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Mallard Duck (Drake) - Anas platyrhynchos
The mallard (Anas platyrhynchos) is a dabbling duck that breeds throughout the temperate and subtropical Americas, Eurasia, and North Africa and has been introduced to New Zealand, Australia, Peru, Brazil, Uruguay, Argentina, Chile, Colombia, the Falkland Islands, and South Africa.
The wild mallard is the ancestor of most domestic ducks, and its naturally evolved wild gene pool gets genetically polluted by the domesticated and feral mallard populations
During the breeding season, both male and female mallards can become aggressive, driving off competitors to themselves or their mate by charging at them. Males tend to fight more than females, and attack each other by repeatedly pecking at their rival's chest, ripping out feathers and even skin on rare occasions.
The drakes that end up being left out after the others have paired off with mating partners sometimes target an isolated female duck, even one of a different species, and proceed to chase and peck at her until she weakens, at which point the males take turns copulating with the female. Lebret (1961) calls this behaviour "Attempted Rape Flight", and Stanley Cramp and K.E.L. Simmons (1977) speak of "rape-intent flights". Male mallards also occasionally chase other male ducks of a different species, and even each other, in the same way. In one documented case of "homosexual necrophilia", a male mallard copulated with another male he was chasing after the chased male died upon flying into a glass window.] This paper was awarded an Ig Nobel Prize in 2003.
The predation-avoidance behavior of sleeping with one eye open, allowing one brain hemisphere to remain aware while the other half sleeps, was first demonstrated in mallards, although it is believed to be widespread among birds in general.
Mallard Duck (Drake) - Anas platyrhynchos
The mallard (Anas platyrhynchos) is a dabbling duck that breeds throughout the temperate and subtropical Americas, Eurasia, and North Africa and has been introduced to New Zealand, Australia, Peru, Brazil, Uruguay, Argentina, Chile, Colombia, the Falkland Islands, and South Africa.
The wild mallard is the ancestor of most domestic ducks, and its naturally evolved wild gene pool gets genetically polluted by the domesticated and feral mallard populations
During the breeding season, both male and female mallards can become aggressive, driving off competitors to themselves or their mate by charging at them. Males tend to fight more than females, and attack each other by repeatedly pecking at their rival's chest, ripping out feathers and even skin on rare occasions.
The drakes that end up being left out after the others have paired off with mating partners sometimes target an isolated female duck, even one of a different species, and proceed to chase and peck at her until she weakens, at which point the males take turns copulating with the female. Lebret (1961) calls this behaviour "Attempted Rape Flight", and Stanley Cramp and K.E.L. Simmons (1977) speak of "rape-intent flights". Male mallards also occasionally chase other male ducks of a different species, and even each other, in the same way. In one documented case of "homosexual necrophilia", a male mallard copulated with another male he was chasing after the chased male died upon flying into a glass window.] This paper was awarded an Ig Nobel Prize in 2003.
The predation-avoidance behavior of sleeping with one eye open, allowing one brain hemisphere to remain aware while the other half sleeps, was first demonstrated in mallards, although it is believed to be widespread among birds in general.
The mallard (Anas platyrhynchos) is a dabbling duck that breeds throughout the temperate and subtropical Americas, Eurasia, and North Africa and has been introduced to New Zealand, Australia, Peru, Brazil, Uruguay, Argentina, Chile, Colombia, the Falkland Islands, and South Africa.
The wild mallard is the ancestor of most domestic ducks, and its naturally evolved wild gene pool gets genetically polluted by the domesticated and feral mallard populations
During the breeding season, both male and female mallards can become aggressive, driving off competitors to themselves or their mate by charging at them. Males tend to fight more than females, and attack each other by repeatedly pecking at their rival's chest, ripping out feathers and even skin on rare occasions.
The drakes that end up being left out after the others have paired off with mating partners sometimes target an isolated female duck, even one of a different species, and proceed to chase and peck at her until she weakens, at which point the males take turns copulating with the female. Lebret (1961) calls this behaviour "Attempted Rape Flight", and Stanley Cramp and K.E.L. Simmons (1977) speak of "rape-intent flights". Male mallards also occasionally chase other male ducks of a different species, and even each other, in the same way. In one documented case of "homosexual necrophilia", a male mallard copulated with another male he was chasing after the chased male died upon flying into a glass window.] This paper was awarded an Ig Nobel Prize in 2003.
