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anything goes lol random tib-bits of info for all. i'll try to put new stuff in here and there, but feel free to add what u like :) stuff u don't think other people know :D
Celecity
I love Visual Kei d: Alice Nine, The Gazette, and Dir En Grey are my three favorites.
NightMother
Green Mandarin
Spotted Boxfish
cloudy damsel
Fiji Devil Damsel
yellow belly damsel
yellow belly hamlet
Clarkii clownfish
BlackPercula
latticed butterflyfish
copper butterfly fish
indigo hamlet
just learned something helpful to the ladies lol
im sure every girl has painted there nails at some point, but waiting an hour for the nail polish to dry is horrible lol so i searched out for a way to dry them faster :D
i've discovered that if u put ur nails in ice cold water for 30 seconds, the polish sets.
I hope i helped a few :D cause i hate smuges on my nails just as much as a perfectionest.
Read it out loud!
http://en.wikipedia.org/wiki/Canidae
Canidae (pronounced /ˈkænɨdiː/[2]) is the biological family of carnivorous and omnivorous mammals that includes the wolves, foxes, jackals, coyotes, and the domestic dog; a member of this family is called a canid (/ˈkeɪnɨd/). The Canidae family is divided into the "wolf-like" and "dog-like" animals of the tribe Canini and the "foxes" of the tribe Vulpini. The two species of the basal Caninae are more primitive and do not fit into either tribe.
Characteristics
Wild canids are found on every continent except Antarctica, and inhabit a wide range of different habitats, including deserts, mountains, forests, and grassland. They vary in size from the Fennec Fox at 24 cm (9.4 in) long, to the Gray Wolf, which may be up to 2 m (6.6 ft) long, and can weigh up to 80 kg (180 lb).
With the exceptions of the Bush Dog, Raccoon Dog and some domestic breeds, canids have relatively long legs and lithe bodies, adapted for chasing prey. All canids are digitigrade, meaning that they walk on their toes. They possess bushy tails, non-retractile claws, and, excepting the African Wild Dog (Lycaon pictus), a dewclaw on the front feet. They possess a baculum, which together with a cavernous body helps to create a copulatory tie during mating, locking the animals together for up to an hour. Young canids are born blind, with their eyes opening a few weeks after birth.[10]
Almost all canids are social animals and live together in groups. In most foxes and in many of the true dogs, a male and female pair work together to hunt and to raise their young. Gray wolves and some of the other larger canids live in larger groups called packs. African wild dogs have the largest packs, which can number as many as 90 animals. Some species form packs or live in small family groups depending on the circumstances, including the type of available food. In most species, there are also some individuals who live on their own. Within a canid pack, there is a system of dominance so that the strongest, most experienced animals lead the pack. In most cases, the dominant male and female are the only pack members to breed.
Canids communicate with each other by scent signals, by visual clues and gestures, and by vocalizations such as growls, barks, and howls. In most cases, groups have a home territory from which they drive out others. The territory is marked by leaving urine scent marks, which warn trespassing individuals.[11]
Most canids bear young once a year, from 1 to 16 or more (in the case of the African wild dog) at a time. The young are born small and helpless and require a long period of care. They are kept in a den, most often dug into the ground, for warmth and protection. When they begin eating solid food, both parents, and often other pack members, bring food back for them from the hunt. This is most often vomited up from the adult's stomach. Young canids may take a year to mature and learn the skills they need to survive.[12]
Most canids have 42 teeth, with a dental formula of: . As in other members of Carnivora, the upper fourth premolar and lower first molar are adapted as carnassial teeth for slicing flesh. The molar teeth are strong in most species, allowing the animals to crack open bone to reach the marrow. The deciduous or baby teeth formula in canids is 3 1 3; molars are completely absent.
Species and taxonomy
FAMILY CANIDAE
Gothic Rock
http://en.wikipedia.org/wiki/Gothic_music
Gothic rock (also referred to as goth rock or simply goth) is a musical subgenre of post-punk and alternative rock that formed during the late 1970s. Gothic rock bands grew from the strong ties they had to the English punk rock and emerging post-punk scenes. The genre itself was defined as a separate movement from punk rock during the early 1980s largely due to the significant stylistic divergences of the movement; gothic rock, as opposed to punk, combines dark, often keyboard-heavy music with introspective and depressing lyrics. Notable gothic rock bands include Bauhaus, Siouxsie and the Banshees, Cocteau Twins, The Cure, The Sisters of Mercy, Virgin Prunes, The Sex Gang Children, Christian Death, and Alien Sex Fiend, among many others. Gothic rock gave rise to a broader goth subculture that includes clubs, fashion and numerous publications that grew in popularity in the 1980s.
