Nude (1910, French: Nu, Serbian: Купачица / Kupačica) is a painting by French impressionist Pierre-Auguste Renoir. It is oil on canvas, and was painted in 1910. In 1996 the estimated worth was about 6 million US Dollars. The painting is currently housed in the National Museum of Serbia in Belgrade. The painting was given to the Serbian people by Prince Paul of Yugoslavia.
The painting was stolen in 1996 by an amateur Roma thief. During the theft, it was badly damaged and was recovered in poor condition, requiring a year of restoration. After the Renoir was stolen, the entire foreign art collection was moved to the museum warehouse to protect the collection until a better security system could be installed.
Nude is the third studio album by the band VAST, released on Carson Daly's independent label 456 Entertainment. It was released on February 24, 2004 and would be the last album released on his own independent label, 2blossoms. The album is made up of remastered and remixed demos from the online Turquoise & Crimson releases.
A European version of the album was also released, which includes two bonus tracks and a sixteen page booklet housed in a cardboard slipcase. The bonus tracks included are Falling from the Sky (as track 13) and I Woke Up L.A. (as track 14).
With the release of Turquoise & Crimson (Retail Version), the album was made obsolete, because the double album featured all of the songs on Nude, remastered from their unfinished versions released online, and mixed with many new songs. Crosby marketed the album through his own independent label after his unhappiness with 456 Entertainment. He later claimed that releasing Nude on 456 Entertainment was a "disaster, and not a very good idea".
Nude (Charis, Santa Monica) is a photograph taken by Edward Weston in 1936. It shows an apparently nude woman with her arms wrapped around her legs while she sits on a blanket in bright sunlight against a darkened doorway. The dynamic balance of the light and dark accentuate the curves and angles of the woman's body; at the same time her face and all but the slightest hint of her pubic area are hidden from view, requiring the viewer to concentrate on her arms, legs, feet and hands. It is an image of a nude that concentrates solely on the forms of the body rather than the sexuality. The model was his muse and assistant, Charis Wilson, whom he married a year later.
The Great Depression years of the early 1930s were hard on Weston, who, in spite of his relative fame, struggled to make ends meet. In early 1935 he closed his studio in Glendale and moved into a house with his three sons Brett, Cole and Kim at 446 Mesa Road in Santa Monica, California. The house was a modest two-bedroom bungalow, with not much personal space for the four of them. Even so, later that year he asked Wilson to join him, and she soon moved in. All five managed to live in the same space for several years.
Introduction, The Introduction, Intro, or The Intro may refer to:
Intro is an American R&B trio from Brooklyn, New York City, New York. The trio consisted of members Jeff Sanders, Clinton "Buddy" Wike and lead singer/songwriter Kenny Greene. Intro released two albums (for Atlantic Records): 1993's Intro and their second album, 1995's New Life. The group had a string of US hits in the 1990s. The hits included the singles "Let Me Be The One", the Stevie Wonder cover "Ribbon in the Sky", "Funny How Time Flies" and their highest charting hit, "Come Inside".
Intro's Kenny Greene died from complications of AIDS in 2001. Intro recently emerged as a quintet consisting of Clinton "Buddy" Wike, Jeff Sanders, Ramon Adams and Eric Pruitt. Adams departed in 2014, with the group back down to its lineup as a trio. They are currently recording a new album to be released in 2015. The group released a new single in 2013 called "I Didn't Sleep With Her" and a new single "Lucky" in October 2014.
In music, the introduction is a passage or section which opens a movement or a separate piece, preceding the theme or lyrics. In popular music this is often abbreviated as intro. The introduction establishes melodic, harmonic, and/or rhythmic material related to the main body of a piece.
Introductions may consist of an ostinato that is used in the following music, an important chord or progression that establishes the tonality and groove for the following music, or they may be important but disguised or out-of-context motivic or thematic material. As such the introduction may be the first statement of primary or other important material, may be related to but different from the primary or other important material, or may bear little relation to any other material.
A common introduction to a rubato ballad is a dominant seventh chord with fermata, Play an introduction that works for many songs is the last four or eight measures of the song,
Play while a common introduction to the twelve-bar blues is a single chorus.
Play
[Small Laughter Intro]
I hope you notice the lack of social contact
It's not that your not all that
It's just I know how this will end
Don't try to say you'll change for me
But that's not the way to go
And even before
I don't wanna try again with you
That's not the mood, Nooo
Your jus caught up in a web of me
Don't realize the reason why we never speak
It's you not me
Your jus caught up in a web of me
Don't realize the reason why we never speak
It's you not me
And you should know
I never tried to hurt you girl
Just got tangled up in the idea of being together
We can live different lives
Together, Gotta move on
Just let it go, Move on
I'm not the one for you and I know it
Call me, you need it
I got chu'
Don't call me babe cus I wanted you
You know I'll end up going
Ask me for head when I want it
Make sure it's pure and it's friendship (so pure)
Your jus caught up in a web of me
Don't realize the reason why we never speak
It's you not me
Your jus caught up in a web of me
Don't realize the reason why we never speak
It's you not me
Your jus caught up in a web of me
Don't realize the reason why we never speak
It's you not me
Your jus caught up in a web of me
Don't realize the reason why we never speak