The predation-avoidance behavior of sleeping with one eye open, allowing one brain hemisphere to remain aware while the other half sleeps, was first demonstrated in mallards, although it is believed to be widespread among birds in general.
I wasn't going to upload this, it being just two days ago that I said I was done with selfies and family shots for a while, but the Group Battle Stations' contest theme this week is "crime scenes" and this seemed to fit.
I also wanted to give a huge congrats to Ry-O-Vision who won the Flickr 64 Challenge Game 5 and the $25 Blurb Book Gift Certificate. Well done Ryan. Game 6 starts on Monday
Oh, and does anyone have a good gashlycrumb title for this. Seems a shame not to stick it in that group.
You can tell from their faces that they are really enjoying each other's company.
Some men like their blow up doll, others prefer a more, er, dried up kind.
Cleveland weirdness from the early 80s, this album came out around 10 years later, after guitarist Jim Jones had joined Pere Ubu. They didn't fit in with the punk/hardcore, goth, or art/prog rock scenes that were prevalent there at the time, although they covered all that stylistic ground and more. An intimidating singer ranting about disconcerting subjects (the usual 80s obsessions ... drugs, suicide, necrophilia, blasphemy, bad reviews in the local paper ...) didn't win them many fans, either.
"Underpants" (this one's almost sort of catchy):
"Nailed to the Cross" ('cause, Easter!):
"Heaven 357" (as in - gonna get to ... with my ...):
"Forse l'automiglioramento non è la risposta. [...] Forse la risposta è l'autodistruzione." [Fight Club]
Make-up, Hair-Style by Angelo Nairod
! DO NOT USE MY PHOTOS WITHOUT MY WRITTEN PERMISSION.
*The hotel the Misfits were staying in for Zodiac's funeral*
Jules- Groan! Remind me never to drink again.
*He notices a lump under his covers, he carefully peels it back to be met with a truly horrific site*
Chancer- Is someone getting murdered? Let me see!
Blake- Let's be careful, eh? My heightened senses detect... rot, blood and an overwhelming sense of regret.
Chancer- So someone is getting murdered?
*Blake and Chancer burst down the door*
Blake- Oh, it's ok man, it's 2018. Homosexuality is generally considered acceptable
*Zodiac's corpse falls to the floor*
Chancer- Oh my god! That's Zodiac! He's alive!
Dekker- No, he's very much dead. But he was one hell of a kisser. Thank you Julian, for a most memorable night.
Blake- Ha! One for the calendars, eh Jules?
*The Mayor's office. Gaige enters to find Drury on the phone*
Drury- Two ticks. Yes Commissioner... An "Empress Penguin"... Yeah, I don't know where they come from either... Uh huh... I heard about a Lady Spellbinder too... Even a Madame Zodiac, would you believe it. Sorry. Something's come up. Yes, I'll watch my back. *Hangs up* Please, take a seat, what did you want to talk about?
Gaige- The Great White Shark is bringing weapons into Dixon Docks.
Drury- Ok, I'll send some GCPD officers to stake out the place.
Gaige- Actually, I was thinking that you should let him bring them in.
Gaige- I mean with this Joker stuff and what's going on with Nygma... Perhaps it would be best for people to defend themselves.
Drury- No, I'm sorry, I can't stand by as weapons are being sold on my streets. I'm the mayor, you can't expect to turn a blind eye to this. Surely you can understand...?
Drury- I just realised that I don't know your first name
Drury- Come on, you must at least have a birth certificate
Gaige- I was raised by pirates. They didn't care much for birth certificates
Drury- Well that sounds thrilling. Have you seen Simon recently, there's something I wanted to give him
Gaige- The emo one that ran away to Central City?
Gaige- That really shrill squeaky one?
Drury- That's Kitten. And she's a girl. Just, if you see him... let me know
*Drury opens a case beneath his desk and looks at it contently. It contains his Killer Moth suit*
*The hotel. Firefly's room. He's slightly more burnt than last time*
Volcana- That was fun. Same time tomorrow eh?