Gothic rock takes the guitar and synthesizer sounds of post-punk and uses them to construct "foreboding, sorrowful, often epic soundscapes".[1] According to music journalist Simon Reynolds, standard musical fixtures of the genre include "scything guitar patterns, high-pitched basslines that often usurped the melodic role; [and] beats that were either hypnotically dirgelike or 'tribal'".[2] Reynolds described the vocal style as consisting of "deep, droning alloys of Jim Morrison and Leonard Cohen".[2] Many goth bands use drum machines that do not stress the back beat in the rhythm.[3] Siouxsie and the Banshees and The Cure tended to play the flanging guitar effect, producing a brittle, cold, and harsh sound that contrasted with their psychedelic rock predecessors.[4]
Gothic rock typically deals with dark themes addressed through lyrics and the music atmosphere. The poetic sensibilities of the genre led gothic rock lyrics to exhibit literary romanticism, morbidity, religious symbolism, and/or supernatural mysticism.[1] Musicians who initially shaped the aesthetics and musical conventions of gothic rock include The Velvet Underground, David Bowie, Iggy Pop, and The Sex Pistols.[5]Nico's 1969 album, The Marble Index, was also particularly influential.[6] Gothic rock creates a dark atmosphere by drawing influence from the drones used by protopunk group The Velvet Underground, and many goth singers are influenced by the "deep and dramatic" vocal timbre of David Bowie, albeit singing at even lower pitches.[3]J.G. Ballard was a strong lyrical influence for many of the early Gothic rock groups; The Birthday Party drew on Arthur Rimbaud and Charles Baudelaire.[7]
In 1976, Interview with the Vampire by Anne Rice was published. The main character, although dark, wanted companionship and love. The book, according to music journalist Dave Thompson, slowly created an audience for gothic rock by word of mouth. The same year saw the punk rock band The Damned debut. The group's vocalist Dave Vanian was a former gravedigger who dressed like a vampire 24 hours a day. Brian James, a guitarist for the group, noted, "Other groups had safety pins and the spitting and bondage trousers, but you went to a Damned show, and half the local cemetery would be propped up against the stage".[8]
The term gothic was used to describe Velvet Underground singer Nico as early as 1971. The term was used occasionally in the years that followed.[8] In the late 1970s, the word "gothic" was used to describe the atmosphere of post-punk bands like Joy Division. In 1979, Martin Hannett described Joy Division as "dancing music with Gothic overtones".[9] The same year, Tony Wilson described the band as "gothic" on the television show Something Else.[10] Not long after, the term was used in a derogatory fashion in reference to bands like Bauhaus and Siouxsie and the Banshees.[11] However, the term was not adopted as "positive identity, a tribal rallying cry" until a shift in the scene in 1982.[9] In addition, Simon Reynolds identifies The Birthday Party and Killing Joke as essential proto-goth groups.[12] Despite their legacy as progenitors of gothic rock, these groups disliked the label.[13]Adam Ant's early work was also a major impetus for the gothic rock scene, and much of the fan base came from his milieu.[14]
Bauhaus's debut single "Bela Lugosi's Dead", released in late 1979, is considered to be the beginning of the gothic rock genre.[15] According to Peter Murphy the song was written to be tongue in cheek but since the group performed it with "naive seriousness" that is how the audience understood it.[8] Around the same time post-punk bands like Siouxsie and the Banshees and The Cure fully embraced the goth sound.[1] With their fourth album, 1981's Juju, the Banshees established many of the classic Gothic qualities, lyrically and sonically.[16]Steve Severin attributes the supernatural lyrical aesthetic of the album to the influence of The Cramps.[16] The Cure were the most commercially successful of these groups, eventually recording two double platinum albums.[17] The Cure's style was atmospheric and withdrawn, contrasting with their contemporaries The Birthday Party, who drew on funk, blues, and spastic, violent turmoil.[18] Their 1981 single "Release the Bats" was particularly influential in the scene.[19]Killing Joke were originally inspired by Public Image Ltd., borrowing from funk, disco, and dub, and later, heavy metal.[20] Calling their style "tension music", Killing Joke distorted these elements to provocative effect, as well as producing a morbid, politically-charged visual style.[20]
