Born in New York to parents of Italian ancestry, Francis Castiglione is a former U.S. Marine Captain. Before Frank joined the Marines, he was studying to become a Catholic priest but changed his mind because he was unable to forgive those who did evil. Also prior to his enlistment, he married his wife Maria who was already pregnant with their first child. During his time in the United States Marine Corps (USMC), Castle graduated from Basic Training, then went on to Infantry School. Immediately following that, he went through the USMC's Reconnaissance, Force Reconnaissance, and Sniper Schools. Attaining dockets, Castle was permitted to go through U.S. Army Airborne School, and U.S. Navy Underwater Demolition Team training, becoming qualified as a Navy Seal (Sea, Air and Land). He served in the Vietnam War in a special forces unit as a point man. For heroism in the line of duty, he was decorated with numerous medals, including the Purple Heart.

Shortly after a tour in Vietnam, Castle, his wife, Maria and their children were in New York's Central Park for an afternoon picnic when they witnessed a Mafia gangland execution; an informant had been hanged from a tree. Seeking to eliminate all witnesses, the Costa crime family murdered them on the spot. However, Castle survived. Even though Frank was able to identify all of the shooters the police were unable to help Castle in his quest for justice; they were tied in too deeply to the powerful Costa family. He decided that the only punishment criminals might receive is that of physical destruction. Shortly thereafter, he emblazoned his body armor with a symbol of a death's head, and exacted his revenge. Since then he has waged a one-man war upon crime, taking the name Punisher.

In his vigilante endeavors, Castle has crossed paths with several costumed crime-fighters, most notably Spider-Man and Daredevil. These encounters have often resulted in his incarceration. While he is known to be significantly inferior to Daredevil in hand-to-hand combat skills, Punisher has been rated as one of the most dangerous criminals alive. When he was incarcerated in New York's Riker's Island Prison, though heavily outnumbered in gang-fights, Punisher has routinely killed armed, homicidal criminals with frightening ease, sustaining no injury. Due to his proficiency in fighting, he is rarely so accosted in prison environments. Adhering to his military philosophies, Punisher is constantly training whenever he is not out on actual maneuvers. He exercises fanatically to maintain his impressive physical conditioning and sticks to a balanced diet whenever possible.

More on Marvel.com: http://marvel.com/universe/Punisher_(Frank_Castle)#ixzz4343L9AAo

Talking badger:

Martha Rosler, The Bowery in Two Inadequate Descriptive Systems

1974-75, Series of 45 gelatin silver prints of text and images on 24 backing boards
Kirk Gallery

The Adam Art Gallery was proud to present a one work exhibition of Martha Rosler’s The Bowery in Two Inadequate Descriptive Systems (1974-75). A seminal piece of photo-conceptual art and a reference point in traditions of socially-oriented creative practice, The Bowery offers a portrait of what was once New York City’s most archetypical skid-row. Pairing images of derelict storefronts and empty street corners with a descriptive poetics of drunkenness and vagrancy, Rosler’s photo-text installation refuses the direct representation of an implied human subject in favour of a layered interrogation of the adequacy of both visual and literary modes to the experience of social marginalisation. Nonetheless, the work insists upon the political resonance of the material settings of urban blight. Images and text are interspersed with occasional blank panels in the space of a photographic image, and it is this dialectic between concreteness and the incommensurable which lends The Bowery its enduring critical charge. Martha Rosler works in video, photography, text, installation, and performance, and as an essayist and social commentator. Her preoccupations centre on everyday life and the politics of the public sphere, often with an attention to women’s experience. The Adam Art Gallery hosted a series of public events to support this exhibition, including two fora on documentary practice co-sponsored by the Elam School of Fine Arts, University of Auckland. Martha Rosler participated in the inaugural Adam Art Gallery SkypeConversation series in early 2013, discussing politics, activism, and the digital commons in the context of her recent projects.

glen fabry

King of snake
King of snake
King of snake
King of snake
King of snake
King of snake
Snake
Snake
Snake
Snake
Twenty-four hours with the King of snake

King of snake
Dog man and the King of snake
Mongoose and the King of snake
Dog man and the King of snake
King of snake great
Mongoose and the King of snake
Dog man and the King of snake
Mongoose and the King of snake
Twenty-four hours with the King of snake

Daily, daily, daily, daily thing
Like Tom & Jerry thing
Yeah
Drink
Drink
Drink
And you go ping

Daily, daily, daily, daily thing
Like Tom & Jerry thing
Yeah
Drink
Drink
Drink
Drink
And you go ping

Drink
That stuff enough
Right up
That stuff enough
Right up
That stuff enough
Right up right up
Right up right up
That stuff enough
Snake

Drink
That stuff enough
Right up
That stuff enough
Right up
That stuff enough
Right up right up
Right up right up
That stuff enough
Snake
Sweet Lord

Daily, daily, daily, daily thing
Like Tom & Jerry thing
Yeah
Drink
Drink
Drink
And you go ping

Daily, daily, daily, daily thing
Like Tom & Jerry thing
Yeah
Drink
Drink
Drink
And you go ping

Drink
That stuff enough
Right up
That stuff enough
Right right right up
That stuff enough
Right up right up
Right up
That
Snake