Gar- Wait. It's not that I didn't have a good time, because fuck, I had a good time, it's just- why are you in Gotham?
Volcana- Snow Flame is meeting with the top drug lords in the country. This was the best place for them to meet
Volcana- Not "were", baby, we still are
Volcana- Because you don't have distracting delusions of grandeur. Yelling "Kneel before your pure white God" is a hell of a turn off.
Volcana- Oh no Gar, not if we kill him first
necrophilia, also called thanatophilia or necrolagnia, is the sexual attraction to corpses. it is classified as a paraphilia by the diagnostic and statistical manual of mental disorders.
someone might find this picture disturbing, but after all mental disease is not a comfortable subject, althought i've always tried to present it in a light way in my psychiatric series
The funeral shall be most interesting full of photographic opportunities. One could substitute Cameron here for Miliband and it would be the same thing.
Taken at the Royal Wedding. Come have a look at my Sven's extras Flickr site.
Necrophilia, also called thanatophilia and necrolagnia, is the sexual attraction to corpses. It is classified as a paraphilia
There are different types of necrophilia,
3. People having a necrophilic fantasy – necrophilic fantasizers
5. People having a fetishistic necrophilia – fetishistic necrophiles
6. People having a necromutilomania – necromutilomaniacs
In 1958, Klaf and Brown[5] commented that, although rarely described, necrophilic fantasies may occur more often than is generally supposed.
Rosman and Resnick[8] (1989) theorized that either of the following situations could be antecedents to necrophilia (pp. 161):
1. The necrophile develops poor self-esteem, perhaps due in part to a significant loss;
(a) He/she is very fearful of rejection by women/men and he/she desires a sexual partner who is incapable of rejecting him/her; and/or
(b) He/she is fearful of the dead, and transforms his/her fear — by means of reaction formation — into a desire.
2. He/she develops an exciting fantasy of sex with a corpse, sometimes after exposure to a corpse.
Minor modern researches conducted in England have shown that some necrophiles tend to choose a dead mate after failing to create romantic attachments with the living.
Necrophilia is known to occur in animals, with a number of confirmed observations.
That's my best friend Daphne whom I nickname Donut, she loves them.
I've been friends with Daphne for quite a number of years now.
We first met during Secondary school (I'm not sure what educational level that is where you live) when we were about 12 or 13.
Daphne is an albino, I was and still am a social outcast, we kinda clicked and we remained as close friends for 4 years while studying in that school. We still keep in contact now, we text each other every day, we go out often.
It was a pleasure doing this photo with her, she was quite happy to do it (she loves dark themed stuff!)
I had to take her photo first then photoshop myself in because we were in public and I didn't have a tripid (it's broken). I'd actually prefer it if she wore the tube alone by itself but she would feel awkward, I would too actually :)
Well I've got good news! My portfolio review went really well, I managed to get into the top 10% of my cohort for the first semester and my GPA is 3.86/4, so thank you all for being so kind and supportive towards me!!
Credits to princess of shadows for the texture!!
The Chapel of Bones was built in the seventeenth century on the initiative of three Franciscan friars whose purpose was to convey the message of the transience and fragility of human life. This message is clearly passed on to the visitors at the entrance, through the warning: "We bones that here are, for yours await". It shows the macabre taste of baroque men for necrophilia. The walls of the Chapel of Bones and its eight pillars are covered with human bones and skulls.
Rights Info: No known restrictions on publication.
Part Of: Powerhouse Museum Collection
General information about the Powerhouse Museum Collection is available at www.powerhousemuseum.com/collection/database
Acquisition credit line: Gift of the Estate of Raymond W Phillips, 2008
Untitled, from 'Ode to Necrophilia' series, 1962
French postcard by PSG, no. 947. Photo: Aubert-Philips.
French France Gall (1947) rocketed to fame in the 1960's as a naive young singer performing songs written by Serge Gainsbourg. In 1965 she won the Eurovision Song Contest with his Poupée de cire, poupée de son. But, after meeting and marrying, French singer-songwriter Michel Berger, her career was completely turned around and she soon went on to make a name for herself as one of the top female artists on the French music scene.