Gothic rock thrived in the early 1980s. Clubs such as the Batcave, in London, provided a venue for the goth scene.[21] In 1982, Ian Astbury of the band Southern Death Cult used the term "gothic goblins" to describe Sex Gang Children's fans.[22] Southern Death Cult were themselves icons of the scene, drawing aesthetic inspiration from Native American culture. The group appeared on the cover of NME in October 1982.[23] The emerging scene was described as "positive punk" in a February 1983 article in NME. Journalist Richard North described Bauhaus and Theatre of Hate as "the immediate forerunners of today's flood" and declared, "So here it is: the new positive punk, with no empty promises of revolution, either in the rock'n'roll sense or the wider political sphere. Here is only a chance of self awareness, of personal revolution, of colourful perception and galvanisation of the imagination that startles the slumbering mind and body from their sloth."[24] That year, myriad Goth groups emerged, including Flesh for Lulu, Play Dead, Rubella Ballet, Gene Loves Jezebel, UK Decay, Blood and Roses, The Virgin Prunes, and Ausgang.[25] The 4AD label released music in a lighter, more ethereal style, by groups such as Cocteau Twins, Dead Can Dance, and Xmal Deutschland.[25] The Icelandic group Kukl also appeared in this period, which included Björk and other musicians who later participated in The Sugarcubes.[25]
Simon Reynolds speaks of a shift from early Goth to gothic rock proper, advanced by The Sisters of Mercy.[26] As journalist Jennifer Park puts it, "the original blueprint for gothic rock had mutated significantly. Doom and gloom was no longer confined to its characteristic atmospherics, but as the Sisters demonstrated, it could really rock."[27] The Sisters of Mercy, influenced by Leonard Cohen, Gary Glitter, Motörhead, The Stooges, The Velvet Underground, The Birthday Party, Suicide, and The Fall, created a new, harder form of gothic rock.[28] In addition, they incorporated a drum machine.[28] Reynolds identifies their 1983 single "Temple of Love" as the quintessential Goth anthem of the year, along with Southern Death Cult's "Fatman".[29] The group created their own record label, Merciful Release, which also signed The March Violets, who performed in a similar style.[30] The Violets toured with The Danse Society, a group inspired by The Cure in their Pornography period.[30]
Emo
http://en.wikipedia.org/wiki/Emo
Emo (pronounced /ˈiːmoʊ/) is a style of rock music typically characterized by melodic musicianship and expressive, often confessional lyrics. It originated in the mid-1980s hardcore punk movement of Washington, D.C., where it was known as "emotional hardcore" or "emocore" and pioneered by bands such as Rites of Spring and Embrace. As the style was echoed by contemporary American punk rock bands, its sound and meaning shifted and changed, blending with pop punk and indie rock and encapsulated in the early 1990s by groups such as Jawbreaker and Sunny Day Real Estate. By the mid 1990s numerous emo acts emerged from the Midwestern and Central United States, and several independent record labels began to specialize in the style.
Emo broke into mainstream culture in the early 2000s with the platinum-selling success of Jimmy Eat World and Dashboard Confessional and the emergence of the subgenre "screamo". In recent years the term "emo" has been applied by critics and journalists to a variety of artists, including multiplatinum acts and groups with disparate styles and sounds.
In addition to music, "emo" is often used more generally to signify a particular relationship between fans and artists, and to describe related aspects of fashion, culture, and behavior.