Drink
That stuff enough
Right up
That stuff enough
Right up
That stuff enough
Right up right up
Right up right up
That stuff enough
Snake

Up on the mountain
The midnight faces
Everybody got some
Big emotion
Up on the mountain
Big emotion
Same ambition

King of snake
King
Snake
Snake
Snake
Snake
Twenty-four hours with the King of snake
(King of snake, King of snake)
Twenty-four hours with the King of snake

Snake
Snake
Snake
Snake fighting, it's very scary fighting
Snake, very dangerous
So is very po popular
At midnight everybody dancing on street, here
Everyone with same identity
Down their sake
Sake is very strong
Like a vodka, very dangerous
So everyone get a rolled
Up new newspaper
Set it on fire
And put it in between
Snake fighting life
Strong food answering drink at midnight

He will cover you with His feathers
And under His wings you will find refuge.
Psalm 91:4

I am: yet what I am none cares or knows,

My friends forsake me like a memory lost;

I am the self-consumer of my woes,

They rise and vanish in oblivious host,

Like shades in love and death's oblivion lost;

And yet I am! and live with shadows tost

Into the nothingness of scorn and noise,

Into the living sea of waking dreams,

Where there is neither sense of life nor joys,

But the vast shipwreck of my life's esteems;

And e'en the dearest--that I loved the best--

Are strange--nay, rather stranger than the rest.

I long for scenes where man has never trod;

A place where woman never smil'd or wept;

There to abide with my creator, God,

And sleep as I in childhood sweetly slept:

Untroubling and untroubled where I lie;

The grass below--above the vaulted sky.

Johnny Clare

I Am

The art is colored by Pope’s Batman: Year 100 collaborator Jose Villarrubia whom, he notes, is limiting his palette to the 144 colors available to publishers in the 1940s.

i think they went way too square on the shoulders, to square on the jaw, too classic, and the detailing on the mask is just not there on the artwork.  also i know its posed to be a black and white figure but the nice thing of year 100 is the yellowed costume and army surplus looking stuff

this is so good

New debut mixtape 'Uzi' from the Quicktimeplayers. Over 5 hours of hardcore beats...

https://www.mixcloud.com/Quicktimeplayerz/

Double DARRYN

this is one of Clark Keatleys photos

omg staedel is so ruddy authentic, literally bursting with raw, transgressive creativity oof

The song was the last track to be recorded for the album Eyes Open and was the third single released from the album.^[1] It was written especially with Martha in mind.^[2] Lightbody wrote the song in only 20 minutes and described it as the quickest he had ever written a song.^[3] The song title describes an electric heater. While writing in the freezing cold and wearing fingerless gloves Lightbody recalled that as a child his Aunt Jean had an electric heater, and "if we were very good and it was very cold, she'd let us put all three bars on" and he goes on to say how it represents "a beacon of warmth within a song about distance"

Though Vallely ritually burned most of his original art upon his exit from the comics industry, the original pages from Bible John were amongst a very few spared

Understandably, you wanted to put these things together - the heightened sense of the valences of words on the one hand, new-up people-interest on the other. This brought you back to ''realism,'' and as soon as you looked again you remembered why you weren't doing it to begin with. First of all, it was full of lies, falsifications of experience for the sake of drama - which was paradoxical, since it purported to be representation; second, there was a lot of writing a thing to death, writing and writing until the only hope was that in the aggregate something had got onto the page; third, there was the posturing, as if the author were trying to sell you something; fourth, and finally, in constructing the ''see-through'' prose, writers too often overlooked the prose itself, the result being cat food. You, a newly degreed post-modernist, flush with finally locating that hog high on which you wanted to live, knew better - writing bad was O.K. only if you did it intentionally, and well.

http://www.nytimes.com/1988/04/03/books/on-being-wrong-convicted-minimalist-spills-beans.html?pagewanted=all

in the 1950's, Alfred Leslie was a terrific painter, coming in about 10 minutes after de Kooning; but as good as Leslie's pictures were, they had the stench of the late about them. He figured it out, after a while, and did something else - eight-foot snapshots of himself - and that worked fine

Alas, as time went on, any harebrained thing would do, and did. Too many people started having ideas, and the ideas got slack. It was so easy everybody was doing it. You couldn't turn around without somebody trumping up something that got treated, in the critical eye, as if it were a full-fledged idea. Things were headed off the beam.

Brown's simple, load-bearing sentences can march on for pages with hardly a skip, let alone a pirouette. A quick glance will reveal dozens of nearly consecutive paragraphs beginning, ''She had rested . . .'' ''She was very thirsty . . .'' ''She didn't know . . .'' ''She could feel . . .'' and ''She waited. . . .'' Such Amish-plain descriptions of activity make up most of this novel's nearly 500-page bulk: ''He had to wait for two cars and then he mashed down on the gas and they headed out. He opened a beer and pushed a tape into the deck. She looked over at the gas gauge. It was full.'' When you get to that last sentence, with its slight, subjective salience, it's like coming across a grain elevator in Nebraska.

Another beautiful day. We spotted a big Boar and I shot him through the spine as he was running flat out at 45 metres with my Ruger Super Redhawk 454.