.
You’ve watched them do a variety of things—perform sports feats, drop beats, put butts in seats. But there’s one thing that unites the guys on this list: they’ve all got fashion sense. And when you’re an independently famous icon, there’s a whole market of men who want to wear your clothes. So from Sean John (Diddy) and Edun (Bono) to Livestrong (Lance) and JK Livin (McConaughey), here are the top 10 male celeb clothing lines. And where to get them, of course.
SEAN JOHN
Famous founder: Sean John Combs (a.k.a. Diddy), rapper, 1998
Target market: Homeboys who crave Los Angeles glamor at a Macy’s price point
Highlights: Tailored suits, lightweight cardigans and the color purple
Reception: Council of Fashion Designers of America award (2004)
Price range: $30 to $275
Bottom line: Diddy once explained his decision to drop the “P” from his name because it was “getting in between me and my fans.” Here’s something else that does that, too.
Get it: seanjohn.com
Lana Del Rey and Jaime King have a vintage photoshoot.
If we were best friends with Lana Del Rey and Jaime King we’d have no jealous qualms about photographing their every move. I mean, HAI, these ladies are both soooo pretty and sweet and really good at working some vintage-inspired ensembles. Lana joined the Hart of Dixie actress for a sit-down dinner in honor of Jaime’s birthday (coming up on April 23). Lana was part of a small, star-studded group of Jaime’s closest friends, but the only attendee to star alongside the birthday girl in a chic retro fashion photoshoot.
Lana Del Rey and Jaime King have a vintage photoshoot.
Lana suited up in a flattering navy frock with a flirty cut-out back panel and accessorized with a bold floral headkerchief. Jaime looked glamorous in a feminine pastel printed dress with a fur stole slung over her shoulders. Her hair was pulled back into parted ponytail with a subtle headband, and both ladies looked fresh-faced in minimal makeup. The shoot was backdropped with a palm tree-lined private residence in Beverly Hills and an immaculate 1981 Mercedes convertible. It’s pretty much the cutest thing we’ve ever seen. Invite us next time? Kthx.
Project By Guercy Eugene
NIKE ARC ANGELS
Ballet training
The Arc Angel is a footwear solution that will reduce the impact on dancers feet while in pointework training. The Arc has major support provided by installed elastic bands, which will encourage proper technique of this form of art. Traditional pointe shoes usually last 8-10 weeks. Using durable materials, the Arc angels will last the dancer for a longer period of time.
NIKE ARC ANGEL POINTE SHOES
DESIGN BRIEF
TARGET
INSPIRATION
IDEATION 1
IDEATION 2
FINAL
> ‘ This product will be approve brand soon i hope ‘ Tommy Z.
Tommy Z.™
Geek For Life™ 