Emo emerged from the hardcore punk scene of early-1980s Washington, D.C., both as a reaction to the increased violence within the scene and as an extension of the personal politics espoused by Ian MacKaye of Minor Threat, who had turned the focus of the music from the community back towards the individual.[1][2] Minor Threat fan Guy Picciotto formed Rites of Spring in 1984, breaking free of hardcore's self-imposed boundaries in favor of melodic guitars, varied rhythms, and deeply personal, impassioned lyrics.[3] Many of the band's themes would become familiar tropes in later generations of emo music, including nostalgia, romantic bitterness, and poetic desperation.[4] Their performances became public emotional purges where audience members would sometimes weep.[5] MacKaye became a huge Rites of Spring fan, recording their only album and serving as their roadie on tour, and soon formed a new band of his own called Embrace which explored similar themes of self-searching and emotional release.[6] Similar bands soon followed in connection with the "Revolution Summer" of 1985, a deliberate attempt by members of the Washington, D.C. scene to break from the rigid constraints of hardcore in favor of a renewed spirit of creativity.[2] Bands such as Gray Matter, Beefeater, Fire Party, Dag Nasty, Lunchmeat, and Kingface were connected to this movement.[2][6]
The exact origins of the term "emo" are uncertain, but date back to at least 1985. According to Andy Greenwald, author of Nothing Feels Good: Punk Rock, Teenagers, and Emo, "The origins of the term 'emo' are shrouded in mystery [...] but it first came into common practice in 1985. If Minor Threat was hardcore, then Rites of Spring, with its altered focus, was emotional hardcore or emocore."[6]Michael Azerrad, author of Our Band Could Be Your Life, also traces the word's origins to this time: "The style was soon dubbed 'emo-core,' a term everyone involved bitterly detested, although the term and the approach thrived for at least another fifteen years, spawning countless bands."[7] MacKaye also traces it to 1985, attributing it to an article in Thrasher magazine referring to Embrace and other Washington, D.C. bands as "emo-core", which he called "the stupidest fucking thing I’ve ever heard in my entire life."[8] Other accounts attribute the term to an audience member at an Embrace show, who yelled that the band was "emocore" as an insult.[9][10] Others contend that MacKaye coined the term when he used it self-mockingly in a magazine, or that it originated with Rites of Spring.[10] The Oxford English Dictionary, however, dates the earliest usage of "emo-core" to 1992 and "emo" to 1993, with "emo" first appearing in print media in New Musical Express in 1995.[11][12]
The "emocore" label quickly spread around the Washington, D.C. punk scene and became attached to many of the bands associated with MacKaye's Dischord Records label.[9] Although many of these bands simultaneously rejected the term, it stuck nonetheless. Scene veteran Jenny Toomey has recalled that "The only people who used it at first were the ones that were jealous over how big and fanatical a scene it was. [Rites of Spring] existed well before the term did and they hated it. But there was this weird moment, like when people started calling music 'grunge,' where you were using the term even though you hated it."[13]
The Washington, D.C. emo scene lasted only a few years. By 1986 most of the major bands of the movement—including Rites of Spring, Embrace, Gray Matter, and Beefeater—had broken up.[14] Even so, the ideas and aesthetics originating from the scene spread quickly across the country via a network of homemade zines, vinyl records, and hearsay.[15] According to Greenwald, the Washington, D.C. scene laid the groundwork for all subsequent incarnations of emo:
What had happened in D.C. in the mid-eighties—the shift from anger to action, from extroverted rage to internal turmoil, from an individualized mass to a mass of individuals—was in many ways a test case for the transformation of the national punk scene over the next two decades. The imagery, the power of the music, the way people responded to it, and the way the bands burned out instead of fading away—all have their origins in those first few performances by Rites of Spring. The roots of emo were laid, however unintentionally, by fifty or so people in the nation's capital. And in some ways, it was never as good and surely never as pure again. Certainly, the Washington scene was the only time "emocore" had any consensus definition as a genre.[16]
MacKaye and Piccioto, along with Rites of Spring drummer Brendan Canty, went on to form the highly influential Fugazi who, despite sometimes being connected with the term "emo", are not commonly recognized as an emo band.[17]
Today emo is commonly tied to both music and fashion as well as the emo subculture.[99] Usually among teens, the term "emo" is stereotyped with wearing slim-fit jeans, sometimes in bright colors, and tight t-shirts (usually short-sleeved) which often bear the names of emo bands. Studded belts and black wristbands are common accessories in emo fashion. Some males also wear thick, black horn-rimmed glasses.[100][101][102]
The emo fashion is also recognized for its hairstyles. Popular looks include long side-swept bangs, sometimes covering one or both eyes. Also popular is hair that is straightened and dyed black. Bright colors, such as blue, pink, red, or bleached blond, are also typical as highlights in emo hairstyles. Short, choppy layers of hair are also common. This fashion has at times been characterized as a fad.[103] In the early 2000s, emo fashion was associated with a clean cut look[104] but as the style spread to younger teenagers, the style has become darker, with long bangs and emphasis on the color black replacing sweater vests.