Isabelle Geneviève Marie Anne Gall was born in 1947 in Paris. She grew up in a highly creative musical environment. Her father was lyricist Robert Gall, and her mother, singer Cécile Berthier, was the daughter of Paul Berthier, the organist of Auxerre Cathedral and co-founder of the famous French children's choir Petits Chanteurs à la Croix de Bois. Isabelle learnt to play the piano and the guitar at an early age. In her early teens Isabelle went on to form her own group with her brothers. In 1963, Robert Gall encouraged his daughter to record songs and send the demos to a musical publisher, Denis Bourgeois. She auditioned for Bourgeois at the Théâtre des Champs-Élysées in Paris, and was subsequently signed to Philips. Bourgeois encouraged her to record four tracks with French jazz musician, arranger and composer Alain Goraguer. The first airplay of France's first single Ne sois pas si bête (Don't Be So Silly), occurred on her 16th birthday. It soon rocketed to the top of the French charts, selling a cool 200,000 copies. France Gall went on to make a major name for herself in the midst of the yé-yé craze (the fashionable 1960's sound which fused Anglo-Saxon rock'n'roll with French variété). The legendary singer/songwriter Serge Gainsbourg was asked by Bourgeois to write songs for Gall. Gainsbourg's N'écoute pas les idoles (Don't listen to the idols) became Gall's second single; it reached the top of the French charts in March 1964. At the same time, Gall made her live debut, opening for Sacha Distel in Belgium. She teamed up with Distel's business manager, Maurice Tézé, who was also a lyricist. This allowed her to create an original repertoire, unlike the majority of her yé-yé contemporaries who sang adaptations of Anglophone hits.
In addition to songs written by her father, France Gall's success in the 1960’s was built on songs written by big names among French composers and lyricists: Gérard Bourgeois, Jean-Pierre Bourtayre, Joe Dassin, and many others. Gall's songs often featured lyrics based on a stereotypical view of the teenage mind. Elaborate orchestrations by Alain Goraguer blended styles, permitting her to navigate between jazz, children's songs, and anything in between. Examples of this mixed-genre style included Jazz à gogo and Mes premières vraies vacances. Gall and Gainsbourg's association produced many popular singles, continuing through the summer of 1964 with the hit song Laisse tomber les filles (Forget the girls) followed by Christiansen. Having previously resisted, Gall gave in to her managers at the end of 1964 and recorded a single intended for children. The song Sacré Charlemagne was a hit in 1965, selling 2 million copies. Gall was then selected to represent Luxembourg for the 1965 Eurovision Song Contest. Out of the 10 songs proposed to her, she chose Gainsbourg's Poupée de cire, poupée de son. On 20 March 1965, Gainsbourg, Gall, and Goraguer attended the finals of the song contest in Naples, where the song was booed during rehearsals. Her performance was broadcast live to an audience of 150 million viewers and although Gall's delivery during the live show was not of the highest standard, she went on to triumph in style. Success at Eurovision ensured that Gall became even more known outside Europe and she recorded Poupée de cire, poupée de son in French, German, Italian and Japanese. There appears to be no English version released by France Gall herself, although there was an English cover by the English 60’s star Twinkle. Ironically, France Gall was not representing France, but Luxembourgat the Eurovision Song Contest. Some French critics reproached Gall and Gainsbourg for having won for Luxembourg and not for their own countr, but Poupée de cire, poupée de son went on to become a huge hit in France
In 1965 a tv film was distributed in the United States directed by Jean-Christophe Averty and dedicated to the songs of France Gall. She was then sought by Walt Disney to appear as Alice in a musical film version of Alice in Wonderland. Although Gall had insisted she did not want to become involved in film work, this was the only project which appealed to her, but the project was cancelled after Disney's death in 1966. Gall appeared in the television film Viva Morandi (1966), made in the same psychoanalytical mould as the Fellini film Giulietta degli Spiriti (1965, Federico Fellini). Gall played La Grâce alongside Christine Lebail who played La Pureté, both singing Les Sucettes in a segment which was prominently labelled ‘fantasy’, in a clear reference to the song's sexual undertones. She also appeared in the tv-film Le lapin de Noël (1967), based on a story by Roland Topor. Later she was approached by director Bernardo Bertolucci for the leading female role in Last Tango in Paris (1972), but she firmly rejected this offer. In 1993 Gall once again considered appearing
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