Emo has been associated with a stereotype that includes being particularly emotional, sensitive, shy, introverted, or angst-ridden.[105][106][107] It has also been associated with depression, self-injury, and suicide.[108][109]
Emo has been criticized for its androcentrism.[110]Andy Greenwald notes that there are very few women in emo bands, and that even those few do not typically have an active voice in the songs' subject matter: "Though emo—and to a certain degree, punk—has always been a typically male province, the monotony of the labels' gender perspective can be overwhelming."[111] The triumph of the "lonely boy's aesthetic" in emo, coupled with the style's popularity, has led to a litany of one-sided songs in which males vent their fury at the women who have wronged them:[111] Some emo bands' lyrics disguise violent anti-women sentiments in a veneer of pop music.[112] However, despite emo's frequent portrayal of women as powerless victims, fans of the style are from both genders, and some acts have even greater popularity with women than with men.[113] One explanation for this is that the unifying appeal of emo, its expression of emotional devastation, can be appreciated equally by both sexes regardless of the songs' specific subjects.[114]
The genre emo inspired a backlash movement in response to its rapid growth. Several bands considered to be "emo" rejected the label for the social stigma and controversy surrounding it.[115][116][117][118]Warped Tour founder Kevin Lyman stated that there was a "real backlash" among bands on the tour towards emo groups, but he dismissed the hostility as "juvenile" in nature.[119] The movement grew with intensity over time. Time reported in 2008 that "anti-emo" groups attacked teenagers in Mexico City, Querétaro, and Tijuana.[120][121] In Russia, a law was presented at the Duma to regulate emo websites and forbid emo style at schools and government buildings, for fears of emo being a "dangerous teen trend" promoting anti-social behaviour, depression, social withdrawal and even suicide.[122][123] In May 2010 in Saudi Arabia, the religious police in the city of Dammam arrested 10 emo girls for allegedly offensive un-Islamic behaviour and dress.[124]
Emo music has been blamed for the suicide by hanging of teenager Hannah Bond by both the coroner at the inquest into her death and her mother, Heather Bond, after it was claimed that emo music glamorized suicide and her apparent obsession with My Chemical Romance was said to be linked to her suicide. The inquest heard that she was part of an Internet "emo cult" [125] and her Bebo page contained an image of an 'emo girl' with bloody wrists.[126] It also heard that she had discussed the "glamour" of hanging online[125] and had explained to her parents that her self harming was an "emo initiation ceremony".[126] Heather Bond criticised emo fashion, saying: "There are 'emo' websites that show pink teddies hanging themselves." After the verdict was reported in NME, fans of emo music contacted the magazine to defend against accusations that it promotes self harm and suicide.[127]
Visual Kei
http://en.wikipedia.org/wiki/Visual_kei
Visual kei (ヴィジュアル系, vijuaru kei?, literally "visual style") refers to a movement among Japanese musicians,[1][2] that is characterized by the use of make-up, elaborate hair styles and flamboyant costumes, often, but not always, coupled with androgynous aesthetics.[3][4] Some sources state that Visual Kei refers to a music genre, or to a sub-genre of J-rock (a term referring to Japanese rock in general[5][6]), with its own particular sound, related to glam-rock, punk and metal.[7][8][9][10] However other sources state that Visual Kei's unique clothing, make-up, fashions, and participation in the related sub-culture is equally as important as the sound of the music itself in the use of the term.[11][12][13]
Visual Kei emerged in the late 1980s pioneered by bands such as X Japan, D'erlanger, Buck-Tick, and Color.[14]
The term Visual Kei was created with one of X Japan's slogans "Psychedelic violence crime of visual shock".[15]
Color vocalist "Dynamite Tommy" formed his record company Free-Will in 1986, which has been a major contributor in spreading modern Visual Kei outside Japan.[14]
In 1992, X Japan launched an attempt to enter the European and American markets, but it would take another 8 years until popularity and awareness of Visual Kei bands would extend worldwide.[4]
In the mid 1990s, Visual Kei received an increase in popularity throughout Japan, and album sales from Visual Kei bands started to reach record numbers. The most notable bands to achieve success during this period included X Japan, Glay, and Luna Sea; however, a drastic change in their appearance accompanied their success.[14]
During the same period other bands, such as Kuroyume, Malice Mizer, and Penicillin, gained mainstream awareness, although they were not as commercially successful.[14]
By 1999, mainstream popularity in Visual Kei was declining; X Japan had disbanded, and the death of lead guitarist Hideto Matsumoto in 1998 had denied fans a possible reunion. Soon after, in 2000, Luna Sea decided to disband.[14]
In 2007 the genre was revitalized, as Luna Sea performed a one-off performance, and X Japan reunited for a new single and a world tour. With these developments, Visual Kei bands enjoyed a boost in public awareness, described by the media as "Neo-Visual Kei". New bands have big popularity today, and new bands still use Visual Kei as a reference of themselves. Some examples of mainstream bands are Versailles, The Gazette, SEX -virgin killer-[14][16]
Visual Kei has enjoyed popularity among independent underground projects, as well as artists achieving mainstream success, with influences from Western phenomena, such as glam, goth and cyberpunk.[4][17] The music performed encompasses a large variety of genres, i.e. pop, punk, heavy metal and electronica.[1][4] Magazines published regularly in Japan with Visual Kei coverage are Arena 37°C, "Cure", Fool's Mate and Shoxx. Noted bands who at least at some point sported a Visual Kei theme include Dir en grey,[2]Luna Sea[18] and Malice Mizer.[19]
Popularity and awareness of such groups outside of Japan has seen an increase in recent years.[20]
Random Music i've been listening to :D (i cant post videos , just links) lol
Perfect Like Me - Scream My Name :
http://www.youtube.com/watch?v=3Bhxs5dvhKM
The Medic Droid - Tease :
http://www.youtube.com/watch?v=kVI0tt3r4ec
My Chemical Romance - I'm Not Okay (I Promise) Official Music Video :
http://www.youtube.com/watch?v=ZudX66IBat8
The Embrace Vampires Everywhere!:
http://www.youtube.com/watch?v=qlNtFfvN7vo&feature=related
Immortal Love - Vampires Everywhere:
http://www.youtube.com/watch?v=h2Y_zAVAn1E&feature=related
Get Scared - Setting Yourself Up for Sarcasm:
http://www.youtube.com/watch?v=fTjxiqUgZA0&feature=related
Get Scared-If Only She Knew Voodoo Like I Do:
http://www.youtube.com/watch?v=-kSXLkE8hIY&feature=related
Escape The Fate - "The Flood":
http://www.youtube.com/watch?v=BfO0TjJrTEU&feature=channel
Avenged Sevenfold - Nightmare (Official Music Video):
http://www.youtube.com/watch?v=94bGzWyHbu0&feature=related
Avenged Sevenfold - Afterlife:
http://www.youtube.com/watch?v=oJaBHSIRVlE&feature=channel
Avenged Sevenfold - Seize The Day :
http://www.youtube.com/watch?v=jUkoL9RE72o
Avenged Sevenfold - A Little Piece Of Heaven:
http://www.youtube.com/watch?v=VurhzANQ_B0
Ke$ha - Your Love Is My Drug:
http://www.youtube.com/watch?v=QR_qa3Ohwls
Ke$ha - Take It Off :
http://www.youtube.com/watch?v=edP0L6LQzZE&NR=1
3OH!3 - My First Kiss (feat. Ke$ha):
http://www.youtube.com/watch?v=AYC2FUutdKA&feature=related
its still a pervy thing to do :P
and u the sicker perv for looking at a tigers bush rofl
once again :D wank off to it somewhere else rofl
kobe lol u just want it all for urself :P go wank to it somewhere else rofl
D: its mythological creature rofl :P and its blue!!! rofl
D: my birthday is jan 2 rofl
*cries* u forgot
I'm just a fan :D
Biography
lol i dont get what u mean? this is a random post rofl
NightMotherUnited States
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NiMo Random Post
by NightMother 2 years ago
Some Mythology